Time (The Revelator)Gillian Welch
It’s Been a long time that I heard an album of which I loved every song on the first listen - wonderful
It’s Been a long time that I heard an album of which I loved every song on the first listen - wonderful
Expected so much more from the band that gave us 'She's not There' and 'Time of the Season' - it's a listenable album but very forgettable
Had a different impression of this album - loved the gospel angel and while no standout songs - it feels like a true album - one large musical piece from start to finish - pleasant surprise
Listening to this album makes you wish you were in the room - and it gets you close enough to smell the burning dust inside the hiwatt amplifier stacks - the sweat flying off Daltreys tambourine and feeling Moons constant kick drum thumping right in your chest - it’s definitely one of the best live albums ever released
Nope. Besides the first song all I got was images of pickup trucks and leopard print and a whole lot of meh.
Little wing and castles are standout - lovely musicianship but as an album is not the most balanced
A bit on the cheesy side but introduced me to a new genre
Perfect album start to finish
Classic and excellent
Quite fun and listenae
A bit of an uphill struggle to listen - very cabaret-y and wasn't too impressed by it.
Awesome always loved this
I actually like this album surprisingly - also perfectly wintry
Good album but super homophobic and misogynist - something that feels rather aged in the post-me-too era. But damn that was a trip down memory lane in the early 2000s - I didn’t listen to this album back then but it’s just a perfect snapshot of that particular time. Which is why it’s an album one must listen to- and probably not love. It’s a tough one man’s screwed up thought roller coaster that has no place 20 years after it was released but at the same time it’s a perfect Time Capsule. It’s a pendulum swing between brilliant and horrible.
A strange lyrical obsession about paying the bills and rent - and generally quite a non-memorable album except for a couple of classics. It’s a container for it’s a sin and heart and kings cross I guess - the rest are fillers
Great but super long
One of my all time favourites
At time novelty at time to be taken seriously - at times comical at times kick ass - good album - needs further listening
Interesting - can see where rammenstein got their chops. Wholly entertaining industrial - and makes sense given the bands history. Great dark humour too - but Milan Frans’ vocals are the standout here. Kind of starts petering out toward the end though
Nice poppy tunes but unremarkable as an album
Lovely voice great wintry album - and some classic songs to boot.
Better on second listen but still a bit meh. It’s a good rock album and see where Aerosmith got it’s cred as a band.
Better than expected - main single is still a banger but not something I’d return to
Not a great album but a fun album - I would go back to it. I mean who doesn’t like to start an album with a 20 min song? Am I right?
Great needs further listening - one of those that unfolds with every listen
Lovely and wintry
Best balanced album by the Jam - gets better with every listen so far. On the lines of London calling by the clash
Excellent - forgot how awesome number of the beast and run to the hills are.
Like a happy OK Computer with awkward lyrics - it’s better than expected
Fun punk album - some really good songs but as an album unremarkable
Thought I was going to suffer hippiedom but this is a great album - I have got to stop starting with preconceptions. ‘Today’ is a wonderful song and besides ‘Somebody to Love’ and ‘White Rabbit’ all other songs are infused with a gentle blues and folk - reminiscent of Love’s Forever changes
Not jazz literate enough to understand it’s significance but it’s a great listen that’s for sure - one for repeats definitely
A grower - and it gets funkier as it progresses. It’s Jamaican tinged tracks are my favourite.
Oh my god … beautiful - how did I miss this album before
So far my favourite kinks album as a whole
Fun but a bit too angst - some classic songs but if you’re over 20 it feels a bit disconnected
Ok nothing remarkable
Interesting - but not a classic - some good songs and quite fun overall
On the cheesy uninteresting side - but it’s got its own sound
Pretty ok - like a bargain bin Roxy music, or Specials or David Byrne
Had a different impression of this album - loved the gospel angel and while no standout songs - it feels like a true album - one large musical piece from start to finish - pleasant surprise
Oh bossa nova grooves and Sinatra swooning over it - what’s not to like - end to end lovely record
Well - it was painful but this IS the definitely Christmas album in my book. and the wall of sounds cuts through and it does have some personality - so while did not wholly enjoy it due to my disdain for Christmas songs - it does have substance in its own way
Meh. Not the best blur album - and a bit overlong with very few standouts - my favourite turns out to be the delightfully demented intermission
Lovely - what a discovery and what a great live album
It’s ok but nothing special I guess - some decent reggae and dub but it’s a very 90s ‘WORLD’ music album - emphasis intentional
Interesting listen - some decent songs and a nice change
Still as good as I remember it - and still holds up well. Not their best album but it’s a good one.
Good song after good song.- this album is fresh as ever and grooves madly. It’s also themed with what I think is David’s struggle with newfound sobriety - which gives it a layer of depth beyond the dark synth pop that makes this album
Forgot about this album - surprisingly poignant even for today and a lovely voice - not skunk anansie s best but a good one
Nice - very The Cure like and finally a full album by new order that I warmed up to fully
Sublime album - somehow been avoiding it but it’s a masterpiece
Lovely - although biased because it brings back really nice memories. It’s still rocks and now with time as perspective it’s not just a trend but has a bit of, dare I say, classic vibe going?
Can never really warm up to Elvis costello but at the same time can feel some brilliance in rhythms and Melodies pop out of most songs. This album also isn’t the most accessible
I don’t think I’ve heard a beach boys album I didn’t like - this is not their best obviously but love the more surf-iness sounds of early beach boys - enjoyed every bit of it
Great fun - I think it’s an under appreciated album vis-à-vis it’s contemporaries - it’s a good punk ish album with a tinge of the kinks and a bit of its own thing - and the song ‘alright’ is a timeless classic - the perfect anthem for the youth of its time
A nice discovery - what I at first dismissed as a beach boys copy actually turned out to be a really good album in its own right - with great stand out tracks and a good representative of the decade - enjoyed this one.
Often overlooked but this band was actually consistently good - not least due to Mark Lanegan’s wonderful voice. It is not special and it’s not their best - but it’s a good album that gets better with every listen.
Some good tracks - an album worth exploring but doesn’t feel like one of the greats
What a perfect set of songs… and gets better with every listen
Kind of a B-version of the Beatles and Kinks - tries to be anglophile-twee in the vein of Eleanor Rigby / Village Green, but the Gibbs take themselves too seriously to be able to do it honestly - don't just take my word for it - listen to the excessive vibrato throughout the entire album. But, hey, it was an interesting journey, albeit a little let down, as Bee Gees generally deliver. They showed promise but the Beatles were writing better songs, the Kinks were more fun, the Who did better concept albums and the Beach Boys were more mind blowing virtuosos - this album tried to do all of those things, and well, it didn't quite hit the mark.
If this album were a punctuation mark in the history of albums it would be a single comma, not all commas, just one - but a very pretty one at that. It's not game changing but it's a lovely listen - it's unique and it does have one transcendentally beautiful song in it's listing - 'Life is What you make it'. Enjoyed this one, enjoyed the space in mix in each of the songs - enjoyed the arrangements - and it does lend itself to multiple listens. But it's not a seminal album.
Love it but I’m biased because I know it well a three great songs in here and a set of other good ones and flows well
Interesting, compelling and surprisingly listenable - enjoyed this one and it merits more listens - nice discovery
Expected so much more from the band that gave us 'She's not There' and 'Time of the Season' - it's a listenable album but very forgettable
Listening to this album makes you wish you were in the room - and it gets you close enough to smell the burning dust inside the hiwatt amplifier stacks - the sweat flying off Daltreys tambourine and feeling Moons constant kick drum thumping right in your chest - it’s definitely one of the best live albums ever released
Excellent and classic
First half of the album is promising -reminiscent of the Jam, Gang of Four, at times Blondie and a ska-less Specials, but then it tapers of into songs about bouncing babies and muddled lyrics - it could have been a staple of early 80s post-punk but being overlong and at times half baked lyrics killed that chance. Nice discovery and a fun listen nonetheless
I know this album. Love this album. Get bothered by this album. Love this album again - and this time I realised why. It's lyrically seminal - avante garde even for 2022 - it's unique, it's powerful - rhythmically sophisticated and musically interesting. Every song has it's place in the album - but this is not an album that you listen to in the background while doing something else, this is one of those that demand your full attention. I listened to it three times in a row this time round - first while doing something else - and that kept me wondering why the hell I used to like this album - then I wore headphones, and gave it it's due attention, and there I was rewarded and realised what's so great about it. Loved it.
It’s like a Tribe album at 70% - Q-Tips silky voice grooves throughout a generally pleasant album - one or two good bangers - ManWomanBoogies and Move stand out - but it generally comes and goes and does not stay for coffee.
This is not an album you review in one day - this is an album that forms you and you grow up with - unfortunately I didn’t - I am going to need more time with it I guess - but so far I can see the specialness of it
Fun, and a nice listen, but otherwise standard crooner fare - nothing really stands out from the whole.
Pleasant album - with more depth than what appears - really enjoyed it more than i thought I would. Still my favourite track just because it’s such a beautiful song is their rendition of Everybody’s Talking
Funky Funky Funky - Funky Beats from Premier and Rhymes from the MC represented the common man. Had a lot of fun with this
Some good songs but lost me at times - the bob dylan parody and silent night kind of cringed me
So - first listen I abandoned - almost 80% of the way and it did not engage me one bit - and was going to leave it there BUT then I decided to give it one more go to listen to while running and there it shone. This album wasn’t written to be listened idly in the background - it needs some form of physicality and that’s how I could appreciate it - the early 90s trip hop bossa nova rhythms and occasional dub is not necessarily my cup of tea but it won me over eventually.
What can I say? Funky 60s Instrumentals? One of the best organ song ever written?
Middle of the road 90s blues fuff
Really fun post punk new wave thing - completely new to me - loved it - only fault is slightly awkward lyrics - but otherwise really fun
Heartwarming because this album was my contemporary - but generally still holds as a petulant 90s suburban Ramones album - might be hard to translate across generations.
Not the most accessible album by Bowie but an interesting sonic exploration - this one needs more than a day to savour but clearly a lot of pedigree
Very fun especially by the time it gets to LaGrange. Again nice turn and surprise
Just because it's a vehicle for 'A Forest' it's worth the 3 stars. But the rest of the album is ok at best. And I love the Cure.
Lovely short and sweet and some great songs
Overlong psychedelic 60s rock
Amazing album start to finish - The Who really kick ass - and it’s really nice to see an album I didn’t understand when I was younger feel so good after all these years - funny - some great songs (Maryanne and I can see for miles among some other classics) tops
Amazing - start to finish - sexy, groovy, fun and just the right length. Some great songs on this one too - Jeepster and of course bang a gong
It’s ok it’s Bjork. Great orchestration - and some good tracks like Human Behavior and Violently Happy. The middle sags a little but it’s ok
Didn’t appreciate it at first but it does improve with every… repeat… 🙃I think this one requires a bit more listens but it’s not going to get much deeper than a decent early 90s punk album. Would have appreciated it much better had I heard it in my teens
a Lovely collection of songs
Every minute of this album oozes craft and greatness - from starting with Thunder Road to the title track Born to Run - the guitars drive - the saxophone blares and the piano thoughtfully sets the mood for this all American blue collar carnival - but it’s Bruce’s masterstroke that pulls it all off with his ridiculous car metaphors and blue jeans gung-ho storytelling. On paper all this sounds like my nightmare but it’s so much more than the sum of its parts
Start to finish fun - it’s a party album albeit tinged with mild schoolboy misogyny. but that riff from the title track oooof what a punch in your beer gut - never fails to make you want to rock out. It’s compact and kicking. Like the AC/DC rhythm section
Great album - great songs - especially Side A in its entirety - but it’s a tiny tiny bit too long - even though the quality is high throughout
Good fun - a super solid jazz album - not as good as some other contemporaries - but the inclusion of ‘Take Five’ among the track listing makes it an inevitable classic
It’s like pink Floyd wrote the title track and sandwiched a set of fuffy tracks around it to make it look pretty - like the flowers which are not roses in a bouquet. Its pleasant mid tempo plod is non threatening but Dark Side of the Moon this album is not
Well, began with prejudice 🙃 - but it turned out to be a surprisingly listenable album and not as dated as expected. Going to admit - not going to blast this down main street, but had a good time listening to it. And, at times George Michael channels an unusually unparalleled Freddie Mercury, especially in 'Mother's Pride'. I unfortunately underestimated his talent - but he is a consistently good artist in general, even though not up to my musical tastes.
First listen, a bit disappointing and meh, but gets better with repeated listens. It's a bit too theatrical in a pantomime way - which makes it hard to consider as more than a cartoon-y or novelty album. But title track is I guess a bit of a classic in it's own way. What stood out for me was 'Public Animal #9' and, strangely 'Gutter Cats vs. The Jets' - but all in all, didn't feel that great as an album
Ugh, that title. But actually quite a nice mumble blues set of songs with a tinge of jazz - in the likes of Nick Drake and Neil Young. Better with repeat listens
Quite a generally good hip hop album - but not the most memorable. Nice find though
A perfect album - always wondered why the beastie boys are three white dudes with so much cred in hip hop - besides the Rick Rubin connection - they are artfully awesome at this - organic and honest hip hop to who they are - not white boys trying to be black
Pretty cool album - a bit too adolescent at times but groovy and interesting and modern
Pretty cool for the Genre - can see the Emo influences permeate decades from this album - not my favourite genre to be honest and struggled to find standout songs - but I would have loved this had I discovered it in my youth
Unique and interesting - time has proven that nothing has quite Perry’s voice and sound - Jane Says is iconic whole Ocean Size and Mountain Song stand out. It’s not entirely my cup of tea but enjoyed its sound.
It’s ok - a bit generic and forgettable - kind of wish washy between the who, the kinks, the Beatles and Brit blues.
It’s Been a long time that I heard an album of which I loved every song on the first listen - wonderful
Haunting, beautiful but very long and at times impenetrable - the language barrier doesn’t help - I’m sure there are pleasures to discover in the words but unfortunately cannot appreciate them.
Good fun, at times great - but a bit overlong and quite a few fillers. Devil's Haircut and Where It's at are 90s mainstays and iconic though
Tough as nails inner city portrait - very often threading misogyny but at the same time ground breaking in terms of enlightenment for 1990. Does not let up for a minute - Ice Cube really brings out the words and paints hugely vivid images of gangbanging life
Can’t but be in a good mood after listening to this - danceable and feels like you’re sipping cocktails on a riviera in the 60s
Awesome - sounds like it was recorded yesterday - consistently great tracks and Caribbean sounds - in hindsight there has been nothing like it since - a classic
Musically excellent - side B more than Side A (albeit a little colonially culture appropriating) - classics such as “King of Pain”, “Wrapped Around Your Finger”, and “Every Breathe You Take” but lyrically - oh my. Maybe it’s just me but Sting sound like he is reciting an intel manifesto - the stalker in Every Breathe… The “Miss Gradenko” and “Tea in the Sahara” fantasies, the Freudian “Mother” and finally the Serial Killer in “Murder by Numbers”. It just gets uncomfortable to listen to with that perspective in mind - shame as otherwise the musicianship is wonderful and the hooks eerily beautiful.
The minute this album came I let out an audible groan - all I was thinking was scents of bad incense - elephant print yoga pants and tie dye everything. But … it actually turned out to be a insightful journey into a non-western music form - by which you understand both it and western music principles in contrast - beyond the music Ravi explains what you’re listening to and what is instruments are being played. Not going to dig out my bong again but it was an interesting journey
Great band, crap album. The best song 'Dig for Fire' on the album holds a small candle to the great classics this band wrote in other albums. Quite a disappointment.
Good fun - a bit dated sound wise but otherwise a solid electronic album
Not a big fan - it’s an interesting slice of Americana but can’t really enjoy an album by a white man that freely uses the n-word in multiple forms.
Perfect end to end.
Huh. I wouldn’t have guessed that I would ultimately start enjoying a Van Halen album. First listen was a bit like nails to a chalkboard with that over the top guitar sound and them lyrics - but digging a bit deeper and some forgiving for hair metal misogyny- there is some honest to god good tracks here. Not going to be my favourite - but would listen next to what I consider fun albums like Iron Maiden.
It's ok - not the most remarkable releases in the Buzzcocks' repertoire - but fun if like me you're into the sound.
Serves well to remember this is an amazing album - avant garde and still relevant. I forgot - I had devolved - now I remember.
It was a wave of nostalgia and the the cultural appropriation realization kicked in - the 90s innocence of a random Brit who scats mediocrely adopting the name of an American tribe he has nothing to do with it and littering the didgeridoo throughout an slightly overlong and plodding album… at times it’s good - but it peters off sharply towards the end. The musicianship is virtuosic but there are few songs that are memorable here. Jay has a couple stronger albums than this - despite being more banker w*nk later on with songs about fast cars and yuppie love.
Strange - but interesting
Of course - the album with My Generation and The Kids are Alright is supposed to be a classic but not the band at their best as an album it’s not so special. Still a good pumping The Who album though.
This album has no flaws - starting with Badlands - peaking in beauty with Racing in the Streets and Promised Land and ending with an absolute banger of a title track - phew - one of the three flawless Springsteen albums. Might be hard for first time Springsteen listeners and he is generally a ‘grower’ artist but if you’ve warmed up to him this album is a treat.
Relentlessly fun interesting album that sounds timeless - there is no fat here - every note and rhythm has its place and even after repeated listens it never gets boring.
Great fun - Bonham grooves and great songs - was a nice trip down memory lane.
Starts strong - love the break beats and general feel but unfortunately as an album it tapers quite early - by the time it hits its 56 mins of length it really feels overlong. It could have done with half its length removed and it would have been an excellent record
Abysmal. Overwrought, self indulgent, over long, nails on a scratch board performance - worst album I heard so far. And the writing l? Ooof. When will I get the fun BeeGees? This is terrible.
A decent fun album - a bit too sneery for my liking but can’t fault it much otherwise
Fun album albeit not my genre. It sounds specifically dated - so much so it feels cool again.
At first was a bit unhappy with this album being my listen for the day - but it turns out to still hold up well - with surprisingly lucid lyrics and some classic tunes which might have lost a little luster with being overplayed back in the day yet are still great tracks. Almost every song is a banger. Unfortunately it went downhill for the band after this but don’t fault this album for that.
Pretty lovely and a good trip down memory lane - but it’s a bit overlong - I’ve started to a appreciate a compact album - although this one is actually quite engaging throughout. It would be a 4 star were it a quarter shorter
Interesting melodically and sonically and feels very ahead of it’s time - love some of the darker Melodies - while the songs are quite memorable and the whole album feels like it keeps you wanting more. A nice inclusion of I might say so.
It’s definitely a plodder - despite Ms. Jones’ silky-gravelly voice. While it’s a pleasant album at times - it reads like a bankers BMW CD changer collection member - or at times one could imagine a cowbro listening to this in his barn or pickup truck. It’s declawed jazz and country at the same time - kind of like Muzak- pleasant but with the right conditions tortuous.
End to end greatness - snotty, melodic, great musicianship and then there’s ‘There She Goes’ throughly fun and enjoyable.
Unencumbered, unpretentious rock and roll - short and to the point and fun.
A bit too long to appreciate in a day - to be fair to other albums I guess I’ll give it a an average score - but it sounds very much like a grower
Good fun and debauchery with these punk marinated pirate shanties. Bring out the rum and swashbuckle!
Fun and trailblazing but songs are a bit on the same-y side to make for repeated listens.
Perfect bopping with no fat and perfect tunes. What a blitzkrieg of an album - end to end.
Not unlistenable but wow it never ends… and not always sure its taking the mickey or earnest in intent. What is for sure I couldn’t take hearing Lynnyrd Skynnyrd namedropped one more time by the end of it
Pleasant yet nothing that hasn’t been done before many times over - some good songs though
Sigh I tried - but very little hooks
Well - it’s not as good as the album that followed it - it’s we crafted and clever but also a bit too nauseatingly misogynistic - the concept of even talking this way about violence against women - even with the intention of furthering some other point - shouldn’t even be a thing in 2022. Judging with that lens this album isn’t as strong to make up for the passage of time and more acceptable language of the past. That said some classic tracks and even through the violence and irreverence - Eminem is a master of words and rhyme - and the production is wow - perfect beats, just enough comedy and Easter eggs in the mix. We’re it not for the nails on scratch board depiction of hatred against women - this would have been a comfortable great album.
Lovely - blues and jazz with a Malian twist - warm and enchanting from end to end.
A good fun short album with some mega bangers included.
Middling white man blues. Mean musicianship though.
Good album - not their most memorable and few classics here
Interesting country and western album - fun in a way - but certain songs are as horrid to women as Eminem sometimes is. Never thought these worlds would cross but they do - and they intersect at heavy misogyny. But musically - yeah - good Americana, interesting harmonies - although at parts repetitive. Overall pleasant.
With the benefit of the passage of time - this album stands the test of time - an excellent end to end album with no fat and great songs.
Stellar album - funky, lucid, soulful. In the past ‘The Message’ felt like a novelty song - good but a one off showcase of the Furious Five - but it’s just the facade to a much more three dimensional album. Loved every song.
Billie Holiday is lovely but this album is quite repetitive - it’s a nice long song - as a whole it’s great but it’s hard to pick individual songs.
Afternoon drive time radio fare - at times going to be interesting but then falling short to mid-tempo rock / blues. Maybe I’m biased but time hasn’t erased the sound of Lenny Kravitz voice as the sound of fast food music - and the writing is a bit too Christian rock for my linking - struggled to give it a fair listen - but was better on the second round.
Not great, not terrible. Some interesting songs but the masterpieces are lacking. Then there’s Morrissey. I hate him but he is a master wordsmith - witnessed in probably the most elegantly put vegetarian call to arms title track: ’And the flesh you so fancifully fry Is not succulent, tasty or kind It's death for no reason And death for no reason is Murder’ And the whole album is littered with brilliant turns of phrase - as is typical of whatever this fucker writes. Begrudgingly few people are of this caliber - maybe Ray Davies? As much as I love the big Smiths songs - I never had the patience to sit through the albums in depth in the past - and while im sure there are some greats - this one is average.
Still - I think this seals the fate between Elvis Costello and me - we are not compatible. It’s probably me not him - and I do like the occasional Pump It Up and I feel him when he doesn’t want to go to Chelsea - but once I got it into my head his voice sounds like one of the Smurfs (an unfair judgement I know) I just couldn’t see past it. This relationship is finally over. It’s an ok album but 3 stars is the best I can do and we both walk away with our heads up high.
Finally! Joy Division has always been one of my blind spots - and multiple (admittedly half hearted) attempts in the past of trying to find an album representative of what I imagined to be their greatness while also appealing to me provided unfruitful. I had even across this particular album and snubbed it… But now hearing it in context almost every song is a memorable - Ian’s doom echoing over ethereal beats while sounding mystical and punk at the same time. From start to finish, even without some of their more poppy affairs - this is a brilliant album and finally I have seen the light.
Hmm an entire album devoid of flavour and all building up to one song. I had high hopes of a misunderstood one hit wonder band - but no - they wrote a brilliant song and sapped colour from every other filler track on this album.
Ok. I hear this once and go - ugh white man blues again - and oh did not know Eric Clapton’s Layla was a cover - and everything I liked a song - I was seeing it was 6 to 7 minutes. The the incredibly long and boring Key to the Highway comes on and a bad cover of little wing? Total run time 1 hour 14 mins? Ugh. Who is this Derek and who are the dominos? oh it’s Eric Clapton? I hate Eric Clapton - and now Layla makes sense. One of the Allman’s is playing the cool riffs I like - then the band is shitting on then with 4 hour long solos. Is this album really about Eric Clapton shitty pining about his best friend’s (George Harrison) wife Patty Boyd? Really? What a dick. Then I go look let me give it one more listen - and it’s better on second listen - but it’s still way to bloody long - too many solos but good musicianship. Could have easily been halved in length but Clapton is always oh so ever self absorbed he can’t take himself down a notch and see that his head is up his own arse.
I’ve always be a fan of Slayer and also partially to early Metallica. I’ve struggled to find a place for Anthrax in my mind - they are ever present in the era but I failed to hear a memorable album until this one. It starts wonderfully with thrash banger after banger - then it evens out to a solid album. Feels like the last two tracks have been forced on and could have done without them. I also went and listened to Reign in Blood, Master of Puppets and Kill ‘em all to place this album in that hall of fame and it fits nicely trailing closely behind the other behemoths. All in all a solid trash album
So this was a very interesting mellow and swampy and fun album. Great rhythms hinting at the Caribbean grooves with a very much Creole setting. There’s a hint of a future Tom Waits in here - I loved this. And it was short enough to keep you wanting more
Ah the great Prince - some genius songs here but did not feel like his best album.
On the one hand a strong solid album… it flows well, maintains the level of quality throughout, smart rhymes, wonderful guests. On the other hand it has few standout tracks - it doesn’t peak and through it just marches on, albeit a good march - you’re not going to walk away with favourite tracks - but you’re very likely to like the album as a whole. It is also a tad overlong, but not tiresome.
Ok so I prepared myself for a guilty pleasure down memory lane of summer parties in 2008 - revisiting what might possibly have been just a fad of the time … but no - this is an absolute Ed Banger of a record - track after track of stylish grooves, distorted synths packaged to perfection and some downright plain good songs. End to end fantastic and nothing short of 5 stars would give this album Justice.
Lovely voice - lovely songs - it’s very side A heavy - the most obviously beautiful songs lie there - it just had a little distribution problem - the sunnier songs are early and gets progressively darker so it feels like it tapers off towards the end. But all in all a wonderful record.
A perfect album - end to end - and it’s Willie Nelson’s 22nd I found out. Wow.
Very standard nice Sinatra fare - a bit of a whiny incel sometimes though.
Aww brilliant end to end but I’m biased. From the machine gun drumming of Janie Jones to the snotty chants of Garageland it’s such a great debut while signposting the great things this band was to become. It’s not London Calling - and it’s not comparable because it’s a completely different gente - this is the Clash at their most punk - but every ratatat beat and every riff and every bass line and every Strummer bark and Jones yap is glorious.
Was looking forward to this and expected quite a bit out of it - however why it’s overall a good funk album it’s kind of a bit flat overall. Love the instrumental jams and the humour but the singles are not very remarkable. Quite an average album.
This sounds like an album I’ll love in time but I can’t give that verdict in just one day so I’ll give it a neutral 3. It’s like a snotty less classy clash but with a lot of bite and layers.
Starts strong with an excellent Side A but Side B gets lost and it fizzles out. Good band average album.
Awesome funky danceable and groovy. When Pusherman and Superfly hit - it’s instant joy - and the soundtrack is consistently paced and of a perfect length.
Going to be upfront - I’m no white man blues fan - especially the VH1 special breed - and was not looking forward to this. However objectively Dire straits are one of the more stylish classy of the bunch - with delicate and restrained sound and clear production while still retaining an element of soul and unique voice. The album itself had a few good tracks which are new to me but make a solid strong side A and Side B starts waning a little until Sultans of Swing inflates it back and rescues the pace of the album. If I likes the genre I would have given it a higher rating - but that would be an injustice to other albums I liked more - so this is a subjective score of 3/5.
'When doves cry' and 'Purple Rain' elevate this album to a complete classic. I am not going to individually review each track, but this is a quintessentially the 80s contemporary piece of pop art that should be the showcase of the vernacular of the era. Drum sound, slight kitsch - hedonistic and yet innovate and ground breaking. Very close to a 5/5 - it's a 4/5 because it requires some adjustment to get into the mood for it, but when you do, you're well rewarded.
I thought it was nostalgia - but there’s isn’t a single song that does not pull at my heart strings when I listen to this album. Jarvis Cocker and lurid and lucid take on a Brit’s coming of age - is executed with panache and sardonic wit. A perfect album through and through - the best album from the whole Britpop era.
An interesting punk artifact - it straddles the line where punk begins to lose me at hardcore - but this album has some wonderfully interesting riffs hidden away and it’s nice and snotty at the right amount. Love the Joan Jett and Al Pacino connection as well - had no clue
Whoa. Hard to find to listen to but it was worth the hunt - oh the fuzz and the fuzz - the drums pounding throughout and the voices tearing through this 30 min powerhouse of an album. I’m sold on blue cheer - kind of in the world of a more bluesy stooges and a rougher hendrix experience.
The Nice dark and sleazy Method Man drawl makes this a mean rhymed record. Solid album.
Title track is genius - as well as ‘Love Song’ - the rest make up one of Madonna’s most complete albums I’ve heard. Prince’s contribution to the album also shine through. Good album.
Strong A side - meh B side.
Interesting moody French industrial record. Loved it - so moody it actually spooked me out while listening on a night time drive. Kind of a gem like Suicide’s debut.
Overly self indulgent - some good moments from their back catalogue but wholly unnecessary. It REALY sags in the middle - not to mention it never ends.
Interesting take on tango - good background music I guess.
Well two of music's greatest legends meet and make an interesting album that no one will really love. You might have it on your shelf, but really, would you ever pull it out except to pretend you're onto something? Maybe it's a dance album, but really? Which of these tracks will you party to? I guess it's bound to happen - it's not offensive, it wasn't annoying, it's just feels unnecessary.
Not what I expected - it’s a bit awkward - at times interesting but the vocals get in the way and I get hardpressed to find a song. I want to like it but I can’t.
Well well… moments of brilliance by the Beatles but a reminder that they are human and not demigods. Side A is strong, Side B falters a little bit but this serves as good contrast to shine a light on how brilliant this band became later on.
Well - an album that contains Baba O’Riley, Won’t Get Fooled Again and Behind Blue Eyes should be a perfect album, no? Alas the rest is a slightly sagging bell bottoms of a 70s Rock Monster that the 1977 movement stood against - its a band bloated - still an excellent band, but departed from its ‘My Generation’ roots and its sense of humor and blistering guitars in favour of arena enormity. Still - it’s a good album - and the aforementioned tracks are up there in the rock and roll canon - but this is The Who at its fading out.
Musically stylish hip hop - makes for sipping your beaujolais while bopping to some of these songs. Now while I don’t know French, some cringey rhymes seem to popup but I might be wrong. However overall - quite fun to listen to - a shame if one doesn’t know the language (like myself) as I guess as you miss out on half the fun.
This album might as well be the epicentre of rock and roll. It's the peak, the high water mark that every other album preceding it built up to, and every album following it, tried to no avail, to best. This is not Lou Reed best, I leave that to his magnum opus that is 'Transformer', but this is the world of fashion, design, art, music, drugs, sleaze, psychedelia, literature and poetry - the meeting point of the minds in New York at it's most vibrant and decadent. The album sleeve alone is literally an art piece - its sign by Andy Warhol itself rather than having the band and album name. It's legendary its function too. And then, there's Nico, whose contribution elevates the album past the sum of it's parts, lifting it from the opium den fever dream to an angelic catwalk. It's not the Beatles, it's not the Stones, nor the Stooges that should be the snapshot of 7 decades of guitar music. It's this specific album.
That was a fun trip down memory lane yet the album still sounds good despite it being so of the era. Liam Howlett’s mastery of production is uncanny here and most of the songs, especially on Side A, are total bangers. It starts to wane a little in energy after No Good, but theyre actually good tracks still - albeit not the classic pounding of the first half. Good stuff.
A 24 min track normally disqualifies me from liking an album. Overall I grew to like it with every listen - musicianship is great, the production sublime - but in essence it only serves as pleasant background music in my opinion - it doesn’t grab you and demand you give it attention - and maybe that’s not necessarily a bad thing - but when The Taut and Tame kicks in with a beat resembling The Clash’s ‘I Fought the Law’ my heart pumps every time with expectation and gets dismayed that it’s back to post rock. There is one standout track - the Morricone influenced ‘Along the Banks of Rivers’ to me - the rest is just ok.
This album tries to do too many things - sound like too many things but it kind of falls short. It’s a pity - it feels like this band could have been a great one.
A good live album - if you like Thin Lizzy. And I don't mind them - had a good time listening to it, but not something I'd probably revisit often.
This feels like it’s intended as an album listen not as a collection of songs - in that way it’s an excellent record
Loved this album - how had I never come across this gem before? The epicenter of 80s Pop with catchy songs - lots of lyrical puns and for some reason economic terms like Supply and Demand, Law of Diminishing Returns make up for the quintessential Me record for the Me Decade.
A testament to how Muddy Waters was influential was the fact that this album sounds like I’ve heard a thousand times except for the fact that all songs bar one I’ve never heard before. However this is a double edged sword - coming late to Muddy Waters this sounds tired to me precisely because I heard him through a hundred other artists. Also this specific album is not a mind blowing live performance and it’s neither the most remarkable in general - yet this still, even as a throwaway album, surpasses the vast majority of the white boy blues albums trying their best on this list. Maybe it will be another album to win me over I guess. This one kind of was rather neutral.
Ok a sonic youth album that I didn’t hate - some good tracks here - and some shall k dare say qualify as good songs - dirty boots and a few others.
Musically interesting but if you’re expecting his son’s introspection from this album - you’re not going to get it - it’s a sleazy LA album with a hint of Jim Morrison and a lot of misogyny. Still some good music at times
Part Shirley Bassey, part yodelling (in 'Felt Mountain), part polka, but generally lovely and atmospheric Trip Hop. While it is of a time, and while it plays of 60s nostalgia, it still sounded modern then, and relevant now. A good album all in all, short and beautiful.
Almost every song is a coming of age tale and a scene from a light romantic comedy - love songs for the early 20s, care free yet surprisingly lucid - this album is well crafted, well written, restrained yet pumping throughout - stylishly and well produced. It’s also paced just right - and I enjoyed every minute of it. Never thought in my life I’d give a Taylor Swift album 5 stars but here we are.
Enjoyed it - it’s a bit long over all and it sounds a tiny tiny bit dated - but fair enough. I guess it would have done better without the first AND last track - they’re fine on first listen but then they become tedious.
I was there when this album came out - I remember the jaw dropping whiplash I got when I heard the follow to the more conventional OK Computer, and it's predecessor, The Bends. It had taken some time to grow on me, but this then become of my favourite ever albums - end to end, it's beautiful and well managed, and honestly a bit of a one of a kind. Rarely does an album contain so few pop cliches, yet still hook you on for it's entirety. It could very much be an instrumental as Thom Yorke's contribution here is mostly warbling and and rambling of a deranged stoner. But it's orchestrated perfectly, and even after all these years, there are lot of gems till to be discovered deep in the mix and musical arrangements. Cannot give it a lower rating than the maximum.
Well this was unexpectedly good… was hard to find it to listen to but once I did was rewarded with a very eclectic album - and a very odd but pleasant rendition of Lennon’s Imagine.
A good Neil Young album, but definitely not his best. Hard to place it side by side to his bigger and badder albums, but it's a good and listenable album nonetheless.
Title track is a wonderful song - but the rest is quite average folk… there’s a little interest in the choice of the subject matter of the songs - but not much more to me. To be fair this album popped up for me right after a Nick Drake album so I might be a little unfair on Johnny.
Always want to like Billy Joel - and he sometimes shines through - but he’s not Stevie Wonder or Elton John or McCartney that he tries to emulate in parts of this album. It’s interesting however when he makes it his own cocktail of piano balladry - like on ‘She’s Always a Woman’. I might stand to be corrected in time but as it stands I felt this album to be rather average.
Jerry Lee Lewis is awesome - this as an album is average. The songs are good the performance nice and raw but nothing to write home about - though I like the fact it’s a short 24min.
Well I’m no Metallica fan per se… always felt the they were a bit naff… but I grew up on a post Black Album Metallica - one where they were lost in self absorbed excesses and not the Metallica of Master of Puppets. Besides maybe the overwrought evil cackles at the end of the title track - listening to this album now with hindsight is this is unparalleled genre album - this is as Beatles as metal can get yet still retain its cred. It’s an opus of grand proportions - wonderful musicianship (except Lars - fuck Lars), and surprisingly lucid songwriting - even after all these years. There have been better metal songs and maybe one or two better albums - but none as influential and important as this one. Now with the benefit of time past - so far after almost 4 decades no one has made metal so good, accessible, yet still heavy and ballsy.
You gotta love bob. Anytime he’s on my anxieties melt and all is generally good with the world - yet the songs are still some of the most poignant protest songs out there. What do you know.
Well it sounds interesting to me - the first two tracks are bangers but either this album is a grower or it’s bland - it felt a bit more like the latter but going to keep an open mind.
Well quite a fun and light record - nothing particularly amazing but a solid listen.
Lovely, spacey and does not overstay it’s welcome - some memorable melodies and hooks peppered throughout - whole production is stylish and singing lush.
Amazing and powerful - avante garde on a racial issues level - prehistoric on a gender level - beats groove to a tee - every tracks feels like the genesis of another sub genre of hip hop. It’s a seminal record tarnished by it’s toxic masculinity and - well to a degree the glorification of violence - And well yeah it’s a product of its environment and time but it doesn’t get exempt from the lens of the future. They could have easily done away with ‘A bitch is a bitch’ and still had the one of the most ripping hip hop record of all time. It would have gotten my 5 stars had it been a little more … enlightened on certain aspects.
Wow. What an a-side - so good that an actually amazing b-side gets lost - but if you start an album with War Pigs, followed by Paranoid - Planet Caravan and Iron Man - it’s hard to follow. But a perfectly packed punch of an album - definitely worth the score.
Interesting novelty and blast from the past - lounge-y Latino hip hop - but it beyond some catchy tracks it doesn’t have much staying power as a record in itself.
More interesting than I expected - however still not 100% my cup of tea. Musicianship - especially the drumming and the organ playing is spectacular - and the pace of the album is good and not too long. I mean as far as proto-hard rock / metal geek music goes - this still hasn’t edged too much into the abyss of corniness - but you can see the Spinal Tap tropes slowly inching their way into the music. Anyway - a strong offering from the genre.
While songs lack depth and substance - sonically and melodically it’s a quite interesting and varied album.
This album is a bit of an overstatement and rather underwhelming. Now on paper this should be one of my favourite albums ever - surf and spy stylings written by indie pop song maestros and sung in a Yorkshire accent - but it falls shorts on the songs. It sounds gorgeous though - but I can’t think of a.l standout song - not because they’re all excellent but because they’re all average. It’s sounds like this was a fun side project just to scratch the itch to bring this sound out.
Fun and a stunning live performance
While not a great record per se - and I’m not of the rock opera leanings - somehow Supertramp know how to spin a tune and make it memorable.
There’s a lot of interesting parts of this album - but it’s a little on the monotone side musically as a whole. However it contains some juggernauts - Why D’Ya Do It - the album closer is off the wall gritty and powerful - her cover of Working Class Hero is also a perfect match for her brooding gravely voice - title track Broken English and Ballad of Lucy Jordan also elevate this album. The brutal honesty of emotion throughout this record just gives it an extra star - it is the journal of a wrought heart and should be measured as such.
A stunning and pumping A side - yet a sagging B-side - still a great record.
I find Elvis Costello irritating. And he had been over represented in this list - yet I can’t seem to give him very bad ratings because each album has a few gems - this one has Allison and Watching the Detectives. The rest hints at promise but his voice sounds like a Smurf in a toothpaste tube.
Well well - this was unexpectedly fun. Enjoyed it.
With its appearance I was baffled but when I got to listen to it I found it pleasant albeit a little odd. The folk and classical marriage works well - and somehow the whole record feels very orchestrated and thematic.
This album holds a special place in my life as it was the gateway to everything else music wise (and as a consequence highly formative. Eleven years old mw - sneaking up to the family stereo, nicking the CD from my sister’s collection when nobody was paying attention and listening to ‘All Apologies’ on repeat brought out the love of music in me. I still remember the day when I first saw the words ‘Nirvana’ etched out on a wall in my then new school - and being surprised that someone else out there also liked the band as for me, liking this album in the beginning was a very private and personal matter. So much so, I never really bothered with or knew ‘Nevermind’ until years later. Nirvana, started and ended with this album, and to me, it’s there best album. How does it hold up, however, now in the context of the all the other records I’ve listened to since? It’s still a wonderful journey - as dark as an abandoned formeldehyde-scented anatomy lab, at parts grotesque, at parts gentle, at parts ahead of it’s time both musically (Steve Albini’s touch/non-touch really lets this album transcend the era it was recorded in), and thematically (“Frances Farmer…”, “Pennyroyal Tea”, even the much less soft-touched ‘Rape Me’ - still relevant, almost even more so nowadays), while still leaving some space for pop gorgeousness in “Heart Shaped Box”, and “All Apologies”. Yes, it does hold up. It’s amazing through and through, and I’m grateful to this record for the world it has opened to me.
Ma tantx hemm kliem li nista nikteb biex niddeskrivi dan l-album li ma niktbix diġa, allura se nipprova bil-Malti. Album kbir, m'hemmx x'tgħid. S'hemmek nasal - min ma semgħux għadu, f'ħajtu missu jisimgħu imqar darba.
What a voice - it’s a great album - silky smooth and soulful at most times and maddeningly funky with Superstition at the helm… I can’t fault the album except for the fact it’s too smooth for me. I’m more of a crunch peanut butter kind of person.
There are points when this album just makes me want to like it - but while all the tracks show promise - the band tends to favour virtuosity over style. And lyrically it feels weak after the cutting bluntness of the hip hop canon on the politics of race and poverty. So after many unnecessary solos, slap bass, jazz drumming and lyric restraint, it ends up being a mediocre record in all.
This is the sound of a dystopian Thatcherite nuclear winter - the sound of an sinking Argentinian destroyer and the soundtrack to that future striking coal mining automatons would funky dance to. To me subjectively this is an awesome album - influential to me on a musician level and most of my favorite musicians probably count this band as an influence. Lovely.
Nah. I mean this sounds like an album someone with a very expensive audiophile stereo would appreciate. It has great musicianship and instrumentation - but rather soulless and forgettable. It’s not devoid of humor but not enough to absolve it.
Well, with enough distance from wedding music, I could listen to ABBA with an open mind - and this album delivers wonderfully sublime pop tunes - Fernando, Dancing Queen - albeit both overplayed are masterpieces - Money, Money, Money is also a good contender. The rest of the tracks pale in comparison to the strong showing of the hits, but it's a good album nonetheless - sometimes a bit too Swedish twee to enjoy on a regular basis, but objectively a true pop opus.
This week has been intense - great album after great album - I cannot keep up. Another of my all time favourites - blisteringly violent, sexy, cool, with Iggy's infinite swagger, and the Stooges' perfect magic in a bottle proto-punk. I don't think the essence of this record can ever be replicated by anyone except alas the original members together in the same room. All three original Stooges albums are perfection personified.
Much better and more listenable than 'Aja' which popped up earlier for me. Still can't totally lock in to Steely Dan, but appreciate the sense of humour and musicianship. I guess I signed them off too harshly with the other album I heard.
Well one of the first blues 'legends' albums I actually enjoyed - it's fun, light, the performance feels warm and welcoming and the songs memorable - 'Help the Poor' is a standout, and the back to back performance of 'Sweet Little Angel' and 'It's my own Fault' is a fun play. I feel relieved I actually liked one of the classic blues albums on offer.
Another perfect album, with banger after banger. Lou Reed (alongside Iggy Pop, Marc Bolan and Leonard Cohen) have produced some of my favourite ever music. Like his Velvet Underground output - this is the epitome of sleaze New York cool, as a solo act a bit more intimate then the whirlwind of the band Lou Reed fronted. Among the gorgeous melodies, arrangements, horns and keys - there's a seedy underbelly while being lucidly open minded lyrically, which puts to shame many other artists for decades after this album was out.
Red Hot Chili Peppers were one of the bands I loved as I grew up - and I remember eaglery waiting for this album to be released after about four years since 'One Hot Minute' (and eight since 'Blood Sugar Sex Magik'). Well, I hadn't warmed up to it immediately, but over time grew to like it - with some classic songs in there - among their most popular ever released. Given their earlier albums were the ones I loved, this ushered the era of the Peppers that weren't any longer the ones I loved, despite the return of John Frusciante. 'Scar Tissue', 'Californication', 'Other Side' were great hits, but I kind of prefer some of the in-betweeners like 'Parallel Universe', 'Porcelain', 'Road Tripping' and 'Easily'. However, one of the things that I increasingly find jarring in RHCP, the older I grow, is that Kiedis sounds locked into a permanent puberty, even though on this album, like its predecessor, he matured somewhat. Anyway, it's a good album, one of the best the band released, although not my favourite.
Interesting sound - never had heard of them before, but enjoyed the record as a whole - worth further listens. One fault is that the songs don't exactly stick after time passes - so it's a kind of a transient album.
It's a long record, that's for sure, but personally this is probably the closest to be a perfect double-album in the CD era. It's not just the songs - the single from this record are hugely iconic and timeless (Tonight, Tonight, 1979, Zero, Bullet with Butterfly Wings) - but it's a record's record in the sense that each track flows to another seamlessly, rising, and falling, yet remaining interesting throughout. There's gentle, there's aggressive, the production is impeccable, James Iha's guitars are unique and wonderful - balancing virtuosity, with style. Chamberlain's drums are pounding and tight, and gorgeous sounding. The way the entire double album is bookended with a piano theme is iconic - and the energy is balanced perfectly throughout. Lyrically it gets a bit twee, but not too embarrassingly so - and it doesn't yet feel dated. I remember listening to this when it was released - one of the first albums I really discovered and loved - and nothing this band did before or since matches up to it - so it's a fluke, and one that should be honored. And yes, it's Billy Corgan, and yes it's the 90s and yes, there is a lot of space for mockery - but musically, this record holds.
Well, this feels like Jack White at the end of his incubation period to become the masterful songwriter and producer that he is today. The first 2/3rds of the album is perfect, 'Hotel Yorba', 'Fell in Love with a Girl', stand the test of time as being great great songs, while most of the rest of the songs are awesome. As an aside I find 'Little Room' a masterpiece of production and performance - and it feels like 'White Stripes in a bottle'. However, the last 1/3rd of the album starts sagging and feels unnecessary, the whole album would have benefitted from a little snip here and there. Otherwise good fun, a defining album of the era.
If you appreciate disco, like I do, then this album is awesome - Nile Rogers in full form - with a carefully crafted album of funky, soulful, sexy songs. Obviously, 'He's the Greatest Dancer', and 'We are family' are monster hits, but the whole album is one of the defining records of the disco canon.
Washy goodness - I love the sound, and each song blends into another to make up a great record from start to end. There are standout tracks, but this is an album to enjoy in it's entirety.
Madness somehow remind me of the Kinks in terms of scope and theme, while at the same time defining the British ska sound of the 80s alongside The Specials. Apart from the hit 'Our House', most of the songs are good, albeit not immediately memorable. Great band, ok album, good songs.
Punk Blues cool madness. I love it.
I’m relatively new to the boss and besides his early career behemoths I’m not that that familiar with his entire body of work - I just thought his later work was a bit poorer than Born to Run or Nebraska or Darkness… Well. I was wrong - this is a very strong showing - and I suspect it’s anther of his ‘growers’ - its subtler, mellower, more introspective but it’s a good record.
Well not normally my cup of tea but this is actually a nice restrained and classy blues album - surprising for me to find it enjoyable because normally I find the genre tiresome. Listen to this on a swelteringly hot humid day for maximum pleasure.
Some very big hits here - 'Start!', 'That's Entertainment', and pretty much most of Side A is a solid 5/5... Side B starts faltering (this is becoming a pattern I guess), and it becomes much less memorable - I found myself losing interest many times at that point - even though I love this band. Great band, some great songs but average record.
An awesome and very very underrated 90s classic... which I was only partly familiar with. But almost every song here is a banger. Not a 5-star because most of the record suffers from iffy production - apart from the singles which magically fall into place. But song wise it's a lovely and cool album.
Rather a brainy musical experience - definitely not a mellow jazz record. There’s a lot to let your teeth sink into if you’re a muso - if you’re not you’re kind of left behind. Still some stunning musicianship.
I like Sade - but this record is basically Smooth Operator - and a few more A side tracks but not much more. It tapers quite a bit towards the end and from something special it turns into an easy listening 80a album.
Country blues? Well it’s a record that elevates both but not going to be a go to record for me for sure.
A strong epic album - more grand and self indulgent than his debut - but it’s way more mature in a strange way. With his self obsession in a way Kanye transcended himself - along the while making great music.
Apart from the first song, ‘Peaches in Regalia’. The rest of the album is the embodiment of Hot Rats. In all senses of the word it shouldn’t exist.
A bit winding and long and hard to get into - even though I like Fiona Apple and she really carved herself her own sound and voice. Probably this record isn’t her strongest.
Oh Man what an album - a soulful, fun rave and really there is nothing like it out there: it truly befits this list - one MUST listen to this album once in their lives.
A kind of mediocre indie album - at times interesting but very forgettable.
Well I was bracing myself for cringe - but I actually ended up enjoying this one - starts strong - kind of sags in the middle and ends well. I definitely got bought over with the quite decent version of Lovesong. Not a perfect record but overall a good album.
Well, it's a good album if you like the Manics - and I do - but it's not their best and it might not be the best introduction to an otherwise awesome band. Talking from a Manics fan - it's wonderfully arranged and produced - and contains 'A Design for Life', and 'Kevin Carter' - and it's fun to revisit. But in the pantheon of a 1001 albums - it's not among the greatest.
Lovely album and good fun
Well apart from singles I never managed to dig a Roxy Music record - and probably this is one of the least ‘singles’ record I came across - but it’s definitely a grower - first listen was hmm - but on second a lot of the hidden qualities started to turn up. I think I’ll grow to really like this one over time.
I always saw the flaming lips as a sideshow oddity almost - so when this came on I was a bit ‘sigh here we go’. But. BUT this album is a work of art I wish I had listened to before. It takes the very definition of the album form and uses it to the full - it’s an end to end piece that in context of the other tracks is better than the sum of its parts. Not to say the songs themselves aren’t great standalone - they are awesome too but they sound better as part of this album. Also it must be the first time I came across a Joseph Campbell hero’s journey in an album format. This is probably the best discovery for me so far from the list.
Nice and dreamy - didn’t expect this sound and somehow this band completely flew under my radar apart from spotting it on festival lineups. It’s and 80s kind of sound and Adam’s vocals sound like a mix of Bob Dylan’s, Mark Knopfler and a Young Turks era Rod Stewart yet strangely skirting being derivative. The record tapers a bit towards the second half but the first half is banger after banger.
One of the perfect trio of Miles’ records.
Beautiful through and through
Great from end to end - it’s a masterpiece of an album - a great Nirvana record, one of the best live albums ever recorded - highly influential and very listenable. It’s also very formative musically for me on a personal level.
Not bad, but not my cup of tea. Worth existing just for the inclusion ‘Breakdown’ alone though.
Not terrible but a bit too country for my taste. Some good turn of phrase and some good songs - but not a fantastic record.
This was a new Lou Reed entry to me - but loved it - same cheery tone musically as Transformer but with a deeper and darker intellectual seedy underbelly lyrically - the characters are real and fully dimensional and the outlook is 30 years ahead of its time. And emotionally Lou takes you down quite some sorrowful alleyways - it’s an artful record.
A good album especially the first few tracks and the collaborations but not as striking to me as some of her other records. Still lovely.
I love Blondie - however they are one of those bands that write singles so well that they dwarf the record they are on - even though the album is a good one - you expect an ‘Heart of Glass’ and ‘Hanging on the Telephone’ at every turn. Amazing singles, Great Band, Ok Record.
Super great discovering this album for myself - it’s Interesting - very fun but as a record it’s not well balanced or paced - were it not such a portent band - the record would be average.
It’s the Eagles. It’s not as bad as I thought - it’s listenable at least so it’s a 3/5 but because it’s the Eagles, it loses one star.
Ugh fake country sung by hippies.
A real fun soul funk album. Plus has the best and possibly only yodelling funk song ever written in it.
Where was Miriam Makeba all my life? What a delightful album - funny, haunting, bold, beautiful - I’m totally in love. So far the best new discovery for me from this list.
A fun album - it does not contain my favourite Missy Elliot but it’s a great record nonetheless - soulful, playful - great collaborations and the production is impeccable. There’s a lot of Missy Elliot’s sass right below the surface but it hasn’t bloomed yet in full glory on this record..
I had listened to this album some years ago and I had liked it. This time though I could stand it - the singing just sounded like the incoherent warbling of a chronic alcoholic. Shame - the backing band is sharp as a tack.
Was expecting a lot of doom and little fun - but I was pleasantly surprised. It’s doomy alright but so ese cent dunes and an overall pleasant listen.
A Scottish introverted Oasis - I remember this album from when it was out and I used to like it a lot - it actually still holds up as a pretty collection of songs - however if I had to find it a fault it’s that it suffers from the same 90s album ailment - it could have done with fewer songs and it would have been a classic.
It’s regular over represented Elvis Costello fare. Only first track is memorable - the rest is just warbling over some elaborate backing music - it’s almost likeable but falls very short.
Odd - almost in a cool way but falls short. An interesting listen but a bit too prog for my liking.
What a bottled perfection of a millennial punk album. Swedes with an attitude and a sense of humour - who would have thunk? This album specifically is also a bit personal - skiving university lectures to listen to my friend describe this crazy band callled the hives that they saw at Reading - and pulling out their disc man and spending a morning with an ear bud each listening and discovering this album. Good stuff. Also perfect for running to.
Probably one of the most fitting titles for an album - every song is on the love of life, hedonism and sleaze - but oh how wonderful Iggy conveys it all. It’s also the vessel for Iggy biggest songs - the eponymous first track and The Passenger - couldn’t get enough of it. Im reducing a star because Iggy takes the creepiness a bit too far on some songs.
It’s pretty - one of Björk’s most easily listenable album. The trade mark vocal acrobatics remain - which one can either love or hate - but the music is a nice soft electrónica - reminiscent of Kid A or Boards of Canada and that ilk. Not great not terrible.
Short and sweet and some good fun songs. The beauty of the opener cover though shines a spotlight on how Jacks own songs are a bit plain compared the richness of others of the genre. Doesn’t make it less fun though - just frames the album into the context of others and hence why although I had a good time listening to it it’s simply 3 stars.
Hate Morrissey - love the Smiths, sometimes. And this album is one of those times - almost every track is a hit - the album is well paced and keeps you wanting more - the songs are masterfully crafted. A wonderful album. Also love the troll that this was pushed to all listeners the day after the Queens death.
Influential album, yadda yadda. Yeah, we all know this by now - but.. One noteworthy feature of this album is "Frankie Teardrop" - a demented little song of around ten minutes long - and probably one of the toughest listens from the album I've listened so far. Frankie kills his six month old baby and his wife with a gun at minute four. At that point - you have another six minutes of the song. At my many attempts over the years to get through the song, this was probably the first time I made it. Happy not to do it again. Which brings one to the point that this is a seminal record - nary a rudimentary drum machine - some occasional guitar and Alan Vega's echo-laden screaming and singing - a ghostly ethereal soundtrack from hell - truly one of the ballsiest and toughest punk album out there. Scarier than Iggy Pop on a drug binge - it's like what the Doors in a fever dream after a night in hell might sound like. Great great stuff, but a tough listen.
Well - at times it feels like it’s interesting - a bit Beatle-sque and of course quite a vlrtuoso album it being prog and all. There seems to be an indication I might have warmed up to this album after a few repeated lístens but this exercise is not kind to long and difficult records. I might revisit this album just to give it a fair chance in the future - but in the long train of daily records - there are more deserving examples of better albums.
A powerful dark and looming, yet saccharine sweet and lush at the same time - very representative of the Cure o general. The wonderful Fascination Street, Pictures of You, Lullaby and of course Lovesong are just a perfect example of Robert Smith bass-driven and gorgeous pop songwriting - and on the flip side Plainsong and Closedown among the rest of the album tracks are seriously strong musical pieces. My only gripe is it is a tiny bit too long - and some songs overstay their welcome a little - which while this is a close to perfect album makes it JUST miss the mark for me.
Was happy when this record turned up for me - less so when I listened to it. Don’t get me wrong I generally like the foo fighters - but this record does not contain much of Dave Grohl’s pop genius and frankly I don’t know how it got picked up by a record label back then besides as a novelty album ‘Nirvana drummer’s cute attempt at a record’. Big Me is the only track here which could have offered a clue as to what Dave Grohl was to offer. Thankfully though it was picked up so maybe this was the importance of the record - it ultimately led to the Juggernaut the band is today - but musically? It’s very bland.
Wow amazing from start to finish - I think this is one of the most British albums ever recorded. Lyrics awesome - production perfect - Mia’s delivery is constantly on point while also bring tongue in cheek - the influence varied and global in reach … The references to Modern Lovers, Pixies and of course the perfect use of the sample from ‘Straight to Hell’ in what probably is one of the most anthemic songs of the late noughties ‘Paper Planes’… It’s made me plenty sad because I have not known this album for the 15 years it has existed - sad that I won’t have the joy of listening to it for the first time again and be blown away at every corner with every track … but hey now I can make up for it.
Bloated, dated and self important.
It’s ok - some potential but a forgettable record overall
Davies’ smarm and British charm - three quarters of this album is brilliant - musically, pop wise and lyrically - and thematically is wonderfully consistent - yet the last few songs start slowing down the freshness and pace of the album and it falls short of being a perfect classic. Great band very good album.
A lovely jazz album - impeccably produced - you can almost hear the sweat dripping off the musicians’ brow - and whoa what musicianship.
Again I must have never truly paid attention to the brilliance of The Flaming Lips - this is a great sounding standout of an album - it’s not as perfect as the masterpiece that is Yoshimi but it ranks pretty high to me.
A timed delay grower - on first couple of listens this record does not stand out - but it starts revealing itself in layers with subsequent plays. It’s soulful, modern eclectic and a fresh take on the R’n’b Genre.
Strange - but in a good way - it actually contains some interest tracks like ‘Jackie’ and ‘Next’ but overall it’s just a bit of a novelty - a crooning psychopath over a Spector wall of sound - worth a listen but not going to be a regular
It’s not terrible - but like some other solo Brian Eno albums - does it need to exist?
Amazing soulful, clever song writing and performance - I don’t know how I had passed on Frank Ocean but I sure do regret it. This album is great, end to end, and gets better with every listen.
Middle of the road 90s cross over country - there are a few songs which diamonds in the rough, pop wise, but most of the album is bland.
Well well well. Let me start by saying I dislike Pink Floyd - but this is the album I always bring up as an exception to them actually having a fun record. And yes I can still corroborate that statement - begrudgingly I say as far as records go this is a perfectly balanced well written album - not merely a collection of songs but a volume in itself. It does not taper or sag in the middle and gets your attention from the start. It’s a really good record. But because it is Pink Floyd it gets a 1 star penalty. Especially because Roger ‘the Sponge’ Waters is a self absorbed dick
Well. I rather dislike Coldplay, but the point of this exercise is to try and keep an open mind... and... the first half of this album is actually a lesson in great pop songwriting - every song up until "Daylight" is an incredibly written, well-crafted pop song. With the benefit of time and distance from the overplaying of the noughties, they are actually objectively good. Sadly, either because the first half is such masterly written, that the rest of the album is a sharp drop in quality - the band is not interesting enough to survive filler tracks - their own strengths contrast their weaknesses. Moreover, the tracklist could have benefitted with spacing out the singles across the rest of the album, to keep some interest going throughout - like this it sticks out like a sore thumb as a collection of songs, whose cohesion runs out of steam mid way, and with it, the whole record. Given the star quality of the singles, this album gets a 4, but it gets a Coldplay penalty point of 1 - so the final score is 3.
A pleasant pioneering album, with some classic tracks and a solid, fun listen. It's not the most memorable, and also one of the hardest to find to listen to in 2022, but well worth the hunt.
Beautiful beautiful beautiful voice - lovely production, arrangements and instrumentation - but it lacks the songs to elevate all those ingredients. Good base average recipe.
Somehow missed this interesting gem from my knowledge of the early punk canon. They are an interesting point of view of punk in 1978 - screaming saxophones and pristine production - with an intense voice at the helm of it. There are some great songs here but overall as a record it a too much I feel - the pace is a bit haphazard and the record of a bit too long for the intensity at which it plays.
Another of my all time favourite albums - end to end perfection - it sounds timeless despite the calendar range in the title, surprisingly chock full of hooks and soul for an ambient album - and perfectly paced and an absolute immaculate flow. This is definitely the album that I’d put on to fight a ‘meh’ - in productivity, focus or motivating - it’s just pumping enough to get me going and gentle enough to ease me into a good mood.
Strange Cargo indeed in a very 90s rave culturally appropriating way… it shows signs of interesting beers but it feels very dated and it’s not remarkable enough to ignore that fact.
As I was growing up, Muse were among my favourites after coming across a televised live show of theirs, around the time of their first record in 1999. Then came a series of albums, one stronger than the next, and their albums peaked around the time of this record - Black Hole and Revelations - stronger songs, great singles, and a well rounded overall. Probably not as good as its predecessor, Absolution. At least from my recollections... Of course, over the years, I kind of fell out of love with the band (I'm afraid to check how deep into the conspiracy nuttery Matt Bellamy might have dug himself into) - but even musically, they are what they are, and while I used to like their epic Rhapsodiacal nature, I don't love it anymore. Now, with that in mind, listening to this record brought over some nostalgia, and it's a well balanced album, yet feels a bit dated production wise. It's got great songs, and some stellar singles, but the 'maturity' that was felt they achieved when they released the record, doesn't exactly hit the mark with enough time passing, and it's not as fun and care-free as some of their previous albums. Anyway, I'm rambling. Good record, too self-important, this band has better ones.
Surprisingly listenable - initially I dreading having to go through it but it’s actually fun at times and while still a little oddity - it’s still easy on the ear. Now that I know it was the brainchild of a 19 year of mid triply impressed.
Well the idea of an 80s double album seemed like a daunting until the title track came on and Prince woo’ed me into enjoying over an hour and a half of his music. So much groove, so much soul with a dash of tongue in cheek and plenty of sexiness - it’s Prince - sans his most popular songs but still a great album.
Rather forgettable mumble core - bar the first two tracks which somehow stick well. But it tapers off rather steeply from the third song onwards. It’s the last gasp of noughties indie.
The record is not great but bad either - the pace and length is doable and just the fact it has Tiny Dancer and Holiday Inn on it elevates it - but the rest is middling Elton John fare so it balances out.
If Southern rock is not your Texas BBQ and when the kings of southern rock turn up to haunt you from the grave - you brace yourself… but it’s actually a great record - is definitely up with there with the classic rock greats - and well try as you might - but finishing off a good record with Freebird is begrudgingly awesome.
Two deeply beautiful songs in 'The Dolphins' and 'Everybody's Talking' and a very good folk record throughout.
Quite a lovely fun rock and roll album with few flaws. Maybe a bit too long but in this case it’s just more of a good thing. Since it’s well paced, fun and fresh, it doesn’t feel like tedious at any point.
Bad Company? More like the Boring Company. Forgettable white man blues.
Weird - besides the over wrought two songs that bookend this record, the rest is solid funk tracks that stand the test of time. Pity that the psychedelic noise fest bring this otherwise fine record down.
Well not as anthemic as I expected - although it was more so with every listen - but still an overall fun album. Lyrically it’s a desert - a 70s teenage boy’s fantasy that by 21st century standard is comically unrealistic (OR straight on veiled misogyny and tales of sexual harassment…) but hey it was a different dumber time. I mean - Detroit had some clout as a city back then still.
Not fully my cup of tea - but it’s still a wonderful jazz virtuoso album - it’s hectic, urgent and fun - barely a moment of calm so it’s not an everyday album.
Beautiful as some of Leonard Cohen’s best - and like Bowie’s Blackstar, it is a wonderful gift of a goodbye by one of the demigod artists of the 20th Century. It’s a little less dark than Bowie’s epitaph and the soaring lyrics and smooth husky baritone of Cohen allows the world the grieve a little better for the loss.
Davies’ baroque Britishness and joyful plodding through the songs on this record makes it difficult not to love - some classic singles in here like a David Watts and Waterloo Sunset, but also an array of great album tracks. Good fun.
Music, beats and production is excellent - however on this record Jay Z is an intolerable dick. He just sounds like a rhyming CEO and I have expect him to pull out a power point at an all hands meeting. It’s basically C-Level hip hop and not in a good way. It rhymes, it flows, it’s about to be fun but Jay’s eagerness to show how awesome he is falls short and sounds like overcompensation - which if he chilled it’s obvious that he would be awesome if he stopped getting in his own way. Better than Biggie? No - he doesn’t have the true swagger and effortless charm. Even when Biggie goes low he’s always a cut above - Jay Z spends an entire album just dissing and not much else to the extent Eminem’s guest appearance is almost welcome dose of adulthood. Shame cos the record could have been perfect and Jay is a true master of flow. ¯\_(ツ)_/¯
Fun and light bluesy jazz - nothing too memorable but will put you in a good mood if you put it on.
Nope. Besides the first song all I got was images of pickup trucks and leopard print and a whole lot of meh.
Of all the Beatles clones - the Monkees on this album capture Help! Era feel and fun. And it’s a good record overall - helps that it is short and keeps you wanting more.
When this record came up, I prejudged it as another Ravi Shankar-esque album before even hearing the first note... and then I forgot about it. Going back to see the albums I missed I put this one and whoa... it's wonderfully eclectic and awesome. It's a mix of Morricone-esque numbers, with Indian instruments, quite a lot of good tongue in cheek, some bossa nova - it's a delight from start to finish. Looking back I feel like an ass for missing out on this.
Warm, sunny, great tunes - it's not ground breaking, but it's a really good listen. Otis' interpretation of some classic songs are beautiful and highly listenable.
Oddball but honest - suffers a tinge of over-tweeness of the noughties but still a good record - at times haunting, at times delightful while being very well paced.
Not going to be my favourite record but surprisingly listenable. Has a good flow too.
It’s a lovely album with great arrangements and production - and while the songs are hippy fare - they are quite memorable. Enjoyed this one.
Smooth and silky - and actually a good record. It kind of leans towards a steamier Stevie Wonder with a lot of soul.
A blisteringly raw album - it’s first few songs are some of the most ínstense punk and rock and roll minutes in all of guitar music history - however the bar gets set so high that the rest of the album feels feeble in comparison. It’s still an awesome album but the energy that the MC5 brought to the world, the Stooges distilled it and bottled into the refined petroleum we know and love. Still this source of the river - and it’s well worth remembering that when listening to it.
Obviously some great songs here because well it’s the Beatles, but it’s definitely not their best record - and I think it’s not a very good one in general.
Ok let’s put aside the record for a second and talk about the titular character in the 19 min epic ‘By the time I get to Phoenix’… So the fellow thinks he can buy his way into a successful marriage - working double time, triple time… and then when it fails - he believes he can just keep doing the same thing and expect different results? I think he deserved all he got - he should first been more sensible and worked on his relationship and then when the mistake was apparent he should have learnt some form of lesson. Anyway the records smooth and lovely - Walk on by is a masterpiece and the rest of the record is true to its name - soulful buttery spread. However, while the monologue of ‘By the time..’ has a cool edge when narrated by Isaac Hayes - it’s not exactly going to hold up with repeated listens. Without it - it would have been a stellar record.
Really good fun - even the distance of time away from its trendiness - it holds up really well. Maybe a little weak lyrically but it’s a solid noughties garage album end to end, with a some good memorable tunes to boot.
Well, another band I have had a lot of reservations about - to me the Mars Volta are rather overwrought - from the name, to the lyrics, to the 8 min songs. On paper they should have been one of my favourite bands - being that I was a big fan of At The Drive In... but.. anyway.. back to this album My first reaction at revealing this album was of dismay, however, I actually enjoyed most of it - a lot of it stuck from previous listens, oh so many years ago, and it still holds up after all these years. I actually liked it quite a bit especially given I started with a negative precondition. All in all it has a lot to sink your teeth into, and the intricacies of the songs aren't going to turn up within 24 hours - however, it's a solid record, despite its length, it's never boring, and merrily steam rolls through its 1 hour of length easily. One thing about this 1001 album exercise - it gives you perspective - I've now hear albums which have the traits I had disliked about Mars Volta, amplified many times over, so in comparison, this is almost feels like a Ramones album in terms of lean-ness - only relatively.
Not an excellent record but still fun - it’s got the original pre RUN-DMC ‘Walk this way’ and ‘Sweet Emotion’, which are bangers but the rest is quite forgettable albeit agreeable.
Know this very well from my first attempt at doing the 1001 albums (only had managed 3 in a month haha) Good tunes with a strong booming voice and the band feels like it’s doing quite its own thing on this record. It’s also well put together - each songs belongs with the others in the order they are - and they are all good songs. Lyrics are a bit too stream of consciousness but it also goes well with the theme of the album so.. it’s a good one.
Lovely album - got confused because of the Screaming Jay Hawkins and Bruce Springsteen covers (that they did of Tom Waits) so I thought I had already heard it before - but first time listen, first time love - Tom Waits always soothes my soul.
If Miles Davis' early records are delicate shuffles of greatness, this record just pushes all that jazz to a very dirty and groovy place - raspy trumpets and saxophones, a little flamenco and a wild ride all throughout - with wonderful ups and downs - a true rollercoaster along the 4 medley tracks. Not a chill album for sure, more of a party thing going - loved it.
I always thought Patti Smith was awesome, but never could find a record I liked much - so much so, that I started dismissing her - until I absent-mindedly drifted to a show of hers - and whoa... her live shows are wonderful - poetry with teeth, powerful music and Patti oozes charisma like no one else - even today. The record still don't capture and bottle that wonderful fleeting moment of watching a Patti Smith show - but now I can see them in context. Obviously Horses is the quintessential Patti Smith album - and once you know that she is a deeply talented poet with a backing band - it all makes sense. And the context in which this album is released and her grip on the rock'n'roll canon is impossible to ignore. This is a great album.
A record with a lot of 90s Britpop swagger - had a good time listening to this. A kind of Oasis / Primal Scream thing going, with it's own dark streak and clever storytelling, while consistently paced and just the right length.
At first was reluctant to enjoy what this record that I and relegated as a B rated album from the 90s - but… there are surprisingly many good bangers here with Rooster, Would, Angry Chair, Down in a Hole and more - that I could get past the dated production and the very 90s-shopping-spree-at-a-guitar-shop tone. And as pacing goes it’s excellent - the lesser songs are supported by the many good singles and so the record never saga in energy and interest - even though it’s not a short record.
Funky, soulful, velvet smooth singing, and oh, that bass guitar sound.
A fun Elvis record, but not much is remarkable besides his rendition of 'Fever'. It's nice and short, sounds lovely but rather forgettable as a whole.
It's probably among the most pristinely produced records out there - so crystalline it actually stands out - however while it starts strong in a new-wave-y kind of way, it tapers out to Steely Dan-esque proggish ballads pretty quickly. It really starts losing it's steam by the 5th song and it feels like it's never going to end... meh
Knee deep into punk and missed this band... what do you know, you learn new things every day. At first listen I thought it was pretty much a derivative of UK Punk, with snotty American lyrics, until I realised, well this actually precedes UK Punk. (And most of US Punk as well...) So - besides the history lesson, it's musically fun, and while at first lyrically it kind of feels irreverent but too much in a silly way, it actually, with a closer look is actually great satire - culminating in the closing track (I Live for) Girls and Cars - the perfect California Surf pop parody, while being a great song in itself. Great choice of covers too - however ultimately, despite its importance and relevance in the pantheon of punk rock - many musicians have taken the influence, and done what The Dictators do better. In the end it's an ok record.
First song I ever danced to, and first song I ever sang to was the title track - at 4 years old - and it was my favourite song too. Obviously I grew up with Springsteen in the background - kind of uncool, but not ignorable, and went through most of my life just kind of thinking, one day I'll give him a proper listen. And in my late 30s I did - and I discovered the wonderful world of The Boss, Born to Run, Darkness on the Edge of Town, Nebraska - all stellar records, and while I did get into a number of individual tracks from this album - which are unavoidable if you grew up anywhere near guitar music, I kind of thought this is the 'cheesy' album - not up to the heights of it's predecessors. And yeah, well, there's a lot more to it than meets the idea. It starts with the title track which is a bit, well 'much' - even though it's such a great song at it's core, and probably one of the most misunderstood songs ever written. But after that, it's a well rounded record, upbeat throughout - not the most introspective - celebratory yet self-aware. Even here, Bruce manages to keep it multi-dimensional - talking about the Vietnam veterans shrouded in faux-jingo-ist anthem, which ends up being the most jingoist anthem ever used - mocking others' Glory Days, a prohibited affair in I'm on Fire, and so on so forth. Musically and lyrically, there's a lot to dig in and discover over the years. It loses one star, because you can't really play Born in the USA out too loud in many places, can you, and it's hardly avoidable in being the first track.
Blistering, intense and relentless rock'n'roll - Ace of Spades, Bomber, Iron Horse, Motörhead - all kick ass here - performed to perfection. Quite a rare thing, at least I don't think I ever came across it before, but a song dedicated to the Road Crew is awesome. It is what separates the real bands from the made up ones. A classic.
Elvis Costello. again. Roll up my sleeves as I think this is finally the last one in the batch, and well it's the one of the most listenable as a whole. His nasal voice and awkward song concepts are still there, but there are few standout tracks here and there. Costello has better songs, but the albums they rest in are uneven. This one is a bit more of an all rounder - but I'm all Costello'd out by now. He's good, but not good enough to have his whole discography here.
At times gorgeous, lovely collaborations, hilariously funny, and awesomely performed on one hand, at times a bit dragged out and a bit dated production wise. It’s a great album just not perfect.
Oddball and very Pavement-esque, some moments of pop brilliance - but in general trying to hard to be alternative - a fault of many albums of the era I guess. Also a bit tinny on the production side. A good listen though.
Pleasant yet forgettable - besides the gorgeous title track the rest of the record is very homogenous and blends into itself too easily.
Discount Oasis that is surprisingly better than the real thing - besides the notorious main single which is also still a great song - this record is peppered with very memorable tracks yet it feels a bit too long and the fillers are fillers with not much to remember them by.
Ok I count myself as a non-fan of Bob Dylan - nasal voice, too derivative from his influences in folk of the time and well I probably (misguidedly) think he is overrated. This record though is the one that I warmed up to most of his - and after listening through the hundreds of albums so far - you start feeling the records with secret sauce - and this one is one of those.
Missy Elliot rocks - definitely one of the best hip hop artists of the late 90s / early 00s. This album blazes through with gusto, right from the first track until the last - with the masterpiece that is Work It and a series of songs with a bold feminine point of view that is incredibly refreshing and rare across genres. Production is awesome, the guests stellar. A great album that maybe is a tad long, given it’s relentless intensity.
Well this is the third Indian artist that I came across in this list and the third one that pleasantly surprised me. It’s surprisingly earnest and the songs pump through with very awesome renditions of Jumping Jack Flash and Light My Fire. It’s a tad tad longer than it feels like it should be - but otherwise a record i would return to.
Apart from Janis Joplin’s amazing voice - I struggle to find anything interesting in this record - generic white blues that other white blues artists have done better.
Typical of the 00s - sarcastic, neurotic yet hedonistic in outlook - great beats genuinely funny writing and memorable hooks throughout - a very good record.
Not Tom Waits best in my opinion but it’s a gorgeous album nonetheless. Peculiar in sound and production and only a few standout songs - but it’s more of a complete record kind of thing - it makes sense as a whole.
A bit self indulgent - I guess a post Beatles McCartney us allowed to do that - it tries to bring in the conceptuality of the beatles era with repeated themes and self-referencing lyrics - but misses the mark a bit - because the songs aren’t all very good. However when they are they are masterpieces like ‘Jet’ and the closer ‘Nineteen Hundred…’ all in all interesting but not something I’d return to much.
A right on riffing classic - snotty at just the right amount and memorable hooks throughout … it feels a bit long because it is intense but it’s worth it.
Gorgeous voice - and a nice take on the country genre - very familiar yet compact and smooth. Still very country but that doesn’t bother me.
Grimy hip hop at its best - feels like steaming city sewers and darkened alley ways populated by Shaolin and Samurai - battling leather clad spiked epauletted hoodlums for street supremacy. It gets better the longer you listen to it - and while on first listen it might feel special - it’s a hauntingly awesome album with great beats and rhymes and deep cut hooks.
Pleasant - wonderful musicianship - albeit not so memorable songs.
Ehhhh. When this album came up I was balking at the idea of having to sit through it. I remember it well as i grew up with Alanis Morissette in the background - and I remember this album too as we had it at home on cassette… Does it stand the test of time and can one forgive it for being so overplayed? I have to say it just about makes a ‘yes’ on both counts. For starters - Alanis is unique in many ways - and yes maybe very easy to parody beside her ludicrously whiter than white girl silly name - her naivety and her youth but at the same time the songs are truly honest - imperfect and human - and her voice is undeniably unique and strong. And the vast majority of this album is greatly crafted pop songs. Now test of time? It’s very uniquely 90s that’s for sure - but the themes and the point of view and the honesty of Alanis is actually very ahead of her time… I feel it’s urgency might have been a laughing matter at the height of its popularity but now it’s a truly strong feminine point of view of the world. However It’s ironic, don’t you think at how a wholly misunderstanding of the concept of irony made it the most iconic inclusion of ‘ironic’ in a song in the history of pop music.
Well well what an interesting surprise - kind of Proto-indie what nice moody atmospheric songs in among a sprawling record. It’s a really good album despite it feels a little unfinished - which in itself makes it interesting as well. Some great tracks here.
A workman-like album doing the drill as the Fall - not bad, not excellent - it sounds what an album number 8 of a band would sound like. Not fresh, but right off the production line.
Some seriously fun and groove-y tracks - but when you plonk a 10 min semi psychedelic track mid way through the album it loses its steam. Plus the last few tracks feel like the last mile of a marathon - the whole record is a bit too long. Had it been shorter it would have been a great album.
Pink Floyd. I don't like them. All my life everyone told me, "Ok Fine, but did you hear Pink Floyd with Syd Barret? It's probably more up your street". Suffice to say I hadn't until now. And this album is actually awesome. Can't believe I can say this about a Floyd album - but here they have some edge, they're fun and playful in the Kinks' vein, way better than when they started to take themselves too seriously and got 'Water-ed' down (ha ha ha). They still have the virtuosity, and the psychedelia - but here it feels genuine. Great album.
I like Dolly Parton - but this record is quite tedious. Besides the opener and a couple of other songs i could wait for it to end.
Very good Dinosaur Jr fare - if you like the band - this is very representative and very little to say against it. Had a good time listening to it - just not sure I’ll remember it.
Interesting - Coldplay-esque but a bit hipper - yet they lack the hit factory appeal of the former. Still a nice member of this list of records I might have missed otherwise.
Pleasant Willie Nelson country fare - but not his most distinctive.
All the fun of LCD Soundsystem - but elevated and more for your teeth to sink into - the songs are quite epic and go almost into the realm of depeche mode, Bauhaus and the ilk. Great album lovely surprise - hadn’t heard it before.
Well before Coldplay, there was U2 to fill the airwaves and the stadia... and they also are masterful pop songwriters - anthems that transcend even decades after they were released. I'm not too happy about it - but I cannot deny great craftmanship when it comes along. When they are great they are great, when they are middling, they are awful - but this album balances it well - peppering the hits strategically and sounding gorgeous. Didn't know Eno produced this, so I guess it adds to the pedigree.
Whoa. What was that? Brutal jazz-metal-noise-punk instrumental record? I can’t even put a name to it. It’s fun to listen to at least once in your life but I doubt this is going to be on repeat listen for much. Good album - for novelty.
Meh… besides the title track most of this record reads dated and misses the mark with regards to poignancy. I guess the members and the band itself make it significant - but that doesn’t make it good.
Interesting but didn’t totally win me over - it starts a bit naff but then the middle part is very strong and gently closes the album with some decent tracks. Maybe it needs more listens - but then most albums in this list need that…
Ok. You can definitely not count me as an Oasis fan. Firstly - was not a big fan of the Gallagher voices, then came Blur vs. Oasis and I was wholeheartedly in the former's camp. So while I had heard a few of these tracks singularly - I never sat down and listened to this album. I told myself I cannot take more than one Oasis song at a time. And I was wrong. This is truly a great album. Some of the most memorable of the 90s, and even the most overplayed ones are just simply fine pop songs with a good edge. "Don't Look Back in Anger' is pure class, so is "Champagne Supernova" - and the rest of the album is just good - not too long, well-paced and pumping throughout. A good strong record I stupidly ignored most of my life.
Aptly following Oasis - this album is more classically up my street from the Britpop camp. Jarvis Cocker's sneer, the title track - and it being the sound of 1997 to me. It might not be as great as Different Class, but it's still a strong showing.
Not a Deep Purple fan, but this album is FUN. Kick ass drumming, bass, guitar and synth - and Ian Gilian also does a good enough job to my taste. Maybe coming across Smoke on the Water made be balk a bit - but it’s the songs fault - it actually gave me a chance to give it a proper listen after all these years and appreciate its special place in the rock and roll arsenal. Much more fun than I thought it would be.
I would never have imagined liking a 90s blues Bob Dylan album - but here we are. Suffers a tiny bit from its length - ‘Highlands’, the last track, is a never ending slog - but the rest is pleasant, fresh and solid song writing.
At times fun, at times soulful - but it gets in the way of itself with the self affirmations throughout the album. I get it maybe I’m not the target audience, but there are plenty of similar racial themes in hip hop and sometimes even more militant - yet hold your attention and are not exclusionary. It’s not the subject - it’s the delivery - pity because the music is quite a nice example of modern soul.
Were the pixies to split and the frontman to have his own solo project - this would be it. Oh that’s what this is? Kidding aside - it’s good a good fraction of what makes the pixies cool and wonderful but it’s got the missing spice. It’s still a decent record and the songs are good - probably one of the better Frank Black albums.
A lovely surprise - late 90s electronic - in a slight vein of the Chemical Brothers but at the same time it’s own thing - drawing from Reggae, funk and Jazz. The field recordings that litters the album really give a context to the whole record while the music itself is impeccable from start to finish. Enjoyed this one very well.
Good, fun ‘Saturday night’ pop which at times hints at a Kate Bush stylings - maybe it gets repetitive towards the end.
My lord this is loooooonng. It’s a strange album to booth so it needs patience to even tolerate it. At first I completely dismissed it - but there is some interest hidden just below the surface. There isn’t much pop to sink one’s teeth into and when there is - the lyrics are all over the place. But there are interesting and sometimes memorable moments on this record. It could have done with some self editing - or someone should have told them that half this album could have been cut or released as a separate one. So unfortunately this gets a low rating because as an entire record it doesn’t work even though there are interesting bits.
Nice - funky, danceable album - about a decade ahead of it's time - Ed Banger records peak of the mid-noughties seem to have either drawn from this album or it's one hell of a coincidence. Has the same groovy playfulness and thicc-ness of Justice, but with the earnest-ness and innocence of the 90 - the darkness hadn't set in on the dance floor yet I guess back then, although there are hints throughout.
Wu-Tang Clan ain't nuttin ta fuck with. Indeed. I don't think I can add much beyond that.
Huh. Kind of Nick Drake, kind of Bob Dylan, kind of Fred Neil - I guess comes with my untrained ear for the folk genre - maybe not as great as some of the work of these three, but comes quite close. Nice find.
While listening to this album, I couldn't help but thinking what an apt band name and record name. It does sound like super furry animals, and does sound like fuzzy logic. It's a fun album in the usual strange unique vein of the band - closest references I guess might be Supergrass and The Flaming Lips, in quirkiness of the latter and pop-sensibilities of the former. Fun album to explore again in the future.
If the elves from Lord of the Rings sang folk, Joni Mitchell's voice with feature. It's a lovely album - the vocal acrobatics alone are a must listen at least once in one's life, and here, unlike other Mitchell albums, the songs are quite solid. 'Blue' and 'California' naturally stand out, while 'River' is possible the most interesting Christmas carol (and meta-tribute) of recent times - painting a picture of a snow covered mid-western American winter in the vein of a proto-Springsteen. It's an interesting, and good, album.
I keep on forgetting this band is really good - songs are memorable over decades and they have this lush unique sound to them. This one is a perfectly paced and balance album
These crazy cool kraut cats do it again! Anthropomorphising inanimate objects and giving them emotional depth backed with deep hooks on a bed of synth baths. This record strides between hopefulness, glamour, intense geekiness and brilliance. Loved it.
Not the best of Neil Young - in fact quite opposite - while it wasn't terrible, it is quite nondescript and it doesn't have much spark. I'm not going to feel missing out if I never listen to this album again.
Well. This is gold and timeless. While OutKast are critically lauded and also popular, I feel they do not receive the same kind of acclaim some of their peers get (I guess in a way they live up to their name heh). Yet here they are with this masterpiece of a record that is consistently fun and pop, while being true to their hip hop roots. I don't think I can say more than other, more articulate reviewers have, but this is a top record.
The 20 minute title track is too much. Good musicianship, fine, but it reeks of the excesses of the seventies - with prolonged synth solos and over the top conceptual songwriting - nah. Firmly not my thing. Side B offers an interesting variety of songs, which unfortunately get eclipsed by the monster song.
Nice and sweet - even funny at times - kind of electronic ambient with a bit of class and some good pop writing. An interesting record
It's funny that some of the records with the most rich sense of humour come from the stereotypically stoic country of Germany. While it's a serious record in many ways, there is a lot of self-awareness through it's runtime, and in a good way. The songs are also long, but well paced and with purpose, and the blend of languages is beautiful, making it a very European album - a kind of forward-looking earnestness that came with Central Europe in the 70s. I had never gotten into this band before, but this is a good album to discover them with.
Fun pop album - it verges a bit on the overly cheesy, lyric wise and even song wise - but it has quite a few timeless classics in here. The synth sounds though - wow - impeccable production and arrangement. The whole record has a strong start, but kind of tapers off towards the end after the title track - which is kind of expected since it overshadows this whole band's career. But don't get me wrong - it's not a one song album.
It's good thrash metal, but it doesn't hold strongly against Reign in Blood, Master of Puppets or even so of Anthrax's best. I know Megadeth and Mustaine are basically inseparable from Metal's vernacular, but the is album is just not that great.
Peress li hemm ħafna diġa miktub fuq il-Beatles bl-ingliż u niddubita li se nikontribwixxi xi ħaga ġdida jien, se nipprova niktibha bil-Malti. Album kbir, xorta għadu mhux l-aħjar tagħhom - imma qisu l-bidu ta' l-aqwa żmien ta' dawn l-artisti. Dan ir-rekord qisu b'sieq il-passat tagħhom u sieq fil-futur. 'Norwegian Wood', 'Michelle' u Nowhere Man juru ċertu ambizzjoni fil-kompożiżżjoni li ma kienetx hemm qabel, filwaqt li 'Girl', 'Drive My Car' u 'In My Life' jagħtu xeħta għall-albums ta' qabel fil-quċċata tal-kitba. Kollox ma' kollox album tajjeb, sabiħ, bilanċjat u mhux twil wisq - hawn il-Beatles qed jagħtu lemħa tal-enormitá tal-arti tagħħom imma jidru li għadhom naqa fit-triq għall-quċċata.
Meh. Found it hard to even grasp at this album.
Some intensely important tracks of the rock'n'roll vernacular reside in this album, like 'Wild World' and 'Father and Son' - but maybe because in my childhood some of these songs were hijacked by 'cool guitar Catholic Mass' that I kind of balk at listening to them. It's not the album's fault - the music is great - the songs are tremendous, but I can't digest due to their association.
Perfect, surf-punk - right up my street - with biting and clever sardonic lyrics, adrenaline packed beats and pumping bass lines. Listening to this record, makes the contrast of American punk (and even British punk) that came after this feel so hollow and weak. This is the real thing - from intensely funny 'California Über Alles', to the poignant 'Kill the Poor', from 'Holiday in Cambodia' and even in the perfect madcap cover of 'Viva Las Vegas'. Love it - a true classic.
"Did you hear the one song that Frampton makes the guitar talk?" Sigh - if I had a penny for every time I heard that question in some form or another. It's there, at the end, milked for 10 minutes, it's OK, and I guess it's memorable, but the rest of the album isn't - quite a generic mid-tempo songs, and an absolute terrible rendition of 'Jumping Jack Flash'. Nope, I haven't grown into it more over the years, more like the opposite.
What a delightful album. End to end warm, interesting, fun and gentle - and even if I remember clearly the time it was released - it has a timeless nature - in the vein of Air's 'Moon Safari' and Kraftwerk's 'Man Machine', for some reason. Lovely.
Pleasant and all but very little to grasp. The general sound is good - but the record is forgotten the minute it stops playing. Maybe it needs further listens but with the same amount of attention as all other records are given - this falters.
Nice snotty B level punk. The band is good - the record is good too - but it’s not Never Mind the Bollocks, Ramones. Dead Kennedies or the Clash. It stands proudly in the hall oh oh m though.
I have been meaning to get into Joy Division / New Order for a lifetime - and not because I don't like them - I don't seem to have found the right record. This one comes close for me to like it - probably because it occupies the same space as the Cure for me, which band I love. With no disrespect to either band they do tend to overlap at times, and I find it a good thing here. This record gets me closer to warming up to New Order I guess, so it's favourable.
The first half is just solid perfect pop - not one missed song, and it makes this an instant classic. It's long because it's from the Compact Disc era I guess, but it's undoubedtly a great great album, even if I am not quite a fan of U2.
Good fun Jazz - hectic and vibrant - not my favourite but definitely a fun record to put on in a party
Well this is a beautiful album - around 4/5ths of it is basically perfect - Smashing Pumpkins have truly their own unique sound down to the instrument level - and remarkably songs are at the same time memorable enough to classify as strong pop songwriting layered in the above mentioned unique arrangement and flavour. The last part feels a bit extra - suffering from the CD era’s indulgence in album length… were this released on a vinyl it would have been a 5/5.
Oh so, this is one of the excellent Neil Young records. Upbeat, clean, perfectly produced, and most of the tracks here are bangers. Definitely one of my fave Neil Young albums. I realised with a career as diverse as Neil Young's, I will find records I really dislike and some I really love. This is one of the latter.
Intense - but the production awesome - even though it's skewed heavily on the rhythm and rather spare on the melody. Quite a few tracks are bangers here, and while it's not an album for all seasons because of it's intensity, it's a great one when the time and mood is right.
I always kind of liked the Violent Femmes when listening to them at arms length - some memorable tunes, and lovely sound - but looking closely the songs are rather hollow. It's too snotty to be twee and it's too twee to be punk, and having their famous opener being pretty much an anthem for onanism, it gets old at one point or another.
This album was basically regularly played at home - I remember when it came out it revealed Beck to have a little more depth (even though his genius was still undeniable). Now with time, it doesn't have that same impact - the songs are long, and I suspect I am warm to them because I know them, but if I had to hear it for the first time again, beyond the novelty of an acoustic space-y Beck album - I don't think I'd find much more. Just a note, unusually the second half of this record is better than the first, at least that's what it felt like. I still have fond memories of the record so I cannot help but rate it slightly higher
Magnificent, fun - and even though it’s long it maintains it’s energy throughout. It’s out as a British baroque classic such as the Kinks’ Village Green - some of the Beatles’ McCartney contributions - while adding a new sound for the new era it resides in.
Surprsingly disappointing to me - especially being such a John Peel / British punk mainstay. Lyrically it's a bit too schoolboy-ish and one-dimensional for my taste, and while there are some great songs here, it kind of drags at points.
While there are snippets of brilliance in here - this album completely suffers from the the too much syndrome - too much album, too much emotion, too much contrition, too much self confidence, indulgence - at times talent and brilliance but the negatives are too much. Self editing might have made a wonderful record but I guess that’s the pitfall of going at it alone with so much ambition. Shame really.
Funky, soulful - a good nice dose of Curtis Mayfield without too much fanfare and straight to the point. A lot of record in this list should take a page out of this album’s book.
Oh, I thought I was in for torture, but it let me down easy. It's not a record I will ever like, but it's listenable, and it's earnestness is actually infectious. In this class of 70s prog, this is probably the most grounded.
Fun, kooky, surf-ish punk craziness - just right up my street. Might get a tad repetitive at points, but I just can't get enough of Rock Lobster, Planet Claire and well, most of the songs here.
I'm not an R.E.M. fan. I wouldn't pick up an R.E.M. album consciously to listen to but this album is a true classic - every song here has it's place, and some of the songs are stellar - mainstays of the 90s - and while some songs might have been spun a lot - none of them feel overplayed. It's subtle, it's warm, it's catchy and it's unique. Loved this one.
Country music with saccharine R&B? No thanks - depressingly dark words that lose their wit without the music, and they all basically sound like christmas carols - basically this feels like a cross-over money grab, that, naturally fell flat on it's face. Country and Blues are a dangerous combination.
Can't shake the post apocalyptic feeling this album conveys with samples from Nuclear test news reports and Oppenheimer quotes - it's actually surprisingly interesting throughout - even though for me it's dreaded WORLD music in it's actually stereotypical sense. But it's actually good, interesting, maybe not as memorable as others.
Whoa forgot Moby was once everywhere - almost every other track on this album was a hit of some sorts - and while it's a nice snapshot of the specific time it sat in, it's also surprisingly relevant musically. Now wonder what happened to Moby... wait... SIXTEEN records since?
Strongly themed, tightly rhymed great record by GZA - from the memorable sample from the opening track to the very end of the album this is a strong strong showing from the ex-Wu Tang Clanner. Moody, dark - but without going overboard it's just right.
This is a lovely warm, album - short sweet to the point - it can't get wrong with 'Respect' as an opener. Aretha's voice here is immensely beautiful - one forgets and might take it for granted - but hear her sing is a wonderful pleasure.
Well what's not to love? It's quite a nice barebones funk - meat and potatoes instrumentation that is actually just just right. Cooked medium rare, this album exhudes cool and sleaze in a stylish way. It tends towards the longer side of records which might be it's only slight flaw - but you need to take your time with good things and this is a record that someone should get to know properly.
Well I'm biased - loved Faith No More in the past, but now, with the exercise of listening to some of my favourite records in my youth, and sometimes feeling the cringe - this is kind of less so. Yes Mike Patton feels less interesting to me than he did in the past from this record, but there's a hint of what's to come in the dark but silly sense of humour in songs like Surprise! You're Dead! and some of the Pattonisms littered throughout. Also musically the record is solid, albeit a bit too much on the tail end of the 80s metal production - and while there is the undeniable similarity to the Chili Peppers, at least refreshingly they did not inherent the schoolyard sleaze and the misogyny. And the closing instrumental 'Woodpecker from Mars' has aged well.
A perfect album, I think I've listened to this way too many times in my life, and I always find something new and a new perspective to the songs and the playing in this album. A true masterpiece - wish we had more of Jeff Buckley - we lost him too soon.
Well not my general cup of tea, but quite an intensely relaxing and focus album. With it being played in the background, rest assured you'll be accomplishing the task at hand, and yet it is also stylish and interesting - marrying some Indian and non-western melodies and rhythms with electronic music and somehow still not going on the naff side. Not going to be my favourite record, but objectively it's a good one.
The waves of classic rock'n'roll peaked at this album and after it crashed and it's probably hard to reach these heights yet again. It's a record that condenses around half a century of blues and country influenced rock, and bottles it to perfection - yet adds it's own flavour and tint, while stripping it all down to it's most barebones ingredients - a guitar and drums and voices. It's a punctuation mark for guitar music - and whether it's a semi-colon or a fullstop - it's hard to avoid thinking that there cannot be anything beyond this album that is not derivative of it, or any of it's vast canon of influences. But, hey, guitar music, what a way to go.
Well, it's brief, which is good, and probably of the least tedious of Clapton's records so far. Not too memorable, but listenable, and best of all, short.
Good fun afrobeat album by a master. Poignant with a good sense of humour - it's a really fun listen.
A collection of half-baked song ideas that could be great tracks, but the band was to lazy to weave them into something solid. Still, strangely not an unpleasant listen, but it feels truly incomplete.
A classic, sweet, sweet album - starting with one of the most universal songs ever written in 'Imagine' and closing with the beautiful 'Oh Yoko!' - Lennon is a master and I think this is the only record that stands out after the Beatles' for any of the former members as a true classic. There have been good ones mind you, but none as legendary as this.
It's a murmur all right - there's little in these songs to stick for more than a few minutes after the record is over - and is especially start when you know R.E.M. have composed some of the most stubborn of earworms. Disappointing.
Nondescript late-90s / early-90s soul that is instantly forgettable once each song ends.
This was surprisingly fun - I mean - CCR are usually a good butt of many jokes, but this 33 mins of tightly packed Southern blues is belted out with good feel and proper rocking. It basically sounds like it should and the brevity of the record makes it never overstay it's welcome.
Super fun, genre-funk record. Last two tracks are mega-bangers - and the whole record is full of energy and good humour - kind of like the best of Chili Peppers try to be, but much better.
Although there are slight moments of brilliance peeking through - this is an ex-Beach Boy after all, it's coated in the worst possible 70s rock garb that ruins it. What isn't brilliant is basically cliched to a tee.
Beautiful, wonderfully paced, timeless classic. More of a special significance to me as it was playing in the background for most of my teens. Re-listening after all these years it is still as awesome - just one cute noticeable difference - I can note the low quality of certain samples in the mix - but that actually doesn't even detract from the greatness of this record.
Forgettable - not worth my time to review even .
Besides the track opener, the rest of the album is a slog. Also just can't get past Lana's descent into conspiracy-land - and with an album that has 'chemtrails' in it's title, just irks me. This album is simply not good enough to allow me to separate the art from the artist, so down it goes.
I thought I liked Suede, but this album is alarmingly whiny. Hope my memories aren't too rosy and their later albums still hold out. But this wasn't fun.
Some more Irish-flavoured pirate shanties that is fun all throughout. Nothing as such stands out - but the entire record is good - so... a good album.
Finally, after all these year got the opportunity to sit with the National - and well I'm a bit disappointed. This record wavers from being interesting to being a high-brow Coldplay - the later is not a good look. A middling album - although maybe a grower in the long run - we shall see.
I always had thought Amy Winehouse was a tad novelty and didn't get the hype when she was alive. Then, of course after her tragic death she kind of faded from the forefront of everyone's mind - this record is a damn good one, in retrospect - without the dressing of fashion or hype.
Middling hip-hop record - on the intellectual side it's interesting but on the other hand clinical and devoid of too much emotion.
Controversial opinion: I dare say Bob Marley is more important and influential that the Beatles. Apart from writing some of the most universally loved pop songs, there's no country that has not fell in love with good ol' Bob. The music transcends language and border, while comparatively, the Beatles are very anglo-centric in scope. This record itself is perfect - up there as Abbey Road, with sublime love songs, straight on political lyrics that can be applicable even today, and it's timeless. Yes, reggae itself is a kind of the marmite of music - but these songs transcend even the genre itself. And what's more - it's hard for me not to be put in a good mood from the first few skanks on this album. It's perfect.
It’s generally interesting and good just is not the most memorable and sticky albums around. After you put it down it just doesn’t stay with you. On the other hand the songs are interesting, enjoyable and the good side of the 80s - at times Bowie-esque
At first feels a bit off - but it’s a grower - eclectic, tongue in cheek and creative, it’s unique, a bit oddball yet highly listenable and overall a good record. Nice surprise.
Oh I mistook Astral Weeks with Moondance. I had not heard Astral weeks, this is the record I heard, and it's a great one. Great from end to end, in this one Van Morrison actually sounds good, and each track is lovely and flows from one to the next. The album never tapers and is simple a great record.
Can’t get any more rock and roll than this - blazing through its entire length with nary a breath to spare it’s a wild ride in every sense. Lemmy’s pumping bass and gravel-sleaze singing is just perfect and all songs are about gambling drinking and women. Maybe the latter is kind of it’s failing - it’s on the misogynistic side but what can you expect of Motörhead? You cannot really expect them to be nuanced about gender equality. Anyway super strong Side A, tapering Side B with a side of creep in Jailbait - but just because it so is what it is - can’t help but rate it 4 stars
One of the more mediocre of the post Kid A era - starts rather weak but then starts picking up towards the end. Don’t know what to make of second life Radiohead - I liked them and still like them at times but they don’t seem to have songs - yet they are not even too spaced - they kind drift between pop and film score music like in a dream. However Hail to the Thief misses a bit the mark compared to others of its ilk.
Punk and Surf, irreverence, swagger, tongue in cheek and actually good songs. It might not be a masterpiece but it feels like it was written right for me - rockabilly madness, a touch of horror and a complete album. A lot of the best songs from the Cramps aren’t here but as a record it’s perfect.
I think this is vastly underrated masterpiece of the era - lyrically, musically and thematically - Love and co really don’t get enough credit. From the urgency in Violet to the rose thorn rasp in Miss World - all have deep meaning in a genre where the voice of women is generally muted - while Love is confrontational while being vulnerable, honest and jeering at the same time. A great great record.
Well some lovely standout tracks but as a record itself it’s quite middle of the road.
A white suburban middle class British funk album that sounds like a shit Duran Duran. And what a terrible name. A few good songs but the rest is naff
It's quite a good shoegaze genre album - kind of Stone Roses, but harder, and without the pop glaze in the songs. It's kind of the Kyuss to the Queens of the Stone Age for stoner-genre. That said, it's a great listen, memorable and strong and I'm amazed I never got the hear this before. A truly lovely discovery.
Starts like a masterpiece but tapers off somewhat by being too overlong. The first half is perfect - and probably my favorite nick cave album from this exercise so far - but self editing would have helped make this record a timeless one. As it stands it feels like the remnant of an era of Compact Disc stuffing to give value for money - even though some of the fillers here put many other songwriters to shame. Still it’s a 4 star album but would have loved to make it one of my all time faves.
Well a surprise self indulgent album that i actually like - it doesn’t feel like the band takes itself seriously even though the musicianship is dead serious. Although the tracks are long the album isn’t - and there are pockets of gorgeous pop hidden away (apart from the obviously awesome Moon Shake) I guess I won’t return too often but I can truly say I really liked it.
It’s fun but I guess feels a bit too one dimensional after all the music that succeeded this album. Still production and arrangement and harmonies are beautiful and some of the songs albeit done to death since still have some magic left in them - which is a mean feat in itself. The album being short also helps it be more digestible. The stalkery nature of the love songs hasn’t aged well though and well again this has all been done better since.
Lovely voice, lovely songs - poignant, perfectly paced and just the right length. Just a wonderful record.
I don't think I would ever hate a Tom Waits album but I do this one. Like nails on a chalkboard, every 'comedic' monologue grates, and they rarely land. I mean it's an interesting concept, and when the music starts it's generally ok, but you couldn't pay me to sit through that record again.
It’s a unique sounds to some actually good songs that for me have permeate through the years and always feel fresh somehow. Dave Navarro’s guitar is awesome and Perry’s voice between haunting and snarky - a rather odd combination however they never seem to grip me for long - the album tapers towards the end even though it still remains interesting. I think to solve the deadlock the question is - would I ever pick this album on a whim? No so I guess i like it but not that much.
Interesting album overall - it’s a good one simply for intellectual curiosity but at least to me not one to return to often. It’s well paced and somehow the jagged edges that Bjork usually presents are sanded down while still retaining the good part of her eccentricity - and I especially love the vocal instrumentation and beatboxing.
Was quite something when this album came out - Green Day being political and ambitious artistically - however, it has aged and it hasn't helped that it was way overplayed. What's left is a decent album, with nods to the who, and a little brainier than Green Day's other outings, yet not as earnest and fun.
What a banger of a record. Every track. Every beat. Every rhyme. Retro and avante garde, it oozes cool at every turn, and while the 808s bang it squarely in the 80s, the many revivals now make it almost timeless. A perfect record.
It’s not bad and it’s a very David Byrne style album which I don’t mind - but at the same time it’s not very memorable and not something I’d return to.
Definitely...Maybe.. good - I haven't been much of an Oasis fan for most of my life, but now hindsight makes me appreciate them much more. This record is not as good as others - despite having some great tracks here, it does not feel like one that I would revisit. Good, but not their best.
Well slightly disappointed it’s not actually a dub album - but it’s an interesting new wave album - akin to Talking Heads, Devo and the likes. While it’s probably groundbreaking at it’s time - it’s objectively doesn’t stand as well next to it’s peers - with most of the stylings, less of the songs.
Surprisingly good end to end - well paced - great covers - great songs and musicianship - and Emmylou has a wonderful voice.
A perfect album that chills you out with the first few smooth trumpet notes from the master himself. This and ‘Round about Midnight’ are absolutely perfect records as well as guaranteed to mellow out may anxieties you might have.
Good fun and maybe because the sound is the new to my ears - but fresh and just simply puts you in a good mood. A tad long but not too much - I’d definitely pick this one up again
Quite a long one - but it's also pretty good. Not entirely my cup of tea, but most of the songs here are great, and it deserves acclaim. Candle In The Wind alone, outside the context of later years is sublime, and everything else is almost as well crafted. So far, this is the first Elton John album I can actually say I like.
A true classic - the definitive punk album - that captures the essence of the genre and the movement as well as a collection of great songs on an album of perfect length. A masterpiece.
Good genre 90s soul. Smooth and silky but ultimately not my cup of tea. It’s good, just not something I’m likely to revisit.
Interesting record - very of the time yet doesn’t sound dates. It captures the same essence as Sonic Youth and Fugazi and lays the groundwork for a lot of the grunge sound. It’s a cool record from a genre that is now almost overshadowed by the breakout acts, but does not offer enough to cut through.
A masterpiece - almost every song is haunting but the title track alone is a juggernaut. I had forgotten this album, and it seems to me even the rest of the world but it is probably objectively one of the best of the 90s decade.
A bit repetitive for my liking and this brand of blues feels tired because probably it has been overplayed and done to death - but I can’t fault it for it being a good genre album - and when the stars align - adds a nice good mood to whenever it’s played. But it’s pretty one dimensional from where I stand. Might say more about me than the record but it’s my review damn it! Also lol at title.
Atmospherically sunny, and in a way enchanting probably due to the non familiar language to me - but while it’s rooted firmly to its west African roots - at least from what I can tell - the whole album comfortably references jazz and other western influences - another interesting discovery through this project.
Pleasant but at the same time it’s too strongly associated in my head with noughties London bankers with beemers singing obnoxiously to some of the singles. That said on an objective level - a bunch of very good songs, a nice version of Say Hello, Wave Goodbye - and an overall well paced album - only true fault is David Gray’s voice becomes a bit too grating at times since it’s a bit on the particular side. Overall a good record but can’t get past my prejudices.
Well it’s PJ Harvey with some great great songs - Dress, Sheela-na-gig, oh my lover… not her best overall record but a strong one nonetheless that is always fun to revisit for me.
There’s a lot lyrically to this album - Sam Stone is definitely a standout among a wealth of well written songs - Illegal smile and Hello in There also being strong shows. However the country folk thing is a bit too much for an entire record - and while Prine is a phenomenal lyricist - it’s a tough listen to ears like mine. Still a good record though.
Mumbly record that hints at Roxy Music but without the raw magnetism. There seems to be more below the surface but after three rounds of listening to it didn’t reveal itself to me. Maybe another time.
Smooth, sexy and silky R&B - which is basically the embodiment of the genre. It’s a bit naff with many wedding references but if you want to set the mood for bonking, lower the lights and spin this record.
Stylishly produced songs that I personally categorize as a post-country I guess? Songs that can be alternative rock from the noughties wrapped in metallic white noise and a certain air of sardonic introspection. Good though.
A gorgeous album - as sad as it is, it is also a joyful celebration of the life of one global hero. This record helped mourn Bowie - is riddled with his own meditation and struggle with his approaching death and serves to ultimately show his victory of it by crowing his artistic life with an epitaph like no other. Only David Bowie could have birthed such a regal masterpiece with his death and still be thoughtful, kind and transcendent.
Some good songs to be found on this record, but it's biggest draw is Phil Spector's sound which elevates the record from being a generic 70s rock album, to having production pedigree. In here, the engineering is an instrument in itself - which is true most times, but it is often taken for granted.
A good fun live album - some good songs too - and it feels like it's a good snapshot of the specific show - but on the other hand it does not stand up to the greatest live records.
Kooky, fun, unique - well paced and just right in length. It might not be everyone’s cup of tea but purely subjectively to me - this is an awesome perfect album.
A lovely haunting album from Tim Buckley - whose later albums lose the magic he managed to bottle here. It’s consistently interesting albeit heavy on the hippiness. Plus an iconic sleeve too.
Aaaaaaaa the horrror!
This is regular Neil Young fare, and regular Neil Young fare tends to be good fare. It's not as striking as certain albums, but it certainly was a pleasant listen, generally balanced pace and good songs.
A perfect album - cinematic, grimey city criminality - with perfect rhymes and perfect beats - it’s timeless even though it’s a 90s staple. One the best records ever released - while being the perfect length. Maybe the sexual noises that pepper the record and the heavy violence in the themes prevent it from.l being a Beatles-level of ubiquity - which is why it is also such a great and important record.
Hmm I like Byrne but he’s got a lot of fluff around and this album is just that.
Ok - the Coldplay of metal. Almost every song on this album has been a hit, and objectively over the years they are well written songs. The packaged stylings of the era sounds terribly dated, yes, but a good song is a good song. I never really liked this band to be honest, and they were terribly overplayed back in the day, so I cannot bring myself to put this album on rotation willingly, but it's objectively a strong showing and it's never boring.
Beastie Boys just before they became legendary, and yet still a damn awesome album.
Huh. An acapella South African band? A very good record? Yep.
Another great jazz record - this time with a samba flavour - it doesn’t need many words to say it’s wonderful.
From the police albums so far I got this has actually been a good one - less of the creepiness - still some of the hits - with Message in a Bottle still holding up, and Walking on the Moon being awesome - as well as a few other good ones. It’s not a perfect album - but it’s short enough to keep you consistently interested. And oh those Stewart Copeland drums …
A little too quirky and a little too much obsession with queens and soldiers. Still at times interesting and it doesn’t overstay it’s welcome but not one of my keepers.
This was earth shatteringly ground breaking when it came out to my ears and I think it still holds up. It’s particularly unique sound - actually strong songs and atmosphere - I think it’s probably one of the few surviving good albums of its genre. I mean ridiculously over the top anger and silly clown costumes with an overly staffed band - but at the same time churning out a great record… can’t not love it. Maybe the white rapping is a bit naff at times but hey a Time Capsule of embarrassment never killed anyone.
A wonderful record - quirky but solid - perfectly paced and just the right length. A lot of classics here and while there is a lot of borrowing from their contemporaries, Beatles, Beach Boys - they make it their own and now with the benefit of hindsight it’s just a sprinkle of influence in the end. With every listen I found myself liking this record more and more.
Odd - camp, flamboyant - it’s not a bad record and there is something to The The (although the name for some reason really bothers me), but this record overall is a bit meh.
Ah, it's what it says on the tin - good fun classic reggae time to me.
A great great genre album. And what in the past i dismissed as bad production - is actually genius sound engineering - bass on the guitar - and keep the kick drums on treble - and still a powerful metal album?? Phwooar. To me this is a quality metal album end to end.
Peak 70s Rock - More than a Feeling is of course a strong showing - the rest? Nothing to really write home about. It’s great it’s not a long record so it’s pleasant but not memorable by any measure.
I’m generally favourable towards Malkmus and friends but this album is a bit mediocrely poor.
Man I love Outkast but this is looooonng. I managed to listen through its entirety after many false starts and the verdict is … it’s unnecessary self indulgent for the most part because the music is brilliant but the pacing is a slog. Speakerboxxx gets through alright but The Love Below has a lot of filler. Shame this has hints of masterpiece all over it but as a whole it’s tiresome.
I find myself returning to this record multiple times over - it’s a very good one.
I’m not usually of the 9+ minute song fan category - but if you see it as a record it’s actually not too long and not overindulgent. It’s also quite surprisingly grounded given this is prog AND King Crimson. I was pleasantly surprised - enjoyed most of the album except maybe Moon Child - which while interesting - is way too sparse for repeated listens. That said it’s not my genre still won’t return to it often so hence my rating.
This brand of sixties teen bopper love songs have a tendency to be rather creepy. Couldn’t help but rate each song - “phew! this was not as stalkerish, incel and misogynistic as the previous one… no wait….oh dear” Love the guitar sound and love that it’s short and it’s pleasant until you listen too closely. But not a keeper. It’s a creep in’
Ok I hated Bon Jovi back in the day. But man he can write bangers. And now with hindsight and without him being overplayed to death, objectively this album is full of well crafted songs. You won't catch me listening to this album regularly willingly, but if it's on, I'm going to like it.
Ugh. Terrible. Everything about this album is idiotic, from the name of the record, the name of the band, the artwork, the songs, the lyrics, the themes. It is a terrible terrible record. There was a time when Limp Bizkit had some fun songs, but by the time this album was out, they were jumping the shark, pushing their luck on how much patience the world has for them. All these years later, with the benefit of hindsight - it's even more terrible - the songs are about nothing, but the whining of a petulant white asshole, starting off with a very badly executed diss track towards Trent Reznor, and ending with an attempt and self-deprecation that is even more cringeworthy than had they avoided it. I can't even laud any of the hits from this album as they are totally hollow and just remind me of jocks with baggy pants and backward baseball caps and wallet changes doing the 'rolling' dance. ugh. This was Limp Bizkit which I had a little sympathy towards a very narrow selection of their older stuff when I was younger - I shudder to think when Kid Rock's album will turn up. I'm bracing myself.
A bit too eclectic and not enough hooks. Still a good listen but not one I’m yearning to return to.
More Elvis Costello fare. I mean by now k get it - you either like Costello or you don’t - and all his material is basically very much the same brushstroke. If you like him - then you’re going to like every record - if not - you’re going to bemoan every time one pops up. So far I always find myself in the latter camp.
Good fun groovy and danceable - not a masterpiece by any measure - but a good record nonetheless
Again - the creepiness of 60s teeny bopping songs - pleasant to listen to but so terrible so many years after the realization of what is actually being said and thought. There are better albums that are worth apoligisim but this can pass.
Interesting - funky and at times ambient - but in general good focus music. Where does it stand in the pantheon of half a century of pop music? I guess somewhere in the middle - but I like it so I’ll give it a little extra.
A good punk album - but like many good punk albums - they need time to know if you really love them - and since I’m very late to the ‘X’ party I still am on the fence. Had a good time listening it though at face value.
Lovely album although as an album of the modern era, it's a tad longer than it should be - but Side A is a stellar showing of great track after great track. Production and arrangement is wonderful, and I was left wondering how I hadn't heard of her before.
Although this is already 26 years old - it sounds like it was released yesterday - stylish - timeless, grooving. A little long, typical of a 90s album, but it's a tight set of tracks. Had a great time listening to it.
Whoa. I was not in the mood for a generic hip hop album today - and so I braced myself when the first tracks hit - but when ‘Kick, Push’ came up not only did I realise I was not listening to your average ‘guns, cars and ho’s’ hip hop album but a true delight of a record. The Jay-Z sound puts it squarely in a good mood place and every track is impeccably produced - and Lupe rhymes with gusto and panache from start the finish - loved this one and what a pleasant surprise. And can’t commend enough a hip hop track that rallies against misogyny in the genre.
On the fence about this one - it’s good shoegaze and gives the genre a good run for it’s money - but it’s a tad too too sparse to stay with you for long after you’ve moved on from it. It’s got good points - think the band Suicide with the extreme edge off - Stone Roses albeit without the pop lushness - and a gospel tint. from their peers Primal Scream. But for 7 min songs need to be a little more than just a droning repetition to be worth listening too - and unfortunately there’s a little too much of that. But it’s a nice discovery nonetheless.
It took a number of listens until I could warm up to it - at first it felt bland but a lot more gold can be found after a bit of digging. At the same time it’s not going to be among any favourites - but it’s a good record - more so with a little more attention.
I think a lot of Merle's troubles would be solved if, a) he didn't murder anybody. Don't do the crime if you can't do the time, and b) Stop whinin' and maudlin'. 'Em women in country want the strong and silent cowboy, not a muddlin' Merle.
Smooth, silky, sexy - many a baby has been made to this album, especially Side A. When Marvin gets it on, he gets it on. A true soul classic.
Trying very hard to ‘get’ REM beyond the master singles and the odd album - but this one - besides a few really good tracks - again kind of leaves me underwhelmed.
Atmospheric synth fest to a tee - a master work because if you ever played with a synth for long enough - you know it’s a dangerous maze and a downward spiral of hours of plinking and plonking on those keys to little effect… But levity aside - I put this record on while running in a quasi sand storm and it was aptly moody and great. And interesting record - as well as not overstaying it’s welcome and interestingly enough - with a hit or two to boot.
Funky, urgent, classic. One of the first hip hop albums that got me into the genre and it’s still fresh as hell.
Ok CCR - ultimate boomer land… BUT.. it’s a good record. Somehow I start off by bracing myself for some 70s cheese but it turns out to be simply good records. It helps this came on while flying on a plane - it seems to have been written by… a… travelling… band… heh but it suits the mood of jetting around as a soundtrack. That aside it’s a good record even on the ground and probably at sea too - which I haven’t tried yet.
Up my street in terms of sound but besides a few standout tracks it does not have the markings of a great album. It deserves less but I’m marking it 4 to remember to pick it up again in the future.
I would really like to like this album but it’s a bit too much bloated 70s rock for my liking. It sounds epic but the songs aren’t really great…it was a pleasant surprise finding ‘In the Street’ though.
My - this record is so front heavy, if it were a cat it would oversteer so much it would spin like a… never mind. A stack of rather decent hits in the beginning and the a tail end of some of the most cringe set of songs in a modern record. ‘peace on earth’ whimpers Bono feebly - and ‘Grace finds beauty in ugly things’ explains Bono hopefully. The Edge’s guitar bits are sparse and interesting actually here - understated and suitable at many times. Anyway the hits are masterfully crafted but as a record this is terrible.
Oh what a stellar album. I’m new to most Rolling Stones but as far as debuts go, this is way better than most. Perfect and timeless.
Trying to find a fault with this album but I couldn’t manage - every track has its place - it never tapers - keeps the interest throughout the entirety of the perfect length of the album. To me this has always been part 1 of the trilogy of great consecutive Radiohead albums - this, Ok Computer and Kid A - and despite it’s hard to recognise what used to be the sound of Radiohead pre-Kid A pívot - it sounds on brand and still holds up even after all these years. I would like to diss on Radiohead but - definitely not regarding this record.
An unrewarding addition in representation of and angle of British that doesn’t often get represents in indie music. Well of course ‘Brimful of Asha’ steals the show and I think I actually prefer the non remixed version more for it’s honesty and now it makes a lot more sense in context. The rest of the record also is actually a nice surprise - love many bits and bobs from it - the sound, the general theme and pace of the tracks. Yet as a record it just just just falls short for me of the 4 star rating because it’s not one I think is put on heavy rotation in the future - I’m just glad I heard it, discovered a number of good songs and added some resolution to my 1997 memories.
I don’t know what to make of this album but I guess… do I like it? Yes. Is it a great album? No. Do I want to listen to it again in the future? Yes. I liked the prior hot chip album a lot and this one feels like a polished evolution. It’s not an obvious easy album but maybe that is what makes it feel a little special.
A great live performance of songs I don’t like. Musicianship and tightness is superb - but for some reason I can’t forget my ambivalence to Deep Purple. Also the Spinal Tap level of self indulgence kind of makes it a harder to digest. Still a good listen but not something I’m ever really going to seek out specifically again.
What a wonderful surprise of a record - reminiscent of the Beatles and Nick Drake but with a darker sound. At the core though Syd is writing earnest and heartfelt songs - and it feels real. The production also is subtly clever and it’s just the right length and the songs flow excellently into one another. It kind of tapers a bit on the last three songs which sound plasters on mindlessly - even though they’re not unwelcome.
70s plod all the way - Rod Stewart’s voice elevates it a little but not enough to make up for the amount of fuff present in this album. Not unpleasant listening mind you but meh
Anything Kate Bush so far has been a delight - and this was a record I wasn’t even aware of. None of the obvious hits here but it’s still a remarkable and strong record. Ms Bush does what she pleases and that pleases us all. She’s awesome.
A Morrissey moaner of little note. It lacks the mystery and magic of the rest of the Smiths while all of the downsides of Morrissey at his least compelling.
It’s a polished strong album and I have a liking for Supergrass - but this record although sounding gorgeous kind of is a bit flat and unexciting - I tried multiple times listening to it in different moods but it didn’t stick.
I knew a little Sisters of Mercy but had never dove into a complete record and wow I feel I have missed out all these years. This one was great end to end - big towering doom-laden songs with a tinge of industrial due to the drum machines. The pace is good, the length is good and w every song has its place. I also have learnt how to nail the description of the band to the uninitiated - kind of the Cure as if sung by Bowie.
It’s like a happy Bob Dylan with a little Billy Joel thrown in possibly? It’s very much focussed on the American Pie song I guess, everything else pales in comparison - and even that is a bit too overplayed and overdone to be welcome. It’s not a bad album - just not a must listen.
This is grower - couldn’t make up my mind after two listens but as you scratch the surface you start seeing some of the gold shine through. Haven’t had time to figure out how deep the precious metal vein goes but it’s deep enough so far to warrant a place on the rotation list.
What if Looney Tunes characters had a collective bad acid trip? This would be the result - at first I was a bit bewildered by it but after a couple of listens I think this is a rather strange unique treasure - it’s bizarre but well done and executed - weird but never boring. I liked it.
Surprisingly ballsy and fun to listen to - songs are awesome, even the over played 'Girls Just Wanna Have Fun' is stellar, along with 'Time After Time', which is a perennial masterpiece. The album is consitently paced, well balanced, not too long and nary a filler song - every track has it's place. It might not be a 5-star but it's close. Had it been possible I would give it 4.5
Of course the similarity to Neil Young is unavoidable to note, but it feels less earnest and more pretentious than his former band mate, at least on this record. The heavy slog of the 70s is all over the sound and it kind of meanders too much. It's still a pleasant album to listen to, but there are far stronger albums doing the same that I'd pick before I'd get to this one.
Went out for a run, and put this record on. After an hour, I assumed I'm close to the end and start looking at how many tracks left and, to my horror, I realise that 69 Love Songs does mean 69 Love Songs. 3 friggin hours long. But. It's a masterpiece. Every song is clever or witty, funny or pulls on your heart strings - and it's ADHD-inducing in it's eclectic nature. I didn't want it to stop, and by the second listen - i.e. 6 hours in - I was having withdrawals - wasn't sure how any album this week is actually going to stand up to this, while at the same time kicking myself for being so late to this party. It's awesome - worth every minute I dedicated to it and it's nigh on being one of my favourite albums ever.
It's fun, and Janie's got a Gun is a banger, and while the quality is actually quite good - I'm not a big fan of Aerosmith in general. If one likes the band, or can tolerate the, this is a good one I think. But I cannot.
Ugh, tried many times, but none of this album stuck. It's Duran Duran / Spandau Ballet / Roxy Music / David Byrne, but bad. It's a shame - I really wanted to like it.
Quite a fun album, the songs have charm - "Oh California" is a banger, and so is the title track and "Blues for Billy Whitecloud" - other tracks are middling, but still a good listen, and a couple, like closer "Montana song" overstay their welcome. It's not a perfect record, but it's a good one.
A lot of it is really good, but man is it long. It is too self-indulgent - where a lot of tracks could have been edited out to make a stronger more condensed album. It also tapers heavily at the end, losing steam and because of its length, you are left without remembering the gold nuggets at the start of the record. It's a shame.
Was prepared to hate this, but man was I wrong. It's party all the way to Panama, the musicianship - even though I usually am not a fan of shredding - is awesome, and the songs, for what they are, are pretty good. Maybe the dash of creepy schoolboy misogyny is a fault, but I guess it's an interesting cultural artefact to learn from now that music world has generally moved away from it and it also doesn't sound that it had an intention to be destructive at the time.
Oh dear. This was terrible. The crystalline production is probably the only good thing about it, but the songs, the voices, the arrangements, I hated it.
Well, yes the hit is good. The Tatcher bashing is also good, but the rest of the record is rather grating. Had a hard time slogging through the entire length of it.
A top genre album - definitely one of the trash metal classics - immediately hit me even if it was actually the first time I sat down and listened to it end to end. Maybe not as strong as Reign in Blood or Master of Puppets and it does kind of taper towards the end.
Ok is ok, but it's also nothing special. While the ambient electronica is decent to listen to, it is generic, and maybe through no fault of it's own, but the Indian sub-continent sounds have been overused by the genre so much that it kind of makes it background 'buddha bar' music that is hard to remember it as it's own thing.
Starts a bit nondescript but gets a bit more interesting towards the end. Side B’s medley, cover and penultimate song are the highlights but as such not a record I’ll remember.
Very good white man blues - but I don’t like the genre and it is a bit too long for me.
I must admit I always looked down on Kid A’s less popular brother, it had come out too quickly after the world was blown away that it kind of felt like a cash out. And besides Radiohead at the time were harping about both albums being written at the same time meaning it felt like a b-side album. But now, after all these years with fresh ears - it’s a good one - probably one of the more underestimate neo-Radiohead records, albeit a bit on the darker side, it’s still a gripping listen.
A stellar album - if I wasn’t decided which one of the Beatles album is the best, right this feels like it. Some of the richest of the songwriting. Even the inclusion of the Yellow Submarine doesn’t take away from the sublime beauty of this record.
The first Bruce album I ever fell in love with - it’s perfect end to end and it’s the perfect introductory album to be able to appreciate the heart of Springsteen’s songs once you get past the pomp of the bigger albums. Haunting, memorable, honest and heartfelt and yet somehow with the right amount of swagger and cool.
Interesting album from the man of eclecticism - although generally I can’t really warn up to Weller’s post The Jam stuff like Style Council - this record feels heartfelt and warm - but at the same time it just doesn’t stand out particularly. It’s good but forgettable.
Oh yeah - banger after bange, Debaser, Here Comes Your Man, Mr Grieves, La La Love You, Monkey gone to heaven… what a stellar record - the Pixies were mega inspired with this one.
It’s an albums’s album - not much standout songs per se, at least off the cuff - but they are majestically parts of a larger whole. Sparse but surgically precise production - and constantly to the point.
I’ve loved this album for decades and I’ve gone back to it many many times over the years.. but this time round tried to listen to it as earnestly as possible to try to recapture the first few times I listened to it and man it still holds up. Beth Gibbon’s voice is ghostly beautiful, the production stunning and the songs consistently wonderful.
Waaa… I braces myself for this record being often at the bottom of the rankings but whoa this actually blew me away. Death Metal but jazz … the drum sound is earth shatteringly awesome and amidst the swirling chaos is order and precision. Not for everyone I guess but I loved it.
Very bland and plodding and way too long to make it a good record. The songs are generally pleasant but very forgettable.
Good fun blues from Bamako. While generally the genre is not my favourite, it sounds fresh enough to my ears for me to want it in my rotation, and besides it’s a well balanced, just the right length record.
I’m torn between 3 and 4 stars - for starters it’s too long, it’s also has a mediocre start and mediocre end - but the mediocrity sandwiches a wonderful middle part that is risqué on point and ahead of it’s time - with some strong songs. But we’re rating albums not parts of, so I guess it does not hit the mark.
Was looking forward to a good fun record but besides Karma Chameleon, boringly thrown right at the beginning, an omen that the rest of the album is filler, it’s just an album full of filler. To Boy George’s credit, wittingly or not, he’s recorded an anti-money laundering anthem in Black Money.
Hey well a rather listenable and engaging Bob Dylan album. I’m guessing it’s a classic - and while normally I shun that harmonica swallowing nasal songster - he’s quite easily likeable here.
What a lovely record. Probably one of the best of the post-Beatles solo albums. Track after track just unfolds like a time-lapsed flower and every listen reveals more and more depth in Harrison’s soulful playing and singing.
Oh my. What a dweeb Kid Rock is. Even his choice of beer is mediocre, Becks and Heineken? What are you? Eurotrash? I thought you were going for red neck and cowboy. Musically every track borrows, to put it mildly, from contemporaries, and while I have to admit the first half is definitely more listenable than Limp Bizkit’s Chocolate Starfish, it’s somehow more mediocre. In a way Fred Durst is honest - this guy is just naff all the way. The second half of this album overstays it’s welcome. Anyway - trying to polish a turd here - it’s shit.
Hard for me not to like that temptations - and for a lot of this record, I still do - but an epic tedium of a song about a runaway from bad 70s afternoon tv serials and a pretty terrible cover of Heard it through the Grapevine, lowers the quality of this record significantly.
Well Interesting and not. I can’t really decide - at times it’s a pretty listen, at times the same record is tedious. But what’s for sure this is a record’s record. This songs are stitched well together and not simply a collection of unrelated tunes. They are greater together than the sum of their parts.
Well title track, Riders on the Storm and Love her Madly are great songs, and as a record it’s not too long and decently paced but kind of saga in its third quarter. And even though I had the joy of rediscovering Morrisons strength of voice - I still am a bit off the Doors for some reason - and this record is not special enough for me to see past that.
This albums shows Queen can rock - they are very Sabbath-esque here. However it’s lacks the magic of regular Queen fare. I’m surprised at the range of sound this band has - not familiar with their albums - so this is all new to me - however I’ll probably have the heat their heavyweights before I can truly judge their record making. I knew they kick ass as song writers. This album however has neither the hits neither the sheen of a balanced record.
Pleasant but hard to stick. Sounds a bit dated late noughties indie, and while polished and sleek, it’s very wishwashy.
I struggles to find a diamond in the rough here. Sometimes it is what it is, sometimes it’s just rough.
It’s not terrible but not my thing at all.
When this came out - it was over a decade from the previous Portishead release - so the thirst for it was massive. I remember thinking to myself I love this, but is it because I've been waiting for this so long or is it because it's actually good? And now, approaching TWO decades later, it stands in its haunting intensity with a reply to my now, in hindsight, rhetorical question, brushing it aside with it's brilliance. The music of the band in its trip hop heyday had its slickness ported to 2008, and even if their records have always stood the test of time, at least to me, this sounds considerably more modern. I had the opportunity to see the band live, and old Portishead, middle Portishead and 'new' Portishead are a seamless beautiful stunning experience of silence, space, and intensity. With Beth Gibbon's haunting singing on top, which is probably the immediate actual draw, this band is magical.
What a lovely unexpected surprise. Eclectic - perfect length, great tunes and I actual like the radio show inserts - frames the variety well. Who knew. One of the best and nicest discoveries of this exercise to me - at album 599.
Some stunning songs but a lot of unnecessary fat. It could have used with some editing out of songs that water down the power of Elliott at his best.
Sardonic orchestral love songs is probably a good summary of the album. It is also a short album, as promised... thing is with The Divine Comedy it's very much a mood thing - some days I'm into them, some days, not. Still, this record is short enough for that fact not to matter, as it's funny, soaring and doesn't overstay it's welcome.
Atmospheric and enchanting at times, overwrought at others. It could have benefitted from a little snipping at the track count, because despite this record having really beautiful moments, they get lost in amongst some murk.
Huh. I don't know what to make of it, but I like it. Four tracks of bizarre samples and jazz, but pleasant listening. Oh it's from a Can man. Makes sense.
Pleasant jazz record that is just right - interesting, but also easy - maybe not one of the greats but definitely one to return to.
Actually surprisingly a good record - good production, songs (except for the rambling about monkeys?) and length - it would be. 4 star if it’s my genre but it’s not.
All the hits, but not as good as a record as "Axis: Bold as Love" in my opinion. It could be because most of these songs feel overplayed and in the classic rock pantheon, and in Axis, the songs are fresher - but still it feel it's a tad too long, and some songs are extra. Then again, Purple Haze, Fire, Hey Joe, Foxy Lady, 3rd Stone from the Sun... all bangers, even though they Are overplayed. Looking at the original UK edition though, I'm curious to hear that version - might, just might, make a better record. Or not. I'll see.
Whatever. Low effort, middle of the road quasi-pop country.
Cheesy but fun, lounge lizard jazz kind of thing. I wasn't aware Donald Fagen was of Steely Dan, but it makes perfect sense - the sound of the record firmly brought to mind Steely Dan, and I guess now it make sense. Not my favourite genre, and it's not special enough to make it for regular rotation, but it gets an easy three-star rating.
What’s with the anal obsession throughout this album? Every skit and almost every verse deals with recta and anii - it’s not always terrible but it’s terribly long and very naff at times.
A good solid soulful blues rock and roll record - without any of the Elvis bangers, yet still a solid record end to end.
Ugh - a bunch of mumbling and little song. They sound like they’re going to break out into come on Eileen at every corner but maybe it’s a good thing they don’t, but maybe it could have made this record bettter? Still better than the other Dexy album on the list but that’s not saying much.
Not to be confused with the ‘banana stand’ arrested development - this took me by surprise … it’s a fresh take on hip hop of the era - scratch that - it sounds fresh even now - 31 years later. The rhymes might not be machine gun like of this post Eminem time and age - which is only what gives a clue it’s not a new record - but the beats and the pace of it just stands out as a top record. Loved it.
Surprisingly fun and dancey - sure it’s a little dated but it’s a pumping album. Maybe the 90s overly optimistic rave hippie culture sounds naive and laughable but also if you take it in earnestness it’s a bit refreshing after the mountains of cynicism that came since.
When this album came out it sounded fresh and new - now it’s a tattoo of the era - it defines a chunk of the sound of the decade it resides in but it’s still is a good record… well balanced and paced - some good bangers - but maybe because it’s in the awkward time where it’s not old enough to be back in fashion and not new enough to not sound tired, it just does not feel like a timeless record
Lovely Tropicalia album through and through. Maybe can do without 'Ave Maria', but the rest is just perfect. Awesome record.
A strong record - moody and dramatic and despite the heavy 80s sound it doesn’t get in the way , actually the synth work is quite classy. Not many of the big hits here beside Never Let Me Down but there is no filler here. Also this record can definitely classify as a grower with every listen.
Very good white man blues - a genre I don’t like very much. The Weight is still a banger though.
Don’t see the hype - even after all these years - but it’s a good ambient album.
Love this - besides the big songs that Nirvana made famous, the whole album is a mish-mash of punk psychedelia, country rock and generally good vibes. It's especially more unique due to it's rough edges, which kind of puts in a class of it's own.
There’s promise to this record but it seems you need to scratch deeper through the surface to get to the bone. Overall it sounds same-y and Jim Kerr kind of warbles through most of the album but after a couple of listens the songs seem to reveal themselves ‘Promising you a miracle’, ‘Glittering Prize’ turn out to be bangers at closer listen - and the rest of the album is a tight rhythmic showcase. However as a whole it just doesn’t live up to the great albums on this list. Did not have a bad time listening to it though.
Love Kate Bush, but I don’t love this record. It’s not bad and I guess it needs time to sink in but by that logic 1001 albums are never going to be heard before I die. I might one day return to it but it didn’t win me over after the same chance I gave all other records.
It’s a strong record - and very angry but poignant - just not my genre. Her voice is lovely - her writing is also wonderfully political and human.
Never thought it would be the case - but this record is mightily good. From ‘Relax’ to the Springsteen cover - which came as a mega welcome surprise - to the rest of most of this album - it is highly entertaining and well written. Maybe a couple to overlong songs and maybe the whole record could have done with a tiny bit of trimming but it’s a great one.
He’s like a budget Michael Jackson and Stevie Wonder combined - and that’s not an insult. It’s hard to get to their level but he comes damn close - voice and performance wise. Songs are ok, it’s a good record overall - although not my cup of tea per se.
Good fun album with surprisingly good songs. It’s obviously a sound of an era but the songs transcend it. And now in hindsight those synths sounds are gorgeous.
Lovely lovely and lovely - it’s mind blowing love musicianship - perfect, even - with a twist on tango and incredible arrangement of instrument - to make this a rousing climaxing record. Not always going to be in the mood for this but it’s excellent.
The songs are simply not there - so it’s one generic mush of a part psychedelic part folk and part jazz. I appreciate saxophone though now that I started to play the instrument - but a a record - meehh
It’s interesting to hear a great musician that wrote songs contemporarily to your current life - there a certain better understanding and comfort - after all this exercise is twitchy and all over the place in that respect - it’s an erratic time capsule that can leave a little dizzy 600+ albums in. This record is short, concise, fun, well paced with Jack White’s usual highly strung gusto - almost every song stands out - and despite Jack’s penchant for hipster retro cool - the songs sound like they are written at this time by someone who is experiencing the world almost in the same manner, well at least in the same timeline. I missed that feeling - that the music I’m listening to feels like it’s written for me as an audience - and that gives me pleasure.
The unfiltered sound of the sudden indignant realisation of the loss of white male entitlement and the expression of this in the form of very good art punk. With scratchy guitars with matching personalities, the earnestness of earlier, younger punk is now gone and lost when the royalty cheques aren’t enough and the looming threat of day job employment is now rearing its head - here come the Stranglers bemoaning women who reject them and celebrating leering at Peaches on the Beaches, doing what had already been done countless times but with gusto style and sleaze.
Great post punk sounding post rock. Lots of post there - almost as much as the Royal Mail. Had a good time listening to it - cannot knock it but I wrote this review a couple of days later and completely forgot what the record sounds like except that it sounded good.
Lovely album - there’s a lot to chew here - but despite the length it keeps interesting and varied and it’s gorgeous in many places.
A lovely record through and through - maybe it’s easy to mock Trip Hop but I can’t deny I love the big records that came out of the genre - and this is definitely THE trip hop album. I grew up with Mezzanine and I always kind of dismissed this one but it’s gorgeous - moody, groovy, sexy and theatrical.
Good strong Americana - on the same feel as Bruce Springsteen (the edition I heard had an excellent live cover of State Trooper) but a lot more country. Somehow I always had a soft spot for Steve Earle - especially after appearance in The Wire - but it’s not like I’m ever going to seek this specific record again just for kicks.
The libertines are to me the last true rock and roll band spillover from the 20th century - they’re dangerously falling apart musically and I guess truly at points in their short explosive burst of their original career - of which they barely survived but gave us two records of perfection - with a duo songwriting combo of Doherty and Barat - which echo the Lennon and McCartney phenomenon of being greater than the sun of their parts. This album is meticulously produced and performed - yet the struggles are evident even in the singing performances - the drums are comically overplayed but somehow just for the right amount and the guitars weave in and out dangerously with punk gusto. Doherty barks and mumbles away musically throughout while Barat keeps it grounded and Mick Jones captures it gleefully as it probably reminds him of the shambles the Clash were in their later years. An artful record - maybe maybe not totally perfect as their debut but only by a hair.
Oh my - this was wholly unexpected - a stunner of an album - with South African music - which at first inducting start to ring ‘cultural appropriation’ alarm bells, being at centre stage for most of the album, but after a bit of reflection they feel more like a collaboration with actual stars of the genre. Even more interesting is the story of the record and the divisiveness that ensued as Simon as perceived to be breaking the apartheid boycott… but as someone cleverer than me said - this record was not propping the apartheid regime - but rather giving jobs to black South African musicians. At least I hold that view - I might be wrong. Anyway this record is fantastic objectively.
Good album - obviously masters at play here - but it doesn’t hit home to me as Davis’ earlier records. Still lovely though.
Wonderfully and stylishly produced - with some really powerful songs. Of the Beatles I think Lennon is for me the most punk and has the most ‘fizz’ so to speak - Working Class Hero is as a classic as they can possibly come - so is ‘I found out’ and ‘Mother’. A great record.
It’s very Spinal Tap, but Spinal Tap is good. I was actually pleasantly surprised - i thought it was going to be a classic rock slog with a flute - but the flute was a good thing. Fun record.
Ehh. Some good drum and bass - for a genre album it’s really good - but it feels dated - and over long at many points - more than it needs to be. But it’s still a good Drum and Bass album. It’s niche saves it.
Another sublime album by the Velvet Underground - subtle, gentle yet gritty, high minded yet sleazy - art and rock and roll and fun. No wonder this is arguably the most influential band in guitar music. It’s not a 5 star because as a record they have release better - but only by a hair.
Banging old school classic - holds up awesomely.
Well I braced myself for yet another Björk album but thankfully it was one of the good ones. With Björk it has been either good or terrible - you don’t know if you’re going to get food or an uppercut to the chin. This one is actually one of the better better ones - cinematic - almost conventional - and a semblance of recognisable structure - so I actually enjoyed it. It’s still Björk mind you - unmistakable - but if one can tolerate her - one would like this one - and actually find reason to return to it.
What an amazing record - and a snapshot into the utterly incredibly performer snd person Johnny Cash was. I mean to play a set of songs to inmates, giving them a good time, peacefully - threading the thin line between not getting them over exciting, not pissing off the prison staff, but being emphatic, honest and real and even connecting - this record just culminates in a rousing record with strong songs and a Swiss watch makers precisión of a balancing act. A Masterpiece of a show and a masterpiece of a record.
Huh. This band slipped under the radar - it’s the right era, and right genre but I had never come across them. Growing up I’d have loved them - a bit of Beastie Boys, Sublime and a mellow JSBX - and the accent somehow is both grating and refreshing. Now I’ve kind of moved on from this blues / funk thing but still an interesting find for me.
Funky - cheeky and really good fun hip hop. I mean as usual the skits get very old very quick but at least on this record they’re short and don’t get in the way… Except the orgy song. This record basically excludes itself from being played unattended and publicly. Shame as it’s a strong album.
Oh what a perfect album. Dare I say it’s even better than Low End Theory? Yes I do. And it’s not long for a hip hop and doesn’t fall for the skit tropes that plague even the classics. And the sampling from funk and soul just generally give it a timeless feel - especially considering this album was released in 1990. Way ahead of its time. A perfect record.
Interesting find - beautiful moments and occasionally sublime - but words feel too awkward to be a great record. Still fun and pretty.
Well well well. Somehow the Fall sound like a cult to me - people who like the Fall buy into the whole Mark E Smith / John Peel thing - but I haven’t yet come across the money - and since I’m not in the cult I definitely feel like a heretic. BUT there a certain refreshing lightness of soul in this record - from what I can see it’s recorded in one day - and it truly feels like it’s a live show even if it’s not as the name alludes - a live album. Is it the directness and freedoms that appeals to me? Possibly? Is it why others like them? can’t say as I’m not in the cult. Is it a great album? No. But it’s fun.
This record doesn’t contain any of the hits but man is it a good record. Sublime songwriting permeates this album yet it’s rather dark - especially considering the saccharine disco pop they ABBA are normally associated with. The synths and the delivery product, dare I say, a bit of a post apocalyptic mood to the proceedings - and listening to this will running in post USSR Batumi certainly helped. Loved this record - it’s a serious piece of art.
The grief in this record is palatable and it is a complete mood sponge - a black hole of darkness that is very understandable - but maybe because I’ve never been emotionally where Nick Cave has been during the time of writing this album - it just completely overwhelms me with unhappiness that i don’t want to listen to it again- it doesn’t help that it’s long and very sparse - which although helps convey with Nick Cave wants to - but it’s not for me.
Oh man - this record threw me back and I realise how criminally under rated this band feels to me. The musicianship is mind blowing - production perfect - there isn’t one song that doesn’t fit - and at their poppiest this band is gold - even with the overly sweet and possibly omnipresent single in 1996 ‘Lovefool’ - it’s still subtly brilliant. Crown jewel to me is the Sabbath cover.
It’s a lot of elements I don’t like - the Clapton-esque school of white man blues, and Deep Purple style hard rock. It’s not a terrible album - but not something I am into.
Ok but unremarkable alt country rock. Tried many times to get into it but it just slips away like sand in the desert…
Well well well, third time’s the charm. The other two records by Dexys Midnight Runners on this list were abysmal and almost downright loathable - but this one is actually pleasant - almost touching on that late 70s / early 80s British aka sound that Madness made popular, but also not quite ska, the songs fun, and upbeat and the record well balanced. I wouldn’t have guessed from the way I crossed paths with this band before.
Banger after banger - can’t knock any of it. It’s ore of those records though that the songs outshine the album - because the single’s gravitational pull just makes the in between tracks feel pale in comparison even if not. But then Bad or Smooth Criminal come up and you find yourself dancing again. Good fun.
Had forgotten what fun this record is. Maybe it's not for everyone, but given I'm accustomed to the scene this band came from, it's a darn good album to me. Hectic and urgent from start to finish, a little dark and quite unique - I'm glad this one is on the list.
I really tried but it’s too meandering and I couldn’t hold my attention for even the length of the shortest track. Great musicianship - mediocre record.
On paper should like it, in reality, despite the many times I tried to warm up to it, it couldn't stick. The related bands though are up my street, but probably they were recommended to me due to this band's previous punk output. The record itself, fell flat to me, but it's not bad, just forgettable.
I want to like this album so bad, it feels cool, it ticks all the boxes - but I still can't totally see a great Roxy Music album. Maybe I'm not cultured enough, or maybe it's not a great record - but I'm applying the same rule I've applied to everything else on the list - would I pick it up again voluntarily? no...
It’s the most accessible album of the band I’ve heard so far - some pretty clever wit thrown around - mixing the lecherous with high mindedness. The arrangement are also just the right amount of tasteful. Maybe the only thing that kind of put me off is the lechery - even if it’s comedy - it just kind of grates nowadays - but not enough to demote this album seriously.
Beautiful soul album - short and sweet. I probably don’t have much more to say that what had already been said by others on this record.
Funky but the misogyny kind of ruins it for me. It’s not that special that I can turn a blind eye to it.
Interesting simple early ambient, which was pleasantly enjoyable. A bit Jean Michele Jarre meats ambien works Aphex Twin.
Good hard alternative rock - love the drums - not much to write home about but I’d definitely like to revisit.
Gorgeous alt rock record - very melodic, poppy but also with a lining of grit - kind of in the vein of the Wannadies, Ash and Dinosaur Jr. It's a shame it's not available on some streaming services.
Good solid album - first half is excellent but it kind of tapers in interest towards the end but still overall fun.
Lovely album - eclectic, without trying too hard and all the while forming a cohesive whole. Love the Mexican / Latin tinge to the songs. One small fault is Side B, does meander a tiny bit compared to the compact directness of the first half, but it is pleasant nonetheless.
Oh what a beautiful record. End to end sparse and lush. Love it and loved it again after all these years.
Whereas most Alice Cooper records thread a fine line between witty and passé, rocking and tiresome… this was a fun one throughout. Still with the same dry Alice Cooper delivery but this record is proper glam - more akin to T-Rex and Bowie but maybe not as refined. Anyway it was a fun record.
Oh lord not another Brian Eno album… that’s why I thought - expecting 2 hours of sparse synthesisers. But no - this is an awesome album - funny witty, banging and rocking. Just the right length and it kept me wanting more. Bravo Mr. Eno.
Not an ordinary record and sound - the sparse arrangements in some of the songs is quite Interesting and so is Paul Buchanan’s vocal style and phrasing - although it’s quite samey throughout the record and can border on the tiresome. But… it’s not a long record and it’s unique and the songs are pretty cool. Nice surprise.
Some good but forgettable hippie folk. If you’re into the genre I think these seem to be a less appreciated one but still hold their own alongside the Byrds and Jefferson Airplane and the likes.
A retro futuristic concept of a Zulu Nation out in space with an avant garde sound that is both funky and techno, with some of the most memorable early hip hop tunes to booth? This album is a masterpiece and it’s also super fun.
Ugh - I braced myself when this album turned up - but but but - it turns to be a pretty half decent record. First half is a strong showing of R&B, Soul and Gospel influences that are actually tasteful, then this second is split between some decent pop ballads and had it ended at the ‘Thank You’ track it would been an actually great record. But then it kind of descends into this gaudy cartoonish cabaret that gets old very very quickly. But if you skip that - this is a good record. I would never have guessed.
A gorgeous album musically - but hard to ignore the casual glorification of child abuse. It’s funny, but it’s not - risqué, fine, but uncomfortably so - I mean it achieves its goal of making you squirm and ‘pushing the boundaries’ and in a way making you think - but do I want to spend 28 mins in the skin of a Nabakov character? No. So despite the musical brilliance and the high minded concept - I’d rather put something else on rotation. That said it’s a good piece of art to make you wrangle with yourself.
Lovely, simple power pop - I hadn’t come across Ash in decades I think - criminal. This record is packed to the brim with punchy memorable songs and didn’t get tedious even after repeated listens.
It’s a good record but not as awesome as Paranoid - it’s definitely an interesting listen. I find it hard to not rate it high intellectually but emotionally it’s a 3. I’ll have to go with my gut on this one.
An epic 80s pop album. The singles are masterpieces and the album tracks, while good songs, stand in their shadow, as often happens when the record is full of hits. That said it’s still a very good whole.
Solid hip hop record - gotta love public enemy - frantic political and militant while being groovy and funky - it’s a good all round album
Rather average 90s singer songwriter stuff. Mostly was a slog for me.
An awesomely fun record. Light and breezy and solid pop tunes. A quirk of this record is one of the few ever good albums that have a slow start but then escalate to a mouth fizz bomb of pleasure by the end of it.
A thoroughly strong record end to end - it’s one of those that is better then the sum of its parts. Loved it.
Apart from a couple standout singles this is a rather bland record.
Gorgeous start, quick taper - while there are diamonds in this record - it’s a bit repetitive by the end of it - and it doesn’t help I find old Tim to sound too much like Jim Morrison for my liking.
Interning fun pop record - there’s more to it than meets the eye. Not one of my favourites but did find myself enjoying the listen.
Lovely album - a record’s record - pleasant synth alt rock with a French accent.
Quite a lovely album over all but not my genre and hence don’t feel like I’d ever revisit. But it’s actually quite a lovely listen.
Mediocre record - I think I’m getting the hang of this - albums like this are here to contrast actually good ones - so that one can appreciate quality when one hears it. This? Definitely not one of them.
A classic but not their best in my opinion - I always found it hard to get into Joy Division despite on paper influencing almost every band I like - and while this starts strong it tapers off quite quickly. But Peter Hooks bass lines - oh yeah - and that record cover - legendary.
I like this band - it’s good punk and punk is good for me - but while it starts strong - it tapers off into the background and samey-ness quite quickly despite its short length. Unhappily I don’t feel I can rate it highly.