It's got some really good bits at the start, some really good bits at the end and the middle bits are also there.
Far better than the title makes it sound. Waterloo Sunset and Death of a Clown are stone cold classics, the rest is somewhat take-it-or-leave-it.
It's got a few extremely good songs on it but my God, this really did not need to be a double album. Also, whoever told Elton John he could do reggae needs to seriously consider their position.
Miles Davis is probably the single most talented musician to have lived in the 20th century, well known for occasionally blowing open the entire genre he worked in and inspiring dozens if not hundreds of imitators. For any other musician, this would be their masterpiece - for Davis, it barely cracks the top ten.
...okay I have basically no affection for this kind of soft-rock, country ballad and even I quite enjoyed this.
Blah blah obligatory Big Lebwoski joke.
Everything about Appetite for Destruction, from the skulls on the cover to the solos on the album, is incredibly dated. You couldn't have made this album a few years earlier, or a few years later. As such, it exists as this near-perfect time capsule of 1987 cock rock. It's also the best example of the genre - I've always had more time for this album than anything by AC/DC or the like.
"Sweet Child O' Mine" does absolutely blow everything else on the album out of the water, though.
There's nothing wrong with this, exactly, but I can't imagine putting it on when Fuck Buttons exists.
What do you think the chances are of this surviving the next edition of 1001 Albums?
Bits of this sound incredibly futuristic now - I'm not surprised it didn't catch on at first in 1974. Great album.
Do you wish the Strokes were more punk and less good? Well hot damn do we have a band for you!
I've never been particularly into Joni Mitchell but damn if this isn't one of the prettiest albums I've ever heard.
I have a lot of time for Neil Young, and it's always nice to hear someone put out music this good a couple of decades into their career. Damn good album.
At the risk of hurting my punk cred, I didn't really get the big deal about this, not compared to other classics like the Clash or the Dead Kennedys.
Has its moments but gets bogged down in noise in a way that, say, The Cure never does.
If this album was totally crap except for We Will Not Be Lovers, probably the best breakup song I've ever heard and a couple of decades ahead of its time, it would still be a 3 star. The rest of the album isn't totally crap.
Never even heard of this band but damn if this album wasn't a lot of fun.
What was Josh Lyman, a warning shot? That was my son.
I see why the record label didn't really know how to promote this, but it's stood the test of time very well.
The episode of Futurama with the Beastie Boys is very good, I'm a big fan. That's the only thing involving them that's inspired anything other than a sense of "oh, this again?"
Makes me want to go to a Hard Rock Cafe and drink a £6.99 lemonade.
It's very transitional and very artsy in a way which the Berlin trilogy doesn't really approach. Those albums took the krautrock influences and made them more...commercial, I suppose? There's no "Heroes" on here, or even a "Sound and Vision". When I'm listening to the album I think it's great, but when it's over I find myself unable to remember a single note.
Fantastic album. How people don't talk about this in the same breath as Ten or Nevermind is beyond me.
What can I possibly say about "In Utero"? It's good. I like it.
There really isn't anything new to say about this album. I prefer Low personally, but this is damn close, an absolute masterpiece.
The title track and The Passenger are both absolute all-time classic tracks of the period, and the rest of the album is excellent as well. If it wasn't for Turn Blue, which I can't stand, this would be an easy 5 for me.
I liked bits of this quite a lot, but as a whole it's deeply unfocused and oddly forgettable. Turns out that if you throw everything and the kitchen sink into your album, it just makes you sound like B-tier Flaming Lips.
Reminds me of First Utterance, or Exuma. Had no idea this existed, very very happy I now do.
This wasn't actively unpleasant to listen to, but for an album bursting with ideas it turned into background noise remarkably quickly.
It's got a tremendous amount of energy but that doesn't make up for the fact that I just don't like this style of music much.
Honestly, give me either the raw Britpop of Parklife or the more experimental rock of 13 - this has the problem of being in the middle. Gotta respect this as a transitional album.
Oh, and obviously Song 2 is unimpeachable.
Goddamn what a fucking tour of force this album is. Insanely catchy, insanely influential (on both the global scene and on the country in which it was created) and nothing less than a masterpiece.
I've never been a particular fan of the Stones - they're far more of a singles band to me. I'm also not a particular fan of double albums - it's very rare that they don't overstay their welcome.
As such, you can probably figure out how I feel about a Stones double album.
Not a great deal to say about this - it's a classic blues album by an artist gone too soon.
This was extremely pretty and I enjoyed listening to it at the time, but now it's over I cannot remember a single note.
One of the most beautiful jazz albums ever made.
A little too free for my taste, but still a great time.
It's probably an overstatement to blame the death of rock music on rock music becoming this...ignorable? But after 46 minutes of this that felt like 46 hours, it doesn't feel like THAT much of an overstatement.
This is the first album on here I've really felt like one listen isn't enough to really grasp it - there's clearly a lot going on underneath the surface. View this 4 stars as entirely provisional.
Almost unspeakingly beautiful and haunting.
I've spent a lot of time trying to really understand Spiderland, without much success. At this point I've given up on it as an album which I quite like but will never love in the way that a lot of people clearly do.
There was nothing wrong with this, but there's also very little to recommend it. Almost the dictionary definition of average.
I liked bits and pieces of this but I can see why this hasn't survived in the public imagination in the same way that Blur and Oasis have.
Country for people who don't like country, and everything that needs to be said about the Hurt cover has already been said. Astonishing song.
I have a feeling that if I listened to this for the first time today I wouldn't be a big fan, but as it is my teenage self refuses to let me give this anything less than a 4.
Frank Sinatra sounds great as ever, but I find it quite hard to engage with on more than a surface level.
So self-evidently pretty good that reviewing it almost feels like a waste.
Rock Lobster will be with us until the heat death of the universe, but as what I'm not entirely sure.
Pretty excellent punky new wave, I enjoyed this a lot.
What else is there to say? It's fucking London Calling!
I'm surprised I missed out on this one back in my wider music nerd phase, but I'm sad I did - this was extremely good. "They Won't Go When I Go" is an absolute classic.
I liked bits of this but I don't understand the need for this to be as long as it is.
Feel like I maybe missed a trick with this one, but I found this deeply forgettable.
John: Alright, this is our final album so we should start it off with our best effort. I've written "Come Together", a really unique and interesting song with enigmatic lyrics.
George: I've written "Something", a tender and achingly earnest love song which-
Paul: BANG BANG MAXWELL'S SILVER HAMME-
