I did not know what to expect from this album. I’m a huge jazz fan but Ibrahim is not someone whose music I’m familiar with. He’s a pianist, but this is very much an ensemble effort. And it covers so much ground. It opens with Mandela, which really swings, and it never sits still. There are steamy, edgy tunes that reek if New York (Song For Sathima, Tuang Gura). Long, slow pieces (the title track & The Mountain). The Wedding is a beautiful tune in march time. I thought Mannenberg Revisited sounded very 60’s. Turns out it is a re-interpretation of a song he originally recorded in the early 70’s. A song which is often remembered as an unofficial national anthem. And the album ends a bit like it started, with the band really stretching out, on Sameeda. A terrific record.

My favourite Roxy albums by far are the first four. This was the 4th, the 2nd without Eno. It’s not full of great songs but it does well enough. The Thrill Of It All, Three And Nine & All I Want Is You are the standouts for me. As are Ferry’s lyrics throughout the album. He’d already released his 2nd solo album a few months before this, complete with dress suit & bowtie on the cover, and that would be the Ferry we’ve watched for almost 50 years now. No surprise then that, except for Cole Porter (who was always in a dinner suit), he’s the only songwriter I’ve come across to use the phrase “that old ennui” (If It Takes All Night). Favourite lyric though is from Casanova : Now you’re nothing/ But second hand/In glove. Great to hear Ferry attack the harmonica a couple of times on Side 1. The band are all fabulous. Not their best album, but in the running.

The Young Rascals were essentially a singles band. The first album of theirs that I owned was a greatest hits called Timepeace (1968) - not a dud track on it. The Groovin lp however does have some filler. In fact I would rate five of these eleven tracks as such. But the other half dozen songs still make this a mighty listen. They were great pop songwriters and great artists clamoured to record their songs. Dusty Springfield did a great version of How Can I Be Sure & Aretha almost owned Groovin in the end. I think The Young Rascals were the first white boys to be signed by Atlantic & this album must have made Ertegun & Co. very happy indeed. The song Groovin became an immediate classic - from the instrumental opening you are immediately lazin on a Sunday afternoon. The flute on It’s Love turns what could have been an ordinary rocker into something much better. But they could certainly rock - A Girl Like You & You Better Run are up there with their best recordings. The only cover version on the album is their take on A Place In The Sun which, while interesting, pales next to the version Stevie Wonder had recorded the year before. Anyway, I always wait to hear the concertina in How Can I Be Sure & it always knocks me out. So, despite the filler, there’s enough greatness on this album to give it 4 stars.

I like Matt Johnson’s politics - it’s partly what makes Heartland the highlight of this album for me. Sweet Bird Of Truth is less interesting musically but the lyrics are cut from the same cloth. Problem for me is that The The sound like so many other English bands of the 80’s. I kept thinking : he sounds like Lloyd Cole. But then I discover that Lloyd had been influenced by the first The The album, Soul Mining. So, I’ll never play this album again. I can hear the merit in it, but it’s not my taste.

I’ve always loved Ms.Jackson. It’s the only track on this disc that I was familiar with. Happy to say I loved the rest of it. Outkast have a lot to say. They can be funny (Gangsta Shit). They can be political (B.O.B.). But it’s mainly the sounds I enjoyed. The musical soundscape is so interesting. And subsequently the album is rarely boring. Highlights for me are I’ll Call Before I Come, Bombs Over Baghdad (loved the guitar solo), Xplosion & Gangsta Shit.

Foolishly, I’ve avoided this band because of their name. Recently a friend sent me a bunch of their video clips, which i discovered are well worth a look. Having finally listened, I find that I’ve fallen in love with this album. There are so many highlights. Juxtaposed With U sounds like a great Burt Bacharach composition. I love No Sympathy. The instrumentation & harmonies in it remind me of Crosby, Stills & Nash. In fact, the harmonies are generally wonderful and they combine with the full-on psychedelic approach of the band to create a great sound. There’s something schizophrenic about Sidewalk Surfer Girl. It wants to be soft & sweet and loud & noisy at the same time. Beachboys go metal. And a big mention to Run! Christian! Run! and my favourite lyric - on the midnight train to Jordan. This album was recorded at the legendary Rockfield Studios. I can recommend a doco doing the rounds about that Great Welsh institution. So glad I’ve discoveed this album.

Once again the only track on this LP I was familiar with was the hit single - Cult of Personality. Although I do own the 7 inch single of the Clash cover, Should I Stay Or Should I Go, which appears on the CD reissue, and which I’m quite fond of. Anyway, I really enjoyed the album. At the time it was released it was pretty unusual to find a guitar-based rock band membered by a bunch of black guys. But I have to say that these guys do the memory of Jimi Hendrix proud. Side 2 is terrific. It begins with Funny Vibe, a great track with a false ending featuring the dudes from Public Enemy, and an excellent cover of the Talking Heads’ Memories Can’t Wait. Mick Jagger’s harmonica opens and closes the album’s only ballad, the beautiful Broken Hearts. I love What’s Your Favourite Colour? and cannot understand why it was edited to less than 2 minutes on the vinyl. The side ends with Which Way To America?- which opens like an INXS song but then goes guitar-crazy. Loved it. Realy enjoyable.

I saw Al Green at a free concert in the Sydney Domain in January 2010. After being told the place was full & being turned away, I crawled under a rope partition & ran into the crowd. I was not gonna miss Reverand Al. And he delivered. I reckon the majority of the crowd had been introduced to Al Green by the inclusion of this album’s title track in Tarentino’s Pulp Fiction. In the wake of that I saw him perform the song on Letterman in early 1995. He was outstanding - so relaxed, laid back & in the groove that he & producer Willie Mitchell had created decades earlier. His sound is unique. This album is not full of hit singles but it flows. It immerses the listener. The oddity on the record is his cover of The Bee Gees’ How Can You Mend A Broken Heart (the only time I saw them was not far from the Domain, also outdoors in the old Showground in January 1972). This song had toppedgthe American charts in 1970. What Green does with the track on this album is remarkable. He totally slows it down and he makes it his own. I really liked the original, but Al gives it soul & takes it to a whole new emotional level. My copy of this LP is on Motown, who distributed Hi Records back-catalogue in the 80’s. Hardly surprising. It’s a great listen.

I’d never heard any of the tracks on this album before. I really enjoyed the opening track - it had what sounded like a Cure riff happening in the background and the lyric content was interesting. But, for me it was downhill after that. Except for This Is Yesterday, which slowed the tempo down somewhat, the band were going hell for leather and I got bored. They might be good at what they do. The sounds & samples used were often interesting (hear The Intense Humming Of Evil). But I found the majority of the tracks to be repetitive & very samey. A bit boring, really.

I loved the first two Police albums. But by the time this (their fifth & last) album was released, I’d moved on. Except for the stalker’s theme song (Every Breath etc.) & King Of Pain ( I actually would be more likely to play Weird Al’s piss-take - King Of Suede), I was unfamiliar with the rest of this record. I found the Andy Summers- penned Mother pretty interesting, but the rest was a tad boring. Still, the 2 afore-mentioned singles are strong. Two stars from me.

I was only familiar with the opening track, Time To Pretend. If you were alive in 2008, you could not have escaped it. Extra catchy tune. As for the rest of the album, I liked Weekend Wars & Pieces Of What & the drums in 4th Dimensional Transition, but found the rest of it lacklustre.

I just don’t understand this disc. I find it dead boring. There’s the odd instrumental flourish, but I really can’t stand the lead vocalist’s voice. Can’t really find anything positive to say about it.

I was totally unfamiliar with this album. Ash were obviously a tight outfit. It seemed to be all about the guitars. I really liked I’d Give You Anything - the guitars on this track were outstanding. But I found the rest of it samey & it really didn’t hold my interest.

Here we have around 30 minutes of the wackiest sounds you’re likely to hear. And I find it pretty compelling. I saw these dudes at the Burland Community Hall in Newtown in 1991. I wasn’t sure what to make of their set, but I loved the images being thrown onto the big screen behind the band. It was definitely part of the package. I loved Kuntz, partly because it reminded me of an American baseball card I have for a player by the name of Rusty Kuntz. Only in America. The production is great. Well worth a listen.

Not really my bag. But they do what they do do well. I do like the sound of the bass-playing.

This was The Cars’ debut album, released in June ‘78. The month before, Cheap Trick released their break-out album, Heaven Tonight. I put them on either side of a cassette & for the next 12 months I flogged that tape to death driving around Sydney in my girlfriend Julie’s Holden station-wagon. So I know this album well. And it gives me just as much listening pleasure as it did back then. Side 1 is flawless. And the flipside is almost as good. Ocasek could write a terrific pop song. The Cars were one in a long line of American bands that may never have existed if The Beatles had not taken America by storm. My favourite moment is the Beatles guitar line in My Best Friend’s Girl - total homage to the Fab4. The song even ends with a Yeah Yeah Yeah in the fadeout. I love this record.

For most of my adult life, my reply to the query “What’s your fave Beatles album?” was Revolver. When It was released, I’d just turned 16. The same day it was released, the new Beatles’ single was released - in Australia, the A-side was, unbelievably, Yellow Submarine. The B-side was Eleanor Rigby, one of McCartney’s greatest compositions. None of the Fab4 play on it. George Martin claimed his score for the strings was inspired by Hitchcock’s favourite composer, Bernard Herrman. It’s exceptional. McCartney was also responsible for Got To Get You Into My Life & Good Day Sunshine, both up-tempo belters, and two beautiful ballads, For No One (just Paul & Ringo) and Here, There And Everywhere (with beautiful vocal harmonies which Paul claimed was inspired by Brian Wilson’s God Only Knows). George got 3 songs on the album, more than ever before, including the opening track, Taxman, on which Paul played lead; Love You To, with George on sitar, Anil Bhagwat on tabla & no other Beatle taking part; and I Want To Tell You. Ringo got to sing Yellow Submarine, which was actually a #1 single. And Lennon featured on I’m Only Sleeping; She Said She Said (inspired by an acid experience with Peter Fonda); the wonderfully poppy And Your Bird Can Sing; Dr Robert (re a NY dealer who supplied hallucinogens); and Tomorrow Never Knows, a track which single-handedly changed the course of popular music. We’d never heard anything like it before. But then, we’d never heard anything like The Beatles before. This is a great record.

This album was released in October 1977. The title track was impossible to dislike and has over time become one of Bowie’s most popular songs. It’s one of 4 tracks on the album co-written with Eno & features Fripp on guitar. Six tracks feature vocals and four (most of Side 2) are instrumentals. For me, “Heroes”, Beauty And The Beast and Blackout are the standouts. These 3 & Sense of Doubt are the 4 tracks from this album included on the live double album Stage, which was released in September 1978 to coincide with Bowie’s 9 month world tour. I saw his first Sydney concert at the old Showground in November. He was in great voice. It was the music event of the year & felt a bit like the gathering of the tribes. This isn’t an album I’ve ever played a lot and having given it several spins in the last few days, I don’t know why. The production (Bowie & Visconti) is terrific. And it ‘s never boring - even the 4 consecutive instrumentals are full of surprises. I loved it.

I’m afraid their aim was off. Played it once. Life’s too short. Not at all interesting to me. Enjoyed hearing the famous backbeat from David Essex’s 1973 hit, Rock On, on Some Kind of Kink. And Karime Kendra’s voice on The Rough And The Quick was effective. Other than that, I found it difficult to stay awake. Not one for me.

I saw Wu Tang Clan at the Enmore Theatre in August 2011. I was really there to see the support act, Daily Meds. The audience was so excited. It was a great night. This album was 15 years old at the time but 3 of the tracks were featured that night - Liquid Swords, Duel Of The Iron Mic & 4th Chamber. Two of them feature the hypnotic hammond organ sample from Willie Mitchell’s version of The Rascals’ Groovin. And the other uses the repetitive piano piece from a David Porter(as in Isaac Hayes/David Porter) track. I’d never heard this album before. I spent a lot of time listening to the many tracks sampled here & marvelling at how the samples were used. I enjoyed the film dialogue used. The album has an edge-of the-seat atmosphere that is maintained throughout. It sounds great. Shadowboxin, with the Ann Peebles sample was a standout for me. At times it was just a bit too repetitive. And in a post-ISIS world, I doubt if you’d open your album with a track in which a kid talks about his dad being a decapitator.

I guess it’s an age thing. In the 1970’s I lived in a lot of share-households. I saw & heard a lot of record collections. This wasn’t in any of them. My brother, 8 years younger than me, was the first person I knew with a Sabbath lp, but that was their 2nd album, the one with Paranoid on it. It’s the only track of theirs I could name in a line-up and I’ve always liked it. This album is totally new to me & I don’t feel like I’ve missed anything in the intervening half-century. Derivative & boring.

I’ve owned & loved the single Tennessee/People Everyday for years. When I owned a jukebox, it was often on it. But I’d never heard the rest of this album before. It’s such a great listen. There’s a positivity about it that is missing from a lot of hip-hop released in the 30 years since this came out. There’s not a dud track on it. And so much of it is made to dance to - Mama’s Always On Stage, Give A Man A Fish, Mr Wendal. And the flow of the tracks is terrific. I loved it.

I only own 2 Jimmy Smith albums & this is one of them. Recorded in 1960 for Blue Note, it really swings and is very much an ensemble album. The great guitarist Kenny Burrell features on half the 4 tracks. But I reckon it’s as much Stanley Turrentine’s album. His tenor playing embellishes the whole record. By contrast, the other album I have is a 1967 album he did for Verve, titled Respect, and the difference in Smith’s approach is marked. It’s very funky. Four of the five tracks are covers of soul/funk standards of the day, and it’s very much a Jimmy Smith album. And there are no horns. It’s all about the organ. This reflects the development of his taste through the 60’s. But it doesn’t detract from the greatness of Back At The Chicken Shack - a wonderful listen.

I’m a big fan of Polly’s, but I obviously did not give this much of a listen when I bought it. I was taken aback by the high-pitched voice and I think it got filed away pretty quickly. What a big mistake. I now can’t stop playing it. It ticks a lot of boxes - particularly the length of most of the trax - 5 are 3 minutes or under & only 2 only 2 are longer than 4 minutes. Takes me back to the late 70’s. The stories in the songs are heartfelt and the music is as original as you’d expect from her - possibly a bit to do with Mick Harvey’s involvement. Special mention to the native American drums & cavalry charge bugle in The Glorious Land and the nod to Eddie Cochran’s Summertime Blues in The Words That Maketh Murder. I saw her at the Horden earlier this century - so good live. And rarely fails on disc. Loved this.

This sounds great. If anything, the tracks are a bit samey, but there’s no doubt the band know what they’re doing. Not particularly my cup of tea, but definitely a polished effort.

I have never listened to a whole Rufus Wainwright album before, just the odd track. I’ve always liked his voice. But, for me, this is a masterpiece. The range of music on this cd is astounding. As is the quality of his lyrics. As a one-time altar boy myself, I was knocked out by the opening track, Agnus Dei, and every track that followed was a winner. I loved The Art Teacher, which made me recall Meg Christian’s Ode To A Gym Teacher; Gay Messiah, which brought to mind his father’s Talking the New Bob Dylan; and Memphis (not Nashville)Skyline, his heartfelt tribute to Jeff Buckley, is outstanding - Then came hallelujah sounding like Ophelia - referencing a Cohen song they both covered. He surrounded himself with such talent - a lot of family, the great Van Dyke Parks’ string arrangements, Levon Helm drumming on The One You Love. The album is so full of surprises. I loved it.

I liked Rocket. i liked Flawless. Take or leave the rest. She’s a talent, but this stuff does nothing for me.

For me, The Cure were a great singles band, but the only albums of theirs I’ve ever been able to listen to are the hits compilations and a live album I own. I checked the hits cds I own, Standing On A Beach : The Singles & The Cure : Greatest Hits, and nothing from Pornography appears on either. This doesn’t surprise me, because I can’t hear any toe-tappers here. I find it just a little boring, except for The Hanging Garden, which was the only single release off this album.

I always loved the single Crucify, which I found on a terrific 5-track EP that featured covers of Nirvana, Led Zeppelin & the Stones. Pleased to find some other gems on this album, particularly Leather & Me And A Gun. It’s impossible to hear her voice without Kate Bush being brought to mind, but she’s not alone in that regard. She can write a tune, and this disc doesn’t get boring. A good listen.

I had never heard of this band before. And when I started listening to the album, I thought - can I actually put up with this guy’s drone of a voice? Well I could, because he’s such an interesting lyricist. There are so many wonderful lines. From the track Tennessee : writing sad songs and paid by the tear & Punk rock died when the first kid said punk’s not dead. From Horselike Swastikas : … And I wanna be like water if I can cause water doesn't give a damn. Not surprising to learn that David Berman was first & foremost a poet. The music is fine, but it’s Berman’s words which steal the show. It’s been a real discovery for me.

I’m a massive Dan fan. After waiting over 30 years for them to tour Australia, I saw them in Sydney and in Canberra in 2007 and was not disappointed. I love this, their 2nd album. I love the photo of the band in the studio. Becker looking cool with the sunnies, Fagen looking like a rabbit in the headlights, having finally been lumbered with lead vocals on all 8 tracks, and Skunk Baxter with his feet all over the mixing desk, looking like he has no doubts about his own ability on the guitar. The opening two songs on each side of this lp are outstanding. The album’s opener, Bodhisattva, is unique in their catalogue - breakneck rock’n’roll, with Baxter & Denny Dias ripping it up with some dual guitar harmonies. It’s followed by Razor Boy, once described as based on a bruised bossa nova groove, featuring the vibraphone of Victor Feldman & Baxter’s pedal steel. Side two begins with the funky Show Biz Kids, featuring the outstanding slide of Rick Derringer’ and the very soulful My Old School, with 4 saxes & a terrific Baxter guitar solo. There are no dull spots on this album and, as usual, the lyrics are often a mystery, but compelling nonetheless. Not my favourite Steely Dan album but easily 5 stars here.

There are ten songs here. For me, six of them are worth 5-stars, so I rate the album similarly. I love his poetry and there’s plenty to enjoy here. Opening with Bird On The Wire sets a pretty high bar. On the surface, it’s addressed to a lover that he’s not treating well, but it’s so much more than that. As is the other great love song - You Know Who I Am. He loves using the word naked, as he does here and also in the more light-hearted Tonight Will Be Fine. Then there are the songs addressing war and the youth. I assume he wrote a lot of these songs in 1968, when the anti-war movement in the U.S. was at it’s peak. The biblical Story Of Isaac and The Butcher fit in here. The Partisan, which he didn’t write, was an unofficial anthem of the Free French in WW2. I only saw him once, in early 1980, at the Capitol Theatre in Sydney. It was his first tour to Australia. And the only other concert I’ve attended where emotions were so high was the first Brian Wilson concert at the State Theatre early this century. The love for the performer was palpable. I remember that people were constantly screaming requests, and I remember that a lot of them were for Nancy. For me it is one of his greatest compositions. Love this album.

What a great record. From Marr’s aggressive guitar in the opening track, the band never lets up. Morrissey provides some great lyrics (although I can’t get Frankly, Mr Shankly out of my head). And the hits just keep coming. Cemetry Gates has always been a favourite, and from that point in the album, it’s just one great track after another. No filler on this. Can’t believe I don’t listen to The Smiths more often.

Comes from a time in my life when Reg released one memorable album after another, in this case a double album. A superb opening side - the instrumental Funeral For A Friend segues into 3 great tracks, ending with Bennie And The Jets, a hugely successful singles & John’s first song to make the R&B charts in the U.S. There’s some great stuff on Sides 2&3, notably the title track, Jamaica Jerk-Off,Sweet Painted Lady, etc. and he brings it home with Side 4, beginning with 2 absolute belters then easing out with the beautiful Roy Rogers, the country-inspired Social Disease & the mellow Harmony. Still does it for me.

I wasn’t familiar with any of this album. Three or four tracks in I was finding it a little boring, and then was really taken with We Fight We Love, featuring Raphael Saadiq. From that point on, I found it to be most engaging. The 2 standouts for me were Move (featuring a Jackson 5 sample) and Manwomanboogie, featuring Amanda Diva. Great production. Enjoyed it.

I knew nothing about the band or the album. And when listening to the opening track, The Humpty Dance, I wasn’t sure I wanted to hear much more. Then the Hendrix sample on The Way We Swing got me totally interested & I have to say I loved this album. The title track is terrific, as is Rhymin On The Funk, both with Parliament samples, and I was also taken by Underwater Rimes, which felt like a hip-hop version of The B-52’s Rock Lobster. The impersonation of Edward G. Robinson’s gangster persona is a scream. And I loved the final track, Doowutchyalike. It said a lot about the band’s approach to music, as well as life. This is one of the most soulful hip-hop albums I’ve ever heard. A great listen.

Shoegazing? Perfect description. I found the first few tracks dead boring. However when the band got really noisy, particularly on Feed Me With Your Kisses, it took me back to early Jesus & Mary Chain. Sometimes there’s a point to pure noise. These guys were obviously good at it. Will probably never listen to it again.

I was a big fan of their debut album, Psychocandy (1985). I loved their use of feedback. I remember a friend visiting me while I was playing that album on a portable cassette player and advising me “why don’t you tune that radio properly?” For a while they could do no wrong. Darklands was what would have in 1987 been called their very difficult second album. Never easy to follow a classic release. It never thrilled me like Psychocandy did. Not sure how much that had to do with the replacement of their drummer with a drum machine (one of the 80’s notable scourges), but it probably didn’t help. It’s still a good listen. I always liked April Skies.

Five Stars. I hadn’t played it for a while. It still sounds like a million, and that’s probably a lot to do with Alan Parsons’ production. And these days I probably play Syd Barrett’s Floyd recordings and his solo records more than I play seventies’ Floyd. But there’s no denying the greatness of this album. It’s one for the ages. This lunatic is still on the grass.

Not for me. Have never listened to this, or indeed any other Radiohead album, before. I thought Creep was a great song but that’s about where it ends.Not keen on Yorke’s voice. Instrumentation was often interesting but overall I found the songs to be boring. Didn’t mind Go To Sleep, but I almost did.

I was never a fan of New Order. I always found it difficult to get past Bernard Sumner’s weak vocals. His best vocal on this is on Sunrise, where he sounds like he’s channelling Robert Smith. No surprise, therefore, that the track I enjoyed most was the instrumental, Elegia. A lot of British bands either sounded like New Order, or were desperately trying to at the time. But this sound never grabbed me.

Hadn’t played this for a while, but I was brought up attending the Church of Sinatra on a regular basis, so am totally familiar with the album. Great thing about the opening track is that he not only feels so young but he sounds so young, even though he was 40 when these songs were recorded. He was in great voice. The period he was with Capitol Records produced his best work, as far as I was concerned. And there’s no doubt Nelson Riddle had a lot to do with it. The arrangements are sensational. Most of the 14 tracks rate highly in the so-called great American songbook. Worth it just for I’ve Got You Under My Skin - one of Cole Porter’s finest & one of the great vocals of all time. A classic.

I’ve never seen the movie Shaft, but I do remember watching the Academy Awards the night that Isaac Hayes won 2 Oscars - one for the now legendary theme song & one for the best dramatic score. Hayes was a mainstay of Stax Records during the 60’s - a great musician & composer and he had started a solo career in 1968. Four solo albums preceded Shaft but there’s no doubt that his career peaked with the soundtrack. Hardly surprising. A double album, it is thoroughly engaging, whether you’ve seen the film or not. It is soulful, funky and jazzy. Hayes enlisted the great Stax band The Bar-Kays to provide the instrumentation. I listened to the album from go to whoa & loved it. Here was a man who was only the 3rd Black American to win an Oscar, with a style of music that the Academy had never celebrated before. And 25 years before Salty Balls.

You have to admire someone who would record Margaret On The Guillotine while Thatcher was still the Prime Minister. Problem is, it’s not that memorable a tune when compared to, say, Stand Down Margaret by The Beat (1980). And herein lies the problem for me with Morrissey’s solo output - there’s no Johnny Marr. Morrissey’s words are still interesting but it ain’t The Smiths. Still, Morrissey’s lyrics are worth listening to. And the epic 8-minute Late Night, Maudlin Street stands out for me, although claims that the music is based on the work of Joni Mitchell are totally deluded.

I think I came across Last Nite on a compilation CD that came free with a magazine, and was so taken with it that I got a copy of this album & have always loved it. It still sounds fresh to me. The title track is one of the great openings to any album. I love the way the song opens, and, in fact, so many of these songs have great openings, that inevitably suck you in. No point selecting favourites here, I love them all.

I owned the original vinyl of this back in the day. I was a fan of Emerson’s previous band, The Nice. I was always a sucker for any band that did strange cover versions & they certainly did quite a few - wacky covers of Dylan, Bernstein, Brubeck, Tim Hardin, etc. so when Emerson broke up the band & formed ELP, I went along for the ride. I don’t remember ever hearing the term Prog Rock at the time. I hadn’t heard this for decades. I decide to listen to it on my phone while I went for a walk. As it turned out, The weather was overcast, windy & rainy & this seemed the perfect setting for the frenetic Side One. Side Two’s more straight-forward songs are less compelling, especially where vocals are involved. But, overall, It was an interesting listen.

Another album I bought back in the day (through the Australian Record Club), but have since offloaded. Just played it through and it’s better than I remember, but Robert Plant he ain’t. I think they peaked in the late 80’s.

I think this is the only Elliott Smith cd I don’t have. All the others I’ve picked up in op-shops over the years. Really enjoyed it. Particularly love his guitar playing. Nearly every song has an acoustic guitar intro and none of them are the same. Some of these intros remind me of Beatles songs (I was expecting him to break into Rocky Racoon at one point); the folky intro to the beautiful Angeles brought Paul Simon’s playing to mind; and I was chuffed to read that he used an open tuning for No Name #5, because that’s the intro that immediately made me think of Joni Mitchell, & open-tuning is her middle name. The lyrics are always interesting, and the melodies are never repetitive. And I love the fact that the album’s title comes from the writing of the philosopher Kierkegaard, because that name immediately transports me to the Piranha Brothers sketch by Monty Python - a man they called Kierkegaard, who just sat there biting the heads off whippets . A great listen.

There’s a lot of this I loved - the opening (title) track is great & sets the tone, although I found some of the rest just a bit repetitive. I liked Turn It On & Words & Guitar, but my favourites were the very poppy Little Babies and Dance Song 97, which I thought was outstanding. A good listen.

It was hard to avoid hearing Lovefool back in the day & I have to say I never wanted to hear it again. There are a few tunes here I didn’t mind - Happy Meal II; Never Recover, which sounded like 60’s pop; and particularly Great Divide. The band were obviously talented but I really find the lead singer’s voice irritating. Blondie, they ain’t.

I did not know what to expect from this album. I’m a huge jazz fan but Ibrahim is not someone whose music I’m familiar with. He’s a pianist, but this is very much an ensemble effort. And it covers so much ground. It opens with Mandela, which really swings, and it never sits still. There are steamy, edgy tunes that reek if New York (Song For Sathima, Tuang Gura). Long, slow pieces (the title track & The Mountain). The Wedding is a beautiful tune in march time. I thought Mannenberg Revisited sounded very 60’s. Turns out it is a re-interpretation of a song he originally recorded in the early 70’s. A song which is often remembered as an unofficial national anthem. And the album ends a bit like it started, with the band really stretching out, on Sameeda. A terrific record.

My favourite Roxy albums by far are the first four. This was the 4th, the 2nd without Eno. It’s not full of great songs but it does well enough. The Thrill Of It All, Three And Nine & All I Want Is You are the standouts for me. As are Ferry’s lyrics throughout the album. He’d already released his 2nd solo album a few months before this, complete with dress suit & bowtie on the cover, and that would be the Ferry we’ve watched for almost 50 years now. No surprise then that, except for Cole Porter (who was always in a dinner suit), he’s the only songwriter I’ve come across to use the phrase “that old ennui” (If It Takes All Night). Favourite lyric though is from Casanova : Now you’re nothing/ But second hand/In glove. Great to hear Ferry attack the harmonica a couple of times on Side 1. The band are all fabulous. Not their best album, but in the running.

I remember hearing Bob Hudson play Sultans Of Swing on 2JJ one afternoon in 1978 & thinking that it would be big. The album was even better. Not sure how much the production of Muff Winwood (Stevie’s bro) had to do with it but the flow from track to track is terrific. There are the moody songs (In The Gallery),the rocky tunes (Setting Me Up is pure rockabilly) and, let’s face it, the ones that sound so much like J.J.Cale, it ain’t funny (Southbound Again). It’s all about Mark Knopfler’s laid-back vocals & distinctive guitar sound. From then on you could always identify his sound. Within a year Dylan employed him to play lead on the Slow Train Coming album. I hadn’t played this for quite a while, but thoroughly enjoyed it. A great album.

I never liked this album &, even though I’ve owned it for decades, I haven’t played it for that long either. Released in October 1973, it was bookended by the only 2 Lou Reed albums I was ever passionate about - Transformer(released November’72), the album that made him famous & Rock’n’Roll Animal (recorded live December’73 & released February ‘74). These are great records. Not sure what Berlin is. There’s nothing wrong with the band and a lot of Lou’s music is beautiful, but I can’t stand the vocal delivery. And the same was true when I saw him live - first at the Hordern Pavlova in July1975 and ten years later at the Civic Theatre in Newcastle. His bands on both occasions were great, but he just wasn’t engaging. At both concerts, the opening bands stole the shows for me - in ‘75 it was a Kiwi band I’d never heard of - Split Enz - and ten years later it was a band I was very fond of - the Hoodoo Gurus. Anyway, I’ve given Berlin another listen and discovered that there are a couple of songs on it that I do enjoy - How Do You Think It Feels & Sad Song. Apart from that, it leaves me cold, although, as I said, the music is often terrific.

When I bought the first 2 Springsteen albums through the Australian Record Club, he was virtually unknown in this country. After the success of his 3rd album, Born To Run, he truly was the next big thing. Unfortunately, due to a dispute with his ex-manager, the much awaited follow-up album - this one - took 3 years to surface. When you’re a big fan, that’s a long time between drinks. I remember that it wasn’t what I expected. It’s moodier than it’s predecessor (the title track says a mouthful) with songs about fathers & labour(Adam Raised A Cain; Factory) & basically the American dream (The Promised Land). Thankfully there were no shortage of songs involving cars (I think cars/driving get mentioned in 7 of the 10 tracks) or girls. I’ve always loved Candy’s Room - the speed of it & Springsteen’s guitar tribute to The Yardbirds. He was in his prime. The 70’s were his real glory days.

The only track I was familiar with here was 1979, which I used to include on compilation tapes quite a bit after finding it on a cd single. Great track. Happy to find many great tracks on this album. Bullet With Butterfly Wings is terrific. I listened to the remastered 2012 double cd version. I thought the 2nd cd was outstanding. The music was so diverse and the musicianship of the highest order. I am not big on Corgan’s voice, but despite that, I found the album really engaging. Great listening.

I’ve never heard this album before, but, being a big Costello fan, I picked up the 12” single of Tomorrow’s Just Another Day at the time, because it included a version with Elvis on lead vocals. Great track, as were the other tracks on that record - Blue Beast and Madness(Is All In The Mind). As was the single Our House. But having now listened to the other nine tracks, I have to say they sound a bit samey. They were a good band but they weren’t The Specials.

What a pleasure to hear this album again. When I want to hear the Buzzies I usually just throw on Singles Going Steady. I guess I always thought of them as being a singles band. But this, their debut album, proves that theory wrong. I listened to the original vinyl eleven tracks and 36 minutes of joy. Fast Cars is a brilliant, breakneck opening track. No Reply ( the title of a Fab4 classic)opens with a repeating ring-tone that Blondie would copy later in 1978 on Hanging On The Telephone. Pete Shelley almost yodels his way through Get On Our Own. Sixteen ends Side One with the conclusion that only older folk could possibly enjoy disco - No disco / No being twenty wo wo wo one. Every track on Side 2 is great, particularly Fiction Romance & Autonomy. Even the almost 6-minute long closer, Moving Away From The Pulsebeat, is terrific. Essentially an instrumental (only 2 sung verses), it gives the band a chance to go for it, and the guitarists & drummer John Maher don’t disappoint. I did eventually see the band at The Marquee Club in Sydney in early 1990. They were terrific. My clear memory of that night is that the support act, Falling Joys, were so much louder than Buzzcocks. I don’t think volume was necessary. They were a pop band. But they were a great pop band.

I did not know this record at all. I did not find it as interesting as Melon Collie etc. I liked Cherub Rock, Disarm & Mayonaise. And I really enjoyed Silverfuck - definitely could have been a late 60’s drug-induced marathon. They were good, but I find this album to be a bit samey.

I fell in love with Tracey & Ben via their debut EBTG album, Eden. Idlewild is their 4th album and one of their best. My original vinyl has 11 tracks, all penned by the couple. My cd of the album, however, contains an extra track, which opens the record. It’s their cover of the Crazy Horse classic, I Don’t Want To Talk About It, which had charted for Rod Stewart in 1977. The EBTG version is to die for. Tracey Thorn has a voice made to sing about broken hearts. The album hangs together so well. Sophisticated, to say the least, it’s a great listen.

I wasn’t familiar with this but quite enjoyed it. I thought that musically it was good. Loved the drummer. Once again the vocals I thought were quite generic & uninteresting. And some of the lyrics were a tad embarrassing - You’re a water sign & I’m an air sign - Really?????? But I liked Animal Nitrate, She’s Not Dead & Pantomime Horse & really enjoyed The Drowners & Metal Mickey. Solid.

Was there a better single released in the 90’s than Brimful Of Asha? I fell in love with it on the very first listen. And I feel the same way about this album. From the opening moments (Sleep On The Left Side) when you hear something that sounds like a piano accordion but probably isn’t, the soundscape here is intriguing. As with the instrumental Butter The Soul, which sounds like somebody whistling while trying to tune a radio. Great to hear Ginsberg on When The Light Appears Boy (he died 6 months before this album was released). His life was greatly influenced by Indian culture. Really enjoyed the duet with Paula Fraser (Good To Be On The Road Back) & the rapping by Justin Warfield on Candyman. And for me the great thing about the version of Norwegian Wood is that it reminds me of the cheesy cover of that song by The Folkswingers (sitar & all). I love this album.

I loved the vocals on this - so much of it reminds me of The Beachboys (Inferno, for instance).The guest singers do well - Pharrell can sing the phone book as far as I’m concerned. Kenny Loggins can still hit the high notes. There’s a jazzy feel, overall and the bass-playing is often sublime (Them Changes). I loved the title track - in fact I loved the whole album. I own Kendrick Lamar’s To Pimp A Butterfly, but had no idea this cat was involved in that. He’s definitely got great form.

At my age, life’s too short for this. I did enjoy all 1:25 of the Jetaime cover & Negativ Nain was amusing. Other than that, it’s all I could do to ward off a headache. I think the nearest we ever had to a band like this in Sydney was SPK. Mind you, I did enjoy that one of the tracks was titled Schmerzen.

I have no memory of ever listening to this cd, but I realised quickly that I was familiar with a good 80% of the tracks. I had never taken much notice of the lyrics - I think I wrongly assumed that this was a musical version of a rom-com. Couldn’t be more wrong. And musically, the only issue I had was with the singer’s harmonica playing. A little dodgy. But, overall, I really enjoyed this. A standout.

In July 1978 I was working for the Migrant Services Section of the Social Security Department, in Clarence St Sydney. One morning I received a phone-call from a mate who was a student at Sydney University, telling me to get my arse up to the Union Theatre (now The Footbridge) on campus, because John Martyn was playing a free concert at 1.00pm. As it turns out, this was part of a world tour to promote the album One World. I got there in time. John Martyn was late, and extremely hung-over, carrying what appeared to be an acoustic guitar with a plethora of wires coming off it (and no doubt a bunch of effects pedals). It was one of the great concerts I’ve ever attended. At the time I was only familiar with the 1970 album Road To Ruin, which he recorded with his wife, Beverley, & which is an all-time favourite of mine, so most of what I saw him play that day was unfamiliar to me, but he was in blistering form. And I imagine a lot of what he played came from this album. How lucky I was, because this is a great record. I can’t think of anything else that sounds like it. About 30 years later, a different mate gave me a dvd titled The Transatlantic Sessions, which features many great artists & includes an enthralling version of Big Muff with Martyn on guitar & Danny Thompson on double bass. Do yourself a favour & google it. This is the song he co-wrote in Jamaica with Lee Scratch Perry the year before he made the album. You also hear the great reggae trombonist Rico Rodriguez on Certain Surprise. I love the fact that Chris Blackwell set up mikes in the middle of a lake on his property(where the lp was recorded) to catch whatever noises nature was providing at the time. This was way ahead of its time. Love it.

I have this album but I really only know the singles, most of which were really good. Most of Side 2 I find to be a little average. Never know Annie Leibovitz shot the cover.

You know how you remember some albums from the party you were at where that was the only album that got a spin all night. I remember the Abbey Road party in Sefton when I was 19 & a local thug named Harold Smith did a job on my mate Geoff & we ended up in Emergency at Fairfield Hospital. I remember the Hot August Night party at Ultimo when I was 23. And in-between those two, I remember the Every Picture Tells A Story party at Dulwich Hill when I was 21 & the party’s host, Glenn, was sniffing around my girlfriend. I think I was totally familiar with this album by night’s end. I have to say it still sounds great. And I have to agree with Robert Christgau that “ it's the mandolin and pedal steel that come through sharpest.\" So true. Ronnie Wood and “the mandolin player in Lindisfarne” are terrific. Stewart was always great at choosing material & it’s no different here, but I reckon the best 3 tracks are the 3 originals. This is Rod at his peak. A winner.

This was an album I’d stopped listening to until I heard Edwyn Collins’s version of Pale Blue Eyes (1984) & was reminded what a great song it was. This was post-Cale VU and it sounds so different to the first 2 albums. Except for The Murder Mystery, which harks back to their avant-garde ethic, the music is restrained and melodic. And Reed’s lyrics are more reflective than on the first two albums. I love Jesus and What Goes On (Side One is a real winner). Side Two begins well but is less compelling. Still, a terrific listen.

I really did not discover this record until the late 70’s, when punk exploded on the scene. It was then I fell in love with the first 3 Stooges albums, particularly this one. Read Danny Sugarman’s Wonderland Avenue to find out what a crazy bastard Iggy was in the late 60’s/early 70’s. No doubt Bowie’s remixing and James Williamson’s addition to the band played a big part in the beauty of this record. The Vietnam war was still raging & Search & Destroy is as good an opening track as you would hear in 1973. And, except for the more subdued pace of I Need Somebody, it’s full steam ahead for the rest of the record. Gimme Danger, Search & Destroy & the title track are highlights for me. My favourite Stooges.

My introduction to Todd was the purchase of the Nazz single of Hello It’s Me from the discount bin at Grace Bros record bar on Broadway in 1969. I think I prefer the version on this album. Never heard this record before and was only familiar with I Saw The Light, which still gets played on retro radio. Thoroughly enjoyed it - very poppy but so well done, because he’s such a good producer. I think Side 4, which involved using other musicians, is the weakest side. He didn’t need them. Love his vocals & guitar and his ability to create 2 or 3-minute pop masterpieces.

Predictably raucous and great. I’ve heard him do the same stuff (except for Money) a million times & he never fails to entertain. The audience chanting his name was pretty cute. A legend only just taken from us.

Like I said the last time, I always thought The Cure were a great singles band but I never paid any attention to their albums. So, except for The Forest, which I always loved, I was not familiar with this album. Having given it a listen, I can honestly say I’ll never listen to it again, but it’s not without merit.

Apart from Babylon, the material on this album was unfamiliar to me. Now I have to try to erase it from my memory. Very forgettable, I hope.

I was familiar with a fair bit of this album, but I’d never appreciated how good it is. It’s first-rate. The cd I have includes lots of extras. As well as the classics, Look Of Love & Poison Arrow, I was really impressed by 4ever 2gether, Alphabet Soup, Tears Are Not Enough & Valentines Day. In fact, there’s nothing here that I didn’t feel like singing along with. Great record.

After the great 1999 album, the release of each new Prince LP was keenly awaited. This was the follow-up and it didn’t disappoint. The sheer pomp of When Doves Cry & Purple Rain & the rock & roll chops of Let’s Go Crazy was more than enough, but the other 2 singles gleaned from this, Take Me With U & I Would Die 4 U, were also classics. There was something a little embarrassing about the movie clips that were used for some of these, but, really, he could do no wrong at the time. This is the album that made him the icon that we still sorely miss.

I was totally unfamiliar with Firehose’s material. I think I was expecting grunge but this is nothing like that. Very listenable, at times poppy, sometimes a bit ordinary. The rhythm section is awesome. They actually let the drummer have some (one whole track). The bass is prominent. Vastopol is a beautiful, if brief, instrumental. A pleasant surprise

Let’s get one thing straight - Innervisions is definitely Stevie’s finest album. It’s been decades since I’ve played Songs In The Key Of Life from go to whoa ( I remember one review at the time of its release with the headline Songs In The Key Of Money, referring to the record deal he’d just signed with Motown). The thing about Stevie was that as far back as the late 60’s, he could write songs that my parents generation would love (people born in the 1920’s) - think My Cherie Amour, Yester-Me etc. This side of his huge talent peaked with For Once In My Life. Between 1973 & 1975 I worked weekends in an RSL club to support myself through Uni. I could not count the number of 3rd-rate tenors I saw sing that song in the club auditorium. I’ve always thought that there was too much of that material on this album - Sir Duke, Isn’t She Lovely (glad I’d moved on from the RSL in time to avoid endless interpretations of that), If It’s Magic etc. I was wrong. Unlike a lot of bloated double albums, there’s gold on this one. I’d forgotten how good Joy Inside My Tears, Black Man, I Wish, If It’s Magic & Pastime Paradise were. There’s funk here that I’d forgotten about. The only filler is the 4-track 7” EP included in the package - it didn’t need one. A great record.

There were a couple of times while listening to this album yesterday that I thought : that sounds a lot like The Beatles or like a Beatles song. Now I just read the Elvis got Geoff Emerick, the man who engineered Sgt Pepper, to work on this album. And of course Elvis, like the Fab4, was a Liverpudlian. I’m a huge Costello fan & this album is worth it just to hear him sing Almost Blue ( the Chet Baker cover of that song is also worth a listen). The 3 singles released from the album are also highlights - Man Out Of Time, Town Cryer & You Little Fool. And I always loved Shabby Doll, which he was still playing in concert many years later. He did do some ordinary stuff in the mid-80’s but this isn’t that. Well worth a listen.

Until last year , the only Shuggie material I was familiar with was a 1969 album he did with Al Kooper (very bluesy) that I’ve had for years, an album called Giants of Rhythm & Blues, a 70’s album featuring greats like Louis Jordan, Shuggie’s father Johnny Otis, Big Joe Turner, etc, on which Shuggie plays guitar, bass & some piano, and his guitar on Peaches En Regalia from Frank Zappa’s Hot Rats lp. I knew he’d written Strawberry Letter 23, but had never heard it until last year, when I acquired a copy of the cd reissue of Inspiration Information, which include 4 tracks not on the original album, of which this was one. It’s a very laid-back listen, very 70’s, jazzy at times, funky at others, quite a few instrumentals, on which he plays just about everything. A talent who shunned the bigtime to do it his way. Really enjoy this album.

I really knew little of The Roots until Elvis Costello did an album with them in 2013. Around the same time I was able to enjoy seeing them nightly as the houseband on The Jimmy Fallon Show, when it was on free-ro-air. I have a copy of this cd & find a real diversity among the tracks. My favourites are Thought And Work & The Seed, both produced by ?uestlove, who is a wonderful musician. The music on this album is so interesting. And my copy came with a great 5-track DVD. A winner.

I’m a big boss fan, but I never liked this album. I just played it for the first time in years & it hasn’t improved. There isn’t a track on it that I ever got off on. I loved his 70’s output but there are a bunch of his lp’s since then that just didn’t do it for me. This is one of them.

I love the fact that Nico hated this album, especially the use of flutes on so many tracks. Let’s face it, she was as much a singer as Marlene Dietrich, but it really didn’t matter. Her part in the VU/Warhol album was great, partly because she only appeared on a few tracks. This album is a different kettle of fish however. Where she got lucky was the material she was given to sing. Three Jackson Brownes, a Dylan, a Tim Hardin & the rest written by her VU bandmates. Highlights : I’ll Keep It With Mine & These Days (one of Browne’s greatest lyrics) & It Was A Pleasure Then, which reminds me so much of her live version of The End. I had not played this for years but so glad to hear it again.

The Beau Brummels reached #20 on the 2UE Top 40 in 1965 with their single Just A Little. I remember it well - I was 15 at the time & I loved it. I never heard another thing from them, so reading their wiki entry & listening to this album is all news to me. It’s not a world-beater, but it is quite listenable - some of it is poppy, some country & some is very 1967 psychedelic, The Wolf Of Velvet Fortune in particular. But it seems to me that the best 2 tracks on the lp are the cover versions - Nine Pound Hammer (Merle Travis) & Old Kentucky Home (Randy Newman). They jump out at you. The rest of the album has its moments, and there’s no rubbish on it. But I find it amusing that their previous album had been an album of covers, which they resented Warners forcing them to record. Oh well.

I would not have known a Soundgarden song if I’d tripped over one. Can’t say that I was a big fan of grunge. So this was a big surprise. There were only a couple of tracks I found just noisy & boring. The highlights for me were the Nirvana-like Fell On Black Days - loved the guitar in the second half of this; Black Hole Sun - can’t hear The Beatles influence in this or Head Down, as Wiki claims, but loved the melody of this song; Kickstand - a track that actually sounded like an old rock’n’roll song; and Like Suicide, particularly for the drumming & the pace of the tune. And the production was great. It sounded like a million.

The thing I was most surprised about here was the humour. Right from the directive “Don’t do drugs”in the opening Public Service Announcement, there’s some funny stuff here. My favourites : “This is Paul Rosenberg, your faithful attorney at law Listen, I listened to the rough copy of your album And uh... you know I've just got to be honest with you Can you tone it down a little bit?”( Paul-Skit); “Look at the store clerk, she’s older than George Burns” (Guilty Conscience). Unfortunately there’s also a lot of misogyny (My Name Is ; 97 Bonnie & Clyde; As The World Turns)and a lot of violence (Role Model ; & particularly 97 Bonnie & Clyde). Musically I find it a bit repetitive. I liked the 3 tracks produced by Dre, especially Role Model. And I loved the sampling of Big Brother & the Holding Company’s version of Summertime at the beginning of Rock Bottom. I guess he had a hard life. I guess it paid off for him later on.

God bless Bowie. He took Iggy to Berlin, got him off smack & helped him record the best post-Stooges album of his career. It still amazes me that Jim has outlived Davy. Love this record. Side One is a killer. Is there a better opening track than the title track here? The drums are a wonder. The rhythms on The Passenger are equally infectious. Bowie has his prints all over the album - co-producer, vocalist & pianist. I saw Iggy at The Capitol in Sydney in the early 80’s, and it wasn’t that thrilling, but saw him again at The Hordern in Sydney in 2013 & he was sensational, limping around, wearing nothing but jeans, and sounding as great as he ever did. You have to wonder what course his career would have taken without the friendship of Bowie & then later the use of the title track of this album in Trainspotting? My fave Iggy story - his dad was a high school English teacher. His students used to call him Iggy’s Pop.

Sometimes there’s no explaining why you like an album so much. For me, Cut is a total one-off. Of it’s time, it contains The Slits debut single, Typical Girls, released at the same time as the album, and one of the defining tracks of the punk/post-punk era. The flip-side of Typical Girls is one of the greatest cover versions of all time - their crack at Marvin Gaye’s I Heard It Through The Grapevine. But the album is not an easy listen - it depends on dub & reggae but it’s weird, it’s shambolic, to say the least (like so much post-punk music). But it’s never boring and, hey, Side 2 opens with a track called Newtown. I saw the reformed band at the Gaelic Club in 2007, and there’s no denying they were all over the shop, but they were bloody entertaining. See if you can find the episode of Spicks & Specks that Ari Up appeared on during that tour & you’ll have some idea how crazy she could be on stage. I walked out of the Gaelic that night, jumped straight into a cab out the front & looked at the driver - it was Blackie from the Hard-Ons. Top night.

Last thing I felt like today was some epic hardcore hip-hop cd, so I wasn’t really looking forward to this. But whaddya know - this is a classic. I don’t know how he pulls that off, but he does. It’s in the music, the beats, the samples but most of all his words. What a storyteller. The first 3 trax knocked me out - Intro, Things Done Changed & Gimme The Loot. Much to my surprise, it never gets boring. Absolute highlight for me is Diana King’s vocals on the reggae-influenced Respect. You do get a bit sick of “bitches” & “motherfuckers”, over & over, but this is the context for it, I suppose. I love Randy Newman’s summary - one of the best records ever made…the first cut says “Let’s stop killing each other”- and then the rest of the record is all about people killing each other! It’s the damnedest thing.”

The audience are the real stars here. It’s worth listening to just for the intro, and I swear that the intro was exactly the same the night I saw him at Sydney’s Hordern Pavilion in February 1988. The tracks are the usual suspects, and the whole concert just flows. Wonder if any of the band got fined that night?

I’ve never bought this bullshit about how great comeback-Elvis was. Sun sessions Elvis was great. Leiber & Stoller Elvis was great. Religious Elvis was great. But this album is the prelude to Vegas Elvis, which generally leaves me cold. Big voice, big ballads and some terribly ordinary material. And when he does cover good songs that had already been hits for others, he crucifies them. Hank Snow’s I’m Movin On is a classic (listen to the version by Matt Lucas) and John Hartford’s Gentle On My Mind was a big hit for Glen Campbell, & even Aretha recorded it. But Elvis does nothing for these songs. I love In The Ghetto, and I have no idea how Suspicious Minds & Kentucky Rain missed the cut from the original album. This record just doesn’t do it for me.

I love the psychedelic. Eight Miles High says it better than anything else. The rest of this albums is a bit all over the shop. Mr Spaceman delivers. The two extremely folkie tracks are folk classics : John Riley & Wild Mountain Thyme, which Dylan would perform at the Isle Of Wight Festival 3 years later. They both sound great here. The cover of Hey Joe is unnecessary, just like every other version apart from Jimi’s. Could have been a better slbum if Clark hadn’t left the band. But Eight Miles High was his departing gift. The Byrds never came to Australia, but I saw McGuinn, Hillman & Clark at the Regent in Sydney in 1978, & was not disappointed.

I’d not heard this cd before. I own a greatest hits cd which contains 5 of these 11 songs - I think all 5 were singles & I liked them at the time, without feeling rapturous about Crow. But I found some stuff I quite liked among the other 6 tracks. I really liked the latin feel of Solidify. I loved the wacky Na Na Song (which sounds like a demented Subterranean Homesick Blues). The bass in No One Said It Would Be Easy is totally reminiscent of the Twin Peaks soundtrack, from around the same time. And she could be channeling Dian Kraal on the very jazzy We Do What We Can. Some of the stuff here is straight out of the Seventies Singer- Songwriter text-book. But she generally does okay with it.

I bought the cassette of this album from a bargain bin back in the day. Then promptly loaned it to my dear friend, & future NDP senator, Bob Wood, and that was the last I ever saw or heard of it. Until today. What a terrific listen, although, like a lot of double albums, it was probably an album overweight. Stills is in top form on this, & a lot of it has to do with the band, particularly the great Chris Hillman. Many styles are traversed - bluegrass (Fallen Eagle); country(Jesus Gave Love Away For Free); acoustic blues (Blues Man)and great rock & roll (It Doesn’t Matter still slays me. There are also a lot of obvious influences, to my ear, anyway : Rock & Roll Crazies is reminiscent of Stills’s own Love The One You’re With; Both Of Us reminds me of Neil Young’s The Loser; So Begins The Task could be C,S& N ; Hide It So Deep harks back to Hank Williams; Right Now opens just like a Stones’ song. I can also hear Jimmy Buffet & Lynyrd Skynyrd, but it was them being influenced by Manassas. The second album is not as strong as the first, but hey, I’m not quibbling. It was so good to hear this again.

Except for Creep, Radiohead have never done anything for me. I listened closely to this & I have to say I would not cross the road to hear any of it again. There’s nothing wrong with it. It just bores me.

I was 15 years old & in 5th Form at Parramatta Marist Brothers when the double-A-sided single Nowhere Man & Norwegian Wood was released in Australia in March 1966. I can still remember how I was so taken by the sophistication of those songs. This was the Fab4 at another level. By the end of that year I was familiar with most of Rubber Soul, because AM radio had woken up to the fact that, when it came to The Beatles, they did not just have to play singles. There was gold to be mined from the latest Beatles album. I remember Girl & Michelle getting so much airplay even though they had not been released as singles in Australia (they were released as a double-A-sided single in Europe). This was some album. One of the best opening tracks of all time. George Harrison’s coming of age as a songwriter. The sitar would soon be everywhere. In My Life would become one of the great contemplative pop songs. One of my sisters sang it as my brother was signing the marriage certificate. The joy this album has brought me over almost 6 decades - well, that’s what The Beatles could do.

This has the makings of a great single album, but there’s not enough quality to make a great double album. Take out Sweet Virginia, Tumbling Dice, Loving Cup, Happy (Keith on vocals), Rip This Joint & All Down The Line. What are you left with? Reasonable, but not classic Stones material. The idea that this album is superior to any of the 3 studio albums (or even the live Get Yer Ya-Yas Out) that preceded it, I find ludicrous. Still, a good listen & the good stuff is still really good.

I was pursuing tertiary education in Newcastle but travelling to Sydney by train every Friday afternoon on the so-called Flyer. I still remember rushing from Central to the nearest record shop to buy Transformer, all because I’d heard Walk On The Wildside & just had to have it. I’d heard nothing else on the album & was thrilled when I first played it & realised it was so good. Vicious is one of the great opening tracks. Perfect Day & Satellite Of Love are among Lou’s best. There are only 2 of his albums that I ever play regularly - this and the live album that followed it - Rock & Roll Animal. And further proof of Bowie’s greatness that he brought out the best in Reed. A truly great record.

Don’t get me wrong - I love Tom Waits. The concert I saw him give at the State Theatre, Sydney, in 1979, was one of the greatest concerts I’ve ever attended. But that was 70’s Tom. From Frank’s Wild Years onward, I’ve had to deal with a different Tom. The problem for me was that he just stopped writing tunes. I own Rain Dogs, but I don’t think I’d played it for a couple of decades. It hasn’t improved with age. There are only a couple of throwbacks to what I consider his golden period - Walking Spanish is the best thing here by a mile & ranks among his best talking songs; 9th & Hennepin is also terrific, but very short; while Downtown Train was always a good song & was covered by quite a few. The rest are just okay. There’s little else here that really grabs me.

Not my bag at all, but I guess they’re good at what they do. There’s some tasty guitar & the production’s good. I quite enjoyed Peace Sells & I Ain’t Superstitious. Otherwise, all a bit generic.

I love the idea that around the time Joni recorded this album, she spotted a 15-year-old Prince in the front row of a concert she was giving in Minnesota. He sent her fan-mail that her office thought was possibly coming from the “lunatic fringe”. Like Prince, I was so passionate about her that I hand-delivered a letter to her when she was staying at the Sebel Townhouse in the Cross during her only Australian tour in 1983. As for this album, I’d heard the single Raised On Robbery on the radio before the album was released & really liked it. But it was the single Help Me /Just Like This Train (20 cents in a bargain bin somewhere in Newcastle) that made me go out & find the album. Side One of the album is outstanding. The title track is her storytelling at it’s finest. Free Man In Paris (about David Geffen) & People’s Parties reflect her life at the time in such a poetic way. Side Two is also quality-plus & concludes with one of the few cover versions she’d ever released at that point, the Annie Ross classic Twisted, which Bette Midler had also covered the year before. This began a love for Lambert, Hendricks & Ross which continues to this day. Joni was at the peak of her powers here. What a songwriter.

I discovered The Cramps in 1982, courtesy of dear friend & inner-city raconteur Stephen Niblett. It was when I first heard the term “psychobilly”. The Cramps were a lot about attitude. They were a blessed relief in the 80’s from the serious young insect bands. The concert I saw them give at Selinas at the Coogee Bay Hotel in 1986 was extraordinary. It was the only time I’ve ever been caught in a crowd surge where I had absolutely no control over what was happening. I think Lux ended up in his jocks, climbing a speaker stack. There are some classics on this record, produced by the legendary Alex Chilton - I Was A Teenage Werewolf is great and all of the covers - Strychnine, Tear It Up, Fever & Sunglasses After Dark - are really terrific. Nobody sounded like them.

Did not expect to, but loved this. A real variety of music, from the pomp of the long opening track, to the softer cuts on Side Two. A real surprise.

In the late 60’s I picked up a Columbia compilation from the 50c bin at Ashwoods In Pitt St, Sydney. Called Aquarius Revisited, it featured John Kay (pre-Steppenwolf), The Great Society, featuring Grace Slick (pre-Airplane), The Rising Sons (Ry Cooder & Taj Mahal, pre-solo careers), Tim Rose (with the version of Hey Joe that Hendrix covered soon after), etc. Track One on Side Two was The American Metaphysical Circus by this band. Until today that was the only track I remember hearing from this band. I really enjoyed this. Especially I Won’t Leave My Wooden Wife For You, Sugar & Hard Coming Love. It covers many styles but does it well. I still have that album, water-damaged & all, from the xmas break from uni when I was living in my parents’ laundry & mum let the sink overflow. A lot of good covers came to grief that day.

A band I was never fond of. I didn’t mind Enola Gay but I found none of their output after that at all inspiring. I didn’t mind Souvenir on this album. But the band sound the same as so many British bands from that period sounded - boring.

Brilliantly conceived by one of rock’s greatest innovators, who died as a convicted murderer. I remember some of these tracks being played at xmas in the early 60’s. And there’s been a tv commercial running for at least the last month that uses a large chunk of The Ronettes doing Sleigh Ride. Much credit must go to arranger Jack Nitzsche. Darlene Love steals the show - she’s listed as performing 4 tracks but you can bet Spector used her on more than that. The way he thwarted her career is one of his earlier crimes. She’s terrific here, as usual. Ronnie Spector’s unique vocals also shine on the three Ronette’s tracks. I’ve had the vinyl for over 40 years and spin it every December, religiously. It used to make us all piss ourselves when we got to the last track to hear Phil’s whiney voice as he pretended to be normal. Now it’s just creepy.

Has it’s moments & the best couple are great - Clint Eastwood, which was the only track I was familiar with, and Rock The House. Makes sense, because I’m a fan of Del & he embellishes both tracks, which I was not aware of. Found the first half a bit ho-hum, but the backend is a lot more interesting. , although I don’t like what they do to Roadrunner - can’t see the point. Glad I finally heard it, though.

I reckon I owned this vinyl for 40 years until somebody made me an offer I couldn’t refuse. Thankfully I burned a copy onto disc before I sold it. It wasn’t an album I was mad about but when I played it today it actually sounded better than I remember. I always loved Not So Sweet Martha Lorraine. It sure sounds like the period that it came from. And a nice time it was.

Big fan but somehow missed their first album altogether. Always assumed it wouldn’t be as good as Second Helping, which was the first Skynyrd lp I picked up, & which contained Sweet Home Alabama. But I did have one single featured here, the iconic Free Bird, perhaps their finest tune ever. Almost as good are Simple Man & Gimme Three Steps, and there’s no filler here. Al Kooper does a great production job. Not sure they ever sounded any better.

A lot of the Captain’s work is difficult to deal with. However this, their debut album, is user-friendly. Musically, it takes no prisoners. Lyrically, it’s not always easy to decipher, but it’s far easier than what was to come on future lp’s. Ry Cooder has a lot to do with the quality of this recording. Both his playing & arranging. The album kicks arse from the opening tracks, Sure ‘Nuff ‘N Yes I Do & Zig Zag Wanderer, which is one of Beefheart’s most covered songs. It’s very blues-influenced but, like most Beefheart, manages to maintain it’s very own flavour.

I skimmed it. I really can’t take that guttural Lucifer bullshit. Painful.

Really, until the early 2000’s, the only Gainsbourg track I would have recognised was the infamous Je T’aime Moi Non Plus, a worldwide chart-topper in 1969. Then I received a visit one night from friends Liam & Lauren of Sydney indie band, Belles Will Ring. They had just returned from an American trip & wanted to regale me with the goodies they had picked up there, including a Gainsbourg cd. I thought this was strange until we played the disc. Belles played quite a psychedelic brand of rock & that night I realised that Serge also didn’t mind a bit of that., which surprised me. From then on, I collected quite a few of his old records, including Histoire De Melody Nelson. It’s brief, more like an ep, but it’s a knockout. When I first listened to it, I was amazed at the music & not all that interested in what the French-language lyrics were about. I now realise the story he was telling was, not surprisingly, quite controversial. Nevertheless, this is a terrific listen.

I enjoyed this, but not enough to ever want to hear it again. Still, any band with a member named Roger Rogerson fills you with confidence.

The first half dozen tracks, which were very much about drugs, didn’t thrill me greatly. Then the extremely funny skit Called Heart Street Directions made me laugh so much (as did the Bad Mouth Kid skit a bit later) & it seemed that the music just got better from then on. I particularly liked RAGU, with it’s Look Of Love sample, Whip You With A Strap, Jellyfish, Momma, with cool vocals by Megan Rochell, & Three Bricks, with its Biggie samples. A really great listen.

You can always tell if you’re listening to Public Enemy, but sometimes I wonder if that’s a good thing. Still, I love Chuck D & I love the band’s politics, which are on full display here. And any band who can name a song Get The Fuck Outta Dodge deserves huge credit in my book. Not their best album, but worth the trouble, all the same.

I found this record compelling. Never heard of the band before. I loved the pace/speed of the music. The lyrics were irrelevant but the singer’s voice was as important as the instruments. The band rushed headlong & took you with them. I particularly enjoyed the 4 lengthy trax, on which the band really stretches out. A wonderful surprise.

This album was recorded at concerts in 1976/77 & released in June 1978. In October 1978, I was one of 100,000 people who saw Thin Lizzy at the free 2SM Rocktober concert, in the forecourt of Sydney Opera House. I have to say I was more interested in the support bands Sports, from Melbourne, & American band Wha-Koo, whose lead singer, David Palmer, had sung lead on the Steely Dan classic, Dirty Work. Wha-Koo were dreadful. It was Thin Lizzy’s concert for the taking. I imagine the set-list would not have been too different to this album. The line up, however had changed - Brian Robertson had quit the band when this album was released, replaced by Gary Moore. The twin-guitar thing was a killer. Unsurprisingly, the album sounds great - it was produced by Tony Visconti. I never thought Lizzy wrote great songs, except for The Boys Are Back In Town, but they make up for it with their gung-ho approach here. As live double-albums go, this one’s a real winner.

I bought the Jesus Built My Hotrod CD maxi single sometime in the early 90’s & have never stopped loving it. It contains the Redline/Whiteline version of the song, which, at 8:11, is considerably longer than the album version. The guest vocal by Butthole Surfer Gibby Haynes is to die for. The CD single also contains a version of TV Song, but, until today, I had never heard the rest of the album. I love the frenetic approach of the music. The devil voice that recurs is somewhat annoying, but, in the end, doesn’t really detract from the impetus created by the music. The title track is a winner. In fact, I really enjoyed the whole disc. And I love the fact that Paul Barker’s nom-de-plume as co-producer was Hermes Pan - the genius who choreographed 17 of Fred Astaire’s films.

I had never heard of Mike Ladd. This is quite unlike any other hip-hop album aI’ve heard. The soundscape is unique - sometimes the backing is orchestral, often strings dominate. The beats sometimes dominate (5000 Miles West Of The Future). It can be funky (The Animist). Drums can dominate (Wipe Out On The Wave Of Armageddon). Sometimes the track is frenetic (Red Eye To Jupiter) & sometimes slow (Takes More Than 41). Sometimes you just focus on the words (For All Those Killed By Cops). My favourite line is from the title track : “I got swallowed by a record label In the tower of Babel”. Really enjoyed this.

Easy listening in such a beautiful language. Sounded fine to me but not thrilling.

Must have been all about the hair, because the music is bog ordinary. How did this sell millions? I got as far as Track 8, then pulled the plug. Lange’s production is predictably polished, straight from doing 3 AC/DC albums in a row. But the music does nothing for me. It was good to find out that Offspring got their intro to Pretty Fly from Rock Of Ages. Who knew? I guess all the dudes who shelled out for this mediocre album.

The first 4 tracks sound just a bit samey, but from there the album really gets interesting. The 2 big singles, The One I Love & It’s The End Of The World As We Know It, still shine after all these tears. And Lightnin’ Hopkins & King Of Birds both embellish Side 2, as do the horns on Fireplace. Not their best, but pretty good, nonetheless.

I first heard Everyday People on the radio in late 1968 & copied it onto my reel-to-reel tape recorder. It had been released as a single 6 months before this album was released. In the meantime, the band were the highlight at Woodstock. But I did not get this album until after I bought the Woodstock 3-lp set & then saw the Woodstock film, which was released in 1970. When I look at Sly’s Woodstock set-list, 5 of the 8 songs they performed were from this album. No wonder. This is a truly amazing album. And to think that Sing A Simple Song was the flipside of the Everyday People single & I Want To Take You Higher was the flipside of the Stand single. What value. The band closed their Woodstock set with Stand. What shocked me when I finally got the album was the title of Track 2 - you just didn’t hear the n-word in those days. What thrills me when I hear the album now is Sex Machine - I’m lost for words (& the band didn’t need any). Stand is one of the great 60’s albums.

Great album. I’ve always admired her work. I own & really like the cd that followed this, but I’d never heard this album before. It’s an absolute knock-out. There are so many styles here & she masters them all. The beautiful lyrics of Oh Maker & 57821, the rip-it-up approach of Come Alive, the gorgeous piano ending to Say You’ll Go, with the nod to my fave Claire de’Lune. Love her voice. Love the disc.

It’s tolerable. But only just.

Really enjoyed this. Never boring. A variety of musical approaches. Not stale after all these years.

Really enjoyed this. Knew some tracks already, but a lot of it was new to me. Loaded is probably my favourite Primal Scream track. I really liked I’m Comin’ Down, although it reeks of Jesus & Mary Chain. And also loved Don’t Forget It Feel It - especially the female vocals. Enjoyed the dub approach on Come Together & Jah Wobble’s part in Higher than The Sun. In fact, the laid-back feel of the last 4 tracks was really easy to listen to. Did they ever make a better album?

I tried but I could not sit through an hour of this.