1001 Albums Summary

4/5

I liked it a lot but the early tunes were a bit less memorable to me mostly because u have already heard a couple R.E.M albums however it elevated from a very good record to a fantastic one at the midway point when "its the end of the world as we know it", probably my favourite on the record, plays, ending side one. One of my favourite things about the album is the band energy that gives even the filler tunes an essential feel. Also the production was was great great, and their first album with Scott Litt. Also the guitar was really good

I've already heard this one and I would call its Oasis' greatest achievement because the band just have an incredible energy and a truly admirable love for their craft on this record. The melodies are gorgeous throughout and The production, while very loud, never sounds grating and always guides the listener with only a couple instruments playing at once perfectly complementing the life-afferming feel of the music. An Essential Record.

One of the best, everything about it is top notch (except perhaps the sequencing) An essential record.

Not listened to any rap or hip hop before but this was amazing and the production was fantastic. An essential record.

Good but quite bland, the production sometimes lends a scratchy, lofi feel but other times it just sounds poor. A couple of the tunes were fantastic but several felt like padding. A decent record.

Nice folk rock but it was a little inconsistent, as the title track and the boxer were the strongest moments for sure. but I might need to hear it again. The production was warm and simplistic so no complaints there. A great record.

Started off strong but the second half was a big letdown and the songs got really bland and less focussed on mood and more on blues guitar but the first four songs were great

What struck me first was that the singer was really nasal and whiny, plus the lyrics were cliché. But, when I looked past that, I found the melodies were really nice, the live-in-the-studio production worked amazingly for the album and there wasn't much padding (only nine songs), overall I'm a little conflicted on this one. A decent record.

What an album. Classic double album that never drops the ball and shows such a wild variety, displaying Zeppelin's dominance as a force of gargantuan 70s rock. Gorgeous production, the band are so focused and tight and numerous showstoppers. I will say I've heard this album before, as with all zeppelin albums, so I may be biased, but this is nonetheless the absolute highlight of their career

Its good but bland and front-loaded

While I don't knowbas well as other how revolutionary it was for hip hop, I had a lot of fun with this record, Q-tip and Phife are obviously very talented MCs and the beats were killer, a couple of the tunes were not as memorable but that's me trying to not be too lenient on what's a five star. A great record

Nice and sometimes really strong but the production was bland and wasn't too memorable

It was mostly a great time but there was a lack of original tunes and a couple of the songs had funny production, also it was pretty short which was even more of an issue for the lack of original songs. I wanted to love this one but there were issues. A decent record.

It was ok

Didn't expect to like it but it was awesome, free bird in particular. Also the production was sharp, and the tunes were well sequenced only thing holding it back is poor, repetitive lyrics on some tracks. A great record

It was awesome but a little uneven

This album was awesome but I was expecting something else from the title and band name so the first song dissapointed me but now I love it after relistening. Its a great album but frustratingly plays with expectations and the final song was a bit naff. A great record

Overlong, little difference between tunes and poor lyricism all contributed to this record dissapiintong me. Sorry but I just wasn't a fan. A dissapointing record

Like the flow and the beats but the lyrics and skits just killed the pace which is a shame because there was lots to love about the songs. A decent record.

Of course it's a masterpiece. Quite possibly the best pop rock record. The sequencing and production are faultless, not to mention the tunes are killer, plus the writing is rewarding, which is always a pleasant surprise for 70s music. An essential record.

Inconsistent. Many of the tunes were awesome and original but at times it dragged really hard, namely on that penultimate tune which has a really really irritating beat with little stops over six and a half minutes. But at least the mood and production of this record was fantastic. A decent record.

Classic rock. Title track is fantastic, and most of the back half was surprisingly strong, the only issue was that the production was a little dodgy on some tunes. A great record.

Really fun 50s A great record

Alright but didn't take itself seriously enough, which is odd. The beats and sound was great, not to mention most of the songs, but too many tunes were ruined by the insistence on burp noises and your mum jokes. A bit of a shame really, because it could've been fantastic. A decent record

It was really nice, but not interesting. A decent record.

Can't understand the lyrics fully so that means I can't really rate them but I can tell he has a great flow, the samples added an extra punch to the album and it was sequenced brilliantly, not to mention the production was well ahead of its time for '91 A great record.

Honestly it was really fun, nice and short too. A great record.

Just so good. Loved the production's bizzare uncomfortable, but often gorgeous feel and the style of songwriting, the narrative, while loose, was brilliant and the songs could be absolutely nuts ("yoshimi battles the pink robots pt.2") or stunningly beautiful ("do you realize") without felling out of place in the context of the album. I could see myself revisiting this album for many days to come. An essential record.

Good but got old after a while, however it sounded great.

Definitely a masterpiece. Words can't state how much I love this album right now, it is so consistent for an album this length, has so many of Stevie's best songs, and still sounds remarkably polished all the way through. What else can I really say except it's obviously a phenomenal album. An essential record

Seems that before they took over the world and innovated pop countless times, all the Beatles did was create bland pop on front loaded albums that are more a bunch of songs that didn't fit on singles rather than a cohesive record. Well, actually that's a bit harsh. There are more than a few killer tunes, which mostly come when Lennon and McCartney sidestep clichés and write the more complex, sophisticated tunes, specifically tracks 2-4. Most of the covers are just ok, but the renditions of 'Please Mister Postman' and 'Money (That's What I Want)' were fantastic and the best sounding on the record. Also George already shows that he could be the best Beatle with his tune on this one. A decent record.

Honestly it was just a really nice album. A great record.

I'm familiar with this album, but now I'm certain this is one of the absolute greatest of all time. The record is perfectly sequenced, with each song delivering a message, but each of them hinting at a bigger picture. Each of the five tracks are absolutely essential and show the peak of the Gilmour - Waters writing era for Floyd. Not to mention the production is faultless, and it is the last album where Wright really gets his due, too, with the synths mashing effortlessly with guitar. Of course it is difficult to mention wish you were here without naming the nine-part, twenty-six minute epic, "Shine On You Crazy Diamond", a tribute to the fallen psychedelic music innovator, and previous Floyd leader, Syd Barrett. The track is split into two, the first five parts opening the record, and the last four closing it. The track, with a haunting clavinet and guitar building up to a euphoric chorus, complete with saxophone solo, before slowly descending, soundtracking Syd's downfall. The track can now be seen as Pink Floyd's magnum opus, and one of the greatest of all time. But the album isn't just "Shine On..." plus some songs, the cold, harsh synths of "Welcome To The Machine" give the album a dollop of fury and menace, the tempo increases for mid-album banger "Have A Cigar", featuring one of Gilmour's greatest solos, and the Meloncholy, beautifully bittersweet title track would've made this album a true classic anyway

Stood out to me immediately as kind of unorthodox punk, and the sound works brilliantly throughout the record. The album had its share of standout tracks, too. "Peaches" displays a killer baseline and the piece knows exactly where to go next, operating as the standout single, whereas the sprawling "down in the sewer" shows that the band weren't just a singles act. Overall, a great record.

Just nice, first half was great but with horns that were too loud, second half was gorgeous though, not completely sure on my rating, but for now its a three. A decent record

good enough

Great time. Loved the mood, a high four. A great record.

Great sounding and well sequenced, very harmless. A decent record.

Boring as hell, there were some solid tines every now and then though

Basically the definition of the "is we play it weird, it will be good!" mentality. It's just not good. Thankfully, there are enough good moments to salvage a 2.

Couldn't hear it because it

I mean it was ok but just a bit bland.

Honestly it was pretty great, loved the sound and aesthetic, and original mood and production, while not standing out, helped blend the album's themes. Sometimes a bit forgettable but tbh I was definitely a fan. A great record.

Honestly everything I want from a pop album. Sure, the recording was a little muddy and there were a couple too many songs, but this was irresistible. A great record.

What an album. I've loved kanye's music ever since this generator sent me MBDTF, which I would say is a stronger record, mostly due to the lackluster lyricism that unfortunately dropped this album to a 4. Love the production from Daft Punk, and how the project hangs together (the album was overseen by Rick Rubin) and the concise, 40 minute runtime works fantastically. The cold and industrial sounds (a total change from the grandiose rap of MBDTF) conjer compelling grooves and hooks throughout, and when the synthesizers give way to a beautiful, real emotion the album is given a whole other level of sonic depth and emotional resonance. Overall a record that is likely to only better with time. A great record.

Eh. A decent record.

Honestly lovely effortless pop. Not much else to say really.

50 albums in! Quite fitting to have Creedence as i always wanted to get more familiar with them because I only really know a couple of their big singles, and I can understand the love immediately. A collection of fantastic singles and good covers, save for their epic rendition of 'I Heard it Through the Grapevine', which makes the album hang together much better than it does on paper. The singles were doubtlessly fantastic, but this is a record that is more than the sum of its parts. A great record.

Loved the sound, hated the vocals. I know that the main person thinks this is the sound of honesty and that this is them or whatever, but just stop and realize how good the music you're doing this over is. Got grating but thankfully the music keeps me invested in the album completely, nothing sounds quite like it. A worthwhile listen, even if a little grating after a while. A decent record.

A great time. Loved the sounds, lyrics were only ok but the singing was fantastic. Just the right length for this type of album and perfectly sequenced. Only other issue was most of the interludes were unnecessary, but it wasn't really a major issue. A great record

Just a good time, gorgeous vocals, pristine production, strong lyrics. Sits comfortably between soul and disco, giving a surprisingly original sound, that, paired by the brothers' obvious talents, builds an obvious confidence that shines through even on its weaker moments. There are a couple of those, mostly due to the kinda shoddy tracklisting routine, depriving the album of a sense of complete consistency, but the record sure as hell is solid.

Nice idea but the tunes at the front were certainly the best. A decent record

Already seeing why he was so revered. A great record

Along with Dylan, Marley was one of the biggest artists I had yet to listen to a full record of. I would immediately say I understand the hype. Loved the back and forth interplay in the vocals, a bunch of gorgeous hooks and melodies, and still immense production. One slight drawback is that the back half was a little samey, but still, an obviously fantastic record.

Better than I remember. A great record

Not much to say, love the sound (finally a decent sounding kinks record!), great tunes and perfect length. A couple filler songs but more than enough standouts to balance it out. A great record

Surprisingly strong. A great record

Yes it was good, a bit oddly put together and going home was too long for sure. However pretty much every other tune worked and I loved the sound they went for here. A great record.

I liked it all the way through but this is needlessly long tbh, really took out some of the enjoyment when it's 3h20 or so. A decent record

Exactly what the title said. Definitely the sort of album I really wanted to see here, and precisely what I needed after Ella Fitzgerald. Loved how bad the production sounded, as it only added to the sense of fury throughout the record. Perfextly sequenced, even if there could've been a couple more standouts, especially considering the brief runtime, but at the end if the day, these are only minor gripes and this is a superb addition to this list. A great record.

Always loved it. Still sounds surprisingly innovative and fresh when put on. A little front-loaded but it's alright. Just a great album in every way, just falling short of a five. A great record.

Yeah it sounded like a Dylan knockoff, and was pretty generic. Good generic country, mind, but nothing new altogether. A decent record

Ok it was actually brilliant, loved the reinvention of the guitar, the production was superb, there was enough difference between songs and overall, this was incredibly enjoyable. There are some things I'm not sure about, the gristle in the tracks could get frustrating and some songs stayed in the same place for too long making me hesitant about a five, I will relisten soon, but, ultimately, there was so much this album did right, and totally changing my view of production of guitar I think this will be a five. An essential record.

This was definitely an album of highs and lows, but overall I thought it was pretty great. The production was a bit rubbish, but the performances were brilliant. Didn't like the vocals much just a bit too nasal but the lyrics were great. Sort of an album of contradictions but I think that's part of the joy. A great record.

Anything other than 5 would be sacrilege. An essential record

Considering Rumors basically perfected the archetypal 70s pop rock sound, that was replicated so many times, it is difficult to still see it more as a fully original piece than an immediate greatest hits. This is where I was hoping tusk would remain a fully original album in its own right. I was proved correct, but not in the was I expected. What surprised me about tusk is how much the album is focused on contrast. Christine and Stevie's surprisingly downbeat folk ballads are given opulent, pristine production, yet Lindsay's rockers are almost exclusively abrasive homages to the roots of rock and roll, designed to sound directly translated from mind to tape as quickly as possible. Overall I would say the intentionally haphazard production and sequencing works to give the album a here-and-there personality and a distinctive, constantly appealing charm. Ultimately, there are a surprising lack of unnecessary tracks on this thing for an album of this length, and absolute stunners throughout. Better than Rumours? Quite possibly. An essential record.

Sounded great and was the perfect length. Surprisingly original even if a couple too many songs sounded the same. A great record.

Cheesy as hell, feels very forced but there are saving graces like the production, especially the mixing (the high bass was a very pleasant surprise) but it can't hide the fact that the music included just isn't very good. I especially dislike the lyrics that are just Robert Plant knockoffs, substituting bland cliché for bland cliché. Overall, the record felt forced and uninspired, much longer than the 40 minute runtime would have you think. A disappointing record.

I did enjoy it but I can't see myself revisiting too often. A decent record.

Eh. It sounded like every 90s house record so I don't know why they thought they were left-field. Also, as someone else pointed out, it felt like most of the album tested on the brilliance of a couple songs, which is a shame, because the first song in particular has me ready for something fantastic. I will admit it had the ideal sound for a house album, however. Feels pretty great with headphones. A decent record.

Didn't hate it like I thought I would. There are plenty of moments where you can actually grasp a tangible melody. It all sounded fine - sort of standard fare for jazz records by this point. But there are definitely times where it is all a bit much. If they got rid of the ridiculously high tempo or the two drums playing it once, it just would've been more enjoyable. Also having a very painful earache before and during listening was not particularly helpful either. I'll give a 3 but it could easily dip into the boundary above or below for me. A decent record.

Actually kinda underrated, really nice production and surprisingly authentic. A great record.

I enjoyed it. The best moments are when you can really get the excitement of the atmosphere due to Waters' charisma. However, that is sometimes rare like in the middle of the album when the tunes just sorta lack enthusiasm. Overall though, an enjoyable, if brief, live blues record from a leading artist. A decent record.

There were definitely issues (some tunes were lackluster, too repetitive) but i actually found this to be a really fun album. Also it helps it can be pretty funny. Jesus built my hotrod was the definite highlight though. A decent record.

Really fun and imaginative. I would say the Speakerboxx half was stronger because it was a little more complete and wholly enjoyable, but the whole album was a testament to how strong longer albums can be and the scope of this thing is stunning. A great record.

Well it was fun A great record.

I came in expecting very enjoyable soul christmas classics with decent production. That's what I got. A great record.

Yeah

Very enjoyable 70s soft rock, couldn't of asked for much more from it, save for bland, predictable lyrics. A great record.

Just as good as every one said. All 5 songs are masterpieces and put in the right place. Great for both deep concentrated listening and relaxing background music. The production still sounds brilliant. I can't recommend this album enough. An essential record.

Appreciated it, didn't always love it because it was not concise enough (why is phife barely on this?) but it certainly made me realize how much Tribe clicked on The Low End Theory. Production was solid, if not spectacular, and the songs could be a little more detailed but I loved the enthusiasm and mood, so I never lost interest. A decent record.

Still beautiful, no filler, perfectly sequenced, takes my breath away. Meticulous, immaculate production against thoughtful lyrics and memorable hooks, everything clicks and this album will never grow old. An essential record.

An odd album, a compelling mix of guitar, samples and synth that is maximized to full effect across all ten tunes here. The prodigy sound hungry and driven here, leading to shocking and incredibly effective cuts like single "breathe" which still sounds as raw and innovative as anything else to come out of the late 90s rave trend. Hell, even the 9 minute guitar/electronica epic works ("Narayan"). However, when the Prodigy aren't motivated, often the quality decreases and the songs sound tired and worn out. Thankfully though, the album keeps a tight grip on its runtime and its goals never slide out of focus fully, leading to a thrilling, riotous hour that is definitely worth your time. A great record.

Of all the radiohead albums, Hail To the Thief is definitely one of them. Had lot of quiet 2000s indie vibes, I sure hope they don't dig too far into them next time. A decent record

Surprised at how strong this was, however, it sounds like how a YouTube video looks when it's not properly loaded and you need to pause for it to figure it all out. A great record.

Whiffed real bad of dad rock, well good dad rock though so I don't know A decent record

Bit on the long side, but hard to complain when it's all this fresh, innovative and gleefully hedonistic. A great record.

Beautiful, original and hilarious. But its a bit long innit A great record.

Fun and funky, production really stood out to me. A really enjoyable project I can't wait to revisit

A slightly worse version of Heroes, which is to say its still an immense art rock album. A great record.

Its difficult to love country albums when half of them sound identical to this. A dissapointing record.

Enjoyable. Liked the blend of classic blues and hazy psychedelia, the recording was a bit rubbish but it would've been a lot worse if it were the Eric Clapton show.

A bit nothingy. Good nothing, mind. A decent record.

Surprisingly melodic offbeat pop, great time. A great record.

I can see why someone would love it and why it would be so hated by others. I'm somewhere in the middle, it was overproduced but joyful and decorated. Overall not much bad just nothing particularly standout-ish. A decent record.

That's how you do folk. All around great record.

Pleasantly surprised. Only the first song was at all cheesy or bland, the rest was rich and thought provokingly original A great record.

My 100th album! Great. Had a deep, folky sound that struck me as very original for 70s rock. Some killer songs on here even if nothing is quite in the same league as the title track. A great record.

Now that was just an awesome time. A great record.

Utterly brilliant in every way. Innovative, beautiful, haunting and stupidly good. Nothing is quite like it. An essential record.

Bland but brilliant. A great record.

It was good all the way through but not interesting all the way through. A decent record.

Showed everything misled about the early 90s scene in Britain. All style no substance, godawful rapping and cringeworthy lyrics. Unfinished Sympathy was a killer single at least. A dissapointing record.

Basically just another country album. Was this really something I needed to hear before I die? A dissapointing record.

80s but good. Huge choruses that work due to pure power. A maximalist sound that fits with the artists character, and a general cohesion that makes the record work in an albun format, rather than feeling like a singles collection. A great record.

Thoroughly original and consistently enjoyable, can't wait to revisit. Also the album is only 12 songs long, everyone heard the collectors edition and was shocked when it had more songs. A great record.

Late 70s jingle pop rock. Definitely never been done before. A decent record.

Nothing quite like it. Hilarious and unsettling at the same time. Only (small) drawback is that thay managed to top themselves with Remain in Light in most ways. A great record.

Sounds about 15 people heard it live, at least half of which were the band. Mind you it was a studio quality recording and a milestone in jazz, which helps. A great record.

Started off great, but fell to pieces near the end sadly. Can see why people love it, and there is a lot I love as well, but as an album, it just didn't hold up. A dissapointing record.

Great. Classic 80s filtered through a reggae-esque sound. Always compelling, always original. However it sometimes can feel disjointed and like a bunch of different ideas, rather than a cohesive listen. A great record.

Had no idea TVU could sound like this. Intimate, subtle and subdued, Reed's stops sounding overindulgent as he did on their debut, bringing the best out of him, and every other member follows suit. And their records finally sound decent. Thank god. A great record.

Sounded like cheesy film score. The songs were good, of course, but the potential was totally missed. A dissapointing record.

When a 20 your album whiffs of 40 year old dad rock. An awful record.

Great time, thoroughly original and gripping most of the time, in spite of lacking the focus of the heads' other members. A great record.

Just another rock album, nothing less, nothing more. A dissapointing record.

Doubtlessly the finest hour of any post-beatle. George's songwriting really shines on here and there is a brilliant intimacy established, incredible due to how huge some of the arrangements are. The first two discs are singer-songwriter perfection, while the underrated "apple jam" disc is looser, backed by an all-star cast. Overall, an almost two hour epic of utter beauty. An essential record.

What is the point in an album if you're just gonna place the two singles (and easily best songs) right at the beginning? A dissapointing record.

Self-parodying levels of smug pompousness. At least the arrangements were alright. A dissapointing record.

I actually liked it. Simply good in every way, and consistent too. A great record.

Damn. Thoroughly original, memorable and enjoyable. What struck me most was how creatively each song was structured, even if the record was little too long. A great record.

Surprisingky brilliant. What an album. An essential record.

Dunno why but I liked this a lot, even if it all is a bit slight. A great record.

More of the same, if the samba wasn't in the title, I doubt I would've noticed. Still, pretty good jazz. A decent record.

A damn good time. A house i can't wait to revisit. A great record.

Well good pure power pop. Lyrics are poor but the hooks make up for it A great record.

Rock that's ready for change, gave it an interesting sound. A great record.

Groovy sensation. Funkadelic's best album because it is the perfect balance of detailed art and sheer joy, even if it leads to a couple repetitive tracks. A great record.

Haha the elevators gave us a hell of a ride. A great record.

I feel like I clicked on the wrong album. What an awful time. An awful record.

Not focused, and not varied enough. I can see this band going somewhere if they broadened their horizons, though. A dissapointing record.

Great as a performer, less so as a songwriter. A decent record.

A no filler thriller. Great all the way through. A great record.

Gripping and compelling in a way few live (or any) albums are. A great record.

Great sounding record, brilliant sequencing and yet it still feels like a personal tour de force. An essential record.

Of the ecstacy scene of the early 90s, this stands next to the mondays as the finest. Killer beats, crisp production and an immense appetite for originality lead to this being a gripping listen, even if a couple of the album tracks aren't as brilliant as standalone tracks as Groove Is In The Heart. A great record.

One of those rare psychedelic records to still hold up as a full album. Incredibly sequenced and thoroughly exciting all the way through. Also, it has Light My Fire on it. An essential record. A

Just some great grunge. Courtney's personality gives this record some charisma, plus it actually has something to say. A great record.

Ok another Neil Young record and another clichéd dad rock album. At least his storytelling is strong. A decent record.

It was good , it just felt lethargic. A decent record.

Much more interesting than Can't buy a thrill because the record feels much more cohesive yet bold, often stitching together disperate genres to fully fledged collage of sounds. One minor drawback is that the record's finest hour is right at the beginning, with nothing else quite comparing. A great record.

Bowie's defining album. An all around brilliant set of 11 songs, sequined and produced to perfection, and incredibly ahead of it's time, dispatching tried and true rock clichés in favour of a much more memorable, yet profoundly real persona of Ziggy Stardust, birthing the pop star era of rock and pop. Absolutely brilliant set of songs that couldn't deserve anything but a five. An essential record.

An absolute classic, with a surprisingly rich texture and flawless production. However it has Moonchild. A great record.

Rustily beautiful. Like an abandoned castle in the sunset. A great record.

Nice mood and songwriting, but I could do without Cooke reminding me to "get in the mood" or whatever every five seconds. A decent record.

Felt like they were trying so hard to be different, when placed on front of a mic, it didn't translate into a full album, but an amateurish set of garbled screams and pathetic guitar. The Grapevine cover was strong, at least. A dissapointing record.

Shows what a strong album act Queen were before they went worldwide. Not their finest, there are clunky moments in May's half which misunderstand the album's tone, but overall, this is the Queen album I never knew I wanted. A great record.

Great sounding album. Well sequenced and killer singles that didn't feel like sell-outs. A great record.

A less efficient version of every other member of the 80s alternative scene in Britain, lacking the emotional weight to invest listeners that contemporaries had. A disappointment record.

About the dreariest rave ever. A disappointing record.

Rick Rubin earns a star, Flea earns another, and Under the Bridge gets the last. Everything else I'm very much indifferent to. A decent record.

One of the most universal, yet intimate singer-songwriter records of all time. Several of the all-time greatest singles, and the deep cuts are almost on the same level. A great record.

On of the more animated rock records of the time, a necessary procedure to hide the mostly by-the-numbers tracks. A decent record.

Pacing issues and inconsistency in quality threaten to derail this near-great experience of Stevie truly speaking his heart. There are killer singles. the strongest writing on any of his records and a beautiful closer, though sadly his album cuts aren't as instantly enjoyable, and the instrumentation not as exciting as it would be on subsequent albums. A decent record.

Superb debut. While it could be tighter, Kanye immediately cements himself as a killer producer, great songwriter and a serviceable MC. The guests are amazing and the singles are classics, certainly among the greatest rap debuts or even best debuts overall. A great record.

Crazy, but strong songwriting makes it work no matter how experimental. A bit longer than necessary to get the albums statement work, even if it is intriguing all the way through. A great record.

A surprisingly meaningful - if overly so, at times - classic. A great record.

Deep, well structured and brilliantly played, this is one of the crucial rock records of the last 10 years. The musicianship is superb and the production gives a profound bittersweerness, the album's selling point, if you ask me. A great record.

Well instrumented but undermined by a swampy pointlessness. A disappointing record.

Great time. In some ways a warm up to pills n thrills but I can't get enough of the sound this band had. A great record.

NWA but better. Killer beats and lines on here. A great record.

Had a nice loose jammy feel. Gives an ambiance of a smoke-filled bar in the 30s. And it has sultans of swing on it. A great record.

Is it an intimate folk rock masterpiece? Or a collection of pointless folksy ramblings? I honestly have no clue. A decent record.

Pretty bloody good innit. An essential record.

Case in point that bad times don't always make good albums. A disappointing record.

Just definitive, quintessential 80s. Yes it may not have much to say, but everything here is so fun it hardly matters. A great record.

Although the jams slightly meander, Sly & co made a gorgeous funk album here, of political statements, intricate musicianship and slices of eternal pop funk. A great record.

It's obvious she wanted to be the next Kate Bush, but nothing here is musically interesting, or lyrically inspiring in the way of the aforementioned artist. Overall just a big pile of argumentative nothingness. A disappointing record.

Like a crazier talking heads. I thought it was a great time. A great record.

Hilariously, piss-takingly over the top. I don't know whether I can laugh or not. A decent record.

Just really good. An essential record.

Just 12 well-structured, sequenced and instrumented, good old-fashioned songs. A great record.

A bunch of bangers and a surprisingly moving ending. There are great beats and rhymes on here, so I don't think that I can ask for much more. A great record.

Crazy record, with dub, funk, rock and pop influences heard on here. Its stuffed within an inch of bursting, but I love for that. A great record.

Sometimes a little annoying and overly long, but the album is brilliantly written and completely original. A decent record.

Beautiful, breezy and meaningful. The album effortlessly floated through its 40 minute runtime, and not a second was wasted or cramped. A great record.

Jazz for hipster hat-wearing, pretention-showimg posers. I'm not say "ooh it's not real jazz" but rather, it feels like it thinks the album is much more than ill-fitting hooks between pretentious sax. A disappointing record.

Love how the songs were played on this one. There is so much life induced into every note on here, something I wish I saw more in Jazz. A great record.

A bunch of solid songs with nothing really bringing them together as a cohesive whole. A shame, really, as I love the songwriting of Damon Albarn, and the group's performances, and the singles on here are outstanding. A decent record. A decent record

And on today's episode on brilliant or awful...

Simply 11 cracking songs from a timeless songwriter at the top of here game. Yes, the singles are all classics, and not everything else is on the same level, but, this is definitely one of the greatest albums of the 2010s, in the traditional sense.

Really cool.

Every good grunge album ticks a couple on the grunge checklist: •A suicidal lead singer •killer guitarist • thinly veiled references to drugs Dirt has all three, so of course it's great.

Totally unexpected sound here, this is one of the very few dub albums on the list. There is a lot of depth to the record, and is definitely not a novelty. I really liked this.

Knows what it is, which is a beautiful little indie pop set if tunes. Perfect for a summer afternoon.

Totally pleasant, but with no outstanding factors.

While it is overlong, this album simply demonstrates a great musician with his back to the wall, who comes out fighting. The record works beautifully as a late-night relaxation, or first thing in the morning. Brilliant, timeless playing.

Not a great album in the sense of having consistently great songs, especially in the way some seventies double albums would. However, there is a loveable, freewheeling energy on this record that brilliantly captures the skills of each member and somehow makes it work greatly as a cohesive piece.

To be honest, I am really bad at telling what is great folk, and what is just alright. But I thought the melodies and lyrics were strong without being cliché, and the production was definitely subtle enough to avoid blandness. So I think, in my pretty limited knowledge of the quality of folk, it was pretty great.

Not quite sure what makes the album so weird, but this is undoubtedly a great rap album. I had no idea how much I needed this artist.

Great original songwriting here. I like the songwriting more than the songs, though, if you understand. Definitely always alright, just sometimes feels below his level.

Great album. Classic singles and great musicianship. Only disadvantage is that the quality fell off a little at the end.

Not as strong as elephant, but a really nice, inventive rock record for an era that needed it. Has a great roots rock and roll sound mixed with more modern indie.

In spite of the weaker lyricism, this record has the most sonic invention of the smiths records and is a very compelling depiction of a band breaking up and moving on.

Basically just a top tier motown album. Full of iconic hits and beautiful ballads.

While it does prove that Courtney love is a successful artist entirely independent of Cobain, the album has nothing new to say, and so comes off as Live Through This - lite.

Dunno what made me really like this album. The charisma, probably. And the great melodies. And instrumentation. Damn, it just does lot really well.

Just because you have found a new, well-polished sound, doesn't mean you can just be patting yourself on the back for an hour. All of the intrigue of their earlier albums is gone in favour of something reliable, and totally serviceable, but mostly just knockoff Pavement. If the book wanted something from the art rock era of Blur, they should've went with the album 13, which does something purposeful and innovative with the change in style.

Appreciated the sound of this one, as it was unlike anything else in the list, but it sounded a little too radio 4-morning-podcast-y for me to get truly into it.

Absolutely top tier dance. Great beats, well sequenced, and with remarkable sonic variety.

Immaculately crafted in every conceivable way, yet I never have felt particularly compelled to listen to it. Blame it on the cheesy camp-off or the poor sequencing, something is stopping me from loving it the way I should.

One of the great singer-songwriter records of its time and of all time. Difficult to critique due to simply doing everything well.

Boring pretentious and no rick wakeman. No thanks.

All of the imaginative songwriting of his work with Pink Floyd but sadly lacking the interesting instrumentation that brought his songs to life.

A surprisingly moving country album depicting a descent into madness, it works surpringly well, even if some songs feel like filler.

Definitely a collection of songs without much relation, rather than being united by a cohesive theme. Starts off very strong with the lyrics track on there and the brilliant Grapevine.. cover, giving an idea of innovation that sadly wasn't fully met.

REM are one of those bands who are at their absolute best when really pushing for their sound, and this shows it. Full of clever production choices and moody atmospheres.

Classic rock that could benefit greatly from going off the beaten track every once in a while.

One of the most energetic, lively albums of the 80s

Epic, layered soundscapes and beautiful, layered melodies. The later 2 tracks aren't as detailed but this still ranks as one of the top ambient/prog albums.

Experimental with no statement. Ambient with no mood. Music with no reason.

Damn, these guys just knew exactly how to write concise, effortless rock.

Not anything original or at all of use in my opinion. Well instrumented but not expressing anything in particular.

Absolute classic. The instrumentals aren't as strong here as on Low, but the monumental production and legendary title track make this a more than worthy follow up.

Beautiful ambient that very cleverly subverts the listeners idea of the genre by building up to something bigger on its best songs

Nothing unpleasant, just totally empty in texture.

Of course the production is top tier, I mean its Dre, its gonna be. However, he has always been limited by his rapping and writing ability and it sadly means this album falls short of greatness.

Moody, space and direct, Darkness... is the ideal sequel to an album of such blockbuster proportions as Born to Run.

"Alright boys, you are going to play with shit, canned production because it is more real. You are going to add those unnecessary last 4 minutes to Heroin (which could've been fantastic) and European Son (which never have been saved) because it makes it real. And you are going to add unnecessary noise guitars that add nothing to the songs because, you guessed it, makes it more real" - probably Andy Warhol at some point

Struggling to have any sort of feeling for this one.

Some great, off-the-beaten-track, nineties hip-hop. Though not as stratospheric in possibilities as expected, there is plenty to be enchanted by.

Now I get this genre. Full of brilliant riffs, clever band interplay (especially on Orion) and thankfully little of the cheesy posturing thrash often is known for. Only slight complaint is that it could've been tighter on some tracks.

An irresistible, energetic, relentless 30 minutes.

A couple interesting moments that would definitely be expanded on by other musicians, but an absolute crawl to get to those moments that sadly kills the spark this album does have.

Doesn't have a particular mood or theme, but this is 10 imaginative, funny songs that do plenty to stand outside the typical formula for pop.

Sounds sharp, well instrumented, creative song structures. I don't know why I want something more from this.

After the fantastic 21, Adele has been unsure of her next career move and while this isn't as staggeringly pointless as 30, it represents the diminishing ambition many artists face when they achieve great mainstream popularity.

While frontloaded, this is a rare feat - a double album that not only reaches levels of grandiosity and imagination not available on a single LP, but also that stands as the definitive album of a mostly live act.

Left it feeling pretty much the same as I did before. The title track is a classic but the rest of the album sadly doesn't expand on the concept of it.

I am tired of Neil Young because of this project. However, not so tired that I can realize this is a beautiful, honest and frankly essential record.

An interesting snapshot of just how amateur rock had gotten before it really started to die out. There is an interesting DIY feel to the album, but due to the lyricism and boring instrumentation, I wanted others to do it for them by the end.

Visionary message over earth-shaking grooves? Of course I'm going to love this. Only issue is I don't love the second half as much due to its less exciting melodic and lyrical content.

Adventurous synth-pop that takes enough left turns to not just stand outside the traditional formula but also as a signpost moment in popular music. A high four.

Nice music. I didn't feel much of anything while listening to it, but pleasant enough as a museum piece of hip hop and pop culture at the time.

Immediately, The Clash set themselves apart from competitors with their melodic edge and musicianship, which would be even better realized down the line. A joy from start to finish.

Great background music. Felt better as accompaniment than in the forefront but greatly enjoyable nonetheless.

An absolute powerhouse album. Legendary performances, songwriting and energy. Hendrix shines with the sharper, more focused production and the album, even with its considerable length, never stops grabbing the listeners attention. Essential.

Beautiful ambience, knows to not take itself too seriously. A great album.

Didn't know this album had anything to do with bossa nova, which could mean I didn't fail in imitating it. But it also means it didn't succeed, either.

Typically 70s in every way, and also an obvious leader in the trends. Sounds nostalgic from the first listen, like revisiting memories you never had.

Lacks instrumemtal variety and often risks sounding one note, which is a shame because the performances are impeccable, and In the Crowd is already one of favorite songs ever.

In spite of a few misguided attempts at country, The Stones have managed to make their first essential record, with the tightest playing, most original direction and simply the best songs.

Another of these dime a dozen, clichéd rock bands who think they are the shit. I'm sure this is what i needed to hear before I die.

By no means great, but at least it tries something.

Wow, he really did need the other beatles member to seem likeable enough to create an album that made any sense. One example is "Imagine" asking for world peace when "How do you sleep?" attacks Paul McCartney. Though there are a couple great tunes, John's personality and self indulgence sabotages this one and stops from being an essential, or even a great album.

One of the great all killer, no filler debuts. The songs have a delicious melodic and emotional edge over competitors backed by powerful performances that make the album come to life.

A superb album. Massively influential, technically sound, and often replicated. Don't know if the melodies are as enticing as the rest, but definitely an attention-grabbing listen.

Solid early 00's pop rock. It has in energy what it lacks in sophistication.

Not everything is quite on the masterful level of sonic scope and ambition shown in the opener, but every song has incomparable songwriting and unmatched emotional honesty for the era. The album's formula has been oft-replicated but never quite matched. A superb effort.

Expected nothing, but honestly really liked this one. The whole album had a dimly lit, intimate mood and I actually dug it. The songwriting was elevated by the stripped down approach which really brought the tunes to life. I'm not quite sure about this being a massively bold move artistically like many say, but it at least turned a new leaf for Young.

Potential for a great album sadly eclipsed by oversinging and overproduction. Tear it down a little and we'd have something fantastic here.

It could've been a huge failiure. Much of the story seems like hyperbole due to how overdramatized it all is, and since Floyd were by now only a band in name only, there is an obvious uncertain nature in the performances. Thankfully heavy-handedness is avoided due to some of the sharpest, most affecting and simply best songwriting ever. The album is so remarkably detailed generations to come will find details we never have And it all comes together in Comfortably Numb, which is probably the greatest distillation of the band's lead writers chemistry, featuring state-of-the-art production, and probably the most exhilarating outburst of electric guitar ever recorded.

Dated synths, cheesy lyrics, blatant laziness musically and sonically, this record has everything in the shameful sellout checklist!

Difficult one to critique because it just did everything insanely well.

Yes, it can try a little too hard, but I don't get how Lou Reed's solo stuff isn't more acclaimed than his work in TVU. This has better melodies, sharper production, and is more realized as an album.

As much the producers record as the band's, an interesting listen that I feel I haven't quite understood. But as background or purely for entertainment rather than logic, very enjoyable.

Though maybe not as charismatic as their earlier work, it turns out White Blood Cells was just a warm up. This is an epic, maximalist statement which turns everything up to 11. There are gargantuan blues "Ball and Biscuit", unsettling, moody ballads "In The Cold, Cold Night" and Stadium sized rock anthems with and instrumental chorus. One of the essential rock albums of the century.

Sharp, forceful production, exciting melodies that do a great job expanding throughout the songs. Exquisite performances from everyone involved.

A little overwrought, and less certain of its purpose, but still, it's Arcade Fire. The songs are great, very well constructed, there is something to discover with every listen, but it does feel overcrowded. Thankfully, their sound would be stripped down largely for 2010's fantastic The Suburbs.

Good old cover album. Had a beautiful ambience and an intimacy between performer and listener that was well established. Would be rather influential as artists in the 00's in particular copied that somewhat lo-fi sound. An album well worth listening to.

Energetic, knowingly rebellious British rock with a knack for great melodies? Count me in.

Incredibly bland, surface level rock. I find eric to be a rather faceless guitarist, especially for someone who has such a large tendency to overshine the other group members. Sadly, the rest of the lyrical and musical content follows suit with Clapton's guitar and only Layla, which is a fantastic song, manages to look at all beyond the bare minimum for rock in its peak era.

Well instrumented, impeccably played, and an effortless listen, Stevie is faultless through every second of this thing. This is the sound of an artist not pushing through uncharted sonic territory, but rather allowing themselves to enjoy the view from the summit.

Get it? They're being arty!

Tunes that sort of straddle the line between jam and song, and as such it often sounds like noodling. At least it was all well performed, regardless of its uncertain direction, and the title track is still a classic.

While some of the grooves wore a little thin over their extended runtime, I dug this journey into funk, jazz and reggae. The mix of genres was eclectic, and the performances and production was spot on. This is the stuff I need to hear that I wouldn't have otherwise.

Solid pop, Lauper's vocals can grate after a while, but I would take it wholeheartedly over another bland traditional vocal. The same sort of idea can be applied to the rest of the record, that not everything works (like the reggae tune on there) but it is a lot more interesting than another damn 70's pop or rock album.

Can't really say much about this. The songwriting is standard fare, but at least the performances were enticing.

Damn good time, well instrumented, sequenced, and performed. The band sound concise and there is nothing to really fault here.

Awesome. Great, inventive sonics, and not really a weak point in any aspect of M.I.A's producer-rapper-singer-songwriter job. Only thing is i think it was totally upstaged by her second album.

Lovely psychedelic album, floats effortlessly through every track, and a truly inspired sound. Not such a fan of the noisy tunes, as they feel out of place and haphazard in comparison to the rest of the album's meticulously detailed sounds.

Gorgeous, sparse instrumentation, and softly delivered vocals telling a neat story I wish I could say I understood? Ultimate proof country isn't just rambling nonsense.

A lot beautiful, inspired guitar playing. Sometimes a little too big though.

Absolutely fearless album, that goes into whatever genre or mood it likes, when it likes. The artistry is unmatched in Stevie's discography and in spite of the record's ambition, it still works perfectly as an album. Top tier Stevie and just a top album in general.

Poorly played, uninspired and just not very good. Can't think of any redeeming qualities.

Really creative sound. Nothing quite the same as it. Sometimes a bit gimmicky but well worth a listen.

Great album. The upbeat songs have a great groove, the album gets all of its emotion moments right, and the sequencing is masterful. Only issue is it gets a little heavy handed at the back half.

My advice for this album is to enjoy the inspired atmosphere and memorable instrumentation, rather than zooming in on the actual songwriting. I did the former and latter so I thought it was just alright.

Was going to give this the one star treatment before I realized not many albums made me think as much as this. The songs all had memorable quirks, and were all very versatile, which is very useful when this thing is about two years long. Overall a very memorable, exciting experience and one I hope I can one day say I enjoy listening to.

Lovely rough-around-the-edges production. Wonderful melodies. Just a couple more original lyrics away from perfection.

Inventive samples and fun wordplay. An enjoyably brief album that was well worth it.

Classic dad rock

More than 50 years on, nothing is quite able to replicate the spiritual but universal atmosphere, the effortless sequencing, or the sense of prevailing hope to see a better tomorrow. Gaye's vocal performances are exquisite, and the lyrical subject transcends its themes of Christianity and reaches something spiritual anyone can relate to. With all this history, you would expect the album to be heavy and flabby, in fact it still manages to excite and surprise, all these years later.

Some guy told me to not bother listening to it.

Great time. Really inventive sonics that stood out to me, while also just having a nice groove to each tune.

Some inspired, surprisingly exciting tunes here, it'd almost be memorable if it had some sort of charisma. To their credit, they're obviously trying very hard, there are some different styles and genres throughout the whole thing, but it just lacks personality.

Just a well done, all-rounder album. I still dislike Sympathy, partly because the solo is shite and also because it goes on for six minutes and seems to sound the exact same for all of it. But everything else here is schooling in how to make a brilliant rock record; effortless delivery, captivating energy, and a timeless knack for melodies. The absolute DNA of rock is here, and would be exemplified even better on the Stones' next three.

She just kicks ass.

Well this made me like Bob Dylan less. His harmonica playing is very clunky and his vocal performances are rough, which certainly detracts from the undeniably brilliant lyrics. Even the more exciting second half had no real audible reaction from the crowd, which left it with traditional rock and roll. Finally, why is this the only bootleg in the book, when it's so far from the best? A poor choice and a poorer album.

A nice little record with some interesting sonics, but shouded in a very inconsequential feeling. That it the last album in my edition of the book is baffling. I can understand the difficulty of putting new albums in, because the editor must decide what will be considered a classic, and what will be considered embarrassing in retrospect, but something as plain as this? Was never going to be either.

The epitome of freewheeling, magnitdutinal joy. The album has a loveable messiness that provides a great deal of character. A really exciting listen that is full of left turns and has stood the test of time, in all its coke-soaked, melt-your-face-off glory.

How does it not feel generic? The secret is the killer melodies. A total laugh, liked it a good deal.

Not the best Metallica album, but still full of commanding performances, towering monoliths of songs and a surprising hint of sentimentality. The album flies by without fault, even with songs gladly stretching over the eight minute mark, largely thanks to how dynamic the songs are. The arrangements are dramatic, but stuffed within an inch of bursting - just look at how energetic songs like 'Blackened' and 'One' are, not too decorated for them to lose the visceral edge of them. Just one question: why is there no fucking bass? The thing sounds like it was recorded in a tin can, and some of the weight of the record is really lost with the lack of a bottom end. Doesn't ruin the album but it does a damn good job of trying.

It's not inspired, it's not well written, its not even particularly relevant: but this band sure knows how to play to it's strengths. The songs have an effective simplicity and greatly benefit from playing to the more sentimental, uplifting side of rock which lends the album a shining personality. The performances are spot on, the band laughs at rock cliché and they know where the hook is.

Great album. Super varied.

Got a bit heavy in the back half, but this is a gorgeous album. Works great on a rainy day.

To me much preferable to five leaves left. More inspired sound and a more varied oral palette.

I mean, she just IS soul. If you have a problem with this excellently paced and pitched album, I think you have a problem with the genre.

More showy than t Rex's other record in here, bit also a little more bland. I feel the pop sensibilities of Marc Bolan are still here, but you have to look a little harder to find them.

More than a bit too long but there are plenty of bangers and I'm going to go against the grain and say the production was great.

Some albums are boring because they do nothing to stand out. They stay in their chosen genre and choose their style of delivery and stick to that without standing put or doing anything special. These albums could have excellent songs and exquisite performances, and nobody would care, because they did nothing new or inventive. The other kind of boring is a rarer case, one that exists when the songs are pulling into all sorts of different directions, doing plenty of cool ideas bores. This is because all this cool stuff that should be memorable is delivered or written in an unexciting way, where you aren't brought into the world because the melodies, lyrics and performance doesn't match the inspiration it tries to conjure. Sadly this album, with its sonic disjuction and plaintive melodies, falls into the latter category. An album that seems to be doing something different at every corner, but only once ("Two Weeks") does it truly succeed.

A bit directionless, but a compelling vehicle for an obvious talent.

A very memorable fusion record. Combines the nuance of jazz with the grooves of funk to great effect. All the songs were memorable and varied enough to avoid repetition. Only fault was some of the songs could've had more energy in their performance to stop the slight feeling of bloat.

I get that its hard to decide what albums will be classics in this century, but this album, with its poor rhymes, weak rhythm section and bland structure is an obvious poor choice. An especially odd inclusion when modern classics such as Daft Punk's Discovery and Frank Ocean's Blonde are strangely omitted.

Would be a five, but the general outgoing, egregious energy of slim kinda wears thin over its 70 minute runtime. Trim it down and you have a pure classic, with top-tier dre beats and em's obvious natural charisma, and this would be an absolute classic.

Rebelling against a tedious, pedestrian way of life by writing tedious, pedestrian music.

10/10

Definitely a pleasant surprise. Starts off with club bangers, which all really pop with their production, and then slowd down in the back half, with gorgeous ambient instead. Simply a really strong album.

Still not sure if this is the finished smile, but this is probably as close as we'll ever get. It's a bold, almost proggy record that is always light in atmosphere to avoid the heaviness of its format. The hooks (when you get one) are as lovely as anything else Brian's done and some of songs here (Heroes and Villains, Surf's Up, Good Vibrations) are at the absolute top of the beach boys catalogue. However, it's difficult to listen to this version of Smile and not see it as a kind of postscript, a plan B. Brian's vocals are obviously past their peak, and quite a few of the tunes have clearly not met their full potential. A lot of the album has a deeply fragmented, still-not-quite-there-yet tone. Its a huge relief to see Smile finally released, and it actually sounding somewhat finished, but you can't help but wonder when listening what could've been had the original project been completed.

I always struggle to write reviews for albums that are so masterful, but I just want to say Low is one of my favourite albums of all time and my favourite Bowie album. The trick with this album is that, even at its most deranged and frankly odd, Bowie manages to slide an excellent hook in there. All the songs on the first half are excellent and have exquisite performances (notice the drum sound on this in particular), each of the tunes have a unique identity and the songwriting is so good that Bowie doesn't even need to extend most of these songs past 3 minutes. And then there's the instrumental back half undoubtedly masterminded by Eno. The set takes you from the denizens and back alleys of Berlin to starkly showing the clarity and starkness of Bowie's mind. Each song has powerful melodies and is completely brought to life by the instrumentation and production choices. The album is perfectly paced as well, with the joyful train ride around Europe of A New Career in a New Town to the downbeat, spiritual nature of Warszawa (a song so ridiculously good that joy division almost named themselves after it). Never has a Bowie album felt so alive, so realized through every aspect of its creation. This review of course sounds like total dickriding, but come on, this is one of the greatest of all time.

Pretty but no personality.

I don't think I'm ever in my life gonna think to myself; you know what I would like to listen to today? Some judas priest. So on that basis I'm feeling a solid 2.

Curtis Mayfield really deserves all the praise he gets. This dude is awesome. Does more with 7 tunes here than most can with 20.

Great album that balances huge rockers with an obvious pop edge which it fascinatingly loves to neglect. The band a tight, the melodies are fantastic, and there's some real heart on it. Of course, Doolittle would do everything better a year later, but the visceral energy of this first record is never going to not be thrilling.

Pure trendchasing. Absolutely nothing on here that would set the standard or influence other artists. The synths are Prince-lite and barely fit the songs, and the lyrics are bland cliché after bland cliché. Virtually nothing in the hook department either, which is incredibly dissapointing for and album trying so blatantly to be a pop smash.

Love the organic, minimalist atmosphere. A very pleasant, fresh album. Will need to be revisit to see how much content the album actually has though, because it may be hiding how much it has to say under its minimalist agenda.

Damn, another listen to this thing and another time I fail to enjoy it. Maybe its because the band fail to sound like they're enjoying themselves at all, or maybe because they fail to sound like anything?? The performances of Let Down and Karma Police feel particularly shapeless, and fail to give the songs the heart they really need. Another gripe is that they sound far too serious and moody to ever truly rock like they did on The Bends. This is likely because on so many of the songs the band are playing greatly into art rock pretentions that they sound massively out of their zone on the truly rock moments like Electioneering. Hell, I would even argue that Paranoid Android suffers from this, especially when they go into the heavy part a second time, forgetting the most effective aspect of the tune was its creeping suspense. However, when the album turns its fears of technology and alienation inward, it greatly succeeds. Exit Music's images of abandonment and it's slow, anguished build are still captivating. No Surprises is just as powerful, greatly showing Johnny Greenwood's talents as an arranger. This is not to mention the beyond-words excellent production of Nigel Godrich, and the much-needed life he brings to some of the weaker songs, though I do find Let Down to still sound a bit of a mess. Ultimately, I still find OK Computer a confusing record, and one that often gets in its own way. Maybe, if Thom addressed some of his concerns in a more human, real way, I'd be more empathetic. But sadly this album is too big, too blatant for me to feel much of anything.

Don't find it as direct as its more bold successor, but a great, incredibly energetic listen. Chuck D is commanding as a frontman and the album has aged remarkably both lyrically and sonically. A argument could be made that the album is a little too long, but when the sound is this stark and memorable, maybe it doesn't matter if it sounds similiar.

Some of the best songs every written here, but unlike Bowie on the album cover, they're not quite as interestingly dressed as they could be.

Sometimes mucks it up lyrically or emotionally (namely indian skies, with its misguided lyric and poorly delivered intent), but thankfully the melodies and arrangements are so gorgeous its difficult to care too much. The album is perfectly delivered, even if the raw material isn't as strong as it could be. The production is clean as a whistle and Elton is endearing as ever, with the whole record being excellently paced too.

Some genius songwriting here, but undermined by the fact that each song seems to be working against each other and the record is pretty shoddily produced.

Excellently done especially surprised by the clarity in the songwriting, nothing is overstated or overblown.

Very much a three star record. Some of the songs are fantastic, especially the singles, but much of the record is bogged down by a feeling of self-indulgence. Almost all the songs are at least a minute too long, overbaking what could've felt like a more clever, subtle record and some of the songs duffer from overproduction. A shame, because there really is a spark somewhere here.

Wow. An authentic, memorable, well-produced psychedelic album from this era. Not often I'm this lucky.

Great time. Aged remarkably well, and there really isn't a weak link on this thing. The band seem perfectly in sync, and there is a distinct tight-but-loose dynamic throughout all of it. Only slight complaint is that I wish there was a slight bit more coherence to the project, but nonetheless an undeniably strong set of songs.

Deeply pleasant album. Well put together (loved the reprise) and felt the album was generally for more consistent and memorable than the other doves album in here.

making a fusion album incorporating black music is cultural appropriation? Any doubts should fade as soon as you hear the remarkable accordion intro to The Boy in the Bubble. The sound is tight and, unlike most 80's pop, is teeming with life. The song quality diminishes in the back half, but the production is so natural and immaculate its difficult to even care. Was going to give this thing a 4, but swayed to a 5 out of spite of the comments that totally misunderstand the record's ideologies.

Still don't get this album. The songs are repetitive and only ever consist of a couple 4 or 8 bar sections. Its a rigid record, one that feels robotic at times, which is a shame because this is supposed to the first truly human Beatles album. Naturally, the melodies and production are immaculate, but I still would consider this (like the album before and after) a transitional record, but one crucial in the band later making some of the greatest of all time.

Nah cause why's this actually really good.

Dead boring. Sounded floydian on the first tune and then the rest was just meaningless dad rock. Somehow also sounded like a kids songbook on some of the poppier songs as well.

Generally just a laugh of an album. The lyrics were haphazard and often shocking; the music followed suit and frankly this was a great dose of energetic, erratic and rocking hip hop.

Wild album. Full of energy and purpose. Loved the unusual song structures.

An indecisive record that can't decide if it's a concise pop rock album, or a sprawling, almost proggy beast. Thankfully its damn good at being both.

It's not perfect record like radiohead's previous. But, if you're willing to see a band go out of their comfort zone and make a bit of a mess, a greatly enjoyable record nonetheless

Awesome hooks and a surprisingly memorable and relevant social commentary. 4 stars!

Likely a mixing issue but the entire record sounded very flat and drab. Sucked the life out of the album for me.

Surprised at how much fun this album seemed. I thought CS&N were too good to be enjoyable, but that only happens when Young's brought in.

Many 70s rock bands would throw their hat in the ring and make the live album with the really long songs, but this one I actually cared about. Maybe because the songs are actually really good or maybe that the band actually have some real energy or charisma. Since this is about as good as live albums get, the only real critique I can have is that I really don't feel live records belong on here. Isn't this list supposed to be compiling the best album statements ever, rather than just good sets of songs? Feels a bit cheap.

About as good as ambience gets. Still not an album or genre i'm likely to listen to often but inarguably perfect anyway.

Like radiohead but happy. The album was decorated but still in stature.

Totally over the top. But the songs are great and the arrangements are sharp. However the production is a little too huge sometimes.

Juvenile but emotive and considerate. More of the lyrical maturity could've been translated into the instrumental choices however

Well performed and executed, but ultimately faceless.

The stripes first major pull away from the charming indie of their early days into a much grander, larger sound. The album is lush and epic, in some ways the antithesis of their early days. Too bad these guys pretty much lose all their intrigue once the intimate, quirky arrangements are taken out, and as such this album borders on shapelessness.

Every song starts at 11 and ends there too. The is no range in dynamics or lyrics. The songs are all overbaked and overproduced, forgetting to let the listener grasp on the essence of the song before taking off. However the vocals were excellent and the band sounded tight. I think a 2.

There's a reason nice warm sound to this album, and the lo-fi production suits it. Sadly some of the songs seem to distract me from the warm atmosphere and go for something else.

A couple eternal classics surrounded by remarkable amounts of meaningless filler a classic album does not make.

Not as stark in personality or instrumentation as their other record, but still full of the easy going, relaxed and beautiful atmosphere I live about this band. Deserves to not be lumped in the other, more generic rock acts of the time.

Spoiler: actually quite a lot is shocking. I had a blast.

Almost felt imposing have to write a review about this album. Every song features state of the art production and has aged perfectly thanks to its often unconventional techniques. The performances are spot on. Each part is far more complex than any before (hear the way McCartney's bass contributes its own powerful melodies while guiding the listeners ear) and full of diverse, inspired instrumentation. The use of reverb and echo create the most authentic aural simulation of psychedelia ever created, tying the album together in its daydream-like sunshine. Even the songs that are weaker than the average from Revolver (Lovely Rita, Fixing a Hole) are delivered in a way that supercedes anything done before - and possibly after - by the band. More than any album before it, Sgt Pepper is best enjoyed as an album than just a set of songs. Every song flows perfectly and its clever use of segues bring the album to life far more than Revolver. Each track flows perfectly into each other, for example the eruptive transition between Good Morning and the remarkable finale of the reprise and the Beatles' masterpiece, A Day In The Life. Altogether, Sgt Pepper is a remarkable piece of art and timeless contemporary pop.

Good songs using 80s production enough for it to sound sleek and energetic, But not dated and cheesy.

Had a blast. Bass playing is remarkable.

Took the original sound if the band, keeps the gleeful hedonism, but softens the rough edges with polish and attention to musical detail.

Takes the deep atmosphere of the best ambient projects and brings a trip hop groove and more memorable mood. Sometimes the sound is a little too drab and slight, however.

Scraping the barrel in terms of albums that could be considered great.

A bit, yes, melodramatic, but full of punch and energy that makes for great, digestible pop. The writing is strong, the hooks rise to the occasion and Antonoff's production is remarkably sharp and crisp. A reminder of how great 21st century pop really can be.

I was struck by the sound of this. It isn't experimental, or artistically bold, but had a lasting impact on me. This galloping, western-influened, country is like nothing else on here. This reminds me; wasn't I sold on this experience being a bunch of iconic, unique and vital albums? It shouldn't be difficult to find a list of 1001 albums that at least have identity and purpose, and I'm disappointed that editing biases have led to an overinclusion of bland (mainly psychedelic) rock, which is generally very inconsequential. Going for a 4 on this, though that may be partly due to the choice of inclusion than the actual album.

Little on character, big on talent.

Actually was alright. The back half wasn't as inspired and the production falls flat, but the musical direction is memorable enough to still hold up. Its interesting to look at each member of CSNY and try and figure out why I don't like them as a band. Young's solo stuff is alright (thank god because there's tons of it), and so is this it turns out.

What can I even say? Its fucking Doolittle, the band are in total sync, the pacing is perfect and the melodic edge is remarkable. 5 stars.

Lovely album. Great sonics and powerful lyricism.

Not got the shape and power of their later records, but still an enjoyable, formless exploration of the band's many talents.

Even though it isn't as inspired as their later material, and the lyrics border from cliché to just plain awful, this is one of the legendary debuts because of the viscerality of its sound and the audible excitement of the undeniably talented members playing it. Not the best zeppelin album, but a jaw dropping record nonetheless.

Remarkably mediocre. A couple tunes had enthusiasm, but most felt uninspired and unengaging. No real hook for the listener to bring them into the album either. Nothing is bad, but not much is particularly good.

Meaningless, bored, uninspired 70s yacht rock in my opinion. And I LIKED Hotel Calafornia. That album was at least iconic and sounded clean as a whistle. This album brings nothing to the table in terms of safe, bland soft rock and was, frankly, a pointless inclusion.

What phil spector probably sounds like to people who hate phil spector.

Mixes the juvenile energy of licensed to Ill and shows them warming to the stronger aspect of musicianship of Ill communication, and the record shines in the more clean-cut runtime. Their best, even if the shouting wears a little on the listener.

The best stones album. The production is earthy and authentic. The songwriting is expressive and inviting. The sequencing is natural and never forced, by far the most whole statement of a stones album. A couple songs do feel like padding, the pacing slightly drags in the middle, but the album is never fully loses sight of its ambition to make to make a timeless, genreless expression of creative freedom.

Probably some hidden genius to this record i don't get. Right now its a solid noise recoed in a pop format. Feel kind of indifferent to it.

Lovely record. The direction in the production matches perfectly with joni's lyrics, creating this mesmerizing sea of atmosphere. Though I do wear of the deliveries vocally at times as the showiness distracts from the mood.

I enjoyed the first half. A continuous development on a classic song over 5 movements that always monitor their virtuosic playing with the knack for hooks? Sure it somewhat loses its focus but count me in. The second half, however, nosedives in quality. The track mona was pointless and indulgent with no intrigue whatsoever. Then the album completely goes off the rails with the 13 minute cavalry which will leave you with absolutely no recollection of what happened even at its grandiose runtime. Then the album ends with a miserable county pastiche cover which is the records title track. This second half completely derails a great start to the album and sadly leads the album to exemplify everything wrong with 60s psychedelia. Too bad.

Simple, inspired, and sumptuous. A lot of fun through its full runtime.

The queen album without dumb sellouts or conceptual tomfoolery, aka the best one.

A mishmash of different rock and roll tropes including indie, noise and just straight up metal. Quite interesting but altogether amounts to little of meaning or enjoyment.

Raw, primal, and visceral, for better or for worse.

Can't really remember anything. Nothing was bad, and this album would have benefitted if there weren't so many other early 70s rock records in here.

I personally hate the posturing and posing that goes into loads of jazz. The directionlessness of the songs. The noodling in a twelve bar for 9 minutes. The prevailing sense of snootiness. However, this record shows everything I love about the genre. Every song has intense use of dynamics and structure. Each piece is sculptured thoughtfully and imaginatively. There are shocking instrumental turns everywhere you look. This is an album, a fully realised statement, not a meaningless pile of noodling. Anything less than a five would be daft.

Not yet convinced abba are exactly an albums act, but the singles are all classics and the album cuts don't feel like their filling space on the record, even if I wouldn't say I'm particularly fascinated by most of them.

It's a banger, what more can I say

Not an album I should love as much as I do, but it's never uninspired, always exciting and never feels cheap, even though it is definitely inconsistent.

An absolute banger. Quite a nice juxtaposition with the rainy walk I took as a listened, and a strong sense of atmosphere and instrumentation is maintained throughout.

The ideal pop album. Every song is immaculately detailed and embellished. For example, look at how much Wouldn't It Be Nice packs into three minutes, with numberous instrumental passages, denouements and clever use of ritardando. The arrangements are expertly utilised, and never distract from the pop nature of the record, and every tune takes more shape than Smile would. The production, sharp, and unobtrusive, is the greatest evidence of Brian Wilson's genius as a producer, and still is greatly influential in the pop world. However it doesn't take genius to realise that the power of Pet Sounds lies in the direct emotion and clarity of every moment of it. And every part, every line, still sounds immaculate and universal.

Great tunes delivered with the energy of people who love what they're doing.

Felt one note in voice throughout the album, and fat longer than necessary, but musically it's all there.

Fun, but generally shapeless and indifferent.

Drags slightly, but the haunting, uncertain mood really sticks with the listener.

Gets a little formulaic, but the production is concise, the arrangements are exquisite, and, most importantly, Beck's change to a starker, more emotive sound feels natural and engaging.

The idiot is more experimental, but Lust for Life is more emblematic of Iggy's persona. The hits are legendary, Bowie's sharp even if he sometimes overshadows Iggy, and the songs are both intelligent and immediate. Next to Fun House as his best record, with or without the stooges.

I get that they're catchy, I get that they were important, and I get that this band do have a couple albums of great material in them. But really all they are is pleasant, semi-interesting pop, which really only warrants one, maybe two albums. But five albums of The Byrds!? More than Floyd and Talking Heads? This album in particular is certainly not essential listening, and not deserving of it's entry.

Not up to much lyrically, but really sharp musically and reminds that punk is more than just anarchy.

Basically just good music. No faults, no particular affection to itz no stylistic choices. A boring idea of perfection.

Peters out a little in the second half, but still a relentlessly enjoyable, experimental, and exciting listen.