I was bang up for this after hearing the haunting vocals and jagged beats of the opening track, 'Preface', followed by the quite beautiful, and a little raunchy, 'Lights On'. I loved it - sounding like someone had spliced Kate Bush with Bjork and replaced Thom Yorke with them during Kid A/Amnesiac-era Radiohead, but told Jonny, Colin and Ed to ditch the guitars. However, it then began to feel that it was just the same formula throughout the rest of the album: soulful voice over the top of chopped beats. Nothing wrong with that and I still very much enjoyed it. So much so that it remained on a loop for most of the day and I kept finding new little sonic nuggets with each play-through.

Have never been a big listener of the Stones and still don't really understand how they've made a multi-decade career out of playing different versions of 4 or 5 songs... The hits are still hits, 'Brown Suger'and 'Wild Horses', but sound best suited to being blasted out by a wedding DJ at 11pm after the father of the bride and his mates have got on the sauce and are wanting a good ol' sing-song.

The best thing the Pumpkins ever did and one of the best coming-of-age/teenage angst-fueled albums. After the soft opening chords of 'Cherub Rock' the next 60+ minutes are just a glorious smash in the face, full of sonic dynamics and depth.

Seemingly sounds like the point where Morrissey's crooning ego began to outweigh Marr's indie creative genius - too much self-indulgence and not enough jangly riffage. Even with your rosetinted nostalgia glasses on, it's hard to listen to the gladioli-waving toss pot given his descent into populist clickbait.

Ferry is a very marmite vocalist. I happen to like marmite in this instance. 'Out of the Blue' is the standout, 'All I Want Is You' is a great stompy opener but there are better Roxy albums out there

Easily forgettable and pretty repetitive throughout. Hard to see why this was such an influential post-punk record.

An album that's back-loaded with the all the goods. 'Let Me Drown' is a groovy grunge opener, but it then all feels a bit filler until the crowd favourite 'Black Hole Sun' (whose music video now looks like a stoned A-level students films studies coursework) through to the muddy jewel in the crown: the sludgy, LSD inspired '4th of July' If, whilst listening to it, you felt "do you know what? This bass could be a bit heavier", then here's a tremendous doom-centric lockdown cover version: https://www.youtube.com/watch?v=badIQlcOLcg

It just sounds like a poor-man’s Kings of Leon to me, but without the catchy licks and soulful southern drawl. Part of the generic garage-band sound of that was endemic in the 2010’s. Inoffensive, but forgettable.

Sounds quite cute to listen to now, but you can't argue with their pioneering influence. Lends itself to softly playing in the background whilst you're trying to build out a strategic response. As a result it rather blends into a single moog-based soundscape. Apart from when your ears prick each time the motif sampled in 'Planet Rock' pops up. Better Kraftwerk albums to come...

I was bang up for this after hearing the haunting vocals and jagged beats of the opening track, 'Preface', followed by the quite beautiful, and a little raunchy, 'Lights On'. I loved it - sounding like someone had spliced Kate Bush with Bjork and replaced Thom Yorke with them during Kid A/Amnesiac-era Radiohead, but told Jonny, Colin and Ed to ditch the guitars. However, it then began to feel that it was just the same formula throughout the rest of the album: soulful voice over the top of chopped beats. Nothing wrong with that and I still very much enjoyed it. So much so that it remained on a loop for most of the day and I kept finding new little sonic nuggets with each play-through.

I enjoyed the opening/title track (always been a fan of funky time signatures). No such thing as bad jazz and I happily had this on in the background, but apart from that first track, nothing else stayed with me.

Pure perfection - not a dud song in the track listing. Slightly blinded by nostalgia, with memories of it regularly being played around the house and in the car when I was a kid, and being fascinated with my mum’s vinyl copy which had a pop out/make your own space ship. An album that's still guaranteed to put a smile on my face. Jeff Lynne is a genius.

A solid collection of punk standards and a blueprint in to see how they became into the post-punk cult heroes they still are.

What a joy this was to listen to.

I am someone who is a lover of noise, static and jarring music. I couldn’t find a way in to enjoy it and I couldn’t get anything out of it apart for the thought that this was just a load of crap.

I’ve never really got The Fall. I’ve never really got the mystic and cult around Mark E Smith. The album is ok - but couldn’t shake the image of a decent pub band just going through the motions as I listened through it.

I'm one of those ultra alternative types that thinks Oasis are in the same "most overrated band of all time" bracket as the likes of Queen and Rolling Stones. I was also very much in the 'Team Blur' camp and think Liam is over-hyped tit. But certain tracks make up the soundtrack to a huge cultural period. So, from a historical perspective, it's a 3 from me.

Really liked this. Such a mix of styles that blend together so well. Hearing some Hendrix, Flamming Lip, Zero 7, Khruangbin, BADBADNOTGOOD... I could go on. Hit a lot of right buttons with me - bringing some late summer heat to my chilly autumnal home.

A sound to match the artwork. A bit samey all the way through and I think that “you had to be there, man” to get the full hit. But the jam session, psychedelic vibe is a lovely place to escape to.

A slice of pure 80’s sounds coming from the tape deck of a Chevrolet Corvette as it cruises down Broadway on a rain-soaked night. ‘I Can’t Stand The Rain’ is the standout, really enjoyed the guitar solo on ‘Steel Claw’ and sax solo on her cover of ‘Help!’. It’s a vibe that I’m happy to listen to, but also one that sounds generic quite quickly. Also, why is there a black cat staring at me on the cover?

This is utter wankery. I can appreciate the technical musical skills, but it’s a fucking mess and so far up it’s own area that it can see the sky. So many different elements and yet none with memorable hook or moment.

All the hits, but that's it. Classics that never go out of style but I'll stick to them rather than explore their deep cuts.

Brought back memories of trying to download this on Napster over dial up... ‘Clint Eastwood’ is still a standout banger. Still get a kick out of the whole ‘art project’ vibe they started here: the animated personas, the episodic nature of the music videos, cut & paste of samples and beats.

I’ve only ever listened to the hits never a full studio album from the Manics. So after popping that cherry with this I can safely say: you’re not missing out on any deep cut gems by only listening to Spotify’s ‘This Is Manic Street Prechers’ playlis . ‘A Design For Life’, ‘Kevin Carter’ & ‘Australia’ are brilliant indie bangers with depth and soul. But the rest just feels like decent b-sides lacking the killer punch of those prior tracks. It’s not bad, but it’s not great: They’re a ‘Best of’ Band

A new band for me and a nice alternative to the very white rock scene. Quite the genre-hopping experience for the ears. Like a Phil Collins-Faith No More-INXS-AC/DC-Prince type Frankenstein’s monster. Preferred it when they embraced their heavy side: 'Cult of Personality and 'Middle Man' were the standout tracks for me.

The disdainful pout that Iggy is pulling on the album cover says it all: this is a sleazy cesspit of punk and it's bloody glorious. 'Down on the Street' is straight into it with no messing around. The rest of the album follows suit - full of filthy riffs, dirty bass and wild screams. Finished off with the appearance of an obscene saxophone all over the closing chaotic crescendo that is 'Fun House' & 'L.A. Blues' Seeing them live during the early '70s must've been something else.

This is a puzzler. On the one hand, you have timeless songwriting, fantastic arrangements, beautiful orchestration and the signs of where Simon was ultimately going to get to with Graceland. But on the other, it's a downright mess of an album, with seemingly no thought to the flow of the songs. Why open with the title track?! You're heart and soul don't have time to process and recover from having been exposed to one of the most emotive and beautiful songs of all time before you're then thrown into some Peruvian folk rambling nonsense about sparrows and snails. Also gotta feel for old Art. Asked to do sweet fuck all in terms of artistic contribution and then the album cover just rubs further salt into the wound: Simon, seemingly obliviously to his presence behind, walks in front of him. Garfunkel's eyes look into yours and it feels like he's saying "I've been undermined and overshadowed by this little prick since childhood"

What more can you say that hasn't already been said... The album that launched a thousand riffs. All four of them showing that they were masters of their craft. Turn it up to 11 (even on the school run)

This is an extreme musical example of the Marmite principle - and I wanted to slather it all over my morning bitterly toast, then lick the knife. Granted, you can’t listen to this all day, everyday: it’s an assault on your brain and ears which doesn’t leave you much choice other than to turn the volume firmly down then rip off the knob or jump right in and let the chaos wash over you. But. It’s chaos built on a foundation of incredible talent and musicianship. Two saxophone, two drum kits and a bass guitar all improvising and able to remain in some Free Jazz hive mind state. Most of the album is so perilously on the edge of descending and unraveling into an inaudible dirge - but they some how keep enough tension between them to keep walking along the tightrope. However there are also examples of more traditional harmonies and jazz rhythms (Ecars, Feet Music & Mob Job) to show that these are a group of musicians right at the top of thier game. And fuck me, rather this than Oasis, The Manics or The Stones. At least they won’t die wondering “What if…?”

Classic industrial post-punk also with a bit groove and a sprinkle of shoegaze, I thought. The opening track ‘Requiem’ is the standout but the rest of the album chuggs along reassuringly in the background.

Presently surprising and didn't realise this was were ‘Bad Moon Rising’ came from. Sounds like something Quentin Tarantino would find whilst digging in the creates to then put on his next film’s soundtrack.

The production is crap and the bass has been turned right down. You can also hear the lack of Cliff Burton's classically trained ear. This was defiantly a tipping point from when they went from thrash gods to mainstream metalheads. But, it's bookended with two of the best opening and closing tracks in metal: 'Blackened' & 'Dyers Eve'. Also to have the 7m 26s 'One' as a single and their first music video is hilarious - a song that's made even better when seeing it live with the gratuitous use of pyrotechnics. Definitely the sound of a band going through a major transition and processing the grief of losing Burton. It's not as slick or complete as the previous three albums to this, but it's still packed full of great riffage that gets the head banging.

Like a very very bad Syd Barrett era Pink Floyd. They must’ve been smoking some strong heather in the highlands whilst they record this…!

An album that’s more a snapshot of a time and place than being packed full of hits, except that it’s got one the greatest songs of all time on it. I love the whole atmosphere & soundscape that Eno, Visconti and Bowie created over the three Berlin albums. Going cold turkey on the coke and booze really did the trick. He made this and Low in the same year…

Well… that was a bloody brilliant, beautifully bonkers ride through Brian Wilson’s mind. A true creative maverick and songwriting genius.

Always thought he was an over-hyped prick. Now he's a bigoted, over-hyped prick.

This is exactly what I thought a Deep Purple live album would sound like. All good, but does it need to be on this list? Nothing groundbreaking, seminal or of cultural/historical significance - just a recording of a good rock concert. I'm going to stick Madvillainy on...

A slice of it's time that doesn't really hold up today - despite the best efforts of the much over-played opening track.

Some seminal cool Jazz from Dave and his mates, mixed up with a bunch of funky time signatures. Goes perfectly with an early morning coffee or a late night wee dram. However, I still have PTSD from having to play ‘Take Five’ for my grade 5 Alto Saxophone exam…

I couldn't remember the name but then as I listened to the album, I realised that I have unknowingly listened to Mr Nilsson via a drunk Bridget Jones and repeated watches/listens to the Reservoir Dogs film and soundtrack. Can tell why he was known as the 'American Beatle' - hear a lot of solo/Wings-era McCartney in there. Also, some Ben Folds Five in the opening track. It crisscrosses a lot of styles, but it's not a jarring listen to play it all the way through. Each track is tight and a delight to hear.

A moody and atmospheric delight. I found the Bristol-born, trio-hop scene fairly late in the day and hadn’t actually listen to this as a full LP in one sitting. It achieves a rare thing of being able to l ignite some nostalgia wallowing and encapsulate the sound of when it was realised, whilst also sounding timeless and not out of place with the current vibe of 2022.

It all went downhill after track 1. The cover of ‘Imagine’ was pretty torturous. I imagined if was there was a world where it didn’t exist.

Just a bit ‘meh’ really. Enjoyed the album artwork more than the sounds. Think they feel like they’re being clever, but it’s just coming across as generic and blends into the background. Maybe at the time it wasn’t, but today it’s feels like a first draft of something that could go somewhere much more interesting.

Just not a fan. ‘Pop-Folk’ just ain’t one of my niche genres.

Said in the style of The Simpson's Comic Book Guy: "Most. Overrated. Band. Ever!"

This was my first 'live' experience with a Chilli Peppers album (I was 9 when the previous one 'One Hot Minute' came out). I was hooked on it as soon as I heard the distorted bass thumbing opening to 'Around The World'. It was on repeat in my walkman and the little portable sony setup we had when we went out skateboarding and being antisocial little pricks throughout that summer and years beyond - halcyon days! Yes, there is a fair bit of filler and it began their 'sell out' mainstream reputation. But it's still an absolute riot to crank up and it's got Rick Ruban's fingerprints all over it - that's always a seal of approval in my book.

Started off liking the samples and general vibe but as it went on it just felt like listening to a frustrated horny teenager shouting about having all the sex, when the reality is they're just upstairs in their bedroom with a tired old sock...

It's classic riffage - but it's the same classic riffs repeatedly.

Peak 90's nostalgia that still does the business.

Just not my back, man. Sure it was rad if you were there at the time.

You can't really go wrong with Talking Heads. Even the filler tracks on this album stand up well while listening to it in 2022. Can't really add anything new that's already been said about 'One In A Lifetime'... one of the perfect songs.

The album before they all went a bit too Morrissey. I remember going on an A-Level drama trip to see Alan Bennet's The History Boys at The National Theatre, which included a brilliant use of the song 'Headmasters Ritual' - the standout track of an otherwise 'filler fueled' album.

An absolute peach - particularly at this time of year when the nights are long and the air is cold. A warm, mellow sound to sink into.

The one before they got great and put their mark on the decade.