I was unfairly cynical about this album when it first came, but over time the singles and Zooropa wore me down and then seeing the magnificent spectacle of the Zoo TV tour near its end won me over completely.
Maybe a couple of the tracks are better as their single mixes (get at least the 2CD version if you can), but it's a five star classic for me.
It might be described as downtempo, but it sure is uplifting. Great to have an excuse to listen to this one again - always delivers the kjøttboller.
I remembered that it took a while to get into at the time... and it was the same again having not listened to it for a few years, so had to listen three times to be sure. Complex and admirable, but not always engaging. A very good album nevertheless and worth spending time to appreciate.
A great drinking album. Pipped by If I Should Fall From Grace With God for me as The Pogues' best album, partly because the production sounds a bit tinny and dated. Shane MacGowan's songwriting blossomed here with a few that are the equal of the traditional songs that inspired them.
Played this album to death when it first came out, but hadn't listened to it all the way through for years. Thankfully it definitely stands the test of time.
Great beats with some reggae spice, the wonderful voice of Lauren Hill, (and mercifully short skits).
Lady Soul indeed.
First of all, XTRMNTR is a better album than this one, and should have be chosen to accompany Screamadelica in the book.
That said, this is a good album with some great tracks, let down by a few weak ones.
There's a good single album in here, but it would still only be 4 stars. Pink Floyd will get 5 stars from me for two of their albums in the book, but too much of this one is boring and whiny, and leaves me uncomfortably numb. They lost their magic with the dominance of Roger Waters, and this full length double album is a chore to listen to.
Hadn't listened to this one for maybe 20 years, and I should not have been neglecting it. Ahead of its time, uplifting and good fun.
The music still grooves, but the braggadocio quickly gets tiring and the skits are very skippable. The start of a whole new era (for better and worse).
I saw the PJ Harvey trio live in May 1992 (some months before this album was recorded), and they opened with the title track extending the quiet but menacing intro even further than on the record. Blew me away then and still does 30 years later.
This has always been an album that I admire... but so far I am yet to fully love. When it came out, I was a bit suspicious of its prog rock elements, but despite my prejudices easing over the years, I am yet to warm to those elements here. That said, there are some absolutely 5⭐ tracks.
Back in 1987, Metal was not my thing and I resented the Goth bands who were introducing Metal influences...
But I heard 'Indians' and liked it so much I bought the single, and then the 'Among The Living' album. And finally I'd found some Metal that I liked.
36 years on I still like it very much.
The return of the sample...
Soultastic sounds that will always be classics. However, the disses were boring then, and 22 years on lose one star.
Glorious.
Freed from the shackles of Columbia, the switch to Atlantic Records allowed Aretha to soar to the heavens.
5 stars from me, and anyone who rated this less than 4 stars should have their ears chopped off >:[
A breakthrough and a template that others are still following even today. Several absolutely 5⭐tracks, and a few that meander and are just too long.
The world moves on a woman's hips
The world moves and it swivels and bops
The world moves on a woman's hips
The world moves and it bounces and hops
While I'm surprised and a little disconcerted about the choices of the three Talking Heads albums in the 1001 (no Fear Of Music?!), this is one that I would not dispute.
I listen to this one less often than his earlier two albums... and in part that's because (for me) it's not as great as those two. The best songs really work with the intimate one take nature of the recordings, but there's a few that only ever sound like demos that need more work.
Unfairly overlooked at the time, and perhaps overrated subsequently.
Ray Davies ripping off the fantastic keyboard player Nicky Hopkins guarantees this album less than 5⭐
The current average rating for this is 3.33, which astounds me 😲
An absolutely brilliant album which is thoroughly deserving of all its awards 🏆
If I had to pick one favourite track, it would be Mirrorball, but this album is excellent all the way through.
Some great tracks and some good tracks, and I remember that at the time this felt like something a bit different & interesting, and wondering what would be next. However, both Doolittle and Bossanova are better albums for me, so I'm going with 4⭐
I first heard and was enraptured by Siouxsie And The Banshees a couple of years after this first came out. When working through the back catalogue, this album was initially overshadowed for me by the two albums immediately before and after (Kaleidoscope and A Kiss In The Dreamhouse). But over time it's come to be my favourite.
Was delighted when the website selected this for me today, and no question about the score.
Loved this when it came out 11 years ago and was happy to see it pop up here for me today.
Quirky & groovy without feeling forced, and consistently good all the way through. Love an album with an introduction track too, so this will be 5⭐
Reading other reviews here, some people are confused by the 1957 release date of this compilation. The tracks on this album were recorded in 1949/50 and originally released from 1949 on 10" 78rpm vinyl.
The first of Miles Davis' collaborations with Gil Evans, and with Gerry Mulligan, John Lewis and Lee Konitz playing on all the tracks.
Beautiful arrangements that are beautifully played.
Magical album that always makes the hairs on the back of my neck stand up at some point while listening to it.
The perfect blend of Americana. First heard this album about 30 years ago, and have loved it ever since. Was delighted when it popped up here for me today, and took the opportunity to listen to it again twice.
Loved this when it first came out. Over time it sometimes felt a bit too restrained - she loosens up on later albums. But listening today it hit the 5⭐ spot.
The book's description of it as a "beautiful bubblebath of an album" is very apt.
If some of her subsequent albums have left you a bit cold (not the case for me) then give her 2016 album Day Breaks a listen. It's a return to the sound of Come Away With Me, with more of a jazz influence, and features the late Wayne Shorter.
A good but not great Fall album. It was given perhaps undue attention by the excellent & entertaining cover of 'Lost In Music'.
Played this album a lot when it came out 40 years ago (!). Not so much in recent years - and this has been a mistake. I didn't care for some of their later pop/rock stuff, but this is an excellent synth pop album.
An album that changed everything.
Hardly anything of poor Sid made the recordings - and it's all the better for it.
The manufactured pop of its day. Easy listening, sometimes a bit syrupy, but very pleasant when I'm in the mood for swingin' ;)
Short, punchy and to the point, with the only track significantly over three minutes being the marvellous Holiday In Cambodia (which is better here than the single version).
Showing a heavy UK punk influence, but ahead of its time for most of the USA.
I spent decades pretty much ignoring Joni Mitchell, and this album took a while to get into. But a few years ago it all clicked, and I love this album and play it frequently.
Includes what is now my favourite Christmas song, so couldn't be any less than 5 stars.
Getting back to their roots after psychedelic experiments, this was the Stones first album with producer & drummer Jimmy Miller, and their first of a golden streak through to Exile On Main St.
I cannot understand anyone giving this album less than 4 stars, and it was an absolute pleasure to be give an excuse to listen to it again.
Appearing for me soon after Beggars Banquet, this album was another that I've listened to many times and never tire of. Expanding the sound of the Stones beyond Nicky Hopkins to a range of musicians who would collaborate with them (in some cases for decades) in the future. And as the door closes on Brian Jones, in steps Mick Taylor.
As with its predecessor, I cannot understand anyone giving this album less than 4 stars, and its 5 from me.
Side 2 is all 5 star quality, with weaker tracks on the first side. I can see why some object to "Mother", but it makes me laugh.
An album I've enjoyed listening to since it was released 40(!) years ago.
Listened to this a lot when it came out, but not at all in recent years. It's technically impressive, but now seems a bit soulless.
A hugely successful band get together for what turns out to be the last album they record, with a significant us of synthesizers. No, not the justifiably admired Abbey Road, but The Visitors.
The usual mix of magnificence and tweeness in one album, with those synthesizers and the mature themes adding some poignancy.
I was well aware of most of the controversies when this album was released (and I did not buy it at the time), but not aware that Paul Simon stiffed both Heidi Berg (who introduced him to South African music) and Los Lobos (who co-wrote the final track and were uncredited).
But I'm trying to judge these albums on their musical (& lyrical) content, not on the performers. The 1980s drum sound dates it, but this is a 5⭐ album.
A good start from a great band, but sometimes the artifice is easier to admire than enjoy.
Was delighted when this album appeared for me this morning. No question that it would be 5 stars, and a wonderful excuse to listen to it again.
Stripped back and slinky, this surprised many on release and it still sounds fresh 33 years later.
I bought this album when it came out it 1994 and played it a lot at that time. But then Suede's next album (the excellent Coming Up which should be in the 1001) appeared and I rarely looked back to Dog Man Star - it must be 25 years since I last played it.
Playing it again for the first time in so long was a strange experience... I'd forgotten how bizarre and muffled some of the production is - it was a bit claustrophobic on this first play. Second time around most of it has clicked, but its grandiosity is sometimes less than the sum of its influences, and you have to be in the mood for it.
There's a shorter, better produced 5 star album in here and seven of the tracks are on The Best Of Suede, which may well be the place I listen to them from now on.
Delighted when this one appeared for me this morning, and instantly knew what my rating would be.
Played this a lot when it came out, and its near half hour burst of quickfire songs has always given me a lift.
Two bonuses. 1) Juliana Hatfield on bass and backing vocals (which provide a nice contrast to Evan Dando's voice). 2) Not there when I bought it originally on vinyl - a fun throwaway cover of Mrs Robinson.
Another one where I was delighted when it appeared for me and knew would be 5 stars.
Niles Rodgers reckons this is the best Chic team album, and I can't say that I disagree with him. Still filling dancefloors everywhere.
You need this record in your life.
Some absolutely great tracks... and a few that are much less so. Could lose some tracks for a shorter, more focused album.
Cheeky and entertaining chamber pop.
Tea Father?
Saw Pixies live (with Mercury Rev as support) the same month this album was released. 34 years on it's still a treat to listen to this album and it sends this monkey to heaven every time.
An album that I admire more than love sometimes. Definitely not background music, and you need to be in the right mood for it.
This popped up just 3 days after the death of Andy Rourke... and of course The Queen Is Dead now too.
Wonderful album, my favourite of The Smiths, no question what its rating would be as soon as it appeared here for me. So good, I played it twice in a row.
Beautiful album, played this on repeat when it came out, and I was delighted to see it appear for me today.
A detour from the previous two synth pop albums, and an expansion of the sound. If you like this, try 2017's Tales Of Us.
Stripped back and smooth, with nothing theoretical about its prominent low end bass.
Unusually an album that drags a bit in the first half rather than the second.
Camper and poppier than before, and getting the hits they deserved. A very very very good album.
I've always thought this album was overrated by critics at the time, and my view hasn't changed in the 29 years since.
It's innovative with its recording dynamics and you can hear why Trent Reznor later moved into soundracks.
Some of it is very good, but other tracks are just whiny and/or trying too hard. Definitely an album you need to be in the right mood for.
As for the recording location, I'll leave the last words to Trent:
"It's one thing to go around with your dick swinging in the wind, acting like it doesn't matter. But when you understand the repercussions that are felt ... that's what sobered me up: realizing that what balances out the appeal of the lawlessness and the lack of morality and that whole thing is the other end of it, the victims who don't deserve that."
I thought this album was unfairly overlooked at the time of release, and it still sounds great 27 years on.
An expansion of the sound from 1992's Sweet Oblivion, with Benmont Tench adding some welcome keyboard backing.
Another one that I was delighted to see appear for me this morning
Working again with the dream team of Danger Mouse & Inflo delivers a beautiful blend of genres, and a well sequenced album that is a joy to listen to.
I thought this was a bit overhyped at the time, and 23 years on still think that. There are some great tracks, and there's maybe a shorter 5 star album within it.
Similar to the previous album presented to me here, I thought this was a bit overhyped at the time, and still do 30 years on. It's a good album (even if the affectations occasionally irritate), and more consistent than follow up Dog Man Star, but it's not quite 5 stars.
Best listened to in mono - stereo mixing was very basic in 1963.
A few great tracks (particularly All My Loving), and the cover versions are fun, but rarely match the originals.
More time was spent on recording this than their debut, and a few innovations in guitar sound are noticeable.
Plagiarised by so many, yet still sounding fresh & magical.
This ain′t no party, this ain't no disco
This ain't no fooling around
No time for dancing, or lovey dovey
I ain′t got time for that now
Paranoia has never been so much fun.
Also, mightily relieved that this brilliant album is in the 1001 after all 😅
Many of the reviews have commented on how pretty much all the songs sound the same at some point, and it's not much of an exaggeration.
It's perfectly pleasant to listen to, but I never understood why it was so widely critically acclaimed.
Looking at my four star ratings, most of them have some five star tracks, and this one has none anyway near that score. So, 3 it is for this samey wamey album.
Had to watch the wonderful film before listening to this one again. The Fab Four at their fabbest.
A landmark LP that still glimmers in the wee small hours, or any time of day/night. Beautifully produced too, you forget that it's a mono recording because the sound is so full.
First of all, I prefer her subsequent self-titled album which outsold this one in the UK (but not in the US where this one was a mega hit), and I would give that one a 5.
On this one, all six (!) singles are outstanding, but some of the rest drag a little.
Well worth a listen, and if you like it, you'll love 1996's Sheryl Crow.
A welcome and necessary change for Blur, but I do wonder if this album is notable and innovative enough to be in the 1001. Some great tracks, and a few filler tracks, so only a 4 from me.
I was very late to appreciate Joni Mitchell, and now feel like I've been missing out.
This one doesn't quite match Blue for me, but it's more fun and also a 5.
I bought this after reading "Faithfull: An Autobiography" c. 1995, and remember liking it, but it could well be 20 years or more since I last listened to it - somehow it slipped between the cracks in my collection/memory.
Clearly this was a mistake, as it's as cracking an album as Madame Faithfull's voice (ba dum tish). The production dates it, but this is an album I'll be listening to much more, in anticipation each time of the crescendo of "Why D'Ya Do It" - as good a profanity laced closing track as you could wish for.
Great album, with more potential singles, as well as some neo-psychedelic workouts as a reminder of their previous efforts. It was a pleasant surprise that this album was such a huge hot in the UK, and it still hits the spot for me 27 years on.
I hadn't listened to this one in maybe more than 20 years... and it really is a great 1980s Hip-Hop album, from the days when you could sample freely.
The misogyny quickly get tiresome however.
There are so many great tracks on this album, but listening to it all at once can sometimes be a bit too much - like eating a particularly rich & heavy gateau (Isn't She Lovely being a case in point).
I've wavered between 4 and 5 for this one (it's 4.5 for me) but looking at my 4s and 5s so far, it belongs in the company of the 5s (and I did give All Things Must Pass allowances for its bonus EP).
Hard to believe that this album was made up of leftover tracks from recording sessions for other albums. Great arrangements topped by a wonderful voice.
I bought this years ago thinking that it was going to be great... and was disappointed. Too much of it is rambling and unfocused, with Pinball Wizard being the only solid gold classic.
When Who's Next comes along here for me, that will be 5⭐ But this overweight sloppy blancmange of an album only gets 3.
Groovy and noodley (but not too much - no track longer than 5 minutes), and a nice blend of fast & slow tracks. Must have been great to see this line-up of Santana live.
Doesn't reach the heights of 5⭐ for me, but a very good 4.
This is a great album and there's definitely a 5⭐ album in here, but it over extends itself and quality drops from Water onwards (there's no need to fill up all the CD just because you can).
This is a perfectly pleasant late 1960s album that did not deserve to languish in obscurity. Is it an absolute classic that deserves to be in every Top 500 or 1001 list? Not for me.
Gloomy, gothy & droney, yet poppy enough for Adele to cover one of the songs.
I've been captivated by this album since it was first released, and this was always going to be 5⭐ from me.
Played this one over & over again when it came out, and I've kept returning to it over the years. The exquisite 7:51 opening title track with Tracey Thorn could be twice could be twice as long, and still not enough for me.
A neat touch is how the first and last five tracks (or vinyl sides) mirror each other in terms of collaborators and thus musically.
So good that I listened to it twice today.
I last listened to this album a week before it popped up for me here today - it's a regular favourite.
If you like this, it's worth checking out the 3CD 'The Complete Village Vanguard Recordings, 1961', which includes all of this one, the album 'Waltz For Debby', plus more.
I knew this was going to be 5⭐ as soon as I saw it, and it was great to have an excuse to listen to it again so soon.
I'd loved the predecessor to this album The Lion And The Cobra, and then the Jump In The River single that followed.
When this one came out I was a bit taken aback at first at low key much of it appeared. Over time the power of songs such as Black Boys On Mopeds grew on me.
As I type this, it's 9 months since Sinéad O'Connor died. I rarely agree with Morrissey these days, but he was spot on when he said "You praise her now only because it is too late. You hadn't the guts to support her when she was alive and she was looking for you.".
Delighted when this one appeared for me today - it's great to have an excuse to listen to it again.
A new Prince album was always eagerly anticipated in the 1980's and this one is the best of the lot.
Solid Gold ⭐⭐⭐⭐⭐
I'd been impressed by this one when it came out, but haven't listened to it in years...
I won't be neglecting it now - there are some great tracks here, although it dips a little in the second half. It's not quite a 5, but a high 4.
I'm bemused by the global rating for this album...
Not being born when this was released, 1985's The Best Of The Doors was my introduction to their music and I was immediately captivated.
When they were recording this in 1966 they were way ahead of their contemporaries. Some of their later albums are certainly weaker, but this is solid gold 5⭐
Unlike the majority here, I actually like listening to this album, and I'm going to give it 4 despite the blatant filler (its combination of nihilism & sense of humour sometimes catches me in the mood). But I struggle to see why it is included in the 1001 Albums, when it adds so little above its successor Metal Box.
Was able to listen to this again without thinking about everything good and (very) bad that came after.
I bought this not long after it came out, and it was clear that Amy was a real talent. A good album, but not a great one, and I'm not surprised that this has been dropped in later editions of the 1001 book.
The comparisons to Ringo Starr in reviews here make me chuckle. While there's probably some Welsh in the Scouse accent, John Cale's voice is unmistakably Welsh. That said, the outfit and haircut on the cover do resemble Dudley Moore...
I've listened to this five times now, and it's taken that long to go from "this is very pleasant orchestral pop/rock" to "I'm finally beginning to get this and I'm happy to listen to it another five times". The production doesn't do justice to the richness of the sound on some tracks though.
At the time, I thought that this album was a bit overrated, and listening to it again a couple of times now confirms that. I also can't see the need for both this and Ritual de lo Habitual to be in the 1001.
But it is a good album and so gets 4⭐
There's a 5⭐ album that can be made by combining the best of Kid A and Amnesiac, but each on their own is only 4⭐ for me.
I bought this when it came out, but haven't played it in ages - a big mistake. Probably the band's peak, and definitely 5⭐
Delighted when this one appeared for me today. It has long been a favourite and no question that I would give it 5⭐ So much so, that I listened to it twice.
I loved this album when it came out, but hadn't listened to it in a while. That's been a mistake - this is a great album.
There's an interesting quote on the main Wikipedia page for Grant Lee Buffalo:
"The label's constant nagging about "Call-out Response" was both a new term and a bewildering concept to our ears. The basic strategy: a radio station arranges to call up a listener who is asked to consume about 30 songs over the phone, perhaps 20 seconds of each. From this remote encounter, the listener will then proceed to judge the material. Insufficient call-out response was a big reason that Jubilee hardly got a shot at Warners. Grant Lee Buffalo tunes are often like an old car or an old amp that needs a few seconds to get warmed up, but when it does... look out!"
I look at some of the reviews for this album here, and see a similar approach. I'm listening to albums I'm not familiar with at least 3 times, putting this website on pause to do so.
This blockbuster was impossible to ignore when it came out, even with all the grunge, and it still sounds great 33(!) years later.
While "indie" nowadays means "indie rock" on any record label, UB40 were the first on an independent label to have a Top 10 single in the UK. Both A-sides are on this album (King / Food For Thought) and both still sound mighty fine.
There's a good few other great tracks too, but while the instrumentals are pleasant, they don't add much to the overall package. There's a shorter 5⭐ album here.
Played this a lot when it came out, and it's not quite as good as I remembered.
With both Crocodiles and Ocean Rain in the 1001, E&TB are already well represented - no need for this one too.
I was a few years late to this wonderful record, which always puts a smile on my face. and it did so again when it popped up for me here as the next album.
Played it twice in a row while enjoying all the 1 star reviews.
I'd been bewitched by 'Birthday' the previous year, and bought this album the week of release. I was delighted by it then, and it still delights me today.
In May 1988, I saw The Sugarcubes live on the tour for this album, and was able to get the autographs of all five of them afterwards (the joys of being a teenager).
I can see now why people are making comparisons to The B-52s.
Never any doubt what score I was going to give this one.
I'll start by noting that all three stdio albums released in Jimi Hendrix's lifetime are in the 1001. Of those three, this is the weakest one for me, and I'm not sure it adds anything over & above the other two. None of the tracks feature on either the UK or US versions of Smash Hits either.
That said, this is a good album and an enjoyable listen.
I was too young at the time that this album was released, but remember the hits from the radio and later bought The Best of OMD.
What a gem this is. A great blend of soundscapes and synth pop hits.
I love this album for years, but them I began to tire of it and play it much less. 'Save The Children', for example, is a bit too earnest and wearying.
But I listened to it again today after a break and it was great.
This is a good album with some bangers and it wasn't a surprise to see David Holmes moving into soundtrack work afterwards. I was, however, surprised to see it in the 1001.
A challenging one for the One Album A day format, as this album takes a few listens to fully appreciate. So I can see why this has some mixed scores, although anyone who gives the follow up Hounds Of Love less than 5⭐ should be instantly decapitated.
It's dense and rich, and once you get to know such a rewarding listen. Absolutely an album that should be in the 1001, and 5⭐ from me.
The most streamed album of the 1960s on Spotify, and of course the highest rated album here.
Recorded after the rancour of the Get Back sessions, The Beatles recover the harmony exhibited on Because.
For once, the star of the album is George Harrison with two outstanding songs and introducing the Moog synthesizer to the sound of The Beatles.
The rancour to come after the recording of this album sadly finished them off.
Sometimes less is more.
Some great stuff here, and a real step forward for the future civil suit defender.
Not everything is top notch though, so only 4⭐ from me.
