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⭐

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.