This will never have a revival. Please let these 1980’s production techniques stay buried in the attic. Those who actually enjoyed this at the time are allowed to listen to it with headphones only. The rest of us don’t want to be a part of this. Okay, leave the video for sledgehammer for posterity.

Never heard of this. But this was great. An album pointing forward to nineties rave culture. There are way too many dismissive voices towards electronic music on this site. This is definitely accomplished dance music, with varied and surprising layers mixed into its pulsating repetitiveness. It fit perfectly for this Saturday night. Contrary to what a lot of the commentators write, I believe this is on equal footing with the more famous acts of the era. Just look past the 90’s dance rap stuff and you’ll find a good electronic record. Stand outs: “Possible Worlds: Deep PSI”, “Hyperreal Orbit”, “Lightspan Soundwave” and “Progen 91”.

Really loved this. I don’t think I’ve ever listened to the band. This kind of pointers in new directions is what I am here for. First album I know I will return to a lot. Clearly inspired other stuff I like.

“I am a napalm bomb for you baby”. James, you are barely a firecracker. You ain’t got an ounce of blues in you.

Crowes can competently cos-play classic cock-rock.

Although I loved his 80’s stuff as a kid I always kept Springsteen at a distance. Partly because I veered towards newer music in my youth and early adulthood. But a big part of it is probably due to the complete cult of Springsteen in my home town Göteborg. Springsteen has been playing the local arena every summer since the eighties it seems like. Bruce has generations of people in this city worshipping him. Naturally, as a youth identifying with indie, punk, hip hop etc I didn’t want to be a part of that crowd. Although I’ve always enjoyed some of his songs I have never really went further into his oeuvre, because it didn’t interest me. Until the last couple of years that is. Maybe it’s because I just have few years left to 40 ;). Still, I am not completely sold on Born to run although I definitely see what people love. What struck me was that it felt less dated than a lot of other 70s rock. Maybe because Swedish indie rock still sounds like thunder road almost fifty years later. Anyway, I already have tickets to see Bruce for the first time this summer in Göteborg. Mid life surrender

Bored by the falsetto-folk of the first half of the album. Especially disliked Judy blue eyes and Marrakesh express. But when the album takes a darker turn beginning with pre-roads down I start to dig it. Wooden Ships and Long time gone are great.

Ranges from muzak to foonkeeey. Grows on me. Know the crusaders from before mainly because of the great track “A ballad for Joe (Louis)” which has been sampled excessively. Especially like My lady, night faces and carnival of the night.

I respect the craft. But where I am in my life at the moment I don’t have the time or ability to get into the exploratory mindset necessary to absorb this. It’s a bit sad that I have lost my patience for absorbing more experimental music. Or maybe this was just never my cup of tea, because I’ve tried to get into this before.

Great album that I hadn’t listened to before. Almost a five. Dub version was also great.

Well produced norm-core pop centred on a young woman longing for connection, meaning, romance and magic. Longing is one of the best lyrical themes for pop and i am cautiously curious after the first track. But it soon becomes obvious that the album is dominated by very basic and unoriginal lyrics. Tasteful but safe and boring music production. First previously unknown artist for me in this project

Although I’ve listened to a lot of 80’s and 90’s hip hop I never was especially into PE. I own “It takes a nation..” on CD but it never really beacame a recurrent play. Apart from stand out tracks “By the time I get to arizona” and “bring the noize” I hadn’t listened to this. Born in the mid eighties PE always was a thing of the past for me and I never really got into them as I did with other contemporary rap groups like Run DMC, Eric B and Rakim, Beastie Boys, De la soul, NWA etc. Still, it is abundantly clear that a lot of my favourite artists have been heavily influenced by PE. Rage against the machine, el-p, wu tang and countless of rappers. In some parts Apocalypse 91 sounds dated but in other parts it still sounds forward thinking and fresh. The brash, harsh and alarming beats are in a way singular and unique for PE. They really were doing their own thing and although they inspired a lot of artists their sound was maybe too abrasive to really become an ongoing thing. Take for instance A Tribe Called Quests “Low End Therory” which also came out in 1991. That album feels considerably less dated because their style of beats and rapping became a dominating sound in nineties hip hop. With that said, the uniquely rough and alarming sound is both the appeal and the difficulty with Public Enemy. Apocalypse 91 is a great album but it’s not easy to get through. Stand out track: By the time I get to Arizona

80’s hard rock is like kryptonite for me. Overproduced bombastic stupidity. Can be fun in very small doses.

Really loved this. I don’t think I’ve ever listened to the band. This kind of pointers in new directions is what I am here for. First album I know I will return to a lot. Clearly inspired other stuff I like.

I am late comer to Dylan. Although I’ve always loved a few of his hits I used to dismiss him for the same reasons most Dylan doubters do: weird voice and singing style, plus the annoying harmonica and the hardcore fans. The last few years I’ve come to enjoy Dylan but I never took a deep dive into his discography. This double album live bootleg may not be the most obvious starting point, but I think it’s a great way to hopefully understand his genius. The intimacy of the first half and the inspired and louder band dynamic of the second half is a testament to his greatness. Amazing stuff.

The opening track Golden Age I knew from before and love. So I had high hopes going into this. But the rest of the album is just a well produced bore.

Yesterdays sad sap album Sea Change by Beck bored me. Nick Cave on the other hand held me completely under his spell. It feels like I’ve found a new friend in this album. I had a couple favourite songs from Cave before but never listened to this. The Boatman’s call feels timeless almost. Caves sincerity and almost theatrical delivery are at odds with the 90s zeitgeist of mumbling irony. The sparse piano based instrumentation is very effective. What a great, great album.

Take out the excitement in hard rock and Bad Company is what you get. Slow bluesy classic hard rock without any edge, power or fun.

“And it seems such a waste of time Mama, if that’s what it’s all about, Then Billy Joel is whack-ack-ack-ack”

This was surprisingly good! After having the lame blues rock of Bad Company a couple of days ago, this is where it’s at. Six years earlier compared to bad company (1968 vs 1974) you can still hear the explosion of American blues meeting British electric guitar wankery. It’s two worlds colliding to create something fresh. As all great new music it’s an exploration and amalgamation of different musical origins. In this case some European white guys stealing the African American blues rock and turning the loudness up. It’s exciting music not still solidified in its form. Led zeppelin and the likes would soon come and take it further. In turn, like all music revolutions paving the way for watered-down followers. Such as Bad Company who stayed safely and boringly put in the new form of blues-inspired hard rock. Rod Stewart is great in this, I really don’t get the hate. He has a power and rawness in his voice on this record that fits the equally powerful and raw music.

I see a lot of negative comments towards live albums on this site. Personally I have come to realize the last years how powerful live albums can be. Especially during the pandemic it was a great substitute to the sense of togetherness and the energy of a live audience. I think live albums like this will have a more lasting cultural significance than many of the coveted album oriented rock albums on this list. The album as an art form had its time between the late 60’s and the early 00’s. It had about 40 years to shine. Although I still listen to the physical media of records (vinyls, CDs, tapes etc) it’s with few exceptions a nostalgic old man’s game by now. Of course a lot of great records are still being produced in the digital age but I think songs and live performances (not on record but the real thing) have eclipsed the importance of albums. At San Quentin showcases two of Cashs gifts. His story telling ability and his rapport with an audience. Perhaps an audience of inmates starved of entertainment is a grateful task, but it’s obvious Cash can talk the talk and walk the walk. Every song on this might not be a certified banger but I listened to the original release, saw the video recording and then listened to the legacy edition with the whole concert. Powerful and entertaining stuff. Cash’s delivery on A boy named Sue is one of the highlights. This is how myths are made.

Great album. 20 albums in and this is the first one I’ve previously listened to front to back. It’s both varied and cohesive. Lots happening. Jorgen Ben sings, chants and talks over a varied and fun soundscape. Not quite a five for me, i miss a real standout track that I want to come back to again and again, but a great album nonetheless.

Third live album in a short time. And another great one! Cool to debut with a live album. Seminal band just for the mix of politics, pure energy and loudness. Previously listened a bit to MC5 (love the track “looking at you”) but never listened to any albums. Electric energy but I probably won’t return to this a lot.

It was alright. Feels like an album that might grow on me. On the other hand I don’t feel I need this in my life. I’ll take along some songs I liked for further listening, school, ruby and the title track.

Second Brazilian album in a week. Almost as good as Africa, Brasil. Very enjoyable and pleasant. Perfect morning music. The kids loved to dance to it as well. I like the classic romanticism of the lyrics. Flowers, birds and love. A warm breeze of naïveté and positivity. A nice break from the male rock lyrics about wanting to love a woman that have dominated this project so far. Best tracks: Stay, The Face I love, beach samba, You didn’t have to be so nice, Nao Bate O Corocao

Chanting and drumming. The base for so much good music. A primal need. Even my two year old sung along with the Fela and the audience on the last track. At the same time that the music speaks to me on a bodily level with its repetition, chanting and jamming it is utterly complex and exciting music that tickles my mind. Fela Kutis music always feel like it’s live. No surprise that this proper live album is great.

“I am a napalm bomb for you baby”. James, you are barely a firecracker. You ain’t got an ounce of blues in you.

So much soul and warmth. It’s music that is living and breathing. Only knew the intro break of “Up on cripple creek” from Gang starrs sample for “beyond comprehension”, but what a fantastic track! I might be overreaching with five stars, I don’t love every track, but there is just something magical in the dynamic between the musicians on this album.

I probably would’ve enjoyed this more if I’d heard it as a teen. In retrospect a lot of 90s rock seem overrated to me - especially the Brit pop. Even though those were my formative years I have a hard time getting into it now. A terrible head cold might have took a star off.

Big surprise that this was more than tolerable. Fun, stupid, sleazy glam rock/punk. Thankfully closer to the Ramones and New York dolls than classic hard rock. First half much better than B side.

Knew the great track Big Iron previously. Although I like the heart on your sleeve seriousness of the songs and the storytelling , it gets a bit weary after a while. Kind of miss some humour in between, the way Johnny Cash did great.

The highs of Paint it black and under my thumb weighs up for some of the really crappy songs. A selection of pretty good tracks inbetween the highs and lows. It feels like Stones is one of the most uneven of the giant rock bands of yore. Tried both versions and prefer the American. It has paint it black and lacks the terrible “Take it or leave it”. First time I enjoyed a stones album. I’d previously listened to some of their first albums without finding anything worth returning to.

More wow screams pls

American Pie: a soaring eagle Everything else: subpar

First record that I own a physical copy of. Listened to this a lot when it came out. It came out in a time when I almost exclusively listened to rap music but this still hit me, like the rest ow the world at the time. Haven’t listened to this album or Coldplay in general for almost twenty years now. But this still holds up.

Great album. Little Simz is a technically accomplished rapper but it is the producer Inflo who really makes this stand out. Little Simz raps like it was the year 2000, and she explicitly references Jay-Z in the first track in the best line of the album. It somehow feels fresh with the old school exaggerated bragging. It’s obvious she is a fan of the turn of the century New York hip hop. Little Simz lyrics as a whole are alright but not interesting enough for five stars. The production by Inflo though is definitely five stars. Dynamic, organic and banging.

Great album. Little Simz is a technically accomplished rapper but it is the producer Inflo who really makes this stand out. Little Simz raps like it was the year 2000, and she explicitly references Jay-Z in the first track in the best line of the album. It somehow feels fresh with the old school It’s obvious she is a fan of the turn of the century New York hip hop. The lyrics are alright but not interesting enough for five stars. The production by Inflo though is definitely five stars. Dynamic, organic and banging.

Method Man often outshines everyone on wu tang tracks and on guest verses. He has charisma and a unique flow. But I just can’t get down with his records. And although I respect RZA as a beat maker I think his murky dark beats on this are a bit one note. I even own the album on CD. Sits in a box in the cellar. But I never really appreciated it. I can’t help but feel Tical is a bit dreary. It’s hard hitting classic New York boom bap, it just lacks stand out tracks and variety. Compared to other classic rap albums from 94 it doesn’t hold up (in an admittedly extremely tough competition). It lacks the poetic imagery and beat variety of Illmatic or the stand out tracks of Hard to earn. There are even albums in a similar style like O.Cs word…life that I like way better. Tical does not even make the top 10 of rap albums of 1994 for me. For all the negativity above, it’s still method man and rza. 3 stars

Beautiful album. Just a bit too long. I’ve been listening a lot to Sprawl II the last couple of years. Arcade Fire has always been a singles band for me. But this time it clicked in album form. Listened through it three times. The three first tracks are really great. New favourite: Ready to start

Incredibly defining album for rap. Opens with four absolute bangers. One of the strongest side A:s ever? Only “perfection” brings it down. Together with their debut the absolute high point of their career. The minimalistic beats are banging and the back and forth between Run and D.M.C is incredibly enjoyable. Ah, the good old days when rap lyrics was all about who is the realest rapper. I don’t care that a lot of the lyrics are basic, this slaps.

I’ve been debating myself if this deserves a five as the album is a bit uneven. Missed it when it came up and had plenty of time to listen again. And again and again. I just keep want to come back to this terribly silly but wonderful album. It just feels like they’re having a blast exploring different ways of writing songs. Beautiful stuff.

Good droning sabbath-inspired guitar work. I just can’t stand this type of singer. American power rock masculinity contest type of thing. It’s the same with pearl jam (even though I like Vedders later solo work), I just can’t get into it because of the singing style. A singing style that really plagues American rock since the 90’s. I previously stated that large parts of the 90’s Brit-rock wave leaves me cold. But I am starting to realize that the whole grunge movement (except for the aesthetics and nirvana) was complete garbage. I was a bit too young to appreciate it at the time and in hindsight it just seems terribly stale.

Came into this with a curious mindset based on the description. But left disappointed. It’s just too eclectic and lacks coherence. Music fitting different film genres stacked on top of each other. It’s also often over the top and would be a hard fit as soundtracks for most films. I’d hoped for a more coherent approach and not just a portfolio/showcase. And as history shows, Barry never became a prominent scorer of movies (although he has some tracks on the soundtrack of Lynchs great Lost Highway, I’ll give him that).

Surprisingly good! Sure, it is masturbatory guitar noodling, but its nicely accompanied by organ and great percussion. Incident at Neshabur is a stand out for me. Haven’t yet bothered to listen to the Santana-records passed on by my father. Time to do some crate digging.

Since I like some of his tracks I’ve tried before to get into Nick Drake. Just like the last time I tried I just get too bored. It’s the same with modern acts in a similar vein such as Jose Gonzales. Nice guitar picking never did anything for me on its own. The orchestration doesn’t add anything for me but annoyance. Saturday sun I knew from before and like, but the rest of the tracks won’t enter any playlist.

Skottlands svar på Papa Dee. Från ljum svärmorsreggae till rätt skönt dub-gung. Väldigt svag trea.

First listen left me cold. Had no patience for experimental, sonically challenging music with a singer who seem to be improvising. It seemed rather ridiculous at first. But the lines between madness, genious and tounge in cheek nonsense are thin here. I gave it another shot in the evening, and then another. And this cacophony of madness really grew on me. It certainly isn’t something I will listen to often, and it’s not suited for regular playlists. But when in the mood for exploring more difficult sonic landscapes Rock Bottom really does the trick.

Great versions of good songs. I prefer Dustys version to the original in many cases. Dusty’s “Twenty four hours from Tulsa” has a lot more power and heart in it than Gene Pitneys version. And “When the love starts shining through his eyes” is almost on par with The Supremes original recording. The crisp expansive production makes it such a enjoyable listen.

This will never have a revival. Please let these 1980’s production techniques stay buried in the attic. Those who actually enjoyed this at the time are allowed to listen to it with headphones only. The rest of us don’t want to be a part of this. Okay, leave the video for sledgehammer for posterity.

A revelation when it came out. Melancholic minimalism. Jamie xx is one of defining artists of the 2010s. Apart from the xx I love his Gil Scott Heron album, his solo album and his production in general. The xx are great live as well.

An album and artist i really want to like, but just don’t. I like his voice and unpretentious persona but the songs do nothing for me.

Obvious five-star album up front, but I had almost forgot just how good this album is. Marley’s best album and a likely contender for my personal top ten. Everything comes together brilliantly on this album. The band, the back up singers, Marley’s delivery and lyrics. The album has an amazing vibe. Major hits and great deep cuts. Every single track slaps and the album works as a whole.

Freudian death drive: the album.

Tasteful well-sung big band boredom.

What makes this album so great is that the full on desperation is kept on a tight leash. Constantly threatening to explode but just keeps desperately pulsating. Make sure not to miss the amazing live version of Shadowplay on the collectors edition.

Maybe it’s the laconic hedonism or the all-encompassing seriousness of the music - but once again DP fails to fully reach me. Never let me down slaps though. But so many songs feels at least a minute to long - building up to nothing.

Infectious, banging and annoying (in a good way). Pure brilliance. Listened to this a lot in 2007. Switch and Diplo really managed to create a global unique sound for MIA. They went on to create great things with Major Lazer. It’s the effortlessness both in MIAs rap and in the continuous experimentation with sounds and influences that makes this stand out.

First time I’m listening to this milestone. The main reason for me to do this project is being pushed to listen to the classics. Been anticipating my first Beatles and i guess I am starting at the end. Enjoyable but mixed bag that doesn’t really hit my buttons. Mixes total stinkers (Maxwells hammer) with amazing pop songs like Come together and Something.

Was expecting something more rowdy. This was a bit too reserved and held back to really itch the rock’n’roll nerve. But it was definitely “nice”!

Fun danceable rock.

Too misanthropic for my mindset. Obviously written from the pov of a very depressed person with nothing but hatred for mankind.

Good cop: moody folk with some decent songs not marred by 1980’s overproduction. Bad cop: no real stand-out tracks. Too many weak metaphors obscuring real emotion and the blandest instrumentation of the eighties.

First time listening through Vol 4 I thought: a testament to why even great bands need a proper producer. It sounded murky and uneven. Full of subpar sabbath-tracks. But that might in part be the 2009 remaster. Subsequent playthroughs of the 2021 remaster considerably brightened my mood towards the album. It has some real heavy hitters like “supernaut” and “under the sun/every day comes and goes”. But also some complete duds (FX, Laguna Sunrise) and some more mid tracks. And the production really is a bit murky and uneven, but the dirty sludginess is also part of the appeal.

I was previously familiar with the great title track but still struggled with this at first. But like a lot of these albums, especially the quirkier ones, it grew on subsequent listenings. New fave: Graham Greene.

I had previously dismissed Roxy music as not for me based on one of their other records. But this was such a continuous surprise of jazzy, unhinged rock music. Loved it! The biggest positive surprise of my 1001 project yet.

Going into this I had only negative feelings towards Van Halen and the type of hard rock they represent. But this was pretty fun. You can really hear eighties hard rock in formation here. It’s plastic and over the top but the guitar shredding also has some lasting power. Highlight was “Ain’t talkin bout love”

Costello comes off as a total douche. But that’s not always negative when making rock music. This album really has some great songs (the beat, I don’t want to go to Chelsea, lipstick vogue) and it is especially well arranged and produced. It still sounds great.

No rock operas for me please. Get back to the three-minute pop song format. Some lyrics are darker than black metal.

Never heard of this. But this was great. An album pointing forward to nineties rave culture. There are way too many dismissive voices towards electronic music on this site. This is definitely accomplished dance music, with varied and surprising layers mixed into its pulsating repetitiveness. It fit perfectly for this Saturday night. Contrary to what a lot of the commentators write, I believe this is on equal footing with the more famous acts of the era. Just look past the 90’s dance rap stuff and you’ll find a good electronic record. Stand outs: “Possible Worlds: Deep PSI”, “Hyperreal Orbit”, “Lightspan Soundwave” and “Progen 91”.

Too overloaded. No leaf clover is a stand out. It’s the only track where the orchestra adds something transformative to the heaviness. Otherwise it’s too much of everything all the time. For me the orchestral power doesn’t translate to record easily. I am not much for the grandiose. But in a live setting it sure can be powerful.

Feet: stomping Head: nodding Mojo: working

Dated digital soul. Although it has some fairly bopping beats now and then I don’t think this will have much lasting power. As a rap fan I enjoy clever bragging, but this is just boring braggadocio all the way through.

Great album title. A shame the best track (title track) is missing on Spotify. Well worth it to seek up the full version on YouTube. The album is uneven with some strong tracks and some weak.

There is no denying that Baez is a very accomplished performer, but this was a bit too high strung for me. Best track: Mary Hamilton

Too preachy. Basically every song is from the perspective of conceited man who has “figured it all out” and can’t wait to bless the ignorant people surrounding him with his profound life lessons.

Ah, the soundtrack of my youth. In their heydays Turbonegro had a sizeable cult of followers in Scandinavia. The die hard fans all had denim jackets with Turbojugend patches. Some friends of mine even had a tribute band. I saw them live a couple of times in the early 2000’s but most of all i remember the many singalongs while partying with friends. Turbonegro is the sound of young male camaraderie. Although i might even prefer the trashier, dirtier and even more idiotic punk rock of their previous album Ass Cobra, my pants are bulging from the riffs and shout-along-friendly lyrics of Apocalypse Dudes. When so much fast and heavy rock takes itself way to serious Turbonegro brings back a juvenile excitement to rock’n’roll with their homoerotic punk rock.

Sounds like an album intensely insipired by “The Beach” soundtrack. Completely decent but I probably won’t ever return to this.

Lupe is an accomplished student of rap. He has the lyricism and technique of his idols. He just lacks personality as a rapper. Just like J Cole he can imitate the greats but it just feels like a pale afterthought. There is no acuity, no urgency, no boundary pushing. Food & liquor has the production values of a Kanye album but it lacks the rewards. I really like the self referential world of hip hop, but some artists are *just* references. Lupes from the generation who grew up on rap, forming their whole persona. This makes him feel like an echo of the 20 years of rap that came before his debut. Sometimes Lupe successfully transforms that echo into fresh point of view, but oftentimes he comes off as an amalgamation of his inspirations. Who is to blame him though, aren’t we all?

I like The National. I even own Boxer on CD. Even then, their albums are never stronger than 3 out of 5. Same for High Violet. No real stand out tracks here. It’s nice and Matt Berninger keeps brooding. Then I go listen to something more exciting.

Funky musicianship marred by sub-par rapper spouting the most overused rap-cliches.

I would say their debut (J5 LP from 1998) is essential listening. Power in Numbers is also great hip hop record. On Power in Numbers they’ve expanded on their signature sound of harmonising rap over break beats. With top notch turntableism, a surpring amount of great flute samples and archaic record industry samples. Power in Numbers has a fuller more radio friendly sound than their previous releases. But it has also lost a little bit of freshness of the debut. Still a lot of great tracks here.

Aggressively ok. Boring like a lot of 90s rock. This is like the middle road of the era. A bit noisy and snarky with no real feelings apart from dejection and cynicism. I much prefer the romanticism and pop sensibility of the eighties (cure, smiths etc) or the more dynamic, fun and danceable rock of the aughts. This got some good lyrics though and I completely agree with the title and the thesis Damon Alburn delivers here.

Crowes can competently cos-play classic cock-rock.

80’s Cohen is all about his dark voice. Contrasts well with female backing on a lot of songs. Better than I remembered but still too eighties.

Good album. But I enjoyed The Suburbs a lot more.

The album ends on an high note with the wonderfully twee “Oh Yoko!”.

Manic, soulful, accusatory. Rhythmic but undanceable. Difficult but rewarding listen.

Interesting listen but definitely an acquired taste that I am not going to give further chances to grow.

Can’t stand this or Father John Misty which a lot of commentators compares to. It’s like a terrible time capsule to the sloppiest of beatles/Nilsson/Billy Joel songs, with the added spice of more explicit lyrics. If you think the last 50 years of music was a mistake, and just want some sassyness added to your silly pop songs of 1973, this might be for you.

Oh great. Another instalment of depressed Norah Jones.

Liked this way more than expected. More punk and hardcore than other thrash metal, which suited me. Also more fun than the other overly serious big four thrash acts, and metal in general. I like this better than every Metallica album I’ve listened to. A lot of surprising turns and speed shifts in the songs and less indulgent guitar wankery than feared. Powerful, tightly packed bursts of thrash. I also like the political lyrics and varied singing styles, especially the hardcore-styled back up vocals. Even veers into rap rock territory and does it right. Surely inspired hardcore I like. Chuga-chugg-chugg have a surprise five!

My Generation and (new for me) I don’t mind are really great. Strong non-polished jangly rock sound.

Probably the most overrated album on this site. A lot of commenters obviously not liking it giving it fours or fives, because of its cultural significance and/or for fear of looking uncool. Folks, it’s ok to not like blaring lo-fi art-rock. Sure, it inspired a lot of great stuff that I like, but boy did I not have the patience for this. This is more about image than music. And that image belongs in a museum where folks can adore the counter culture heroes of the past without having to pretend they like their music. Sure it inspired a lot of bands. But everything that sounds amateurish and “real” inspires people to create. Because it lowers the bar and makes it seem possible to do it yourself. So thanks for lowering the bar and paving the way for punk and other diy music I guess.

This was amazing. Full of rhythm and emotion. Slow but with a driving pulse and beauty. Dreamy but never boring. Varied but also really takes its time to explore sound-paths. I’ve listened a bit to Ali’s son Vieux Farka Toure. I especially enjoy his album Mon Pays (2013). But I never got around to any deeper dives into the discography of his legendary father Ali. Glad I finally took the plunge. Stand outs: Gomni, Amandrai, Ai Du, Diaraby

WOW! What a pleasant surprise. Totally new to me. Smooth jazzy pop with constant charming production surprises ‘round every corner. Obviously a lot of heart and skill was poured into this album. Still sounds insanely crisp and modern despite the eighties-tinged synths. This is what modern producers try to emulate. Reminds me of one of my favourite albums: Kaputt by Destroyer.

Iconic opener doesn’t fully save this from sounding a bit too much like a novelty act for much of its duration.

Maidens epic cartoonish heavy metal can be fun in small doses. They sure made a lot of kids metal heads in the eighties (and nineties). It’s metal palatable for pop listeners. An entry point to the world of fast electric guitars and head banging.

Never listened to the whole album before, but since I had an intense love affair with NY boom bap some twenty years ago, I’ve had around half of the tracks on mixtapes, mp3s and burned cds. The album is a great snapshot of the era of New York rap I personally like the most - 90s boom bap.

A bag of almost. Almost funky. Almost interesting. Almost catchy. There are no cracks to enter into this musical world, its too hermetically produced. It’s krautrock without edge, indietronica without emotion. But my main problem with connecting with this is probably the singing style. The song is more of an instrument than a human to connect to.

Better than the average r’n’b / digital soul of the era. Dy-Na-Mi-Tee was a minor hit in Sweden at the time and it still holds up. A mix between digital and analogue makes the production still sound ok. Nothing overwhelmingly interesting though.

Jazz-rock that is so polished that zoning out is a real risk despite its groovy, catchy and varied soundscapes.

Just like their debut, it just doesn’t stick on me. It just goes in one ear and out the other. It sounds like a lamer version of The Band.

Lyrics and delivery with pathos, soul, humour and poetry. Straightforward, elegant and poignant.

An ok album with a couple of objectively great pop songs. But it just doesn’t move me. I am not immune to Bowies charm but a lot of his music leaves me cold.

A couple of tracks that became hits through commercials, as was the norm for mid-00’s indie rock. But the songs never really appealed to me then, and I didn’t care for this album now. It’s completely alright music but nothing I want to revisit.

Thank you horny funk-pygmy for your advice on getting some. I’ll start with lying about my relationship status and taking bubble baths with my pants on tonight.

A grower, not a shower. Grew to unchastely size around the third time through.

This was great! Weird I disregarded this release when it came out. Tightly produced neo-soul with ambition and scope.

Great beats, fun banter and unique flows. Rap album equivalent of listening to a group of young men cracking jokes, trying to one up each other. Apart from all the jokes and improvising, there are a couple of tracks with genuine emotions, exploring personal failures and issues. Sure, some content is extremely juvenile but for the most part the album has an undeniable charm in its infectious anything-goes mentality. And the beats still sounds great!

A quintessential 90’s album: detached, ironic, eclectic. Beck obviously listened a lot to beastie boys and Bob Dylan. Pauls Boutique is one of my favourite albums so as Beck brought in the Dust Brothers for this, of course I like it even if it’s a bit derivative. It doesn’t have the trailblazing feel and energizing rap-interaction of the beastie boys or the lyrical depth of Dylan, but it’s not cat shit either.

Relentless sound bombardment. The Bitches Brew of rap. Difficult but bangin’

I’ll leave this to the real connoisseurs of crazy British sad boys.

Little Fury Things is worth a five on its own. The blueprint of all good rock of the last three decades. Admittedly I seldom listen to the whole thing, but the opening five tracks are top damn notch

Så jävla, jävla bra.

A rap album for people who don’t like hip hop. Funky but preachy. Detached from youth culture. As if your parent made a rap album that was somehow pretty tight musically. It doesn’t matter I am parent myself now and fully agree with the sentiment that children should “let go of their Nintendo joysticks and go dig in the earth”, I am not interested in music as a teaching tool.

Överraskande bra! Minns hitsen, men det fanns mer att hämta här. En expansiv ljudbild som hela tiden håller intresset uppe. Albumet har både låtar och ett gött groove.

Too constructed.

Straight-faced ballads about cars. Nah thanks. For the last year I’ve been convinced I was turning into a Bruce-fan. Reconnecting with my childhood affinity. I even saw him live last summer. But I am starting to realize my distance wasn’t some youthful music snobbery, but a genuine distaste for a lot of his music. Springsteen has made more than a handful genuinely great tracks, but for the most part I don’t connect with it. I don’t need Springsteen in album form.

Raw production, powerful, unique lyrics and vocal delivery. Only problem is there are just no songs I want to return to. I had the same feeling with Let England Shake: impressed but not hooked.

Still cute!

Never heard any of these tracks before, even though the title track has a lot of plays. Paul is only interested in crafting clever pop songs in a classic rock mould. There is no heart, no fury, no pulse, no nerve and no lust. The bass is nice and there are a lot of arrangement ideas, but I still struggle to find anything worth caring for. I liked Bluebird and the title track though. After having an album from each ex-beatle (excluding Ringo) and two or three from the Beatles I can safely say I don’t care much for the group itself or Paul or John individually. The George Harrison one was the best of the bunch (all things must pass).

Completely new to me and although I am not big on folk-rock this was a real treat. A lot of pulse, emotion and a live feel.

That sure was something. The four tracks from Cupid Come to All I Need = fantastic.

An eclectic but inessential tribute to good music. Still good music though. Especially enjoyed the slower, jazzy beats at the end of the record.

Amazing album. Glad to listen to it again. Full of great tracks. “It’s too late” is an all time fave.

Britains biggest emo since Robert Smith.

Dad rock in its most boring iteration. Tried to listen to the LP when I took over my dads record collection. Couldn’t make it through. Same story now. Sold the lp to a man in his sixties at a yard sale event. It is now where it belongs, in the record collection of a retired man. I hope he enjoys the guitar solos and think back on a life well spent.

The album is a bit one note moodwise and the album art is probably the ugliest in the whole book. But Roads is one of my favourite tracks ever and the album still has a moody mysterious allure.

Pearl Jam reviving 50s death rock with the cover of “last kiss”: yay! This album and Pearl Jam in general: nay! For some reason I just don’t vibe with PJ. Probably because it’s “big serious masculine hard rock” without any speed, fun or new sounds. Love Vedders soundtrack for Into the Wild though. Pearl Jams influence on American rock is probably a big reason why it has been terrible the last 30 years (I can’t help exaggerating like this).

A bit underwhelmed by this. I like the genre mix but it never really takes off. I sit there nodding along to the beats but it doesn’t get me pumped, nor is it interesting enough for headphone-sessions.

Unique in every sense of the word. I never really clicked with Björk all the way, but there is no denying the greatness of her debut.

The epic sounds of drug induced boredom.

Headsplitting harmonicas, vivid lyrical imagery and god damn immortal songs. This project has made me a staunch Dylanite.

Totally understandable that it was no hit at arrival but has garnered a big following down the years. Personally I am just lukewarm. They feel a bit like a less fun Talking Heads with more guitar wankery. Still kind of a unique sound for the time.

I only like the slow tracks from Cave, none of that rocking stuff. Too much theatrical loudness or loud theatrics on this album

A burning pile of soulless toxic waste polluting the airways.

”Full retard”-rock som hade varit kul att se live men som är helt hopplöst i lurarna. Behöver inte detta bröt i mitt liv.

An album that truly is a link between the old and new school of rap. Setting the standard and sound of west coast gangsta rap while still having a leg in the more traditional rap game. The track “the day the n****z took over” sounds very much like the 88-91 period of rap, soundwise and rap-wise, while the following track “nuthin but a g thang” launches the laid back g-funk sound. The beats are more well produced than anything at the time. Incredibly influential sound. Lyrically it’s mostly a very thorough exploration towards perfecting the coolest way to say “motherfucker”. Of course the kids loved it! To be honest though, I was never comfortable with the glorification of gang violence and it’s misogyny (the album has some great verses by lady of rage though!). At the same time, for much of its duration, the beats and rap delivery are great enough to make me look past the tastelessness. I am not gonna return to it often, but I will never not nod my head in oblivious assent when I hear the intro of “Nuthin but a g thang”.

I really like Karen O as a singer but the music don’t do anything for me.

I love the opening track and like some of the story telling of other tracks, but I find myself zoning out as the album proceeds. I’ve given it a couple of tries but I think the opening track is enough for me, I’ve had my fill. Kind of like the first beer tastes the best when out drinking and it’s all downhill from there.

I prefer my jazz either groovy or moody. This is neither. It’s a grand chaos, but rather unwelcoming. As if one stopped by a derailed party completely sober. Stay a bit and let the chaos seep into you, or follow your urge to move on.

Major Gil Scott Heron vibes. And of course Chuck D. Ahead of its time on certain issues for being a rap album. Deeply political. Boomin beats.

The raw energy of good rock n roll. Loud and unpolished. Almost balances between image and honesty but ultimately feels a bit too acted. Mostly because the heavy retro leanings I suppose.

Lots of really good songs but none truly great (which can be found on all five previous efforts).

It rocks. Timeless sound that could have been made any time the last thirty years. Great voice also. But I have no interest in listening to this self professed asshole no matter how self aware.

Undeniably great

A solid three-star album of tight grooves elevated to a four by the fantastic title track.

A showcase of the pros and cons of the pretentioussness of new wave synth pop. I’ve listened through it a couple of times and have mixed feelings - sometimes about the same tracks. My enjoyment seem more mood influenced than usually. Some of the extra material is better than the original tracks. Sacred Heart sounds like something that inspired The Knife.

I am 39 with two kids. Time to finally sit back and enjoy some mark knopfler guitar licks.

Talking Head sounds like a stiffer Roxy Music here. I gave remain in light a four as that was a more dynamic and exciting experience. But this album doesn’t speak to me. There are no real memorable tracks here. Just a steady, stiff attempt at a groove.

I like the fearless experimentation of OutKast (or to be honest Andre 3000. Big Boi will probably continue to rap fast about being a womanizer over smooth beats for another three decades). Their sonic explorations brought us some of the finest rap and pop songs at the turn of the millennium. But the wild experimentation also means a lot of duds. Their albums are impressive but incoherent. The highs of Stankonia are incredible but there are also plenty of skips here. I feel boring for punishing risk taking here. But I prefer a shorter coherent album than a sprawling, ambitious mess.

Stuff me full with Stilton and cheddar, but this is too much British cheese to handle.

A lot of ideas here but not really any memorable tracks.

Så det är här The Ark snott allt från.

Overstuffed. It just never breathes. Monáe is self confident and talented enough to take a stab at several genres and styles and succeed. But in the end it feels like a relentless collection of pretty good pastiches. It feels too much like a showcase rather than a genuine piece of art (which is perhaps unfair when considering the obvious time and talent put into this). But I’ve given it a lot of chances and it just doesn’t open up to me.

Iconic sound and album cover. Not all music needs to bite, sometimes you need that smooth caress.

Every time I read a Stevie Wonder write-up I think I am going to love the album. I never do. He is an incredibly gifted musician and somehow both timeless and ahead of his time. But i just don’t fall for his sweet soul and sexless funk.

I was twelve when this came out. It hit right in the solar plexus of my formative years. It had it all: image, an air of danger and a new sound. Shook me out of the eurodisco-phase of my childhood and pointed me towards drum’n’bass, big beat, punk and hiphop The menacing all-encompassing deep bass in these tracks was next level for 97’. It still sounds fantastic

A really good album. I have warm memories of cozying up with others listening to this album. All the haters just need a hug.

Chill hippie session music.

So in love with the pulsating groove and the instrumentation of “I want your love”.

This finally cements that I just don’t care for Stevie Wonder. I love funk, soul and jazz but I just don’t understand the appeal of Stevie. There are moments of funkiness I enjoy (“Too high” is a standout here), but in general it’s a bore. With Stevies annoying wailing as a cherry on top.

A frail earnestness towards life and music. Almost naive, but at least it feels genuine. Harvest is better though.

Discovered Cohen and this stunning debut through one of Werner Herzogs weirdest documentaries (which is really saying something) Fata Morgana (1971) . Several of the tracks feature in the film, set in the desert. The sparse instrumentation with guitar and minor add ons from other instruments is the sonic equivalent of the warm desert and some sporadic oasis. The female accompanying song is like the Fata Morgana. Ethereal. A shimmering incorporeal longing. It constrasts so well with Cohens desert-dry voice. Although my favourite songs of Cohen are found on later recordings, his debut is maybe his best album of his career. Tastefully produced and not as bare or overproduced as some later albums.

I bought the CD when it came out. It was a three star album then. Same now. Drop the pressure, sunworshipper and in my arms are pretty good tracks. The rest are ok.

Just like 25 years ago when “Bongo Bong” was inescapable i feel that it has a pretty good vibe but I don’t need bigger doses of it. I like the global, found sounds approach though.

Morrison channels his blues heroes and makes it work. His voice and delivery really has weight on this album. Great groove throughout. Lyrically there is a lot of sexually frustrated laments about how he wants to get laid. As is the tradition in the classic rock era.

Boy band with funky backing musicians. The longer instrumental funky parts are the best parts here.

Murky beats with rather anonymous female singing. As a longtime enjoyer of hip hop beats I can dig this. But it lacks the moodiness and beauty of better trip hop releases.

I like the prominent new wave bass lines, but there’s too few really memorable tracks. Best track: second head

Leans heavily on other alt rock/metal acts of its era, but this was surprisingly effective. Great singer and dynamic but a bit anonymous sound. Maybe a bit overproduced. Probably won’t return to it.

Pop rock lullabies for adults.

Never cared for G’n’R. Cartoonish version of Led Zep mixed with the vulgarity of hair metal.

Peak ”gubbrock” or dad rock in English. I sure heard my father repeatedly play this in the car growing up. It’s alright for what it is but the singer is a bit bland.

I remember being immensely bored by “bridge over troubled water” as a kid when my friends mom was raving about it. That song still is a bore. It made me wrongfully dismiss this album. Because then comes “El Condor Pasa” and “Cecilia” and plenty of other pop gold nuggets.

An intoxicating cocktail of raw punk energy, drum machines and feminism.

Boppin bass lines.

Beautiful avant-garde pop music. Timeless and unique. There’s something exciting and unexpected hiding around every corner.

There are some real good grooves hiding under the screaming guitar. But Zappa just can’t let the guitar breathe even for a couple of seconds.

I like Simon because of his open minded and exploratory approach to music. Like all the best artists he is good at stealing and making something of his own from it.

Noice!

If the Beatles ended after this album they would be a cute curiosity today, known only by a few record collectors. This is quickly produced boy band music with inane lyrics. Pretty catchy but it’s an album that doesn’t grow with further listening. It starts to annoy me third time through.

Solid early psych but not mind blowing.

Got enough really great songs to warrant a five.

Purple rain is full of ideas. Some work, most don’t. First two and last two tracks are terrible. But there are a couple of songs in the middle I enjoy parts of. But all song structures are weird. No track work as a whole. As soon as I find something I like there is the next moment or track to ruin it. Prince is a burst of creativity lacking cohesion. His ideas are everywhere but they are just so fleeting, never fully explored, always on to the next thing. ADHD in music form. Purple rain feels both extremely dated and uniquely weird. I understand that some people love him. Songwriter, multi-instrumentalist, star quality etc. But I can’t understand the near universal acclaim. There must be a lot of people NOT liking Prince? I mean, thin drum machines, eighties synths and electric guitar wailing can’t be everybody’s cup of tea? Although I have started to understand that funk with pop appeal has maintained a huge mainstream audience for decades, and that Prince fits the bill for a renaissance in contemporary American culture I still don’t get it. For example, his contemporaries Madonna and MJ have a lot more big hits that still work today. I’ll just have to accept that I’m in the minority here, that this is not for me.

I see no reason for the inclusion of this album. Beck does the same things he did ten years earlier but it doesn’t feel fresh anymore. This batch of detached musings over pretty ok break beats are on the wrong side of the millennium shift.

I respect the craftsmanship but the songs don’t have sonic claws to stick in me.

Middle of the road folk rock with some blues and funk inspiration. Strong voice (which I personally don’t care for), weak lyrics. Background music for grownups. File under: vaguely soulful music that bores the shit out of me.

Be (intro) is probably my favourite Kanye beat of all time, and that is saying a lot. (Number two is probably jay-z - this can’t be life). I never got past the opening on earlier listens of this album as it’s too hard to follow. It’s such a perfect track. But after keeping this on rotation several times today I see my mistake. It’s a great album from Kanyes golden era when everything he touched became gold. I’ve always liked common but never loved him. Although he is technically a great rapper his voice register is rather monotone. But Be is a treasure trove of soulful jazzy hip hop productions topped with good lyrics and delivery. Such a nice vibe.

I like Talking Heads and their debut is pretty good and influential. But I am fairly certain I’ll never think: “I am really in the mood for a Talking Head-record”. The type of band I respect a lot but never get the itch for (at least in album form). Their debut is better than “More songs..” but not as good as “Remain in light”.

Not as cohesive as I remebered but the highs are really high.

Uninteresting mix of retro sounds.

Nice lo-fi indie rock. A keeper.

Don’t let the new wave tag fool you, this is dad rock in disguise. But damn, this still has an effective pop punch I can’t resist.

Such a fun album! Manages to constantly surprise. Love the prominent bass. Compared to other great late eighties alt-rockers like Fugazi and Dinosaur Jr, Pixies is more tongue in cheek. There is an exuberant lust for experimentation here. So many great songs and a few duds.

“Bela Lugosi is dead” has long been a fave. Their debut ”In the flat field” is also great. “Mask” is disappointing and dated post punk experimenting. Thin and annoying sound.

Grand arrangements, tame blues rock, piano ballads and faux-pink-floydisms. In a word: booooooring. Some nice horns and a general inoffensive chill vibe saves it from one star oblivion.

Packed with powerful riffs. Impactful and iconic. There is however a limit to how much joyless masculinity-cult metal I can take in one sitting. But hey, probably their best album.

Elvis is a heck of a performer on some tracks (Blue Suede Shoes) and a bumbling fool on others (I got a woman, tutti frutti). And some songs are not that good to begin with.

As someone who was a bit too young to register Cobains death, Nirvana has always been there. A dependable band you can be sure most people like. I found love for loud rock around the time Grohl paid homage to Cobain with “My hero”. So I was too young to really grasp the grunge movement as it happened. I’ve always enjoyed Nirvana, but never had that spark in the eye for them. But they sure influenced a lot of bands I listened to in my formative years. Nirvana bridged the pop/punk divide effortlessly on Nevermind.

Brilliant moments mixed with plodding, crappily produced funk. Was expecting to love this based on my deep affinity for “family affair”, but this was kind of a let down.

Fast, grimy and idiotic. As it should be.

Sure, it’s calculated hit making with plenty of Elvis mannerisms. But it is also genuinely jouyous and brimming with life. Organic and tight musicianship with good writing and production.

Great fuzzed out alt-rock with sonic depth and honest lyrics. But Siamese Dream doesn’t light that spark in me to warrant a five.

”Gigantic” is an all time top ten song for me. Not really knowing who the pixies were back then I had a very innocent conception of the lyrics. I always thought Kim Deal sang about a deep, deep love. Gigantic even. Turns out it was all about the schlong-size of black man named Paul.

As I am sitting here in my home office nodding my head to Orbital 2 I begin to question my life choices. Why am I not completely wasted in an industrial warehouse, half blind from flashing lights and smoke, dancing to this?

All sane people agree that “Dreams” is one of the best things humanity produced the last century. And Rumours is a great album. But, contemplating with one foot raised on a baroque footstool, does it reeeeally tickle my freely swinging balls enough to warrant five stars? No

In the frontline of beat-oriented music in 91’. Still sounds fresh.

My fifth Dylan-album and the first not awarded five stars. Definitely prefer the follow up Blonde on Blonde.

I loved the unhinged jazzy art-rock of their debut, which got a five from me. Roxy continues their sonic experiments here, but it just sounds overproduced. An overloaded heap of sounds without any strong songs. Out of the blue sounds terrible with its effects. Just found it pretty annoying in general.

Fela delivers two 12-minute funky afrobeat anti-militaristic juggernauts which prompted 1000 soldiers to be sent out to crush him, tragically killing his mother. Obvious five.

Sound is fan-tas-tic! But a lot of Neils lyrics gives off such a whiny man-child vibe. I like his way of singing though.

Pretty good. You can hear Pearl Jam picked up influence from this.

Decent pop album. For good or worse: is this the ultimate representation of eighties pop music?

Some undeniable tunes (live forever) and they are great at rock history pilfering (I mean it as a compliment). But I never connected emotionally with an oasis song.

In short bits it borders on magic. But in the end I don’t really love the overall sound. And I often tire half way through a song. I prefer the darker “Treasure” to this one.

Breakbeat samples delivered like a chocolate box: a sugary technicolor acid funk explosion.

Dense, murky and verbose. Never really could get into the extended wu-universe despite a general love for NY boom bap.

In the guitar-as-phallos genre so popular among the post war baby boom generation Thin Lizzy is probably one of the better proponents. At least I enjoy Phil Lynnot as a singer. Don’t care so much for the incessant guitar wankery but this live album packs some power. Highlight: Massacre

Garage rock revival riot grrrl goodness. Still, it’s the slower tracks that are the stand outs. Way better than it’s a blitz.

Still my jazz fave. Such a classic.

I was about twelve or thirteen. I went down to the local half pipe to inline skate (as kids did in the late nineties). This other local kid were laying down sick lines while blasting rage against the machine on a boombox. I was awestruck, amazed, flabbergasted - I had never heard anything like it. I immediately knew I had found my new favourite band. This album shaped me like no other. I still return to it now and then for Zach De La Rochas youthful anger, Tom Morellos blasting and inventive guitar and the funky rhythm section. A shining beacon in a genre often dismissed. Ten out of ten absolute bangers. Not a weak track. What a debut.

The glitch-country-of “don’t tell me” is pretty good. And the warm wave of electronica of “what it feels like for a girl” is nice. “Gone” is another good one. Madonna herself doesn’t exactly shine on this album, but I kinda like the production.

Another great drama class indie rock pearl.

First listen: three pretty good songs and that’s it. Fourth listen: three amazing songs and the rest is pretty good as well. Almost on par with Harvest. Best lyrics of all the Young-albums I’ve got so far. Like a dumb-downed Dylan. The three great tracks? “My my, hey hey (out of the blue)”, “Thrasher” and “Powderfinger”.

I was in a packed mosh pit a couple of days ago (The Chats). It’s an experience that often teeters on the edge between an obnoxious testosterone show-off and a deeply communal experience where everyone simultaneously pummels and take care of each other. Minor Threat is a standard bearer for that cultural experience.

Beforehand I thought people were a bit harsh. But damn, this really was a crass perverted mockery-version of his obvious inspirations (RATM, Beck, rap music etc.). Actively dislike his persona. Never again.

Groove world championship winner right here. This shit bumps.

Almost 300 in and this is my ninth CSNY-related album. I haven’t had a single the cure or the smiths related album yet. Whatever. However unenthusiastic I was when this popped up, I still enjoyed it. The two longer tracks especially. Almost a four.

Old timers doing their thing well. Lively and competent blues playing. Blues sure was the foundation of rock. Simultaneously it was the foundation of decades of boring blues rock. I respect the craft but I just want to move on.

Hyperfocused minimalist darkness with bursts of manic energy. Perfect soundtrack for the pre-Christmas blues.