This band feels somewhere between Queen and Sparks, with some Cheap Trick and ELO mixed in. I think the Queen comparison is the most apt, they're obviously technically proficient and can write songs, but they dick around too much and it comes across as annoying. If I had this on a bad day I could see myself giving this two stars, but right now there's too much quality to ignore and I did enjoy most of the album.

Interestingly the worst part of this are the hit singles.

Musically talented, but is proof they needed a frontman and vocalist with the zaniness of David Byrne to really pull it all together. Still enjoyable though.

One of the more confusing listens on the list so far, I had to give it another listen the next morning, to fully digest it. That said this is a borderline masterpiece, just from the music alone you can tell there's a lot of pain behind the songwriting, and as it turns out Robert Wyatt got permanently paralysed. I can see why people don't like this, it feels amateurish at times, and a bit too avant-garde at others, but when it comes together (Sea Song, Alifib suite) its perfect, and unlike anything else.

430 albums in, and this might be the most confusing and worst pick I've seen so far. For context, The Cult were originally a post-punk and goth rock band that blended those genres with psychedelia and hard rock, and it resulted in a pretty interesting take on the genre. The album before this - called Love - has one has their most popular song (She Sells Sanctuary) and is their most critically celebrated album, which is why I question why they instead included this, which is nothing but generic hard rock front to back. I would have given this a 2 because Love Removal Machine is pretty good, but it's immediately followed by the most unnecessary cover of Born to Be Wild. Fuck you Cult, for selling out, and fuck you book author for choosing yet another hard rock album instead of something interesting.

This would considered a Psychedelic classic were it not for the significant drop in quality on the B side. I still enjoyed it a lot, and it deserves more credit than it gets, but it's clear the longer the album goes on the less ideas the band has. I have no idea what they were thinking with that last song

Probably the only true album that you must hear before you die. To make an album that's made of disjointed samples and to structure them in a way that both sounds good and is as cohesive and as smooth as SILY is extraordinary, most bands fail to do this with normal instruments. There will never be another album like this, even The Avalanches didn't try this style again, opting for more actual instrumentation and features on their next two albums.

It definitely has it's weak moments, but overall it's far too fun to dislike. It seems likely that a lot of funk rock and third wave ska bands in the 90s took inspiration from these guys, so that's interesting to see

The music is very good, but it falls into the same traps as most other soundtracks do: it doesn't feel like I'm listening to an album, it feels like I'm listening to a soundtrack for a movie I haven't watched. That said, this does at least make an attempt to put the tracks into an album format, so there is some value to this project.

I've been a fan of Hot Chip for a while, though I haven't listened to this album before. I've always seen them as a singles band, the few albums I've listened to are inconsistent (at their lowest: mid, at their best: fantastic), this album hasn't really changed my opinion on that, however this is the most consistent they've been. The highs on this album (obvious picks are Motion Sickness, and Flutes, but I'd put Night and Day in there too) are nothing short of phenomenal, Flutes in particular (I knew the song prior to listening to the album) is one of the best pop songs of the 21st century in my opinion. The songs in-between are for the most part quite well put together, there's a few dips in quality, but there is a pretty significant gulf between these songs and their best.

One of the more confusing listens on the list so far, I had to give it another listen the next morning, to fully digest it. That said this is a borderline masterpiece, just from the music alone you can tell there's a lot of pain behind the songwriting, and as it turns out Robert Wyatt got permanently paralysed. I can see why people don't like this, it feels amateurish at times, and a bit too avant-garde at others, but when it comes together (Sea Song, Alifib suite) its perfect, and unlike anything else.

I think this is the best Smiths studio release, though it seems to generally be considered their worst. Johnny Marr and Morrissey are both at their best, the lyrics are at their most humourous and self-pitying (which, let's face it, is what Morrissey does best), and it has some of the best hooks in the Smiths discography. Johnny Marr's guitar playing on Death of a Disco Dancer is a real highlight. I think it also has more experimentation with their sound compared to the others, which makes me think their next album would have been something somewhat different, though unfortunately we'll never get to hear that. I can see why others would dislike this. Some of the songs are a bit weird (like the country rock song that's under 2 minutes), and Morrissey is definitely at his most dramatic and excessive here. Also credit to Andy Rourke, the most underrated Smith, for his bass playing.

The Beatles are my favourite band but this hasn't aged well. Half of the album is covers, and not very good covers for the most part, and only one classic song - All My Loving. To put it in comparison, PPM and Beatles for Sale probably have two or three classics on them. I still enjoy this but that's mainly because I grew up with it (and it's short), compared to the Beatles other work this is extremely weak.

First half is great, second half is not. Would be fine with this if it wasn't two hours long.

This band feels somewhere between Queen and Sparks, with some Cheap Trick and ELO mixed in. I think the Queen comparison is the most apt, they're obviously technically proficient and can write songs, but they dick around too much and it comes across as annoying. If I had this on a bad day I could see myself giving this two stars, but right now there's too much quality to ignore and I did enjoy most of the album.

Obviously way ahead of it's time, 90s alt rock about 10 years before it was a thing, but as a result of that it sounds a bit generic. Still a decent album though.

Arguably the best disco record, back to back bangers. Feels a bit like a Chic album, but that can only be said as a compliment. One of my favorite feel good records.

This doesn't hold up at all. I saw The Darkness live about 15 years ago and I grew up listening to this album, but this is just a throwback to American hard rock/glam metal with nothing unique about it. Even other nostalgia bait bands, like Jamiroquai, at least do something interesting with their genre. The 1001 doesn't need more hard rock, and of all the hard rock, this definitely isn't one you need to listening to. I Believe In A Thing Called Love is still a bop though

This was very refreshing to get right after Permission to Land and Appetite for Destruction, they've aged like avocado, Garbage's self-titled has aged like cognac. Garbage's strength is their unique sound that blends influences from 90s genres like grunge, shoegaze, noise pop, industrial rock, baggy/alt dance, IDM electronica, and even grebo. I don't think any other band really sounds like them, even though they fit snug into the generic "alternative rock" label. Shirley Manson is an extremely talented vocalist who's sultry but depressed vocals fit well with the rest of the band's music.

I can see why people dislike this, it's far too bloated and has a lot of obvious filler (which as the consecutive covers midway through the album), however when it's good, it's really good. I feel like FGTH used all the material they had for this album, some of these songs definitely should have been b-sides.

There's too much quality on this album for me to give it a negative rating (when it's good it's amazing) but for the most part I didn't particularly enjoy this, it's too long. White Album works because George has two other great songwriters working with him, each with their own styles. This album very much feels like if the White Album only had songs like Long Long Long, Savoy Truffle, and While My Guitar.. on it. The songwriting is quality but there isn't much variation, and it lasts for almost 2 hours. If you like long pop rock/folk rock/blues rock albums then this'll be your thing, but don't expect much variety than that.

Of Echo's first four albums, I've found this to be their best, it goes deeper into their psychedelic and gothic influences more than the other four, but also seems to probably be the least well liked. It may not have a big standout song like the others do (though The Cutter is really good) but makes up for it with consistency, all the tracks on here are really good.

Very cohesive psychedelic pop, I love albums that have smooth transitions, and the first side of this album is some of the best I've heard. The B-side is a lot more inconsistent in both sound and quality, but it's still good enough to be one of my favourites.

I usually only rate things poorly if it's extremely bad or if it's so long and far past the point of any enjoyment. This is both.

I don't care for this album at all, but I just want to shout out the final song - After Hours - which is amazing and was doing the modern indie bedroom pop thing 4 decades before that became common. I'm glad I had the opportunity to listen to this album for that song alone.

I didn't care much for this album as a whole, but those first two songs are killer.

430 albums in, and this might be the most confusing and worst pick I've seen so far. For context, The Cult were originally a post-punk and goth rock band that blended those genres with psychedelia and hard rock, and it resulted in a pretty interesting take on the genre. The album before this - called Love - has one has their most popular song (She Sells Sanctuary) and is their most critically celebrated album, which is why I question why they instead included this, which is nothing but generic hard rock front to back. I would have given this a 2 because Love Removal Machine is pretty good, but it's immediately followed by the most unnecessary cover of Born to Be Wild. Fuck you Cult, for selling out, and fuck you book author for choosing yet another hard rock album instead of something interesting.

I used to like this band when I was a kid, but I don't think their sound has aged well purely because other rap acts have done their schtick better, Beastie Boys in particular. Still very influential and deserves to be on the list though.

I don't know what I expected from a 60s Bee Gee's record, but an hour long psychedelic baroque pop album about a ship wasn't it. It's not bad but it does drag a bit.

Not bad, Dusty is a great singer, but I feel like I've heard most of these songs done better by other people.

Musically talented, but is proof they needed a frontman and vocalist with the zaniness of David Byrne to really pull it all together. Still enjoyable though.

Surprisingly accessible, I was expecting something weirder and unlistenable but these are really just pop songs when you get past the banging and the angry German screaming.

Highlight of this album is a couple of songs around the middle that made me think "hm, maybe this isn't so bad", before promptly being remembered exactly why I wasn't enjoying this. It sounds like Motorhead if Lemmy was slightly more incomprehensible.

I really don't understand why this is on the list, it adds nothing that wouldn't be added by any other mid-10s trap album. The songs are average at best and downright cringey at worst. I don't usually agree that albums get added to the book purely because they're British, but I can't really disagree in regards to this album. I'm probably biased because I don't like the Roadman subculture which, to me, just seems to be British youths pretending to be what the American gangsta rappers of old actually were. "Trying to not get killed by police" bruh you live in London, not fucking LA.

Interestingly the worst part of this are the hit singles.

This one is a classic, The KLF were kings at catchy and danceable electronica. It seems like their reputation nowadays is entirely based around their story rather than the music, which is disappointing to see because I think their music holds up, and they were insanely influential for the modern EDM scene. For Spotify users, they've released all the songs from this album on different compilations, searching The White Room should get you a playlist with the correct tracklist. Just cross-reference it with the original tracklist to ensure it's correct.

One thing I've learned from this project is that I don't like jam bands. I imagine this is what prog music sounds like to people that don't like prog.

Aged like milk. I get that Britney was a significant figure of the late 90s and early 00s, but aside from the title track (which holds up quite well) this is forgettable cookie cutter R&B pop which dominated a large portion of the 90s and 00s. It shouldn't be on the list.

I really don't like Taylor Swift. I expected her foray into folk to be a novelty, but this album was a pleasant piece of folk pop. I fully approve.

Obviously not as talented in terms as songwriting like his contemporaries like Bob Dylan, but I liked the intimate vibe of the album.

This album was disappointing, it starts off with some good potential but quickly devolves into 80s dance cliches. I recommend you replace "Back to Life" with the single version of the song (subtitled "(However Do You Want Me)") as it fits better and is also probably the best song on the album.

Chaotic explosion of different sounds and genres from across the world, for someone less talented then M.I.A. this would have been a trainwreck, however the result of this album is something which is as equally accessible as it is experimental. 2000s hip-hop was starting to get stale midway through the decade, this helped revitalise it. It is definitely ahead of it's time, a lot of the hip-hop from the 10s and even hyperpop from this decade can trace it's roots back to M.I.A.'s 2000s output.

I've heard an album by this band before (the one after this, the one with the big hit on it) and I'm a bit surprised this one made it in over that as that one was more successful and gets more plaudits. This is American Britpop, and this is the only American band I've heard that goes for this kind of sound. They obviously took a lot of inspiration from bands like Spiritualized and The Verve, because it sounds exactly like them. I'm ambivalent, like The Verve and Spiritualised when they're good they're good but many of the songs are more drawn out than they need to be, and the album ends up being far too long as a result.

Despite being an 80s album, this is one of the best aged hip-hop albums I've heard, it doesn't sound like proto-90s rap, nor does it feel like a collection of 80s cliches like so many of their contemporaries. I feel like De La Soul have fallen out of favour compared to many of the acts from the 90s, which is unfortunate because I feel like this is some of the best you'll hear in the genre.

Interesting and unique sounds for a pop album, not something I'm particularly into but I am glad to have listened to it. Sounds similar to The Beta Band.

New Wave gets an unfair reputation for 80s cheese when bands like Def Leppard exist. They have all of the inspiration of 70s hard rock and metal with none of the substance. My first thought was "Oh god this is the album with Pour Some Sugar On Me" swiftly followed by "Oh god, it's 62 minutes long". You will definitely feel those 62 minutes, and somehow Pour Some Sugar On Me is the best song here. The rest of the songs for the most part feels indistinguishable from one another, if you've heard any mid-late 80s glam metal then you've heard this entire album.

Great example of how to combine abrasive elements with catchy and accessible rock music. For the heavy amount of noise used it still sounds great.

A lot of these early 90s hip-hop albums feel like they're here under obligation to give rap more representation, rather than because of the quality. This is one of them. There is absolutely no reason this should be over an hour long, it gets repetitive by the second song. In fact, you could half the runtime on all of these songs and have a superior album. Title track is genuinely good though, only positive thing about the album.

One of the best breakup albums, full of energy instead of wallowing in self-pity. You do have to have a tolerance for 80s cheese to appreciate this, but if you can you'll find that you have one of the most consistent albums of the 80s. Superb hooks, superb basslines.