Disappointing. I'm familiar with later Beasties material but hadn't listened to this. I knew Fight for your right and was expecting a broader approach but...yeah, a lot of this is trash. Admittedly it has some charm in the puerility of the lyrics and the roughness of the production, but mostly its just sloppy. The beats and scratching are all over the place and a lot of the lyrics are VERY dated. The beasties were never the most experimental act - they have limited flows, but at least the later material has a psychedelic, cartoonist approach to the lyrics. This is pretty much all just frat-house nonsense. 'Girls' in particular is trash. I know they matured and apologised for this kind of material later in their careers. They were young and dumb and didn't know any better. YOU CAN DO BETTER THAN THIS. This is Brett Kavanagh's "I LIKE BEER" whining stretched out to full album length and performed by Gilbert Gottfried.

Another one of those albums where you can tell it would have been mindblowing at the time, but the years haven't been hugely kind. Plus points - the intro to Speed King is a glorious noise that let's you know exactly what you're in for. Blackmore's shredding is still impressive to this day, and Jon Lord's organ works just as well. The sound of the band is pretty huge for 1970, and as an album it's genuinely fun, in a way a lit of navel gazing 70s rock isn't. Cons - I got tired of Gillan's voice quite quickly. It's powerful, but as subtle as a sledgehammer. Lyrics veered between dull waffle and dull misogyny. Child In Time does NOT need to be ten minutes long. As fun as some songs are, a lot of it is forgettable blues rock that just exists for Blackmore and Lord to solo over. It's...fine? I guess? You can see how it led to the likes of Iron Maiden, but it definitely feels like a stepping stone to more interesting music.

Already listened many times. A classic. Only avoiding top score because the next two MA lps are even better

An odd mixture. Some elements sound remarkably modern and varied, some have dated horribly. The distance between good songs (Mrs Robinson, Hazy Shade) and the bad (Punkys Dilemma) are huge. Clearly not a terrible album...but not as good as it thinks it is.

I adored this album at the time and was worried that it wouldn't hold up after all this time and...it kinda does? The lyrics aren't necessarily the deepest, and what at the time sounded futuristic now just sounds very 90s, but I do feel there are decent enough songs underneath it all to keep it together. While the singles (Queer, Stupid Girl, Only happy when it rains) are clearly the most immediate, some of the other tracks are surprisingly good. Downsides - the rhythms, while having multiple layers, are pretty loopy and repetitive, and some lyrics are a little "15 year oldest journal entry". That said, Shirley Manson's whole vibe does elevate it above bands like Republica that were doing similar things. Definitely worth checking out if you're not familiar.

Reasonably varied for what is, effectively, a pretty standard blues-rock album. A nice range of guitar tones and just the right balance of sloppiness/tightness. With that said, after listening I can only really recall one song - La Grange. A good example of the genre, but unlikely to convert you if you're not already a fan.

Having only known Cars, this was an intriguing prospect - also the first non-guitar album I've had. At the time it must have sounded like the future, but in retrospect the sound palette is quite limited, both in terms of the synthetic noises and the melodic structure. Cars is a clear stand out, with Metal and Complex also notable, but I fear the rest ofbthe songwriting just isn't that memorable. When he gets it right though, it's clear why he was so popular at the time.

Disappointing. I'm familiar with later Beasties material but hadn't listened to this. I knew Fight for your right and was expecting a broader approach but...yeah, a lot of this is trash. Admittedly it has some charm in the puerility of the lyrics and the roughness of the production, but mostly its just sloppy. The beats and scratching are all over the place and a lot of the lyrics are VERY dated. The beasties were never the most experimental act - they have limited flows, but at least the later material has a psychedelic, cartoonist approach to the lyrics. This is pretty much all just frat-house nonsense. 'Girls' in particular is trash. I know they matured and apologised for this kind of material later in their careers. They were young and dumb and didn't know any better. YOU CAN DO BETTER THAN THIS. This is Brett Kavanagh's "I LIKE BEER" whining stretched out to full album length and performed by Gilbert Gottfried.

I am, in general, NOT a fan of Iron Maiden. So I was quite surprised at how much I enjoyed this. Usually I dislike the wailing operatic vocals and the pseudo-classical guitar harmonies. This is much rougher and punkier. Parts reminded me of Motorhead, early Metallica, Deep Purple - it feels like a rock band rather than an AI fed a copy of the Simarillion and a Bach symphony. It's not a 5 - if you wanted a great metal album you can find much better options - but as someone who thought he would hate it, it was a pleasant surprise. Lyrics arent the deepest, but hey, what did you expect. Would be 3.5 if this app did half points...

One of those albums I haven't listened to in years because I played it so much in the 90s. Listening back, it absolutely stands up. Music is simplistic, but tightly performed and impactful. Three of the best performers at their respective instruments - this album has no flab, no filler, no instrumental breakdowns that go on too long. The singles may be the most familiar, but every song is strong. I was at a rave earlier this year where one DJ, in the middle of a techno/hard-core set, dropped 'stay away'. Crowd went off. How many 30 year old tracks do you know that could do that? An utterly perfect album.

An interesting combination of folk, country, jazz - even elements of chanson. A very enjoyable listen, although it blended into the background a little. Constant Craving is clearly the standout song, but nothing was appalling or offensive. Then again, nothing particularly grabbed me either. It might be a little bloodless - very much lacked any kind of anger or passion, but then it's not that kind of album. Would probably be a 3.5 - even one better song would push it to a 4. A nice album, but I'm in no rush to put it on again.

A surprisingly good album. I never heard it at the time and was surprised by the depth and variety. Even After All and Sunday Shining are the standouts, but there are so many great little moments - the use of the Amen break in Ride on, the sweet little rock n roll rhythm in Your Love Gets Sweeter, the trip-hop atmosphere on Supreme... The lyrics are quite stream-of-consciousness - sometimes this works really well, sometimes it's a little repetitive, but as an album to put on for a laid back Sunday evening, you couldn't do better. So close to being 5 star, but the lyrics (and a couple of filler tracks in I Need A Lover and Red Rolled and Seen) drop it to a 4. Well worth a listen though.

Meh. The only Big Star song I knew was Jeff Buckley's cover of Kangaroo - a beautiful, wistful lullaby of a song. Wasn't sure what to expect of this album and...it's fine? I guess? There's elements of Bowie, Folk, AC/DC style rock and some pleasant guitar parts, but it doesn't really add up to much. It may well have been a great example of the style at the time, but other than a pleasant melody on Give Me Another Chance, nothing really sticks with me.

Great stuff - musically intricate and funky, and to me, surprisingly cynical. These are not all happy upbeat songs. Great psychedelic lead guitar, warm 70s production, beautiful use of melody. Only a four as some of the lyrics left a bit of a sour taste.

This was a real surprise. Despite their 'nutty boy' reputation, I knew some of their songs had a surprising depth - Our House is a classic, and I knew Tomorrow's just another day before listening - but this is closer to Ghost Town by The Specials, or even some Cardiacs stuff in terms of depth and complexity. It still has its slightly silly moments, and I'm not sure a track like New Delhi would get played much any more, but I'll definitely be listening again. Madness are much more than just Baggy Trousers and silly walks.

A dear friend of mine is an obsessive Springsteen fan, so it saddens me to o ly give this a 3, but I think the whole idea just doesn't do much for me. Born To Run is a fantastic pop song, Meeting across the river was interesting and foreboding, tenth avenue freeze out has a nice groove...but it almost feels like a clichéd parody of what people imagine Springsteen to be. I understand why people love him - and I think some of his later stuff is incredible - but this just doesn't do much for me.

Brilliant. I'm 50-50 on REM, loving some songs and finding others either twee or meandering, but this album was flawless. A few songs I knew well (Man on the Moon, Sidewinder) and others I didn't. Drive, in particular, is an incredible opener and totally sets the mood. Each track is unique emotionally and musically. Faultless.

"I don't believe in an interventionist god" is one of the great opening lines in modern music, and I love so much of Nick Cave's work...so why did this leave me somewhat cold? This came after a really strong, varied album, and it was just a little monotonous. 'Into My Arms' is a gorgeous ballad, but songs like People Ain't No Good or West Country Girl just felt empty. The melodies and piano are uneventful, and some lyrics just feel like they've been taken from a diary entry unedited. What might seem to some like heart-rending honesty just felt a little teenage. I was waiting for a 'Mercy Seat' or 'Henry Lee' or 'Red right hand' - stories with dark, intelligent lyrics and intriguing jnstrumentation, but apart from a few nice violin parts from Warren Ellis, little stuck with me. Maybe will reward repeated listens?

YES. I listened to this album a lot in the 90s and I think it stands up. Admittedly the production is a little 80s in places, and some tracks are a little loop-centric, but when it hits, it hits. Almost the whole album works brilliantly. In terms of aggressive industrial metal, Just One Fix, NWO, Jesus built my hotrod and TV II are absolutely standards. The only thing keeping it from a 5 is the fact that the impact is lessened by the mixdown, and that some of the later tracks are relatively weaker. Would love to hear this properly remastered.

An incredibly unusual album. Needs further listens, but like a combination of the strangest ends of 80s pop - like Scritti Pollitti doing Kate Bush covers, or Duran Duran produced by Robert Smith. I honestly don't know of I like it or not - which usually means I'll love it in about 6 months.

3 is unfair - this is either a 1 or a 5 depending on your preferences. 5 - you really feel like you're there, in a small venue with everyone going crazy. At its greatest, these are some of the purest, most intense representations of rock and roll in existence. 1 - it's rough as hell. You regularly can't make out the guitar or bass,seeing as it's a live album, and every single song is just a variant of 12 bar blues, so it's very repetitive. But still...

As a man in his 40s, I'd be fascinated to hear a younger person's opinion of this. In places, it's great. Faith and Father Figure are two of the greatest pop hits of all time, and it has a variety lacking from a lot of pop albums of the era. George's voice is always incredible too. And yet... Some of the work that was so daring at the time now just sounds silly to me. I Want Your Sex is laughable. Equally, some of the lyrics have a very different edge since he came out. What had previously sounded innocent feels a little predatory. On top of that, the production feels massively dated, and not in a cool, retro way. As a person, I hugely admire George Michael. As a musician, I prefer his later work.

I've never really been a fan of Elvis, and this hasn't changed my opinion one bit. In The Ghetto is a lovely piece of music, albeit dated, and Power Of My Love at least has some pep to it. The rest is mawkish, clichéd saccharine gloop. I know, rationally, why Elvis was copied and idolised so much, but this feels like watching a drunk tribute act.

As someone with a passing interest in Dylan, I was surprised that this album had almost all of my favourite songs by him. Homesick blues, Maggie's farm and baby blue are absolute perfection, and there's several other great tracks. Also lovely to hear the laughter at the start of one of the takes, showing him as an actual person. With that said, the instrumentation is a little repetitive in places, and as good as it is, it falls just short of perfection.

This was an unusual listen. For an album that was held up as an example of society going wrong in the 90s, it's somewhat innocent in places. It's easy to forget that this was a 19yo Snoop. With all the developments in rap over the next 30 years, it's almost sweet to hear him rap about how 'his momma ain't home', and how the most degrading thing a woman could do is 'lick his balls'. Despite this, it's obviously misogynist in a lot of places, and also incredibly repetitive. Almost every track has him explaining how he 'don't love them ho's'. When it works, it works brilliantly, and the production is absolute peak Dre...but once you've heard Gin and Juice and Murder Was The Case, do you really need the other tracks?

Cohen is such a difficult one for me. Much like MF Doom or the Beastie Boys, he only really has one flow, one poetic structure. Most of the time it's so good, and paired with that amazing gravelly voice, that you don't really mind. Musically, the songs are also incredibly simple. There's no real development or variety. It's kind of like brickwork - just one block after another on loop. All of which sounds like I didn't like this, which is unfair - the track You Want It Darker is a brilliant opener, and the whole mood of the thing is impressive. It's just that when you compare it to something like Bowie's Blackstar, it's a bit...dull? I gave it a second listen, and there are some nice rhyming couplets, but apart from the title track nothing really sticks in the memory.

Honestly, hard to be objective with this as it's something I've listened to so many times in the past, but I do think it's as close to a perfect album as you can get. Every track deserves its place - yes, even Fitter Happier - the variety of moods and sounds is unparalleled, and I don't think the quality drops anywhere. Even tracks I didn't love at the time have grown on me to the point where they feel like they've always been there. One addition - if you've listened to it so many times you feel bored, try to find the remastered 'OKNOTOK' version from a couple of years ago. The remaster brought out some parts of tracks I hadn't noticed before and gave it a new sheen, and the bsides from that era are also definitely worth a listen.

I used to joke that Motorhead only had one song. Listening to this album, that's totally unfair. They have two. However, when they're good, they're VERY good. Ace of Spades is a classic, and a lot of other tracks have a really fun swing to them missing from a lot of metal. Unfortunately, they really don't have many tricks up their sleeve. Almost every song has the same key change going up a major 2nd. Eddie Clarke uses the same guitar lick in at least three of his solos, and some of the lyrics (especially 'Jailbait') REALLY don't stand up. Still, what an opening track eh?

It must be quite painful to be known for other people's versions of your songs. I didn't recognise the name, so looked him up after listening. He seems to have been an important, influential figure. So it was a shame I found this so dull. 'Everybody's talking' is clearly the standout song, but even that is nowhere near as good as the Nilsson version. It also sounds really rough - not in a 'it captures the raw essence' way, but in a 'sounds like he messed up that guitar take and couldn't be bothered to do it again. Compared to his contemporaries, everything felt very pedestrian and dull. With other albums I've not liked, I've at least understood why they were on the list. This one? I'm at a loss.

When they get it right, U2 are one of the few bands that can do epic stadium rock correctly. Beautiful Day is a perfect example and a great opener. Stuck in a moment is a pleasant enough ballad type. After that it gets really, really bad. The songs are bland and inoffensive, but Bono's lyrics are truly awful. They've done so many better albums than this that to have this appear on a top 1000 list is genuinely insulting.

I went straight from an 8 track disco album to this sprawling 40+ track monster. A very, very strange album. Biting funk guitar, punk-country vibes, an unexpected appearance of the Jackass theme music. It feels like the roughness of the tracks is a deliberate choice, but there's enough variety and depth that I'll want to come back to it. I've a feeling I've just scratched the surface with this one...

I can't claim to be objective about this - this was one of the albums that hugely influenced me as a teen and I still know practically every note. It's not *completely* perfect - one or two songs might go on a little longer than needed, but it's so close as to make no difference. The great songs are flawless, and the majority are really, REALLY good. Incredible vocals and lead guitar, brilliant variety in songs, huge production. Black Hole Sun and the other singles are quite well known, but 4th of July, Limo Wreck and Fresh Tendrils are also some of my favourite songs ever. I mean, OK, 'Half' is still awful, but you've gotta let the bassist sing one. Right?

Growing up, my father loved Paul Weller, and I really loved The Jam and his combination of spiky but well written lyrics and punky guitars with a funky edge. So this was an odd listen. It's not that it's 'bad' per se. You're the best think and My ever changing mood are gorgeous songs. It's just that it doesn't seem to know what it is. Some of the instrumentals sound like they're designed to be background music on a mid-afternoon property development TV show, but the 'A Gospel' is like very early hip-hop, which is pretty far stylistically from any of Weller's other stuff. I admire musicians who think outside of the box, and it's only the variety that makes this a 3 rather than a 2. Unusual, but not in a way that makes me want to go back to it...

I have a love-hate relationship with disco. I admire it for its history in gay and black scenes and enjoy the beautiful use of harmony, but on the other hand, I don't do cocaine, and it feels like everyone involved in this album did. You can't deny le Freak and I Want Your Love are classic tunes, but nothing else on the album reaches that height. I'm used to 8m long dance tracks, but usually they have some level of progression and variety, and some of these just go on and on. Again, as a collection of songs this is fine. Does it really work as an album? Not sure.

80s hip hop just sounds so naive and pleasant in retrospect. This feels like that got halfway through making a concept album about designer drugs and addiction, and then decided to stick a couple of party tunes at the front. It's messy and odd, bit most of the lyrics hold up, and Dowhatchulike and The Humpty Dance are still solid gold bangers. Am I likely to play anything else off here again? Probably not. Still...never looking at a Burger King the same way again.

I forget sometimes that Pretenders were basically a punk band. This album has some great songs - I never knew Private Life was a Pretenders song - and you can hear bits of so many bands rather followed afterwards. It's not perfect and is quite scrappy in places, but makes perfect sense for a list like this. If, like me, you assumed they were much more of a pop band, the rawness of some of the tracks will be a pleasant surprise.

I really like the idea of the Velvet Underground, and some of their other work (white light white heat, Venus in furs) is inspirational. This? Less so. I've heard that the first Velvets album only sold 10,000 copies,but that everyone who bought a copy formed a band.on the basis of this, they were all the kind of pseudo lo-fi, feckless, boring indie bands I despise. It's not all bad. Candy Says,Pale Blue Eyes and beginning to see the light are nice enough. I just can't get away from the conceited indie boys that inevitably followed

Compared to the perfect arrangements of the beatles, this is somewhat of a primal scream. There's a genuine anger and angst in places. Unfortunately, as songs, most of them aren't that good. Working Class Hero is particularly biting, and Well Well Well is almost punk in places, but beyond that, nothing much appeals. You can hear his emotion in songs like Mother, but it drifts towards self pity - and to be honest, 'Love is Real and Real is Love' is one of the worst opening lyrics I've heard. Ironically, I found myself wishing Ringo had been involved, as some of the rhythms were so turgid, his ingenuity would have been a great help. Even letting Yoko go crazy would at least have made it more interesting...

A definite step up from some of the rap albums I've had so far. This has a variety of flows, some interesting lyrical concepts, and a couple of absolute classics in Can I Kick It and Bonita Applebum. Unfortunately, some of it just didn't seem to land, and I kept thinking of it as a great stepping stone to future stuff. Useful as a historical great, but not something I'll be going back to compared to, say Low End Theory. A high 3/ low 4

Interesting. I was half expecting more dull midpaced 70s rock, but this was a charming combination of jug band instruments and cod eastern psychedelia. I loved that they were trying to make something different, even if some of the coded humour is a little too obvious. Would have been a 4, but the stereo mix of "drums in one ear, organ in the other" was just a bit too off putting.

Pleasant. A lovely combination of samba vibes and languid sax, with some delightful guitar parts. I was humming Desafinado for the rest of the evening. Can I remember anything else from it? Not really, but I was left with the feeling that I would happily listen again, so a low-ish 4.

A strange listen - I'd loved this album as a kid, but had forgotten half of it. Some parts - like the speed metal kick drums on Speed Demon and the funk stabs on just another part of me, were fun, and it almost reminded me of Zappa in terms of orchestration, but it also felt quite bloodless. Smooth Criminal and Bad and pop anthems, but elsewhere you see the signs of boredom and paranoia. I can't listen to Man in the Mirror without thinking of Patrick Bateman. By the end of the album I'm a bit tired of the same adlibs and hiccups on every song. I can't say it's a great album, but it's very unusual to listen to in retrospect. I feel like everyone should listen once, but I can't say I'm itching to go back to it.

Pretty much a perfect album, although I probably err in favour of the later Ultra due to Mark Bell's production. All the tracks are great, with a perfect balance of strange experimental noises and perfectly written, arranged songs. In particular, World in my Eyes and Enjoy the Silence are two of the greatest synth-pop songs ever written. Definitely one people should experience for themselves.

Despite being such a classic, I don't think I'd ever sat and listened all the way through, sticking mostly to the singles. It's an absolute game changer. You can see why it was a dance album that the rock kids took to heart - not just the guitar samples, but the minor 2nds and tritones in the melodies are very 80s thrash. It's a consistently good album, and outside of Firestarter/Breathe/SMBU, has some great tracks in Fuel my Fire and Diesel Power. It's a very, very high 4. The omly reason it's not a 5 is because a few tracks just feel like substandard versions of the hits. Are you ever likely to put on 'Funky Shit' or 'Narayan' instead of Breathe? I'd argue it doesn't have the breadth of something like Jilted Generation or some of the early Chemical Brothers stuff. Definitely a turning point in 90s music though.

This took a couple of listens to really get to grips with. On the first listen, all I could hear were the initial influences. You can immediately hear The Walker Brothers, Love, various Bond themes, even Tom Jones. However, on a second listen, the lyrics come to the fore and you can appreciate that it does have something of itself to offer. I feel like it pre-empts where Arctic Monkeys went with some of their later stuff - and I would still rather listen to something like '...Mirrorball'. It's a little too keen to show its influences for me to give it a five, but I do think it'll reward repeated listens. Overall, better than I expected.

Generally, I'm not a fan of disco. It's fine to dance to, but it often sounds too bloated and shiny - like a club I wouldn't be allowed into. So it was a huge surprise how much I liked this album. Compared to Chic and their like, it was gritty and real. You could hear the instruments being played, occasional grit and funk in the vocals, lyrics that showed a bit more depth than just "let's party". I'd always had Sister Sledge down as somewhat of a novelty band, but this will absolutely be getting played again. A clear 5 stars.

This came as part of a run of 70s rock albums and, frankly, was just dull. A couple of songs were clearly big hits, but it's just so sodden and midpaced. Lots of use of 'rock' in place of curse words. It wasn't offensive, but I can't imagine ever wanting to listen to it again. 2 stars only because Can't Get Enough is fairly pleasant

Even after a few listens, I can't decide what I feel about this one. There's a handful of great songs, and I love the slackness and the vibe...but when it's bad, it's really bad. The vocals are so low in the mix as to be inaudible, and when the fuzz guitar kicks in it's just earbleeding, and not in a nice way. And yet, there's a charm. Hoping I get some later Pavement to compare to...

Somewhat of a relief after a string of forgettable boogie rock. Avoids most of the worst trappings of prog, with interesting guitar work, some lovely melodies, and some real variety. The vocals are a little too Queen-esque to me - lots of layered harmonies and straight notes, not enough grit - and sometimes it drifts into pretension, but definitely worth a listen.

Didn't expect to like this as much as I did. For a band that is the epitome of southern rock, I was expecting more midpaced ZZ Top boogie, but this had some interesting sound choices (reversed drums on the intro!), some humour and variety. It's a low4/high 3 purely because I got a little bored by the end, but you can see why GNR, Pantera and tonnes of other rock and metal bands were influenced by them. But really, does Tuesdays Gone need to be 7 minutes long? What more do they have to say after 5 mins?

I have some friends who adore this album, but it left me absolutely cold and actually quite unsettled. I get the idea of it as an opera, and the need for short interludes, but it was missing something. I couldn't easily follow what was happening, it was just a disjointed sequence of sketches and ideas. When it did settle on an idea, it was images of child abuse set to fairground melodies. I started off wanting to give it a chance, and just got more and more disappointed as it went on. I know Pinball Wizard is a classic, but the album as a whole doesn't deserve it.

Widely regarded as a classic, but I'm not sure it holds up that well as an album. The first half is great - Ponderosa, Black Steel, Hell is round the corner etc are incredible - but it does start to drift. If you listen on headphones while high you can get totally lost in the fog of it, but if not it can disappear into the background a little. Just about makes a 4 because when it's good, it's very, VERY good.

An almost perfect album. After having a string of 70s rock albums, this was a sweet relief. The variety of tones and textures, the depth of the production, and the SONGS. Almost every one is a classic. I'm not the biggest fan of the pumpkins overall, but they absolutely knocked it out of the park on this one.

For years, this was a permanent fixture at the top of 'best album ever' charts. When it hits, you can see why. Sgt Peppers, With a little help from my friends, a day in the life, Lucy... are stone cold classics, even with Ringo singing. And none of the songs are necessarily 'bad'. And yet...it left me wanting more. I'm not a fan of McCartney music hall type songs like When I'm 64, and something like She's Leaving Home is too saccharine, too 'drama for children's tv' for me. Undoubtedly a classic, but not one I'd reach for again. Can you complain about something being clichéd when it invented those clichés?

Another album I enjoyed more than I expected. I always thought Simon's songs were a bit dull, but there are some incredibly evocative lyrics, lovely melodies, and a great range of sounds and textures. Call me Al and Diamonds are perhaps the obvious singles, but I found something to like in every song. Didn't quite reach the level of a 5, because I do find him a little repetitive after a while. Also surprised that such an 'african' album would have so many references to places in the US!

Another one of those albums where you can tell it would have been mindblowing at the time, but the years haven't been hugely kind. Plus points - the intro to Speed King is a glorious noise that let's you know exactly what you're in for. Blackmore's shredding is still impressive to this day, and Jon Lord's organ works just as well. The sound of the band is pretty huge for 1970, and as an album it's genuinely fun, in a way a lit of navel gazing 70s rock isn't. Cons - I got tired of Gillan's voice quite quickly. It's powerful, but as subtle as a sledgehammer. Lyrics veered between dull waffle and dull misogyny. Child In Time does NOT need to be ten minutes long. As fun as some songs are, a lot of it is forgettable blues rock that just exists for Blackmore and Lord to solo over. It's...fine? I guess? You can see how it led to the likes of Iron Maiden, but it definitely feels like a stepping stone to more interesting music.

Meh. I'm not generally a fan of the beach boys, although even I can appreciate that Pet Sounds is a work of genius. This is...not that. Pros - some lovely harmonies. Help me Rhonda and When I grow up are well constructed songs Cons - it's just so saccharine and childish. All the songs feel like a 12 year old talking about the world. It just left me cold. The whole thing is quite repetitive, and i have no desire to go back to it. You get the impression that some early 1001 albums were more interested in the stature of the artist than the actual output, and this is a perfect example. Is this really more worthy than 100s of similar works? Proportionally, how many of these 60s and 70s albums actually stand up? So far, not many.

Is it fair to criticise an album for being clichéd, when it pretty much invented the cliche? As a guitarist, you can't ignore Eddie Van Halen. The man is one of the most influential musicians of the 80s. When everything works together, the band can be amazing - Hot for Teacher is an absolutely incredible track, and Jump is deserving famous. And yet - the rest of the album just left me cold. One van halen solo is impressive, but after an album of them I just felt empty. The lyrics veered from dumb to idiotic, and beyond the virtuosity, there's just nothing there. Giving it a 3 because it wasn't outright offensive, and H4T and Jump are worth at least a point each.

Sometimes it's easy to forget just how *weird* Bowie could be. Low is rightly regarded as a classic, but it starts with an instrumental, the most popular song doesn't feature vocals until nearly 2 minutes in, and the entire second half is unusual mood pieces. Despite that, it's still an incredible piece of work. Sound and Vision is glorious, Subterraneans gives full Blade Runner vibes, A New Career is beautifully longing. Can't quite give it 5 as it feels more like two albums stuck together, and something like Be My Wife still has echoes of his 'gor blimey cockney' era, but it's very very close. 4.49999...

The combination of prog rock and 80s production is rarely a good idea (see late period Genesis) so it surprised me how much I enjoyed this. In some places it's a bit earnest, bit it was intriguing throughout. The 1-2 punch of Sledgehammer and Don't Give Up was marvellous, but the rest of the album didn't quite hold up. 'We do what we're told' felt like an offcut from The Wall, and little else stuck. So, so close to being a 4. If there was one more good track it would be, but let's go with middling for now.

Glorious. A brilliant combination of punk attitude and heartfelt emotion. A huge variety of sounds and tones from a limited band set up. The album sounds huge but the songs stick with you. Almost half the songs on here would be a career highlight for any other band - Pin, Maps, Date with the night, Y control, Modern Romance - and even the album tracks are beautifully crafted. I expected this to be good, but it exceeded expectations.

The second adylan album I've had, and I was less of a fan. Like a rolling stone and Ballad of a Thin Man are classics, and I like the punky vibe of Tombstone Blues, but Desolation Row does not need to be 11 minutes long, and some other songs are nice but forgettable. 3 stars for those two tracks alone.

I'm a big Fiona Apple fan, and on balance this album does hold up, but I wouldn't say it was her best. It does have a tendency towards morose teenage angst and some lyrics which could have been improved - but seeing as she was a literal teenager when she wrote it, I think that can be excused. Also, you get the feeling that some of the low notes are a little out of her natural range. That said, I think every song has something to offer, and several are top tier. Shadowboxer, Never is a promise, Carrion, Criminal, Sleep to Dream - I loved them as a teen and I love them now. A low 4, but still a 4.

Firstly - neither Spotify nor Tidal have the proper version of this album, you need to go to YouTube. This is not a style of music I'm familiar with, so I can't say how it compares to others in the genre, but I enjoyed it. Relaxing and interesting, without straying so far from western styles and tunings that it sounds off key. I was worried it might get a bit 'new age pan pipes', but no - just calming, peaceful, tranquil. 4 on a first listen, but could easily reach 5 on repetition.

I do love Nick Drake, but all in all this isn't his best album. Pink Moon and Things behind the sun are glorious, and Parasite is pleasant. Know and Harvest Breed are nice vignettes that feel like they could be fleshed out into larger pieces. The sprinkling of piano on Pink Moon makes the song - other tracks are calling out for a bit more instrumentation. It's missing, for example, the strings you hear on Five Leaves Left. A high 3/low 4.

Totally unexpected. I knew some of their music from adverts and was expecting a pleasant, if slightly dull, coffee shop background music type of vibe. Instead, I get a weird, unsettling collection of gorgeous melodies and off key sound design choices. I'm pre-emptively giving a 5 because I think this will reveal more on repeated listens. Would put next to Plaid or Boards of Canada, rather than Morcheeba or more laid back stuff.

You can see why Blondie were successful - when they get it right they're a brilliant band, and there are obvious stand outs in Hanging on the Telephone, Heart of glass, one way or another. Several other songs are interesting, and nothing is terrible, although some songs are a little forgettable. I feel like the grit of the first two songs is missing in a few places, it doesn't quite reach the level of 5 for me...

When I was a teenager getting high for the first time, I'd record 20 minute jams on one chord, being amazed at how deep and psychedelic the sounds were. Then I'd cover up, listen back, and realise it was just repetitive drones that didn't go anywhere. That's what this sounds like. Mumbling lyrics ripped off of Dylan and Patti Smith over boring loopy patterns just bored me to tears. The version I listened to had a live recording of Suicide which gave me some idea that they might have been interesting as a live act, where sheer volume may play a part - but as an album, this sounds worse than some bands 4 track demos. Utter, utter trash. Not even irritating enough to be interesting.

I really should like this. Two piece band with rock and roll influences, but with a much wider range of tones and styles? Should be an immediate 5. And yet, despite listening 2-3 times, I couldn't remember a single thing from this album. It's not offensive, and I certainly wouldn't turn it off, but it's just a bit...dull? I used to be a bartender and we'd play one of their early albums in the bar all the time, so why *this* album is in the list ai have no idea. 3, because maybe it's a grower? The dictionary definition of "it's fine, I guess"

Not sure how to rate this. For what it is, it's clearly a great album. It's very much not written for me, and that's OK. On its own merits it works. Several songs work really well - there's a reason why Rolling in the Deep, Set Fire and Someone like you are still played to this day, and I really enjoyed the production of Rumour Has It. At the same time, a lit of the filler tracks are forgettable, and I'm not sure the Cure cover was necessary. A low 4, but knowing that others would get a lot more from it.

A classic. Full on punk rock aggression with memorable riffs and free jazz skronking. Admittedly I probably prefer Raw Power, but it's a close run thing. Dirt even has a sense of delicacy and melancholy. Listen. Listen now.

Really, really intriguing as a historical document. To think this was out in 1983, a really early and accurate representation of hip hop years before it reached the UK mainstream, and all fronted by the whiniest white English man. Also fascinating to hear a range of African sounds and samples which you still don't commonly hear in western music, and none-more-80s production from Trevor Horn. Admittedly, it's not really very *good*, but it IS fascinating.

Amazing. I was vaguely familiar with Bert Jansch before, but this was my first proper listen. What this man can do with just a passable voice and one acoustic guitar blows my mind. A real depth and ingenuity - virtuoso playing but in service of the song rather than just masturbatory showing off. I'll be coming back to this. Immediate 5.

...fine? A combination of African and western music, but kinda lacking interesting sides of either. Nothing horribly offensive or particularly memorable. Might reveal more on further listens, but not particularly driven to listen again.

Brilliant on the first listen and rewards multiple listens after that. Admittedly a few lyrics on BOB and WLDH probably raise an eyebrow now, but the sheer ingenuity, range of ideas and technical capability is unparalleled. I've had a few disappointing hip hop LPs so far, but this is damn near perfect.

Surprisingly great. Funky, but with a range of ideas and sounds that kept me entranced. If there was maybe one more standout tune it'd be a five - as it is, 6 tracks can drag on a little, but definitely worth revisiting.

Surprisingly good, especially for a live album. I knew a handful of cheap trick songs, but this fits right in with the best power-pop/melodic rock stuff. Great melodies and harmonies, riffs galore, and a real feeling of "being there"

I've always had a soft spot for Aerosmith's 80s/90s stuff and was looking forward to this, but it was quite forgettable. No real great memorable riffs or lyrics. The only thing of interest was that some parts had a slightly funkadelic edge to them which was unusual. Disappointing.

Surprisingly great. Proggy, punky in places, with a great range of tones and timbers, and only occasionally lapsing into parody (the theremin on track 3 was a bit much). Possibly lacking in memorable tunes, but a fun listen. A high 3/low 4, pushed into 4 because "Bloody well right" was too fun.

Glorious. I've always found the cure to be a band I liked rather than loved, but this summarises their work perfectly. Heartfelt, morose, atmospheric, and with enough variety for each song to feel different while still very much being 'them'.

On paper this album has things I should love - great musicianship, varied tones and styles - but it just felt empty. There's very little emotion or feel behind any of this, it's just bland musak for yachts.

Disappointing. Street life itself is a great tune, although the album version drags on a bit, but the rest is forgettable instrumental smoothness. It's backing music for dinner parties. Everything is 'nice' and quite inoffensive. I can't remember much past the first track. Nice to have something that isn't 70s rock, but still a bit flat

Another album where you feel it's impact at the time has been lessened. At the time it must have been a shock to hear Ll get aggressive, but now the lines just sound a little cheesy, whether he's threatening you with a bad time or a good time. It's not appalling, just lacks anything to back up the lead single.

Another album I played to death as a teen. Does it hold up? Kinda?...ish?... Brilliantly mixed - the album still sounds huge. Some classic riffs, memorable solos, and when it works it really works. I don't think any of the tracks are 'bad'. And yet, if I want to listen to Metallica I'd go for almost any of their other albums over this. Partly because I overplayed it, and partly because it just feels quite teenage. Compare it to MOP or AJFA and you can see the influence of Pantera and southern rock on their playing - and frankly, I prefer their thrashier stuff. A very high 4, but only a 4.

Only previously familiar with Youssou N'Dour from his track '7 seconds' with Neneh Cherry. Having previously had Gracelands and Songhoy Blues, this felt delightfully different - African music which didnt sound so much like it was watered down for western audiences. Hugely long songs, but they kept my attention. Beautiful melodies, a charming and unique voice. Probably needs a few more listens to really dig in, but after one day it's a strong 4.

Big fan of Dolly as a person, but somewhat unfussed by country music in general. When it's great it's great, but a lot of it does nothing for me, and this fits in that category. Beautiful harmonies and voices, and a lovely mix of guitars, banjo, mandolin, autoharp etc, - but the songs all just feel a bit simple. There isn't really anything with any grit or roughness, it's all just quite pleasant. It feels like songs you'd play for children rather than something you'd wail alone after drinking too much. A low three, because the voices truly are beautiful, there's just not much backing it up.

Interesting - I'm not a fan of the byrds, but I'm aware of Robyn Hitchcock, and I like how this was put together. Some nice songs, in particular the instrumental "you'll have to go sideways". A few like "Old Pervert" which haven't aged as well. A strong 3 which, considering I was expecting to hate it, is quite good. Be aware on Tidal that you get the reissue with about 30 bonus tracks - only the first 10 are the original album.

I'd always considered Billy Joel to be a fairly MOR dull American pop rock guy. And, to be fair, he is. But he does it very well. There's a depth to the lyrics and a variety of song styles that really grabs you. Not everything is amazing, but definitely worth a listen. High 3.

I can understand that this list will have albums I don't like, because of their genre, importance or historical value. I do not understand why this is here. It's pleasant enough in places, but totally formulaic and auto tuned to hell. The only bits that are memorable are because the lyrics are so bad. A couple of the short single instrument songs are kind of OK, but it really doesn't stick. A low 2 - only avoiding a 1 because it's too bland to be awful.

The first KD Lang album I got (Ingenue) was a pleasant surprise, a strong 3 with some nice variety, so I was curious to listen to this...but...meh. The song choices aren't great - the country stylings are quite dull, and even a gorgeous song like Black Coffee is somewhat ruined by 80s synth sounds. The Honky Tonk medley is awful. Sometimes the power and unique qualities of her voice shine through, but a lot of it is smothered in WAY too much reverb, and it's just not a pleasant listen. Saved by 'Busy Being Blue', which is gorgeous, and the only reason this isnt a 1, but otherwise really not much to recommend. Again, I'm left wondering why this 50s pastiche is here instead of some of the actual 50s music being covered.

This took a couple of listens, and I'm still not 100% sure what I think. On first listen it just left me cold. Second listen at a slightly higher volume was more rewarding, but still not great. Pros: You can see why it's on this list. Mitchell is objectively a great songwriter, with a virtuoso falsetto voice, interesting chord choices and progressions, and some interesting use of imagery. Some parts really did hit home. Cons: It regularly just left me cold. Beautiful melodies were ruined by acrobatic squeaks. Some of the lyrics and imagery didn't feel anywhere near as deep as they thought they were. The mix was very odd - the voice is front and centre but the guitars were almost inaudible. Maybe more a headphone listen? I'm very glad I listened to it and I may come back. There's a reason so many reviews are either 5s or 1s. I would recommend people listen to it and I may find other JM albums enjoyable, but personally I'm more likely to go for Fiona Apple / Gillian Welch / PJ Harvey than listen to this again.

This is, if you'll forgive the pun, a revelation. I'd had a few country/folk type albums recently that were quite shiny and smiley and unthreatening, and I was wondering - where's the grit and anger and misery? HERE IT IS. The first dissonant notes remind me of the intro to A Hard Days Night - it's like an explosion, a statement of intent. The album seems to alternate between deep, dark,dissonant folk pieces and slightly more upbeat numbers, but the whole album is drenched in soulfulness. This is a woman who has lived a life and has stories to tell, and is asking questions of the world. Considering she uses a fairly limited palette of instruments, there's a huge range of emotions covered. Also worth saying that, coming after some 70s recordings, it SOUNDS brilliant - the guitars are full and loud and detailed. Brilliant work. I look forward to hearing more.

Ugh. On paper I find U2 quite irritating. Bono is a sanctimonious fool, The Edge relies on his pedals too much, and their last 20 years are just vacuous nursery rhyme nonsense. And yet. And yet. This is why they got so big. Few bands can turn that kind of earnest post-punk rock into stadium material while keeping some depth. There are several absolute classic songs on here - in particular, The Fly is one of the weirdest songs to ever reach #1 in the UK. Years of parody haven't spoiled One or Mysterious ways. Every song sounds totally different, the rhythm section are tight. The guitars are HUGE. Yes, a few lyrics are a little clunky - "A woman needs a man like a fish needs a bicycle" etc - but they're few and far between. In American Psycho, Patrick Bateman sees U2 perform and is unsettled by a performance of genuine emotion. Even though they may now be an example of insufferable rock star arrogance, this album is undeniably brilliant. Annoyingly so.