Van Morrison is blessed with the kind of voice whereby he could sing the phone book and give it the beauty and authenticity of a hymn. This, however, is not the phone book. And it is a long way from being it. Close your eyes and you are there. The classics are here and , as said, he can make the not so classic sound classic. A journalist once said there are two types of people. Those that like Van Morrison and those that have met Van Morrison. Quite. Hence why you have to close your eyes to let his music take you to a different plane because, by all accounts, it is so superior to the man himself.

Look, its inoffesnsive. Musically it has a drive, is formulaic and has a hook at the right time in the right place in each song. Lyrically, Swift articulates positivity and mut be doing something right to be the biggest selling artist in this day and age. She has caught the zeitgeist and I see her, culturally, as the ressurection of girl power in the way the Spice Girls originally were. Do I get why she is a billionaire on the back of music like this? Not at all. The music is predictable and has no interest to me. Will I remember any of these songs in an hour? Absolutely not. In fact, I'm surprised I've no recollection of any of these songs even though - a few years back - I played a few times the Ryan Adams cover version of this whole album.

This album is very much punk having an exotential crisis in the face of New Wave. And David Bowie.

Such a non descript album cover but quinessewntially everything innocent and charming about the cure before they got massive.

I like the idea of Frank Zappa. I feel he is spoken about as a musician with integrity and personality. But his body of work is quite intimidating. 'Hot rats" is apparently at the more 'accessible ' end of his spectrum. And, sure enough , it has a progressive jazz feel from the off. I'll listen again and I'm sure it will grow over time.

There is only so much Motown I can take and this is about just enough. There are 3 standards on this album but thankfully not the overplayed Respect. Whilst the blues musicianship on “Good to me as I am to you.” Is wonderful, Franklin’s voice is too pure for the genre. And she doesn’t groove, for me, on “Groovin’l But solid Motown from an era where albums contained too much filler.

I’ve struggled with this album for 40 years. The Smiths are a singles band and their albums are rubbish by comparison. There, I’ve said it. But this album contains one of the greatest singles ever penned. Seeing “There is a light..” on the track listing means I’ll always enthusiastically jump into this record. The title track kicks things off in a pulsating and malevolent way but barely errs from its rhythm and barely describable chorus. Whereas Cemetary Gates is nonchalant and charming. Mare’s melody is all over it and is effortlessly brilliant. “Big Mouth..” is a greatest hits encore kicking in where it has no right. Bang, bang, bang and after “Thorn in your side” and the aforementioned “There is a light” you think you might be experiencing the greatest working class best combo of an age. “Vicar in z tutu” and “some girls” done diminish this view and whereas side one contains some of the most unfathomable dross you. Ight experience that still isn’t enough to take any stars away from this 5 star masterpiece.. if collected singles of course.

Such an underrated album. Though thankfully such an under played album too. It’s ramshackle blues. Straight from “walk On” you have an integrity and authenticity But don’t expect anything as rhythmic and catchy to follow. It’s no coincidence three songs have the word “blues” in their title. Yet “Revolution blues” could be hard hitting Dylan (apparently about Charles Manson) whilst “Vampire Blues” is deceptively complex and more akin to “down by the river” from earlier in Young’s career. Its only fault is fading out too soon. Ambulance Blues closes the album with mellow beauty and the closest this record gets to uplifting. The title track is sombre and timeless. It creates the bridge to a brace of downbeat acoustic numbers to take you home without any danger of excitement or exhilaration. No hits, no icons but - along with Zumba - the best Neil Young records before accountants and PRS executives started trying to make him fashionable. Great cover too. I bought this when it first came out in 2003. There was some furore that Young hated the medium so much he refused to release his work on it until the sound could do him justice. It’s certainly a sonically bleak record and I think its title is irony. It’s not one for the beach.

I’ve never heard this album. I only came to thrash late and when I did eventually hear Master of Puppets it was not 1986 and that band had matured into something of interest to follow. I always knew Slayer were the competition but I never felt inclined to try this album. The cover was off putting and the Satanic overtones seemed distasteful. So it was with some trepidation that I gave this the metaphorical spun today. It’s alright. It’s 1980s thrash innit? Faster and harder hitting than Metallica but the satisfying rhythm is there although there may be too many words. Tori Amos did a cover of the title track. Her version was quite different.

Ah, so we have the David Bowie album we need to file under P do we? Notwithstanding two stellar singles - the title track and passenger - this record just oozes Bowie. But, interesting in my view, the thin white duke was already on a different level. Whilst he was helping Pop with this he was working on Low, a far more adventurous work. 7 years later Marillion would create Misplaced Childhood in this same studio, Hansa, overlooking the wall and East Germany. You can feel the starkness of this place in the production. The singles would be enough to give the album 4 stars alone. The rest of the tracks can’t get it to a 5/5 because of the overriding Bowie feel. But there are places where Pop even sounds a little Jagger. Enjoyable album but the history of the time is slightly more interesting than the music overall.

My first attempt via Sonos to search for this artist came up with The Chemical Brothers. Not a great start. It was about to get worse when the Amazon music bespoke album found the album no problem. I think I saw 808 State live in 1990. Supporting Depeche Mode at Wembley Arena. They were not memorable. Pacific 202 is vaguely memorable. As nor is this album. I wasn’t an irresponsible e’s and whizz person at the time. I didn’t go to raves and I didn’t scream “aceeed” whilst listening to the radio. This album does nothing for me except reinforce most musical merit is down to nostalgia rather than worth. I’m sure others who experienced the “not working for a bank in a graduate recruitment programme” crowd will fund nostalgia in this record but I find nothing. No melody, no tune, no structure and no enjoyment. I’ll listen to it all but never again snd it’s giving me a headache.

So the problems… The music is interesting. But is it original or is it sampled? You just never know where credit is due. And the lyrics. For me, the best music is universal. But life on the Chicago corners is not universal. I’ve seen The Wire, I don’t need it lyrically. And I don’t believe we see God through our children. So I’ve got issues with it. It’s not my genre, I get that. But it’s interesting. It holds my attention and I was interested enough to research the lyrics after an initial listen. I feel my smorgasbord is more varied as a result. Would I buy it? Would I fuck.

The magpie is a resourceful bird. Yes, it might have a moral issue around theft but it’s a survivor and adaptable to carve out the existence it wants. Morning Glory isn’t as exciting musically as the debut Definitely Maybe. It also hasn’t the raw hooliganism. But it’s got two major enhancements over the forerunner. Firstly, Noel Gallagher has developed his magpie-like songwriting (aka plagiarism) and it’s got hits. Fucking loads of them. It’s a cheeky start with a blatant theft from The Glitter Band before the sub par Roll With It (which deservedly came 2nd to Blur’s Country House in the UK’s frankly stupid media circus of Britpop.) But then we go up a gear. “Overplayed” can often simply mean brilliant. Which is the case with Wonderwall. Then the raucous “Don’t Look Back in Anger.” Anthem Iv doesn’t do this one/two justice. Interestingly, during this period the Oasis b-sides were probably better than some of the tracks on side 2. Though the record does return to form with Cast No Shadow, the title track and Chempagne Supanova. This album nearly broke Oasis in America. The music was good enough but the working class thuggery - several steps up from the Beatles and the Stones - didn’t translate and global domination was elusive. Still, an important record and still hugely enjoyable.

It’s my favourite NC&TBS album and I despise myself for that. Because it’s so easy to live the melancholic folk songs played with an intensity and integrity of a jazz quartet. None of the disturbance of Mercy Seat, the black humour of murder ballads or the sheer avant garde of the early albums. Just beautiful words accompanied by beautiful sounds throughout. No jars of inconsistent loudness but enough variety for melancholy satisfaction.

Intelligent pop music though, ultimately, disposable pop which likely works better on a dance floor than on a hi Fi.

Lush, Celtic and melodic instrumentation - this band have been a real testament that new music is alive and well in the 21st century. Though from Philadelphia, “Under the Pressure” evokes from the off the spirit of The Waterboys and Hothouse Flowers. The pace might pick up with “an ocean in between the waves” but even then, the guitar is more U2 than anything east coast indie. But then we are back into a warm, comfortable blanket wrapped around us with a mug of steaming coffee looking out over the misty hills in the distance. This is where this album takes me. The sonic landscapes of over the hills and far away.

The mature side of Britpop. Closer to Radiohead than Blur or Oasis. It’s little wonder Thom Yorke duets here. I saw Polly Garvey supporting U2 on their Zooropa tour. Illuminous pink jump suit and shouty songs it did nothing for me. Yet 2 or 3 years later she produces this, one of my favourite albums from the era. The songs are string and well structured. Jangly guitars with just enough left field darkness to keep it all interesting. I thoroughly enjoyed digging out my CD to listen to this again.

So two truisms hold constant throughout my reviews: the Sniths were a singles band and 1985 was my greatest year for new music. And so, a Smiths album with no quality singles of note …in a year when it is up against Misplaced Childhood and Power Windows you can kind of see why it’s a meh from me.

The singles I knew from this band were melodic and absolutely focussed around the personality of lead singer, Skin. Now listening to this album for the first time it is way heavier than I recalled this band being. It starts Prodigy-esque before moving into Rage Against the Machine territory. It’s got a real nineties feel and isn’t quite either grunge or metal. It’s all a bit shouty for me and not something I’d particularly listen to again. It feels quite dated.

It can’t be disputed the impact Hendrix made on popular culture as a black, rock guitarist but this album is one hell of a ramshackle of an extended jam with a couple of classics too. And do you get really irritated when people mix up Voodoo Chile with Child (Slight Return.)?

Yesterday we had Hendrix, one of the major figureheads of the Hippy Revolution from 1968. If you think the summer of love, flower power and California dreaming you tbink Hendrix. However, for me, Love and “Alone Again” is the definition of the aforementioned. This whole album just exudes everything of that era when optimism, drugs and music coincided within the aforementioned (brief) cultural revolution before Vietnam and cynicism replaced it. “Andmoreagain” is a folk classic with Byrd-esque melody, just lovely. Whilst “You Set the Scene” just takes the catchy melody akin to Sgt Pepper to your new favourite ear worm levels. I’ve not played this album for years but enjoyed it so much I’ve played it twice today.

Listening to Rick Wakeman and his perfectly unique - from Gershwin to Prog - piano playing on the title track you wonder just where careers would have gone if Bowie hadn’t recommended Wakeman take the job offer from Yes because he couldn’t offer him the same stability. And, as we know, of course Yes wasn’t stable but their revolving doors were not quite as dramatic as Bowie’s as he never stayed anywhere for longer than an album. I need to ‘fess up. When I put this on I thought I was about to listen to Hunky Dory and the smorgasbord of sprightly pop classics that is. I’d mixed up the albums either side of Ziggy of which “Aladdin Sane” I now recall is my least favourite. The title track is exquisite and there are well know hits and classics scattered throughout. But it doesn’t hit the melodic heights of its two predecessors. It’s a romp, but just within the speed limit.

Well this is more like it. Something completely unknown that makes you sit up and listen from the off. Is it the bastard child of Gershwin or the Neanderthal missing link to King Crimson’s perfectly formed Prog debut of 1969? It feels irreverent, almost burlesque. But I’m sure the gentler parts in the middle will mature into beauty over repeated listens. The bookends though? Everything sordid the jazz underground was apparently meant to be. Bring it on. I’m off to buy it.

It’s reassuring when you pretty much know what year an album has come out and where the band are from even though you’ve never heard of Twitter, sorry, X. Except they aren’t from New York but Los Angeles. It’s bizarre. If Talking Heads , Television and Blondie tried to make a lightweight Ramones album it would sound just like this. Hey, it’s quirky and feisty. Maybe I’ll listen to it again someday but it just seems slightly behind the curve.

Move over Morrissey, Smith - the Master Depressant - is in the house. Yet whilst The Moz may put a wry smile on your face with his downbeat lyricism The Cure have mastered the euphoric cathartic uplifting elegance of the downbeat on a whole new plane. There is not a second of filler on this wonderful, wonderful record. Play it loud, wallow in your self pity and come away in the happy knowledge you are not alone. Just wonderful from Plainsong to finish.

I’ve tried for decades to understand why people love this album. I think it’s ok. I have it on CD. I play it every now and again. But it’s not even my favourite Pearl Jam album let alone favourite grunge album. The singles are fine, memorable and inevitably overplayed. I tried again today but this record still doesn’t really do much for me. It’s fine. I get people love it.

For me, jazz pretty much starts and ends with Miles Davis and a Kind of Blue. And whilst this record is recorded after that benchmark, the music is clearly from a jazz age beforehand. It seems to evoke the 30s and all that jazz. The dancing, the between the wars rroaring twenties and more Louis Armstrong than Miles. I'm sure it was great to work up a sweat to and dance the night away in a smoky, boozy club. Not really my bag though, even if I can admire the talent of performance. Certainly 'Skin Deep' very much reminded me of Neil Pearet on the drums Sam Woodyard on drums, a name to note.

I don’t profess to either like or understand (the former normally a consequence of the latter in most walks of life) hip hop but I can respect the cultural impact and importance of this record. But I do like the concepts adopted. Two sides of exactly 30 minutes to avoid dead air on a pirate C60 cassette copy? Very anti-Napster decades in advance. I know the singles and I feel the confidence and focussed assertiveness. But there is naivety too. Starting the album with an RP English accent with a live recording from the inventors of colonialism? I don’t think it’s irony. Maybe it’s reflective of their needing to go to a developed and multicultural place where black isn’t feared (as it remains to be in the US.) if so, then after Brixton and Toxteth the UK likely was a fragile choice for such a statement. As said, beyond Flash Gordon I have little insight into the samples used. I find the music repetitive and the lyrics drift in and out of consciousness. But i know the singles and understand the appeal. Though not to me.

Never judge a book by its cover. I’d always imagined Incubus to be more at the death end of metal. But it was quite melodic, somewhere between Green Day , Faith no More and Collective Soul. Not awful but - even though I played it twice today - not memorable either.

Ok, within 2 tracks you get the idea. It chugs along somewhere between Metallica and Iron Maiden but without any vocal melody or charm. I’m sure it goes down great in a mosh pit but a 54 year old probably needs a bit more subtlety. I’ll stick with early Opeth instead.

Many of my generation will hs e grown up having first heard the Tuna Turner version of the title track. Though once you’ve heard the original you mainly wonder what the point in the cover was. Like many, the original cannot be surpassed. And the lush, horn infused songs continue in such a consistent way. An album that is surely more than just the sun of its parts. Just lovely.

The ambition is clear from the start. The orchestration, the very fact a simple pop hit of the day is bloated to over 11 minutes as a way to open the album. And it works. It’s as if Massive Attack never happened. Though by nine minutes in… that word previously used is back in one’s mind. Bloated. Do we really need over 11 minutes of this? I love records that provoke a reaction. Is it Prog or is it just pretentious? Are the two the different sides of the same coin? Because well before it’s nine minute conclusion we realise we don’t actually need 9 minutes of Hyper… either. But , once you’ve worked this out, you can accept it for the brilliance that it is. One Woman is a soul classic sitting within a Progressive, um, Soul(?) album. Which is the context within which you need to look at the Jimmy Webb standard, … Phoenix. Yes did a Prog Rock cover of “America” by Simon and Garfunkel. They took the simple and made it complex. It didn’t work out too well. And Hayes likely needs to similarly apply the maxim that less is more. Because this song says it all in its original 3 or 4 minutes. It doesn’t need a 10 minute monologue to set the scene. But we can forgive him for the beauty of his version of the song. And he did beg our indulgence at the start of his monologue. This is a record that is so uncompromising it demands your full attention. Which is fine by me.

Youthful, confident and fresh. This was Blur’s breakthrough album and probably their most likeable. And before the later competitiveness that would inevitable come with Oasis. Though that was mainly media fuelled. It’s difficult to be objective about an album which was one of the musical definitions of the early nineties. Good songs well presented, influences worn clearly on sleeve but effectively so.

This record oozes confidence, arrogance and melody from start to finish. You don’t need to subscribe to Nad Hester to be swayed. Just brilliant.

Better songwriter than singer

Better songwriter than singer . Levi Stubbs’ Tears the standout track here.

Look. I was put off by the artist name. And I gave it : tracks. Shouty Angry Sweary. For the kids only.

I always felt the Go-Gos were a second rate B52s. Still bubblegum annoyance but with less catchy tunes. Here in the UK the FunBoy 3 did the opening track more effectively. I wish these women had their lips sealed. I was right. Absolutely not one of the 1,001 albums I needed to listen to before I die. Though , as the album develops, there are hints at a sub-par Levellers/REM. That folk/indie undercurrent but I just can’t get beyond the cheesy vocals. I don’t recall Belinda Carlisle’s solo career sounding so grating but, yes, I didn’t like Jane Weidlin’s Rush Hour.

Power pop. Not up there with their debut but brought colour to a dour genre. Excellent.

It’s the invention of heavy metal. Forget anyone who tells you it’s just a hard blues record. When you take the cover, the lyrics, the title track and the wailing banshee that would never again be called John… you have the invention of heavy metal.

Whilst I’m not familiar with the album I’m familiar with the band. Clearly this is the template that followed for break through albums like Yoshimi. Vulnerable Neil You g like vocals, over distorted drums over a juxtaposition of melody and cacophony. And, generally, bay shit crazy lyrics and overallness. This must be their starting point for a familiar and likeable brand. Worthy of further exploration as there is clearly something there that isn’t immediate.

I Zimbra, the opening track here, exemplifies everything Talking Heads really are and so much so than the few overplayed singles which made them famous. Tina Weymouth’s bass holds it all together. A dance track but with African rhythm. But not tribal, more artistic. Undeniably brilliant all the same. And then the pop sensibility kicks in on Mind and, despite the unwelcoming old style computer screen sleeve, we are confident progressive pop boundaries will be pushed. It’s edgy, more rhythmic than melodic but, in the main, pulsating. There are no hits per se here but the ensemble are creatively working towards what will be their eventual masterpiece, Remain in the Lighr. Essential listening. Cutting edge New York New Wave 1979.

When Graham Nash, Manchester’s finest, left The Hollies it would have been a far stretch to think he would end up in Laurel Canyon in a band with Neil Young harmonising on the gorgeous Helpless - so gorgeous, in fact, you could forgive it for, structurally and melodically, being an entire copy of Bob Dylan’s Knocking on Heaven’s Door. It became one of Young’s most well known song whilst Our House , for the remainder, ended up featuring on mortgage commercials the world over. This album is almost the definition of Woodstock, the summer of live and the interaction of artists at the time. Famous for their melodies, CS&N remained faithful to this style after Young returned to being solo. It’s a good job Stephen Stills failed that audion for The Monkeys eh?

Not my bag.

It was the start of something very special which was immediately apparent as soon as Wanna and Starting Something kicks in. Rock with me is also just brilliant and a stepping stone to what would follow.

This record just passed me by. Luke elevator music or the only station you can get on a long drive but can’t be bothered to dig around to play a cd. And what with the bits of interview scattered throughout? Who the fuck cares about a millennial that puts a z in their name instead of s?

Thorn is a very good writer of non-fiction. Travelogues of the emerging rock star and such. But I find the music quite hypocritical. Yes she has a lovely voice and - along with the Lighthouse Fsmily - perfected this lounge music. Produced for the background of a dinner party. For the CD buyer who buys one CD a year. So the music is more cynical than the descriptions in her books. As forgettable as you would expect from a Ben and a Tracy.

Quite simply the best solo album by any of the Beatles. What more do you need to know?

Lest we forget, Queen were a rock band. Despite being seen mainly as a singles band. Sheer Heart Attack exemplifies both truisms above. Because when it rocks it rocks. And the singles are great. But as an album it’s, like all Queen albums, patchy. Brighton Rock kicks it off brilliantly whilst Metallica did Stone Cold Crazy at the Freddie Mercury tribute concert. Queen’s version is louder. Killer Queen has just the right balance between camp and catchy to make it likewise brilliant. Now I’m Here further exemplifies why the original Queens Greatest Hits is one of the biggest sellers of all time. These were the days - before commercial pragmatism took over the next decade - the vocals were shared. And so we get the inevitable dip with Roger Taylor’s clunky Tenement Funster. The Prog side of Queen - flick of the wrist - is where they excel for me on these early records. The Lap of the Gods doesn’t quite hit the heady heights of its subject matter. Bring Back That Leroy should never have appeared on record. But just goes to show that Queen we’re both a rock band and singles band with patchy albums. Like I’ve said.

Christmas is stressful, frantic, loud and chaotic. Things can become repetitive yet there are absolutes that cannot be questioned. It gives me a headache. As does this album all in one go.

Van Morrison is blessed with the kind of voice whereby he could sing the phone book and give it the beauty and authenticity of a hymn. This, however, is not the phone book. And it is a long way from being it. Close your eyes and you are there. The classics are here and , as said, he can make the not so classic sound classic. A journalist once said there are two types of people. Those that like Van Morrison and those that have met Van Morrison. Quite. Hence why you have to close your eyes to let his music take you to a different plane because, by all accounts, it is so superior to the man himself.

It’s like new wave instrumentation with punk vocal. A bit sun-standard Clash or Police. Not for me. By “answering machine” (the last track) I just wanted to delete all messages.

Sometimes an album is more than a record it is an event. Sometimes an artist is more then a person they are an event. Bowie’s Blackstar is just that. It’s impossible to see it as anything other than a musical last will and testament. It’s like its predecessor, The Next Day. Recorded in total secrecy and dropped on his birthday with no publicity. Dark star. Released 8/1/66 on his 69th birthday. He died two days later on the 10th. And so it is difficult to see the half dozen songs beyond the funereal come wake 10 minute title track. It has everything. Techno beats, an uplifting passage to seque into acid jazz funk. It’s ten minutes of Bowie’s most perfect music. Which is saying something. Lazarus is on a par with the title track. And equally prophetic and classic. “Tis a Pity She Wa A Whore” , “Girl Lives Me” and “sue” are shorter, more jazz and superior for so far into a career. But not to the same level as the 2 genuine classics above. “Dollar Days” is the closest we get to melancholy on an overall dark yet upbeat album. Gentle and resigned it is, again, the voice of a man “am dying too.” He may say “it’s nothing to me” but we don’t believe him. The album ends with the most lacklustre song here. I can’t give everything away he sings. Yet two days later, of course, he does. An event more than judt a record and we are so lucky to have it.

I was too young for punk and so everything I know is academic and in hindsight. If punk was designed to exploit anger and shake up the system it was very good at it. The music here is pretty basic but gets across what it needs to achieve. There are 4 hits. Holiday in the Sun, Anarchy in the UK , God Save the Queen and Pretty Vacant. Pop songs with punk lyrics and production. They are rubbish but singalong rubbish that will go down as genre defining. The remainder is interesting for Johnny Rotten’ cathartic lyrics. Which are beyond disturbed. Bodies is the most distrurbed and depressing of them. It’s a subject matter that should never have been approached and certainly not in the way Rotten did. Yes he was angry but he needed therapy not exploitation. Not a record for New Years Day. I know it’s important but I can only give it 2 stars.

As this dance album kicks in the vocal melody on the first track is a direct steal from Dead or Alive’s “You spin me right round”. And then the Blue Monday bass beats come in. It’s not a reassuring start. It’s not my genre and so let’s look for positives. And there are many. How far this band has come from the first Joy Division record. Doom, gloom, industrial jar to sprightly pop. As this records go on the consistency of Hook’s bass lines shine through. The pop sensibilities that later ruled the world on Republic are heard here in their infancy. Bernard Sumner cannot sing but it doesn’t seem to matter. If Manchester was going to later have a Mad-Chester it clearly started here with this band. Not my favourites but important. This album has all the hallmarks of why they would become so popular without having any recognisable famous song.

Their first two albums were the best hard rock records AC/DC never made . Then they moved Stateside to make this and their fans never forgave them. And so it’s a good job the record was so modern, relevant and with good enough tunes that the Mutt Lange production would make them global megastars with this and the next record. It’s all in the production it seems. The intro to Rock Rock (til you drop) heavy with keyboards, the more lush feel than High and Dry and overall, well, slickness. Photograph caught the zeitgeist and win then America. Quite rightly. Elsewhere though, the songs aren’t great and this Eighties production jars. Die Hard the Hunter jugs along in a less satisfying way than Iron Maiden were doing at the time and Too Late For Love isn’t a strong enough ballad to get them into that soft metal market. Yet. That would come in 1987 with Hysteria. Rock of Ages is a commercial enough second single. You can almost see the blueprint for Pour Some Sugar on me. Interestingly, the live album with the deluxe version is far more balanced with tracks from the first two albums too and a less glossy production. Pyromania was a prototype for Hysteria. Which makes it an interesting - if not satisfying - record.

I’m sure if there were only 1,001 albums in the world I wouldn’t want to have this as one to listen to. Look, it’s not offensive. In places the music bounces along in quite a catchy way. But I’m not convinced the lyrics are either profound, clever or interesting. If The Wire had a soundtrack this would be it.

From the off can we just agree that Seven Nation Army is the greatest sing of this first quarter of the twenty first century?

This combines the punk rock spirit with the dance music of the day brilliantly. One of the few dance albums I bought at the time. It’s relentless, has touches of Eastern mysticism and is thoroughly politically incorrect throughout.

It’s all a bit folksy and contrived but a fascinating insight into Kurt Cobain none the less.

For over fifty years it has consistently, been considered, quite possibly, the greatest album of all time by generation on generation. It never outstays its welcome. Musically interesting and varied enough. Lyrically we are all fascinated with madness to a degree. An example of the whole being greater than the sum of its parts. Brilliant and, quite possibly, perfect.

Though the production is of it’s time this album is brilliant. Varied, fabulous songs and several cutting edge classics. The title track fade out lasts a week but it still doesn’t outstay its welcome. When Doves Cry is that rare breed of dance hit with killer guitar. The sexism is immature but, well, it was the eighties.

The beats and samples are intereting. The mood varies from Prince to Rage Against the Machine. But, in reality, I'd simply listren to prince or Rage against the Machine. Not terible but not really my thing.

This isn't Screamadelica but it's not faqr off. It begins in an almost psychadelic Pink Floyd circa 1967 wqy before merging seamlessly into the thoroughly excellent 'Burning Wheel.' This trance, spaced out style wears out its welcome by the time Kowalaski finishes but 'Star' is a welcome respite and brings enjoyment levels back on track. All in all its too dance orientated for me but certainly interesting. I might paly it again one day.

Blitzkreig Bop, in a tad over two minutes, is the definition of punk. Full stop. It was 1976. It was the first of 14 songs over 29 minutes which would never be bettered by the genre on either side of the Atlantic. Forget the Sex Pistols, the Undertones, Buzzcocks, Green Day or The Clash. It started and ended here. The iconic album cover, again, was the start and end of what purists will know as punk. Vivien Westwood and Malcolm McClaren were just fashonista compared to this. Anybody can play this music but that isn't the point. The point is The Ramones played it first. I'm not sure whether a whole album over-eggs the pudding. Because, put simply,Blitzkriegt Bop alone - for its cultral importance and sonic efficiency - gives this the 5 stars alone.

I find Janis Joplin the musical equivalent of an annoying toy with Duracell batteries that only has one setting - full power. It can become somewhat ovebearing. Sure, a great voice and tragic tale to give her songs credibility. But none of the subtlty of her peers like Karen Carpenter and Carole King. Its well played polpular blues. I hope she got a Mercedes Benz for the advert.

Not for me. Its electronic with rap and, nah. No tunes. Not intereted in listening to the lyrics. Gavit about 4 songs.

This must be a record - I turned off after about forty seconds. I'm assuming fans of Aphex Twin get off on this kind of stuff but I have no patience for it.

He isn't a kid and he doesn't rock. My patience is wearing thin with such medicrity and if the first track has no positive elements then its off.

I don't know enough about either jazz or samba to know whether this is technically very good. It certainly appears to be well executed and I'd listen again on a summer's evening with a glass of chilled wine thinking about the extotionate cost of living in the South of France.

Look, its inoffesnsive. Musically it has a drive, is formulaic and has a hook at the right time in the right place in each song. Lyrically, Swift articulates positivity and mut be doing something right to be the biggest selling artist in this day and age. She has caught the zeitgeist and I see her, culturally, as the ressurection of girl power in the way the Spice Girls originally were. Do I get why she is a billionaire on the back of music like this? Not at all. The music is predictable and has no interest to me. Will I remember any of these songs in an hour? Absolutely not. In fact, I'm surprised I've no recollection of any of these songs even though - a few years back - I played a few times the Ryan Adams cover version of this whole album.

It was ok. I had it on in the background whilst working and I mainlyt forgot it was there.

the future may be bright but it isn't orange. Mumbling rap to irregular beats with an occasional falsetto is not an album I need to listen to before i die.

This is probably one of my top 20 albums of all time and it took lockdown for me to finally get it. And its important that the deluxe edition is highlighted here because the original vinyl only included three tracks, the wonderful cover of Simon & Garfunkel's 'America' has only been added to more recent versions although I think was released as a single at the time. Frustratingly this deluxe edition has an edited single version of 'America' rather than the many more minutes full version. In fact, the casual listener may be best to jump straight to track 4 onwards for edited versions of the best bits. Not the same as the real thing but more palatable for the first time listener. To the casual listener the first three minutes may, on first listen, appear a cocophony of noise but is, in fact, as technically proficient and avante garde as modern music has ever been. The title track was heavilly influenced, I believe, by Sibelius and doesn't really fall into the category a thousand albums to listen to you in your lifetime. Moreso even if you listen to this track a thousand times in your lifetime you'll still hear something new. Some versions willl break the track down into mini segments which really show its melodic and pop sensibilities. The hammond organ solo halfway through is beyond grandios and was written, unfathomably, by the guitarist and only offered to Rick Wakeman for his instrument later down the line. The 'I get up get down' section builds tranquilly into the aforementioned and is one of post-war music's most singe tingling moments. 'And You and I' is just lovely whilst 'Siberian Khatru' has a niggling melody once you get in your head you can't lose. Finally, if you want a cover version that is totally original yet - just about in there - you get the lovely melody the writers created, 'America' is that track. This is challenging music and , like I say, took me a couple of decades of regular listening to get into it properly. But I think its actually the true link between classical and modern music, Yes at their very peak.

Its got a Stevie Wonder cover with a Stevie Wonder title in a Stevie Wonder era and its starts like a Steve Wonder mid-seventies kind of song. And it does sound like Innervisions with a harder edge, which isn't a bad thing. Throw in a bit of hendrix and a bit of Santana influence then you get a thoroughly satisfactory record which I won't have issue listening to again. Its jut a pity that cover doesn't remind me so much of Wonder's 'Living in the City'. I wonder which came first?

Look, I even bought Licence for Ill. And I'm sure the samples are very clever and the lyrics socially aware. If I were to cite a rap artist as being important I'd probably choose somebody like the beastie Boys or Run DMC. But thirty five years on this just makes my head hurt. The first 90 second sugegsted a more grown up and bluesy feel to things. That lasted 90 seconds. Looking Down The Barrel of a Gun adds the hard rock samples that made the band famous. And gets it a star. There are many records offered which I wish I could give no stars to. But I'll never listen to this again.

I've said it before and I'll say it again, 1985 was my favourite year in music. As soon as 'take on me' starts ( asingle I bought at the time) my mind goes back to pastel type pencil strokes and its ground breaking video. Sure, its cheesy but who cares? A-ha were a proper band that accidentally had a teeny-bop pop hit single. And the longevity potential for the band runs right through this debut album. The title track remains sublime, The Sun Always Shines on TV has dated somewhat but remains highly enjoyable. Its not all perfect. 'Living a boy's adventure tale' remains jarred and not quite there. So cheesy Euro-pop in the main but stil lthoroughly enjoyable and a launchpad for stronger records in the future.

The question will always be whether 'Pump' is betterthan Jethro Tull's 'A Crest of a Knave'. The latter won best rock album at the Grammys whereas Aerosmith the former should have. Look, on the face of it this was the lap of honour for The Toxic Twins who seems to have resurrected in a more dramtic way than even Lazarus. It was a strong successor to their true comeback album, 'Permanent Vacation' and had some massive hits as well as substance that set it apart from the newer hair metal acts on the block. 'Janie's Got a Gun' is the true inspiration here but only Tyler - and maybe Brian Johnson - could come up with 'Love in the Elevator' Its of its time and is an important rock album for the day. But is it better than Jethro Tull? For the category it was standing in then, yes, probably.

Music snobs will tell you that there are certain people who will only buy one album a year. Music executives spend their lifetime trying to discover which record those people that only buy one record a year will buy. In 1998 that record was White Ladder by David Gray.

John Foggerty is one of the most under rated song writers of the 20th Century. Yes this record represents the more 'swamp rock' side of things but no one can deny his ability to write a wonderful 3 minute pop song. And 'Proud Mary' is indeed a wondeerful 3 minute pop song. I have this album, someone bought me the vinyl for my 50th amongst a selection of great albums released in my birth year. In the main its solid with a couple of more well known tracks. As said, this writer really stands up next to the greats when you play the greatest hits.

I'll be honest, I only really knew 'On The Road Again' and 'Crazy' by Willie Nelson. Of course I knew who he was and his activism but musicaly, i just thought another Country icon. I listened to this album twice and have downloaded it. A voice like a comfy pair of slippers, a charisma that is timeless and a singer on a par - though different - with Sinatra. The songs may be standards and all sound similar to 'Crazy' or 'On The Road Again' but a discovery made many years too late.

Reinded e of the Suth f France in the suer. It was alright.

1n 1963 The Beatles were on the cusp but were certainly not world dominant. It would take Ed Sullivvan for that. But is this music 'tipping point' material? Absolutely not? Its tedious, nasal, predictable and quite uttely bland. But the haircuts on the cover were revolutionary. The idea of 'Beatlemania', 'the pop star', the teenager with disposable income were all part of the melting pot thaty indeed did create a tipping point. And the singles were absolutely top notch. 'All My Loving' was, for the time, op perfection. As was the marketing idea of starting to include singles on albums rahter than them being totally stand alone as had happened previously. Rubber Soul (was it 2 years later in 65?) was the first proper album. Up until then - this included - was a single or two padded with filler. Tellingly, the 'Lennon/McCartney' composoitions were also thin on the ground here. Second rate old fashioned rhythm and blues, rock n roll with trensdy haircuts and dapper suits. This was still the music of The Cavern and, remember, The Cavern was a dive.

'Bird on a Wire' is a fabulous song and elevates this record to 'superior' from the off. Its not his best album or his best songs and 'a bunch of lonesome heroes' is essentially the music of 'so long Marianne' without the infectious melody. But 'The Partisan' is an absolutely immense piece of art and is Cohen at his very, very best.

This record really irritated me. I thought I knew 'hey ya' was by them so when I got really bored by it I thought I'd check the track listing. Track 28??? I'm not listening to 27 tracks I can't stand to listen to one I know I can't stand.

The circle was complete. The angry punk misfits whose vitality and melody of their debut albu just a few short years earlier had turned intov a slick, Corporate, world conquoring monolith. There was nowhere else to go except their own seperate ways. Sting went one way (with all the royalties from Every Breath You Take) on to global knobhead of Bono proportions whilst Andy Sumners (who wrote the perfectly original and most recognisable riff that denotes the song) went the other with nothing. Stewart Copeland fumed and smouldered into avant-garde jazz still hitting his drums as hard as possible. Despite the off-record melodrama, there are fine moments on this record. 'Walking in your Footsteps' is absolutely succint and relevant today when we look at global warming and environmental issues. 'Tea in the Sahara' remains one of the most perfect and getle ditties every put to tape. Even 'Mother' shows how, corporate entities now they were, The Police were stil lable to add some bittersweet humour and innovation to their music. And then there is that hit. The stalker one. That everybody plays at their wedding and Sting pockets a few more gold coins. I guess he gets the last laugh if youstill lthink its a love song.

I can'tt decide whether this is interesting or pretentious. I also cannot decide whether I think his voice is unique or whiney. Thiugh I've felt that ever since he did Cohen's 'Hallelujah' for Shrek.

This is progressive thrash and a real mautre development from what was arguably their most creative album, Master of Puppets in 1896. The only controversy is the mix. Virtually no bass (which is strange seeing as they'd hired a new bass player after a tragic death of their original) and its all very sterile and tinny. Stoill, the songs are very hard and very complex. Its long but its stil lexcewllent.

Great songs, loud guitar and a real Doors influence.

Hated it then. Hate it now. Dodn't get beyond halfway through first song.

I don't dislike the Chillis. The title track on this album is my favourite mainly, I think, because its a traditional rock track. but they put funk into rock music and, as a hybrid, are a suceess.

Its no 'night at the opera' but Q2 is more consistent than the eponymous debut and a reminder they were not just a singles band but could really, really rock in those early days.

The empathy and integrity of the man just shines through. This is more than a concert, it is a social and historical document.

I don't really like T Rex but I do like Electric warrior. Except Jeepster. Who could like Jeepster? As soon as I put on Mambo Sun I reflected what an influence this is on 21st Century bands like The Black Keys. Its got such an effortless groove. Cosmic Dancer has a Beatleseque / day in the life orchestral underbelly and is Bolan at his sublime best. But its 'Get It On' which shimmers the blues into a new, funky and swaggering era. Simple, effective and all encompassing. Its the high point of Glam Rock full stop. In its expanded form on streaming sites this is still too much T Rex for me but, all in all, you can really believe, at the end of the day, "Life is Just a Gas" withits beautiful, dreamy melody.

Until Disintegration, this was Cure's best album. Straight from the off, you hear with 100 Years that there is anger and energy in a more focussed direction than on the more whimsical singles that had got Smith & Co to this point. The Hanging Gardens is just sublime as the album builds to a rhythmic crescendo of chaos and anger. Very dark. Very excellent.

If you want authentic chicago blues from a guitarist with a style as individual as they come then you won't go far wrong with BB King. And, whilst there is something initially annoying about the crowd hollering and playing a participatory role in the recording, there is something in the fact this is simply a press play and record live show. Its gotr the initmacy that makes you feel you are in the club itself. Excellent stuff and, whilst not ground breaking music, as honest and enjoyable document of the blues that you are likley to find.

This is a great debut but is it one of a thousand albums you have to listen to before you die? Well, compared to some of the other crap in this list I suppose so. Clearly having learned from Radiohead, Martin and Co could see the aforementioned had moved on from 'The bends' and there was a gap in the market to be filled. Boy did they fill it. As soon as the guitar drifts in with 'Don't Panic' you feel assured in what you are going to get - well structured songs, atmosphere and a foundation on which to take over the world. Oh, and a massive hit - Yellow - which is, by a country mile, the worst song on this excellent collection.

Good psychadelic album. Quite US influenced but Sgt Pepper certainly in there.

In the forty odd years I've been listening to Elvis Costello I have never even considered he was the British equivalent of Bruce Springsteen. For me he had arrived on the scene as part of the post-punk new wave scene with 'Olivers Army' , big glasses and drainpipe jeans. But as soon as 'Welcome to the Working Week' begins it is pure Springsteen & The E-street band with an equally below average voice. Except for the singles. The two singles here - Alison and Watching the Detectives - are unique, brilliant and timeless. Unlike the rest of this sub-par Springsteen-clone album.

Tramps like us....

This was a decade before Kate Bush. A better voice than what Carol King would do in the seventies too. About what Joni Mitchell was doing on the West Coast but on the east Coast and, again, a better voice too. The songs are challenging for a first listen. They don't jump off the page. But the voice is unique and interesting. Its not always enjoyable but its a very interesting record.

Originally i thought this was just Cuban music I neither understood, liked or sounded anything different from anything else I'd heard. Yes, mainly this was the case. But there were jazz and progressive influences in there and - whilst mainly way too up beat for me - it held my interest. I'm assuming it was expertly played.

Well its the definitive sound of New York isn't it? We wouldn't have Blondie or The Strokes without Tom & Co would we? The title track is just one of those songs you think you've known forever and the guitar playing on this album is just something you know inspirted the likes of John Squire of thre Stone Roses so many decades later. Brilliant record.

Would Supergrass have had a career if Hugh Grant hadn't been caught with a hooker and they opportunitistically put the mug shot on the cover of their debut single, 'Caught By The Fuzz'? I'm not sure. They certainly had snappy pop songs but more on the annoying side than catchy for me.

I'm not saying this wasn't a pleasant surprise but I am saying its not an album - amongst 1,000 - I have to listen to. Like most pop music it follows a curve rather than sets it. I'm sure for youth of a certain generation it has a resonance which includes festivals sunshine and all things pre-thirtiers but thats not my generation.

Look, its wel ldone and inoffensive. It falls into that category of the one album a year a certain type of people buy.

My favourite Bowie album. The title track is just brooding, atmospheric and unlike anything he has done before. Just brilliant. Golden Years is as upbeat as he is, TV15 catchy and a cover he makes his own in Wild is the Wind. What's not to love?

Enjoyable, authentic and the brooding ambition of youth before success made them forget what would, ultimately, make a good record.

A very interesting debut. Psycho Killer clearly the most obvious track but there is that blend of New Wave, New York and Punk which would take them elsewhere over the next few years. There are not the glorious melodies and sing-a-long pop classics we get later but its a really credible start for a very interesting band.

Its not the best version of Marley's best song. That is on the live album. And the remainder is pretty standard reggae fare as far as I can see.

They say never judge a book by its cover. Well I judged this album by its cover. And within a minute was doubting myself. I had to check I hadn't accidentally turned on The Wizard of Oz soundtrack. And as track two started..phew. Shouldn't have doubted myself. Mainly disposable pop but, you know, as it goes on it gets madder and more varied. Probably needs another listen when not working and having it in the background.

I've tried Tangerine Dream before but it does nothing for me. Just boring droning noises.

They say this was the start of Glam but its absolutely Prog in essence. Some really interesting and left field pieces on here and very experimental. Very good.

I tend to listen to these new albums on Apple Music whilst working and, when they finish, a playlist generates of similar music from a similar time. I always find it interesting to see how good the album in focus is compared to its perrs that follows. And this holds up very well. AM have morphed into something far more sophisticated in recent years and rightly so. But here we have a sharp, punchy debut by a bunch of gobby kids with arrogance and talent. They get better. But don't all great bands?

The music is effortless yet the vocals feel forced. Its a strange combination but works. I know little of Icelandic culture but this music seems to sit comfortably with what I assume that culture to be.

Now I like this album. I rerally do like this album. Its got a great cover version in 'hard to handle' and walks the line between Aerosmith and the Stones in a southern boogie fashion brilliantly. Chris Robinson has one of the most authentic voices in blues based hard rock. But is it a one in a thousand to listen to? I prefer its follow up, the Southern Harmony.

Muslim rugmakers always make an error in their work because only God is perfection. Hence why Big Time exists on this album.

My only previous experience of Wyatt was his cover of Elvis Costello's Shipbuilding. I didn't like his voice on that. I found it childish, weak and immature. Which is perhaps fitting if you want to do an avante-garde jazz version of The Grand Old Duke of York as he does on this album. An album that has hints of King Crimson but, more startling, is the overall influence Wyatt must have had on Damon Albarn from Blur. This record is very interesting, dark and complex. It is better than I expected it to be an and is an absolute saurprise.

Old standards played well does not, in my mind, constitute Genius. I'm not sure whether this music is relevant in 2024.

Of course, the elephant in this room is the circumstances through which a great piece of music came about. Unnerving and a difficult, whilst brilliant listen, this launched an intriguing career.

My streaming service didn't have this album. So I tried another of theirs and, as though, please file under 'did not listen.'

I'm sure there is a story behind how Ginger Baker ended up making this record but its alright, progressive jazz with African roots.

As pop music goes, for its time its pretty faultless. Clearly the predecessor, The Tourists, was more straight pop but the androginous Lennox brought an art school persona to this take on new wave. The singles are classic and the album tracks are of its time. They went on to make better records and become a little more mainstream but this is the sound of the early eighties.

Look, its ok. But its nothing that you haven't heard in Crosby Still and Nash. Country blues with a nice voice.

Its tough when you envapsulate your whole career perfectly in your debut smash hit single. Sultans of Swing is the benchmark for everything Dire Straits continued to stand for, and also Mark Knopfler solo too. The rest of the album is incredibly well played pub-rock. nothing special from a composition point of view but a case where the whole is better than the sum of its parts. It was also the foundation, from making Movies onwards, to take ove rthe world.

Paint it Black shows how far the Stones had come by 1966. If 'REubber Soul' told the world that The Beatles were making more than just pop singles then Aftermath showed everyone the Stones were not that far behind. However, we have massive controversy when reviewing this album. Do we review the UK edition or the US one? The UK edition doesn't have 'Paint it Black' but its US counterpart doesn't have 'Mother's Little Helper" or "out of Time" Its an impossible dilemna. The need for original singles at the expense of long player integrtity had not yet entered the rock music sales economy. The easiest way is to summarise that The Stones had transcended - though not abandoned - the delta blues by this era and the hit singles of the time are peerless. Just give it 5 stars.

My generation (and younger) probably only heard Tim, the dad, on account of Jeff. And when you hear dad's Song to the Siren - which is one of the greatest songs of all time - you don't really feel the impact because you feel, based, on the genius of this record, of course its in the genes and why wouldn't the dad also be writing the greatest songs you've ever heard? Grace is diverse, comple, popular and virtuoso. Its one of the best records of the 1990s and to think I've been listening to it for 30 years makes me feel old. A talent gone too soon.

Its a product of its time. Viliers Trerrace and Rescue show signs but its not up there with Ocean Rain. Still, it showed The Beatles were not the only ones who could create a sound of Liverpool. Great stuff all in all.

Stray Cats did this ramshackle rockabilly chaos better. As did the Clash.

If you have a band that, mainly, has a signature sound throughout their career then you should - if you are chooising one album to highlight - use the album that created that signature sound. Which, in the case of Kraftwerk would be 'Autobahn'. Instaed, the chosen album is the one with the massive hit-single. Which is great, but this album probably doesn't show the band at its creative heights. Jusdt its comercial heights. The Robots is annoyingly simplistic and Spacelab hasn;t done anything Georgio Moroda hadn't been doing for a decade beforehand. Metropolis is very Vangelis, soundtrack-esque. It appears they are wearing their influences on their sleeve rsather than influencing. Admittedly, The Model is something else. They say the sign of a perfect pop song is that you can play it on an acoustic guitar and it still sounds brilliant. This stands up to that test. The Am Em verse, C Bm G bridge is just classic less is more. No chorus. Just classic arpeggio influenced folk music all in all. Neon lights is great. {roper progressive electronic music with a classical twist. Great but not their best.

The problem when the title tracxk of an album is so HUGE that song sends to detreact from anything else on the long player. In fact, 'Vincent' is almost as big as a song too. And, in an era of singer-songwriters, Mclean managed to vsomehow stand out. In a sense, if you've herd the epic title track you've pretty much heard everything. All the other songs has elements of what is in that all-encompassing opening monolith. Passable stuff but, ultimately, standing on the shoulders of a giant.

. The music is ramshackle and the lyrics are angry and petulant but this is a record of its time. Coventry, 1979 and it brings out the monochrome of the times before derulation and colour of the eighties. Rudy and Monkey Man are great. Too Much Too Young was revamped to become a number one hit single and the rest is pretty much jamming through a new breed of reggae which would mature and become very relevant.

'The Golden Age' could be off a 1972 Rolling Stones album. And, wow, I knew this guy could be diverse but this is something else. It could easily sit next to a John Martyn album or a Nick Drake album. I absolutely loved it.

Frankly, just brilliant. Seems to encapsulate that whole Bristol early nineties vibe in a single album. From the urgency of 'Safe from Harm' to the majexsty of Unfinished Sympathy its just cutting edge and timeless.

Not quite Born to Run but the title track is up there.

If Motorhead were a drug they'd be speed amphetamine. Because they were not really a heavy metal band and they encapsulated a lot of what was punk with some of the biker attitude to. This is basically the arc of the curve. A Greatest Hits live. No double album, no indulgence. Just in and out. Start with the biggest and best song and play a load of others that sound not too dissimilar and then fuck off. Perfection.

Its more punk than the new wave of british heavy metal it became. There was little to differentiate it from the likes of Diamond Head but the artwork. Yet it was different and it was rough, low fi with some undeniably catchy tunes. Ok, its folow up was dfisappointing and real success only came when Bruce Dickinson joined on the 3rd album but, at the end of the say, this is where it started and its all here somewhere.

1979. Punk was dead. New Wave was starting and a blag of a journalist at the NME was at the heart of it. I'm not sure about precious - the opening track - but Hynde certainly was precocious. But when you flip this record its been worth the wait. Four perfect singles - albeit the first stolen from her new beau, Ray Davies (it would become a theme) in a row. A fascinating, perfrect debut album.

If you take the best songs, over history, the blues have thrown up. And play them in the best city to enjoy a live experience. Add in them being played by artists with empathy and competence too. And you'l lget why this is the real deal.

Starts badly when you have children talking on a recored. And, look, its not my genre and it doesn't have crazy on it so what more than 1 starwould you expect?

'Coyote' sets the tone. Story telling , folk yet with that west coast feel throughout. Lauren Canyon personified.

I like this album. Chill but innovative and a sense of humour too.

Very Northern british sense of humour here. Cocker and Heaton excelled at it during this period and its cutting, vitroilic and utterly enhanced by the upbeat soundtrack which belies the darkness underneath. Clearly, these are most uncommon people.

This hurt my head.

Generic pop music which generated no interest in me.

The problem with streaming is you don't experience the bat shit crazy liner notes that peter Gabriel wrote on the vinyl cover. But, putting that aside, this is music that takes years to get into your DNA but, when it does, its majestic. Try 'Carpet Crawlers' as a stand alone track and you'l lget an insight as to what each piece can bring eventually. Its my favourite Genesis album and in my top 20 albums of all time.

I'd heard of Rush before I'd heard Rush. Neil, late 1980, parading a vinyl copy around class 2A at school. Chris telling me you could really feel the wind blowing at the staert of 2112 wen heard through headphones and the lyrics that included "the pornos that give pleasure to your eye." And it was the days of pocket money and so my first Rush album was 1981's Moving Picures. Bought on cassette from a service station in march 1981 on return from a ski-ing trip to the Italian Dolomites with unspent money. A sophisticated, modern rock album. So when i did eventually - and a fair few montrhs later - eventually hear 2112, the first thing I had to deal with was that high pitched unsophisticated voice and much more rocky sound. It was exciting. And then there was the lyrics. I've tried several times to read Ayn Rand's 'The Fountainhead' on which the 2112 story is based but never succeeeded in completing it. We still in 2024 argue about whether it ends in suicide or not. Side 2 of the record has the best music. The Twilight Zone is by far the most sophisticated piece of music on the album whilst Passage to Bangkok is just plain catchy with drug infused lyrics. A tad under forty minutes it doesn't outstay its welcome. It has an iconic cover and it sold shedloads. Those there boys huddled in the safety of their pseudo silk kimonos.

I like the idea of Frank Zappa. I feel he is spoken about as a musician with integrity and personality. But his body of work is quite intimidating. 'Hot rats" is apparently at the more 'accessible ' end of his spectrum. And, sure enough , it has a progressive jazz feel from the off. I'll listen again and I'm sure it will grow over time.

As the sample to Led Zeppelin's 'When the Levee Breaks' (at least I think it is)kicks in, I realise I bought this album. Mainly to try and work out where those samples came from. And within minutes I'm humming 'all right now' expecting Ozzy's voice to come in over that monster guita riff. Lyrically immature more than infectious it was certainly popular. Now aged 55, six minutes in its hurting my head though.

So this was just before the Britpop explosion. Suede had probably already released their debut album in March 1993 - yeah, just checked out, this came out in August of that year - and so the Butler-esque guitars might not be as original as they might have been if they'd appeared six months earlier. And there is absolutely some early Teenage Fanclub in the vocals which I know was 1990 or so. But here is the thing. The Boo's were defined by their own hit single, 'Wake Up Boo'. Which was so fucking annoying and absolute shite. This stuff is much better. Without that massive hit they might have been taken seriously within the Brit pop circle. One songs sounds exactly like Petula Clarke's 'downtown'. Which would not have been cool in 1993. Rubbish name too. Wasn't it a character out of 'Catcher in the Rye' or something?** Again, Uriah heep - amongst others - had already played that trick. ** to kill a mockingbird. So now someone will get offended when reading this review because they did the same thing with their eldest :)

Middle of the road jazz. Starts quite funky but becomes very samey after a while.

Just a no.

Well wasn't Shirley Manson, a former Glasgow prostitute, a bvreath of fresh air when she launched onto the scene in the 1990s? Absolutley not a stupid girl... Excellent singles, excleent balance between grunge, rock and electronic. Overall just excellent. They didn't maintain this standard after the debut though.

Chubby cheeks, cute quiff, adequate voice....for Elvis Presley it was all about charisma and image. And the birth of The Teenager with disposable income. Perfectly orchestrated by Tom Hanks - sorry, Captain Tom Parker - of course. So we can't ignore the cover. The Clash didn't. And the songs were standards even before Elvis looked at them. Carl Perkins had released it the year before but Elvis wasn't missing this from opening his debut album. Of course, in 1955 an album was not really what we know as an album in later decades. A few hits and mainly filler. But hindsight it what this album is all about. Expertly played and sung, no doubt. But its all about charisma and image. And the birth of The Teenager with disposable income.

A truly unerrated band, even if this album doesn't include the wonderful 'turn turn turn' and 'tambourine man' Toim Petty made the opening track here familiar to a moere modern audience but, in relaity, he simply dumbed down the original which is a perfect piece of pop.

Even in 1965 this music couln't have been cutting edge. It plods, is bland and I had to turn it off after 3 or 4 songs. Its like being in an inescapable Dirty Dancing themed holiday camp. To think The Beatles were producing Rubber Soul and Revolver around the same time...

I couldn't find this particular album. Unsure which is the artist and which is the lbum title. But I listened to other stuff and its just run of the mil reggae.

I'm sure her voice is very good but, boy, do I find it all so very exhausting.

A melting pot of country, alternative and melody. Some great early REM songs on here and I'm sure was considered a groundbreaking debut at the time.

If 'the girl from Ipanema' is an original then that gets it another star.

Flat, boring, everything that is wrong with middle America.

Supergrass made a massive mistake in having a novelty hit with 'Alright.' That and the opportunism of the cover for 'Caught By the Fuzz' gave the impression they were a novelty band. They were not. They were up there with Britpop's finest. In places this album is a peer of what Blur were doing (Sometimes I make you sad) whilst Richard III rocks akin the Manics any day of the year. There is stil lquirky (Going Out and the title track) but, all in all, this is a fabulous record and a true pop gem which, in 1997, makes it pretty much unique.

A tad over two minutes yet the timelessness of 'oh boy' is apparent within a nano second. This is 1957 and time is precious. No intro, no faffing about. Just straight in and pure, raw rock and roll. 'Not Fade Away' follows and it clearly doesn't. A cover of this was Rush's debut single eventually. The original was better. 'That'll Be The Day' is the other bona fide classic here but the story is bigger than just this rrevolutionary records. The Beatles would not have been named after an insect if it hadn't been for the Crickets. And Don McLean wouldn't have written American Pie if Buddy Hollly hadn't been victim on the day the music died.

Allegedly the most enjoyable album Floyd ever recorded with Watrers and Gilmour. Unannounced during the session a Syd Barrett - fat, bald, unrecognisable - walked in to say hello. 'Shine On..' was about him. And then asking the artist next door - Roy Harper - to have a go at the vocal on 'Have a Cigar.' So well his go, it was the take used. Happy days, seventies myth and bonhomie and a cracking record to boot.

I tend to class this band in with others where I feel they have more enjoyment playing basic music than creating overly original music. Other bands such as the Polyphonic Spree, Vampire Weekend and Flaming Lips. The post modern US college scene with the odd decent song. I'm more familiar with their folow uop, Neon Bible, and they are ok but it doesn't really talk to me as anything special.

I'm always suspicious of careers that are ressurected because of tv commercials but, to be fair, Hooker has paid his dues. He has a unique take on the blues and this unique style is apparent throughout this well recorded, modern take on things. A consistent stab and inoffensive enough for anyone exploring the blues as an overall genre without getting too deep into the intricate historical and geographic differences of different elements of the genre.

Quite jazzy, reminded me of Badly Drawn Boy. Will add to 'listen again'lits as felt qite busy in there.

Vocally its a better Dylan than Dylan but, tellingly, after asking "how do you feel?" in the opening song you do not get an answer "like a rolling stone" but the inane further question of "are you happy?" sure, its rhetorical but its not Dylan. Look, its fine. Its melodic but with a harder edge than most of the summer of love stuff. I like it. Never previously heard of it so I'll add it to my 'to do' list.

Well its certainly different. Its like The Pogues meet the jesus and Mary Chain with a bit of art rock thrown in. Possibly too many ideas for it to be coherent but, yes, intereting.

So I bought 'The Fat of the Land' at the time in the nineties, the follow uptro this. You can certainly hear the genesis here of what became an absolute classic a few years later. Good beats, rhythmically driving but all in al la bit silly for somebody who didn't ever engage with the jilted generation.

Intelligent pop. 'Clows' is naggngly an earwork and 'Happiness' more annoyingly catching. I'd put her in the same category as Christine and the Queens.

Whilst containing Bowie's best song - the title track - this is not Bowie's best album. In fact, its not even his best album from the Berlin trilogy of albums, that is 'Low'. In many ways it provides the blueprint for the follow up. An opening side of progressive pop music whilst side 2 drifts more into the experimental. 'Sense of Doubt' is where the atmosphere of the cold war really comes to life and, ok, side 2 is truly cutting edge and brilliant.

Brilliant songs, brilliant variety and just brilliant everything.

This album is very much punk having an exotential crisis in the face of New Wave. And David Bowie.

Country. WTF?

This is very serious jazz. I'm sure it is very good. The drumming is immense.

This is fucking mental. I'm not really sure I ever needed to hear it though. It sounds as if it can't make up its mind to be a corny, Western sountrack, drug induced psychadelia or the theme music for a children's tv shop. All in Portugese I presume.

I know my music but I also know there are some absolute legends I'm not half as familiar with as I should be. Tom Waits is pretty near the top of that list. Why should he be only known thanks to a Rod Stewart cover? My point exactly. So I'm aware of this album but not overly familiar with it. More shanty than blues but rhythmic to the core. Fabulous percussion and more blues than the ramshackle jazz he is known for. But the range of instruments used is impressive. Not only the percussion but it sounds like he a colliery brass band in there too. Very good.

my favourite of theirs, quite varied.

Nick Hornby, the writer in one of his novels, said you could always tell a singer who would commit suicide from his songs. He cited Nick Drake. I love this album. Its just beautiful music. Whether complex acoustic guitar or the highly effective lush strings, the misoc complements Drake's voive so well. melncholic but beautiful.

When a bunch of kids out of Northern Ireland made records (but they did it in the seventies and they were older than you) - like The Undertones - it felt proper. When this other lot born in 1977 came along and did it in the nineties then I couldn't take it seriosly. There are a couple of ok singles but nothing special.

The problem we have in 1965 is The Beatles were releasing Rubber Soul. Moody, psychodelic cover and - whilst we needed to wait until 1966 for Revolver as the fiunished article - half an album of revolutionary songs which had started to change the world. By contrast, whilstt he sheer talent of Brian Wilson's songwriting can be heard on 'do you wanna dance' and 'help me rhonda', the music, image, harmonies and vibe of this record is still steeped. It hasn't even homed in on the californian surf style pop which gave Wilson the kick start before going on to complete his one and only opus, Pet Sounds. Americans probably have a different opinion because this record wanders nowhere beyond their shores.

Really interesting. before they sold out to disco.

I remeber the singles but this was very Toyah and gothy. I guess it probably influenced The Cure and the Cult.

Such a non descript album cover but quinessewntially everything innocent and charming about the cure before they got massive.

Who invented Heavy Metal? Consensus would say Black Sabbath but detractors simply point to Blue Cheer's version of Summertime Blues. Earlier yet the sdame heavy riffs. But not quite, I'm firmly in the Sabbath camp. However, the originality of the 'sound' created by Blue Cheer here is absolute;ly worthy of acknolwedgment. No screaming banshees or Satanic lyrics but that guitar soundf is...heavy. In fact, I think you could make a great case that Blue Cheer invented a sub-genre called Stoner Metal. This is a s heavy as the blues will ever get and its brilliant.

Quite Spinal Tap in their embryonic days as hippies but ok.

Couldn't really get this as anything other than a garage band tuning up.

Take the greatest white, soiul voice that has ever exist. Write catchy yet timeless tunes. Stir. Bake. The result is Moondance.

It sounds like every other Paul Simon album. Which means excellent but he sets a high bar.

I find sarcasm works well in short bursts. Short People, for example, a great insight by Randy Newman. Musically its appropriate for the lyrical themes but you have to be in the mood for it.

'Let the good times roll' reminds you from the start that The Cars had more in common with Television and the New York scene than later became apparent with the mega-hit Heaertbeat City album. Jarring guitars, classy hook and that New York swagger. It continues perfectly with 'My Best Friend's Girl.' In fact, 'Just What I Needed' takes this opening run of pop classics to three. Admittedly it goes downhill form here. 'I'm in touch with your world' is utter rubbish. Pedestrian. It picks up a bit but never to the same level as those first three killer tunes.

Swamp Rock. And there a couple of CCR's best on here. Great stuff.

The Blues originated in the cotton fields of the Missippi delta. It is the history of African-America's fight against slavery and story telling of their suffering at the hands of colnialism. And so its right the blues should get a revamp with a wholly Afrtican slant. This rocks but with joy and ambition rather than describing the wores of oppression. Good.

It was ok. A bit meh.

This was the first Rush album I owned (Vital Signs was the first single.) I bought it on cassette in March 1982 with saved spending money from a school trip to Italy. A few years later, when I had a Saturday job, I bought the vinyl. When it cam eout on CD I bought the CD. I then bought the remastered CD. Next was the version in the Sector 3 box set. I regret not buying the Moving Pictures Live vinyl album and hope one day to find an affordable copy. Even though I do own the exact same two sides of vinyl within the Time Travel live vinyl box set. I also have never bought the 2015 remaster on 24/192 download. Although I do own that on the 40th Anniversary deluxe box set. Again, I'llprobably buy the 3 CD non-deluxe version of the 40th anniversary when I see it for under £30. Am I missing anything? Don't think so. The songs are good too.

I know nothing about jazz. But I know enogh to know this and 'kind of blue' by Miles Davis are considered the genre's benchmark. In fact, i love 'kind of blue'. I get it and get down to it. This is harder. Absolutely the technical proficiency of the individual musicians is undisputed, apparent and phenomenal. I need to listen to it more but my gut feeling tells me it isn't the emporer's new clothes.

Great voice, great production, ok songs and a fair reflection of what was good pop music in the mid eighties.

Let's face it, we know Exile on Maine St is the most accomplished Rolling Styones record but, by god, this and Sticky Fingers are the most enjoyable to listen to.

Rightly, upon re-release, Radiohead merged Kid A and Amnesiac as a single album. They were recoerded at the same time, represent the same grear shift in music and are more than just sister projects, they are simply opposite sides of the same coin. But this album is the soundtrack of the 21st century. Its splitting hairs that it is anything but a continuation of Kid A. Yet it even manages to have a mournful nostalgic lookback to the 20th Century - even as far back to the forties with ;life in a glasshouse'. What a way to staer tthe 21st Century.

Very French. Even the drums sound like they are straight out of Les Miserables. True, as it goes on it gets more pedestrian punk but therer is no denying what a euphoric start tyhis album sweeps in on.

If anything, this long record reinforces wgat an immense talent Stevie Nicks's voice is. Sara and Storms rise above the mediocre because of it and, in many places, we see Lindsey Buckingham struggling. The rhythm section, however, is immense and there is a fabulous single album in here.