Once again discovering just how influential and old track like 'Mannish Boy' is. There's a lot of passion in Muddy Waters, I'll definitely listen to more.

I had no idea that Pastime Paradise inspired other songs, which is obvious. Very surprised to hear those strings, I wasn't expecting it at all.

I think I have a strange relationship with the Beatles. I adore some tracks, and others do absolutely nothing for me. Maybe I just haven't listened to them enough for it to 'click' with me. Many of the tracks are less than 3 minutes long, they don't give much time to really get into them. 35 minutes is a short album, it might just take more repeated listens. I'm enjoying hearing more of the influence of Ravi Shankar and Hindustani music in some tracks like Love You To.

Not necessarily the sort of punk that I'm really into. Guess I'll come back to it in the future and see how my tastes change.

What Have I Done To Deserve This, and It's a Sin. Absolute bangers. The other tracks are good, but nothing quite so memorable.

It may be The Who, but I also don't want to listen to 70 minutes of advertising, thanks.

Incredible, how have I never heard of this man and his music before? The Big Apple is an *excellent* track.

With these lyrics, I cannot imagine Ian Dury as anything but a creep. Different times, I know, but this album is clearly not for me.

A few cool prison songs!

Not bad, but nothing incredible.

Only two key tracks stood out to me - Hanging out and hung up on the line, and Safesurfer. Which is honestly disappointing for a 2+ hour album.

Maybe back in the 70s opening with a track about kissing your teacher was a way to hook your listeners, right now for me it just seems a bit weird. That aside, the rest of the album doesn't fail to impress. Beyond just being classics, these are excellent tracks with rich and exciting vocals and colourful instrumentation. Lyrically they aren't exactly groundbreaking, but for 70s pop they are pretty great.

The pinnacle of prog rock?

Much preferred this to their debut release. We Are The Pigs, and The Asphalt World are great tracks. Some of the slower songs didn't hit, such as Daddy's Speeding, but otherwise this is an improvement IMO.

I wondered if I actually loved this album and Oasis, or if I'd just heard every track so many times I'd developed Stockholm syndrome and convinced myself I enjoyed it. Fortunately, I'm convinced it's the former, and this is an excellent album.

A few good tracks, but frankly most are not memorable.

I didn't realise Brian Eno was in Roxy Music!

Strong start, less strong finish.

Incredible voice.

Great album, aside from the crying child in the third track. I get why it's there, but it absolutely disrupts the experience.

A lot of variety in texture and sound in this album. An atmospheric opening, some colourful tracks, then a pretty mechanical and gritty change in Auto Destruction. The Most Beautiful Girl In The World has aspects of its composition that could have come straight out of a Nintendo track. Clearly an imaginative and forward-thinking album, despite not necessarily being all that evocative or enjoyable. The last track goes pretty hard though.

Iconic vocals and harmonies, but again 29 minutes across 12 tracks is just such a short album to my ears.

Not bad, but not for me.

A tad surprised by how much I enjoyed the rest of this album. Obviously the popular tracks like Common People, Disco 2000 are great, but I wasn't anticipating tracks like Mis-Shapes or Bar Italia. Worth listening too again in a few days for more to sink in.

I always felt there was a tendency for the qualities of tracks on live albums to be drowned out and lost in the noise, rarely do I find them living up to the same standards as their accompanying studio albums, but this is one of the exceptions. Penny For Your Thoughts is such a refreshing interlude, unexpected but appreciated. Jumping Jack Flash is also a great track with a killer solo towards the end, surprised it isn't more popular. Do You Feel Like We Do is a 14-minute finisher, excellent solos from Bob Mayo on keyboard and Hammond, great track to end.

A rich sound suffused with energy, melodic and varied in timbre but still rooted in a pretty down-to-earth style. I'm surprised I've never heard of this band before, what a pleasure to hear them now. Eyes to the Wind is a *fantastic* track.

Not for me. A lot of very short tracks that never really go anywhere.

The more I listen the more it's growing on me, especially the heavy samples on Rock Box.

Peak Rush, 2112 is a 20 minute track that feels like 5.

There's a lot of overlap here with many other blues groups and artists, including Carlos Santana, surprisingly(?). Hooker almost seems like a larger-than-life figure in that respect. He has a large discography that I need to work through, no doubt that it's worth listening to.

Ian Curtis' vocals are just not for me at this stage in my life. Expressive and melancholic, sure, but they've never sat well in my mind. My opinion here will no doubt change as I explore more of this punk and post-punk era. It's a good album, but not quite there for me, yet.

All of these tracks are pretty hard, I'm seeing the appeal of NIN. Yet I also expected something *more*, given their wide appeal on the internet. That could be their association with Johnny Cash through Hurt more than anything else. The more I listen the more I'm getting into their sound. Very surprised by A Warm Place, I wasn't expecting such a pleasant...? track from this album. High 3, or low 4.

Surely an album with a track called Thalassocracy has to be great, right? You'd be wrong, it's simply *alright*. This album isn't for me, but it's still a clear step down from the Pixies.

Eclectic and vibrant album full of so many samples its hard to keep track. Scooby Snacks is a fun track, but it's superseded by Smoke 'Em, Bombin' the L and a few other tracks IMO.

I knew Van Morrison was good, but I didn't realise he was *this good*. Pleasantly surprised by how fantastic this album is.

There are some good tracks, but this falls off post-cactus.

Not what I would have expected from Miles Davis, especially the second track. Great to listen to nonetheless.

Some decent tracks: Mother's Little Helper, Lady Jane, Under My Thumb, and Out Of Time. The rest weren't memorable to me.

Such a clean sound for a live album.

Despite my love of metal, Pantera doesn't do anything for me. I don't hear that spark, they sound a little hollow. Sad, but maybe another listen in the future would change that.

Tight production, good to listen to but nothing incredible.

Great album, for a debut especially so.

A decent album, but not quite as good as what I've come to expect from Yes.

Never placed the King Crimson sample in POWER before; this must be my wake-up call to listen to more Kanye. Key tracks for me are POWER, All Of The Lights, So Appalled, Devil In A New Dress. Hard to believe this album is 14 years old.

Excellent in every respect. Bonus points for having my top three LS tracks. Tuesday's Gone and Simple Man are some of the finest pieces ever written, and Free Bird speaks for itself.

Not for me. I'll come back to it in a couple of years and try again.

Not bad, but nothing stood out to me. An amalgamation of sound that, to me right now, doesn't quite work. Worth another listen in the future.

There's so much happening on this album, such rich instrumentation (especially on Running Dry). I'm quickly falling in love with Neil Young's music in a way I wasn't expecting.

It's not Iron Maiden's best, but some excellent tracks remain here. Prowler is a strong opener, and Phantom of the Opera is also a very enjoyable 7 minutes. Iron Maiden as a finisher would have been better were it not preceded by Charlotte the Harlot, which was pretty forgettable.

Not for me. Redeemed by some tracks, but lost by others.

Some of these tracks sort of blend into one. But there's some great hooks, and Go West is an excellent track.

Excellent, really holds up after decades.

It starts strong, but by the time you get to Dirty Barry, you're wondering what's happening, and then you're inexplicably thrown into a spoken word segment, before resuming the rest of the music you were hoping for. Maybe there's a grander tale to be told here, but I'm missing it. This album is a little all over the place, too disparate and incoherent for me. Despite that there are some good tracks: Set The Controls, Vibes, The Big Bamboozle, other tracks do have some great moments but they just never seem to come together.

Date With The Night, and Maps are great tracks. The rest, while enjoyable, was not too memorable.

Flute-led folk rock wasn't originally on my radar, but now it certainly is.

A few excellent tracks, sadly the rest are not worth mentioning. Just shy of 4 stars.

Not bad, but I'd probably enjoy this more if Steven Tyler wasn't a pedo. Alas, he is and the sleazy lyrics do not come off well.

Loved Death To Everyone.

Loving the eclectic sound.

Not bad, nothing great.

Synchronicity I & II are both good tracks, as is Every Breath You Take, Murder By Numbers is also a strong finish, but the other tracks didn't live up to my expectations.

I can't believe I've never heard Prophet's Song before. An excellent track. The qualities of the other tracks go without saying.

Some redeeming tracks, but nothing special. Vocals remind me of Bill Calahan, but musically it's lacking.

A few tracks were a little repetitive, but I expect the repetition would turn to enjoyment after a few more listens. I'm enjoying the instrumentation and the vocals.

Birdland and Teen Town are great tracks.

Usually love more experimental stuff but I don't think I was in the right mood for this. Will need another listen.

Not bad but I've heard it all so many times for so many years it's hard to love it.

In a 3 hour album there will no doubt be some good tracks worth remembering, but the rest landed without sticking.

Still not really a fan of the Smiths, but this was enjoyable.

As always, Cohen doesn't miss.

First half is amazing, second half less so.

Not bad, but nothing special to my ears.

One great track at the very end, but the rest didn't inspire me.

OK