Really didn't like this. Repetitive, amateurish. I struggled to listen all the way through. The vocals - which only seem to have one gear - and rhythm are not interesting at all. Very disappointing.

I love this album. I've played it too much, really. Kicks in with strength, attitude and satire with For Tomorrow ...and just continues in an excellent vein. Great music, good songs, nice delivery. I like the cover, too. An album that is everything good about the early '90s in music. I prefer this to the more catchy, poppy Parklife that came afterwards. It's also more coherent than Leisure, and much more the sound Blur hit upon as their own. It's on a par with The Great Escape, two albums later. It's pleasant to hear Blur before the heroin kicked in - although their two grungy albums are very strong, too, especially the amazing '13'.

Love this. Really hits the spot.

Decent. A bit of a random slice of world-inspired music. I particularly enjoyed the pulsating 'Ungodly Kingdom' and 'Erzulie', which both have a Middle Eastern style vocal. 'Rising Above Bedlam' - the song - is a good one but the vocals are pretty unlistenable. Overall, though, fairly interesting and enjoyable.

Unexpectedly alternative. A bit of a revelation. I like it. Sounds a little like Bowie - Scary Monsters type of thing.

Interesting and original. Haunting songs. The vocal style might be Marmite - but there’s a whole mood on this album and it works. …Although I might not listen to it all the time, it has a certain something. Good songwriting.

Great scratchy guitar sound and the well-known hits are strong, but overall the sound is a bit cheesy and I didn't feel like listening to it more than once.

A little underwhelming. Quite bluesy and dated. But American Girl is worth waiting for!

The drumming is full on. The song My Generation is a classic. This album is an interesting one to listen to. The songs are well-crafted and make you listen. Quite a lot of very heavy blues numbers. Informative as an insight to early Who. Not quite my personal cup of tea but worth a listen or two.

Excellent album. Many of the songs are first-class. The music is rhythmic and gets you moving wherever you are. Great vocals. A proper concept album, too. I'll be listening to this one again for sure. If I had a criticism, it would be that some of the classical pieces slightly drag and slow the overall pace. To some extent, this is valuable for the overall concept. Could have done with a very, very slight slight trim. That is being perfectionistic though. It's a marvellous album, brilliantly written and delivered.

This is an amazing album. I played it to pieces when it came out and listening now it still sounds really good. It's a work of art and a great rock album. It's quite full of despair and isn't for every happy birthday party. Possibly one of the best albums of all time. Yes, it's an anthem for depression that makes it come to life and scream! And it sounds good. Like Pornography by the Cure, it's so emotive and powerful, like a vintage coffee, or treasured champagne, that I use it sparingly when I really want it.

Love this album. I’ve listened to it 3 times, start to finish. You can hear the Kraftwerk influence merging with more wistful memories. Powerful and rich music. The first song on the album, The New Stone Age, is unexpected and captivating. A faultless work of art. Really interesting.

I enjoyed listening to this album. It's harmless and in fact as it progresses gets better and better, with one or two standout songs (Momma Miss America, Singalong Junk, Maybe I'm Amazed). It's also slightly inconsequential (Oo You, Man We Was Lonely), very much the sound of McCartney playing around and jamming without the Beatles. Some of the more twee numbers (Junk, for example) could be early Beatles numbers. At times, there is the feeling that having a Lennon to reign in the saccharineness or give the album a bit more bite would be advantageous. All said, though, it's worth listening to and enjoyable at that, if unlikely to make an indelible impression. I prefer the following year's 'Ram'. It's got more character.

I know this album well from when it was released. I’m not a huge Paul Weller fan, but this album hangs together really well. The songs are good and the snippets of music echoing earlier numbers that appear every so often add to the overall feel. It’s heavy ish blues, on the whole, and definitely a good listen, but nothing groundbreaking or that you can’t live without. Solid and enjoyable without being breathtaking.

Good songs with a surprisingly driving rhythm, considering the slightly predictable style of music. An enjoyable listen, though not what I’d expected from the Byrds.

This was a really hard listen. Very underwhelming. The vocals are awful. The music is good but not extraordinary in any way. A second listening was slightly better but the vibe is a lazy experiment probably fuelled by drugs that made it seem better than it is. The only plus was that I went on to listen to Why Are people Grudgefull, which is better than anything on this album.

Infectious, top album.

It is classic Smiths. In particular, the trilogy of Girlfriend in a Coma, Last Night I Dreamt…, and Stop Me If You Think… are great songs. Unhappy Birthday is of course Morrissey at his darkly wittiest. Overall, besides the classic songs, it’s an album I can take or leave. It’s good - but not essential. I think the Smiths have done better, too.

I could take or leave this one.

This one is decent, but drones on a bit by the end. Apart from the first song, it's fairly forgettable - unless you were to love that musical style, I guess.

This was a good album and one I wouldn't have discovered, probably. The songs are good - and well delivered (not surprising considering the guest stars: Hendrix, Clapton, Ringo Starr). Worth a listen and I might listen again in future, occasionally. Not life-changing, but a good album.

This is a good album. It all hangs together so well, and the opening track just sets the tone for it all. Great songwriting and delivery. You could say that there is a lack of variety, but this is the classic Byrds style. A very enjoyable listen with a distinctive style.

Really didn't like this. Repetitive, amateurish. I struggled to listen all the way through. The vocals - which only seem to have one gear - and rhythm are not interesting at all. Very disappointing.

Such a creative and fun album. Interesting to think that this comes before Hounds of Love, which is a more coherent and complete work, but this is full of intriguing sounds and fantastic songs.

There's so much more to this than meets the eye in the first two songs. It really kicks in with "No Other", which is ahead of its time and makes a strong impression. Followed up seamlessly by "Strength of Strings", and going a bit sleepy with "From a Silver Phial", the moving "Some Misunderstanding" re-igniting interest... but it does revert to quiet yee-haw type stuff by the end. Although the last song, "Lady of the North", does have interesting, innovative sounds and it draws the album to a close in a pleasant, reflective way. So a mixed bag. Worth a listen and has some stand-out songs. But some forgettable ones. (And not as impactful as "Stephen Stills".) I'm glad I heard it.

This is an absolutely awesome album, which I have listened to so many times. The first four songs are a seamless zone of next level music - so good - culminating in fifth track, Exodus, the showpiece. (I hadn't ever realised quite how good Exodus was as a song until I saw the Bob Marley Revival band play it live.) The rest of the album after that has several classic singalong tunes and is more radio-friendly. I always feel that "Turn Your Lights Down Low" is weaker than the others and that the soul style doesn't quite work; maybe it's the production. But I know people who love that track. Overall, it's an incredible album. So good, always has been, still amazing... really has something to say, and what a way to say it.

When the first song kicks in, with its pulsating drumming, this seems like a winner - and it is a decent listen. But as it progresses, it does seem a bit samey.

Ugh. Bryan Ferry's wittering, warbling voice. The music is average, nothing special - except Brian Eno's synth flourishes, which show what he would go on to be capable of. Really not a fan of this album though, and I struggled to get through it. I guess it was musically quite whacky and different at the time. It's personal, though. I just can't bear the singing style, which grates on me. Not so bad when the singer stops singing. (The album cover is pretty basic.)

An interesting album with a unique flavour/sound.

Pleasant and well-crafted.

Nothing to write home about.

Meh

This is Oasis' finest (and, in my opinion, only great) album. It all seemed to come together here. Their sound had developed to its peak and the songs are really good, without being as raw as on the preceding 'Definitely Maybe', which is mainly pub rock and roll. This is Oasis at the (brief) top of their game. They've been dining out on it ever since. Wonderful vocals from Liam, who has such an excellent voice, possibly forgotten amidst the noise of his notoriety as a confrontational celebrity. Some of these songs are quite ballady/poppy and perhaps not ones I'd listen to again and again, and She's Electric is a weak link that sounds like a Poor Man's Blur, but ...Some Might Say and Morning Glory are two of the best rock songs of the '90s, if not ever. Very solid and very worth listening to - maybe with some skips here and there.

I love this album. I've played it too much, really. Kicks in with strength, attitude and satire with For Tomorrow ...and just continues in an excellent vein. Great music, good songs, nice delivery. I like the cover, too. An album that is everything good about the early '90s in music. I prefer this to the more catchy, poppy Parklife that came afterwards. It's also more coherent than Leisure, and much more the sound Blur hit upon as their own. It's on a par with The Great Escape, two albums later. It's pleasant to hear Blur before the heroin kicked in - although their two grungy albums are very strong, too, especially the amazing '13'.

A pleasant listen. Some decent songs. Very nice. One Horse Town, Big Sur, Santa Cruz are nice enough songs. Decent radio fodder for a drive.

Great album.

A beautiful album.

Wonderful album. Amazing music, incredible singing, fantastic ideas. You could say it’s slightly too long, as are some songs, which dilutes the impact ever so slightly… but it’s still magnificent (and hey, everything in the ‘70s was a bit overindulgent).

An interesting listen. Like a soundtrack for a chase through Middle Eastern streets in a movie, washing going flying on lines, bins being overturned. (With the exception of Come With Us, which is a surreal horror accompaniment, surely.)

I'm sure it was good at the time or if you love the blues, but for me there's nothing special about this. We know about blues. it's a bit basic and not very interesting or even enjoyable.

Very immediate, very exciting and very good.

Good performances. The songs aren't life-changing in any way and may not have the finest songs, but they do sound good enough. It is quintessentially Rolling Stones, even down to the juvenile album cover. Pleasant enough listening. Brown Sugar stands out. Can't You Hear Me Knocking turns into an excellent jam. I don't think it reaches the sonic heights of Gimme Shelter, You Can't Always Get What You Want or Start Me Up. Nothing very new here, but it is a classic Stones album.

A tough listen. I get what Joy Division were and represented but I've always thought New Order in their prime (before being too poppy; after trying to replicate Joy Division) were better. The main problem is that Ian Curtis, however intense and spazzed out his live performances, just has a horrible voice. He sounds like the beleaguered janitor singing as he mops up at the end of the day, more for his own benefit than anything else. The music on this album is okay, although the production doesn't do it any favours. As a work of modern, punk art and a suicide note, yes, this is worth a listen.

Great album.

It’s a very good album.

Really enjoyable album. Great songs, nice, airy production. Motown meets 90s Alt.

I only listened to half of this. It’s no Rumours.

One of the very best albums of all time. Amazing songs. Wonderful delivery. Great artist. As near perfection as you can get. Immediate, punchy, weird, a high octane window into the quirky world of Frank Black/Black Francis.

Ugh. Hippy bullshit. Awful whiny folky rambling wannabe psychedellic nonsense. It sounds like Rubber Soul if the Beatles had not been very good songwriters and had smoked way too many joints, never stopping for breath. Ugh. Terrible.

This is a very good album. The songs are strong. For me, it's a duology, together with Out of Time. This is the older brother of the two, and the slightly more serious sibling. I'm not a huge fan of Stipe's very abstact lyrics. They don't make enough sense to be effective. Nonetheless, it's a strong album and well worth a listen.

The famous hits are good, but the album as a whole isn't particularly sharp or defined. Very much blends into its era. Those first two songs really are excellent, though. One thing, and this always bothered me: Why does he sing in such a broad American accent?? He's from the north of England!

What a great album. Not quite as consistent and quirky as OK Computer - but very strong. Great songs. Great sound. Especially The Bends and Bones.

Interesting from a historical point of view. The stand-out song ‘Mirage’ is excellent. Overground isn’t half bad. A lot of the guitar-playing is exceptional and unique. But the vocals are generally hideous. Shrieking, shouty pseudo-punk without the genuine bile. This is primarily of interest as an illustration of where punk/new wave was in 1978. Good effort. Dreadful singing makes it almost unlistenable.

I absolutely hate the first half (acoustic, solo|) of this. It's so dull and the singing through his nose is appalling. To be fair, Side 2/Disc 2 (the electric side, with band) is more interesting (although apparently a lot of the audience didn't approve). I still don't like his delivery or subject matter, even on Side 2. It's a bit of a mess.

This is a great album. Heavier Blur, a grungy feel, great songwriting. The guitar playing is brilliant, with some trippy sounds that punctuate the songs perfectlly, making this arty as well as poppy and grungy. This is the sound of a successful band pushing the envelope in a new direction and sounding even better for it. The first 'side' is better than the second, ie. up to and including Death of a Party is all excellent. After that, it gets a bit flabby (Their subsequent album, '13', is more complete and has no flab at all.) Nonetheless, it's a great album, the first bunch of songs. (It might just be the order of the songs that makes it feel like it loses the plot a bit. Essex Dogs is an excellent way to finish, but the ones before drag a little.)

It's okay. There are always plenty of twisted, screeching, unpredictable guitar sounds on their albums - so much so that it's all quite predictable. This is no Experimental Jet Set Trash or Daydream Nation. I guess it's a statement and has historical context.

It's an impressive conceit. There are good instances of musicianship and some good hooks. But it's way too long and way too full of itself. Sounds like hippies coming down after the euphoria wore off. A lot of angst and rebellion over very little. Still worth a listen and, as I said, an impressive feat. Just all sounds a bit bloated and old farty.

An interesting album. Creative and punchy but not a particularly enjoyable listen. Also, a bit relentlessly samey from song to song.

Quality songs and beautiful playing - albeit not my cuppa.

Which came first, the Bowie chicken or the Mott egg? It's the rock 'n' rolly, shouty, Sladey, early Bowie sort of thing. Decent songs, but inconsequential. Ballad of Mott the Hoople however stands out as a good song, better than the transient glam rest. Not a bad album, but a pretty passe listen nowadays.

Creative and epic. A bit too epic at times.

Very funky. Nice album. One or two album fillers towards the end (eg Spaced Cowboy). First song kicks off the mood in funkalicious style.

Solid grungey songs. A good sound. Very enjoyable. Not many huge peaks, but Let Me Come Back rockets, and to a certain extent Billy's One Stop reaches those heights. Glad to have listened to and enjoyed this album, although some of it is a less defined Nirvana.

Better than I'd expected. The songs are better than on some of Dylan's other work. Still the same hollaring, nasal, tuneless warble though - but listenable and even enjoyable in places. (I think he should've been a poet, not a musician.)

This is an excellent album, everything you'd want in a great work: great playing on great songs and a mostly united sound throughout. There is a mood to the whole thing that is captivating. Just brilliant. I'm never sure about the B-side full of presumably Eno-esque compositions, as on Low. If they were shorter snippets and interspersed amongst the other songs, in my opinion they would be more powerful. I'm not convinced that most Bowie fans don't skip through them most times. They are excellent compositions, and interesting/arty, but too much all in one continuous run. Nonetheless, the rest of the album is so good, we just tolerate it - like 'Mother' on The Police's 'Synchronicity'. Perhaps it's (inadvertently) the Japanese concept of wabi-sabi, whereby the flaw makes the whole more perfect... and unique. And it is a unique and near-perfect work.

Interesting.

Some interesting sounds and a couple of really good songs, like Drew Barrymore, but overall just not my cuppa.

Definitely worth hearing! Not something I’d play a lot. Too ferociously Germanic. Very interesting. Not a keeper 😁

The wonderful, crazed guitar, excellent songs, warm voice... of Jimi Hendrix. From the outset, this is a great album. Lots of fantastic songs. There are one or two that slightly fill but there is so much to love here. It is only second to Hendrix' later album, Axis: Bold as Love, which is near perfect, with tighter songs and more of a united feel throughout. The drumming is clearly excellent on this, but sometimes slightly overcuts the song/singing/guitar-playing instead of playing under it, a small concern as its wonderful drumming, but at times could have been reigned in ever so slightly.

Nothing to write home about. Not their best. The songs aren't as catchy as some of their earlier ones. Nor are they as mind-bending and exciting as some of their later ones (such as, for example, 'Electric'). The track 'So Hard' is more akin to early Pet Shop Boys with the catchy tune and deliberately synthetic beat and keyboard. (The rhythms are everything that was awful about the charts in the late '80s through I guess to 1990, when this was made.) That's not especially my cup of tea but it is the Pet Shop Boys doing what they do well. The rest is a little forgettable. I don't think melodies such as many of these lend themselves well to the Pet Shop Boys style or Neil Tennant's voice. He does the abstract dancey / ironic cold much better. Nonetheless, the song titles are often intriguing with these guys: This Must Be the Place I Waited Years to Leave / Being Boring

Good songs. Very original. His voice can be a little annoying, but not impossible. Not really my cuppa but a pleasant enough listen.

Preferable to Armed Forces, which by chance was recommended the previous day. Welcome to the Working Week is urgent and enjoyable. I think this post-punky style of music suits his odd voice better than the more lilting melodies of Armed Forces. That said, some of the songs and their bluesy format are uninteresting. I don't get the American accent in many places, especially when coat-tailing on the punk movement. Waiting for the End of the World is another highlight here. (The backing band on Watching the Detectives is also tight and sounds good, albeit this song wasn't on the album's inital release.)

Really good songs. Simple but elegant production, beautiful voice, tunes that sweep you up subtley. A whole album is a bit samey, a bit singer-songwritery (of course). High quality; not something that I personally would listen to much. Strangely, if the album was a bit shorter, it would have more punch.

This is a really good concept album. The songs are good, the lyrics worth paying attention to, and delivery excellent. The Kinks at their intelligent best. It's not the You Really Got Me or All Day and All Night Kinks; it's a thoughtful, satirical Kinks... Different, but very listenable.

Love this album. Great songs. Perfect Bowie, more or less.

Good, listenable punk record. Some good tunes here.

Interesting. A rough old knees-up in a very rowdy late-night bar.

Some good sounds here. Like some other reviewers here, I hadn't known that Janis Joplin fronted a band before going solo. I've never liked her songs much, but on some of these it suits the music really well and there is enough going on to prevent her rasping from outweighing the songs (like some of her solo stuff). Some good numbers here, with urgency to the music and lots of momentum. Others are more forgettably bluesy, and insignificant other than as part of music history.

Listenable. The first three songs are decent. I don't like Lou Reed's voice in the love song, Pale Blue Eyes. (So many artists should get over themselves and get someone else to sing their stuff.) Overall, this album is a bit low-key for me, but it's interesting-ish, and a pleasant sound. Just a bit underwhelming.

First song is great, minimalist music, rasping, screechy vocals. the second one, In Shades, is generic blues-boredom. Third song, Saving All My Love For You, sounds comical; his voice doesn't suit the song - which has good lyrics, but... the delivery is weird, not in a good way. Certainly is original, though. 'Downtown' (the fourth song) is better; his voice does work better with less gentle songs - but it's not the best song, slightly predictable. Jersey Girl isn't the strongest or most interesting song, and the vocals in the chorus grate, although the softer bits are okay. The music in ''Til the Money Runs Out' is crisp and funky; the singing suits it - although I'd prefer it if someone with a nicer delivery fronted the music. He just doesn't have the glamour and depth of, say, Black Francis' bone-shattering scream. He sounds more like a frothing, sputtering, wife-beating drunk - which I guess is what he's going for. (You could call it 'swampy', being generous.) On the Nickel is boring for me, but might be interesting to some; its vocals progress from lisping to shower opera. Mr Siegal works! It's the right blend of those vocals and simple music. I won't say I'll listen to it again and again - stylistically, it's boring old blues - but the song works well and is a good one for basic-blues lovers. (This song is unnecessarily long, though, as well.) Kinda glad when this album was over - although I will be playing the opening track, Heartattack and Vine again. And... it is wildly original, unusual, and will appeal to some people very much - not to me, though. A worthy listen - once!

Love this. Really hits the spot.

Great voice. Not my cuppa. A whole album of strident soul wailing - however superb the delivery - isn't my thing. R-E-S-P-E-C-T is of course the highlight.

Nice cover. Underwhelming music. A bit of a mess. A couple of funny sounds (electric jug!) in the background - over-used though across multiple songs. Lots of full-on drumming and frenzied singing. Not particularly mind-bending, though. I suspect it felt more psychedellic to them than it does to listen to. It's a messy Rolling Stones or Big Brother and the Holding Company. The weirdness of Fire Engine's vocal could be intriguing but the actual music is quite basic rock and roll. Nice vocals though and jazzy drumming on that track. Overall, a bad trip, really.

Well, this one is a bit boring. Restaurant music.

Oh jeez. Not another Bob Dylan one... That said, this is much better than the others recommended so far: Highway 61 Revisited and the live one at the Royal Albert Hall. He has a tendency to go on too long in songs: One of Us Must Know and Johanna, for example, and his wailing, stoned sound can wrankle - but these are good songs and well delivered. Better than most Dylan, for me. I Want You and Rainy Day Women are particularly good.

Nice in a club or bar. Not Chic's best - but a pleasant enough listen in the background. Good Times is of course a disco classic.

Decent country rock vibes. Nothing particularly special though.

Insipid and one-geared. Really dull and uninspiring. Zero stars, if it were possible.

Decent, a pleasant listen but nothing that grabs you and won't let go. Stars 'n' Stripes threatens to be interesting; Dixie Drug Store is probably the highlight.

Bit boring. Presumably good if you like basic blues.

Interesting. Difficult.

Interesting, Primal Scream type combo of dancey and rockish sounds, without having the soul and songwriting skills of Primal Scream - but an interesting, not unpleasant listen that gets pretty cool in places. 'Red Alert' is pretty damn funky. Some parts, eg. Same OId Show, are artistic and quite trippy and poignant - if too repetitive. Some sort of emotion is missing from all this... but it's clever and fun. What is unpleasant is the cover. Not really artistic, just kind of grotesque. Doesn't particularly back up the sounds.

Bland hair stuff.

I like this album. It's like Kraftwerk with a heart, or Bowie's instrumentals on Low with more direction and structure. It won't change your life or your ears, but it's good enough listening.

Fantastic album. I hadn't realised just how good these guys are.

Some nice moments. Feels like it's trying a bit too hard; there's too much going on. Not tight enough. But very listenable.

I had low hopes for this one, based on my prejudice and lack of knowledge. The feeble album cover didn't help: cheesy and teenager image, so lame. However, the songs aren't bad. Decent toe-tappers. Nothing to write home about, but harmless. The lyrics are as pathetic as the cover art though - he's the king of the nighttime world? Really? 'Great Expectations' is catchier and more interesting than the others. 'Do You Love Me' is catchy, too - but like the rest of it all, inconsequential and a bit lacking in something.

There are some weaker numbers on this album - but also some excellent Hendrix songs. Not as good as Axis: Bold As Love.

Quite dreary.

It's all right, but nothing to write home about. A bit boring, really, with one or two better moments. I guess if you're a big Neil Young fan, it's a nice addition of songs.

I enjoyed this album. It took a couple of songs to get into it, but it has a lot more to it than I expected. I'd listened to 'Surrender' but not this album... Especially good on tracks like The Private Pschedelic Reel and Setting Sun, where the drums are furious and sound real. The Beth Orton track is a highlight, too. Not every track is memorable but overall, it's a good listen to get you up and running with a kick of energy.

Surprisingly good album. The musicianship is much better than you might expect as it's overshadowed by the fame of Girls Just Want to Have Fun. Wonderful voice, interesting, a bit different, but good. Time After Time is an amazing love song, so much better than many dull expressions of so-called love by artists such as, say, Mariah Carey or Whitney Houston - not to mention more bubblegum stuff. You can tell Cyndi came up the hard way, battling for her success. Interesting and strong songs on this one. Marred by the production values of its time.

This album shows what Bowie can do across so many different genres. That said, songs sometimes goes on a bit: Somebody Up There Likes Me witters and whines on for too long. Can You Hear Me is forgettable. However, there are strong numbers, like Fame, and to a lesser extent, Young Americans. Overall, it's an interesting but not essential preface to greater things in Berlin, for me.

Corcovado is okay. The rest is a bit boring, really. Unless you like Bossanova, it's not going to set anything alight. Yes, some of the sax is good. The vocals are not interesting.

That is such a naff cover. The music is mainly a poor man's Ziggy Stardust. Noddy Holder can sing, but the songs are only really of interest if you're a Glam Rock fan. Sounds very dated too. That said, I can imagine Led Zeppelin might've been vocally influenced by this. 'Move Over', for example, is a raw rock 'n' roll number with a pretty funky bass in the verse and some good drumming, guitar and vocals. That's about the highlight of it. Not my cuppa.

I like the vocals with Offspring. This is a high energy romp but it has that fast but superficial sound of American nu-metal. It's too lame call itself 'Genocide'. Not an unpleasant listen and probably quite fun - but... but... a bit too basic, and none of the authentic aggression of something like punk rock. 'Something to Believe In' is catchy. 'Come Out and Play' is more what I'd expected from Offspring... more like 'Pretty Fly' with its humour and playfulness.

A bit... on the nose. In some places. It's a decent listen with a couple of well-known hits. Neither as amazing nor as trite as some opinions would suggest. Very mainstream, a little forgettable as an album, although some songs are undeniably fun. Hard Day is a bit dull. I agree with the reviewer on here who said that Michael Jackson did this kind of sexy/funky/R&B better. Percussion on Hand to Mouth is synthetics at its worst. The song is meh. Look at Your Hands: pretty cheesy music and forgettable songwriting. Decent R&B; a bit dated.

I enjoyed this. Lovely voice and good songs. Not the kind of thing I normally gravitate to but solid.

Ballad of the Ship of State is powerful. In general, this is musical theatre music. It's good, but not my thing. I'm not sure it adds much to the world of music - although I guess they are sensitive ballads for ballad people.

Impressive. Good songwriting, good sound.

Atmospheric and ground-breaking. It seeps into your world. Lovely and experimental.

I've only listened to this one at the time of writing but I like it. It's that Beach Boys sound, but as though this is the morning after the surf and beer. Well-developed and good listening, albeit with no stand-outs.

A very decent album and well worth a listen. Really good '60s psychedelic rock. At the same time, you could quite happily live without having heard it and it is just another technicolour, swirly mosaic in the music of the time, albeit a pretty mosaic.

Interesting. Crisp, clear sounds and good grooves in places. Other tracks drag slightly.

Not my kind of music. Extremely erotic lyrics. It's always curious to hear how in the name of feminism you can be so explicit, but if a male artist was to write these lyrics (see for example 'Blow'), it would be seen as exploitative and misogynistic. It is a bit over the top, for me - and yet the erotica is poetic and poignant. Musically, it peters out a bit in the last few songs. Should've been more ruthless in editing out the non-killer songs? Not Beyonce's best. More of interest as a statement and a shocker.

So catchy. Brilliant meolodies. The rhythm guitar sound is light and crisp, very pleasant. This is pretty much the ultimate pop album. Many have tried, most have failed - but this is in the vein of the Beatles songwriting tradition. Hard to fault it. Lots of variety from song to song, too. Abba at the top of their game. Perhaps you could say that it is more a collection of great songs than something that obviously forms a theme as an album, but that doesn't really matter.

Moments of brilliance. Moments that are pretty funky. A bit relentless and too long, but some great sounds, including some very funky bits.

'Street Life' is a fantastic song, a real classic, stand-out tune. The album as a whole is a nice listen. Good groove, crisp and funky. It's not that kind of jazz that disappears up its own rectum. 'Night Faces' (the last track) is the weakest - a bit muzaky - but the rest is cool.

There are some really nice moments on this album, if you can tolerate the very basic synth sound (which I don't mind) - and the sometimes out of tune singing. It has a nice, homemade, twisted vibe. I can see the influence of the very opening cry of 'Frustration', perhaps, on Trent Reznor's NIN work. Say Hello. Wave Goodbye hits a poignant emotional note and is my favourite track on the album. Other highlights are Chips On My Shoulder and (of course) Tainted Love. Some parts are tackier and Sex Dwarf in particular is a ropey song with feeble lyrics that don't mean much unless you're excited about gold cars and bondage (which I'm not). "You know what they say about small boys" - is a horrible little line that doesn't deserve a place in music, however perverted your tastes. Overall, it's a little forgettable. It is a curiosity in a charity shop - one you'd pick up and remark at, but wouldn't waste your money buying.

Harmless songs with some subversive and amusing lyrics. Got boring around the third or fourth song, though, as the music is just so ...country and western. The haystack in the album cover says a lot! Not very keen on his voice; sounds a bit like a farmer, leaning on his rake, singing at the sunset. Yee-haw.

Hippy bollocks. Dreamy, dreary, ugh. By the time we hear "Ragged wood", things get a little more lively, but it's quite a forgettable song. "Quiet Houses" is a little less dead. The subsequent reversion to monkishness makes me wish the house was quiet. I've finally found a band I hate more than Travis. I hate this album so much. Really awful. I wonder how it made it into the 1001?

Scratching my head as to why this is on the list of 1001? Middle-of-the-road rock. Nothing special ...Except for Walk This Way, which is very cool - but the version with Run DMC was more exciting - and some okay riffs here and there. As a whole album, this is a poor man's Rolling Stones.

Oh come on. Seriously? What a load of shite. What is that silly singing? The lyrics sound like a teenager trying to big himself up because he's so insecure and spotty. The guitar is relentlessly samey. The drums are so intricate and fast - yet tappy-tappy in the production. Oh boy. Laughable.

I want to like Peter Tosh's solo stuff more than I do. The music isn't that interesting - not as creative and quirky as Bob Marley, Steel Pulse, Jimmy Cliff, etc etc. He has quite a complainy, lazy voice that works well in backing vocals for The Wailers but not so well as the frontman. Disappointing one, this. I'd put either of Steel Pulse's first two albums in this list over this one.

This is an amazing album. The African influences are weaved in so seamlessly that they align with the songwriting without seeming contrived. Beautiful music, production, everything. Catchy and dancey too. At its best, pop genius. The songs are less interesting from track #7 onwards, although 7 itself is beautiful - just not my thing. "That was Your Mother", for example, is forgettable... although I guess the speeding up tempo through the song is the attraction. If you don't really go for that worldy feel, it won't be your cuppa. It is a gentle album, no biting teeth here. I do find myself wondering how influenced Sting was by this in his post-Police output. Really good album.

More glammy rock? Slade in a public toilet? Or a pre-cursor to punk? The Sex Pistols are always viewed as original, but this is halfway there. Less posey-sounding than, again, Slade, as well. It's not life-changing or complex. By 'Trash' and 'Bad Girl', it wears your patience a bit. Too many weak songs, really. 'Pills' is poor. 'Personality' is more appealing, catchier. The energy is contagious, if basic. Quite a lot of fun. 'Jet Boy' is a fun ending after a bunch of filler songs.

I was bracing myself to be very bored by the end of the first 2 songs... but 'Lips' is brooding, catchy, nice rhythm and guitar effects. Apart from that song, it can all be a bit predictable/uninteresting... without being offensive. Overall, there's just not enough of interest to the music. 'Performance' should be good, it has potential, but it's just a bit boring and doesn't resonate, somehow.

This turned out to be an excellent album. I wasn't convinced with songs 1 and 2. The music seemed a bit relentless. I still think some of the drums and vocals could be slightly more restrained in places - but it's actually a fantastic, innovative, subversive-sounding album. Loved it. Some memorable songs and very sweet guitar effects/sounds: Tira Me a Las Aranas and Drunkship of Lanterns. are where it really kicks in. A real grower that takes a firm hold by song 3. Pretty awesome.

This is a very good album. Most of the songs are really strong. It's a slow one, but a good one.

A pleasant listen. It has that understated delivery similar to George Harrison's late stuff for the Beatles (Let It be). The guitar playing is sublime. It doesn't really rock. Let It Grow, however, sounds like a very decent Beatles homage. I Shot the Sheriff is nice - because Bob Marley is a genius! (The original is better, in my opinion.) I do find it hard to get past Clapton's dickheadish personal persona - the massive domestic violence, affairs and racist rants - albeit fuelled by addiction to various substances. ...But it's a nice album.

An interesting listen. Good songs. I need to listen again.

Well, this is a great album. ...which I've completely overplayed over the years. Fantastic songs, many of which are a work of art - albeit Hungry Like the Wolf is a bit of a bag of cheese. But more than made up for by Save a Prayer, Losing my Religion and Chauffeur as well as some of the lesser known songs - Last Chance on the Stairway, Hold Back the Rain.

Decent. A bit of a random slice of world-inspired music. I particularly enjoyed the pulsating 'Ungodly Kingdom' and 'Erzulie', which both have a Middle Eastern style vocal. 'Rising Above Bedlam' - the song - is a good one but the vocals are pretty unlistenable. Overall, though, fairly interesting and enjoyable.

Pretty flawless. A great thematic album, wonderful songwriting, full of surprises and great craftsmanship.

Nah, this is a bit boring. I suspect you probably have to be stoned to appreciate this one. It was so tedious that I didn't quite manage to get to the end.

Mm, nice. Does get a bit same-old-grungey as it goes on ...but it's a good'un.

A good listen.

Good fun. Good for a tempo run at the gym. Apart from the first track, nothing particularly remarkable here though.

Fun. A little forgettable but nothing wrong with it. Coral-light?

Very listenable. Not my usual thing - that kind of post-2000 teen angst rock thing. But some good songs on this and it's enjoyable. The rage does always sound a bit adolescent and inauthentic, though. It's not Nirvana! The guitar power chords are a bit obvious, too. The rap is a bit naff. Yet... it's decent overall. I like "By Myself". That's a high point.

A little difficult to stay with. Nice cover.

This is good background music to work to. Has potential but never seems to take off. Forgettable.

Meh. Lame. Something 4 the Weekend has potential but just seems too limited. The rest... not sure what it's doing in the 1001... Just uninteresting. It doesn't have the melody or swagger of Blue and it doesn't bite like, say, Oasis. Poor man's indie rock. Bad Behaviour is about the best of an average bunch.

Yeah, this one is awesome. No doubts.

It's quite nice, but I'm not keen on his voice. I wouldn't rush back to this one.

Pretty good. Funky + psychedellic, funnily enough. Some nice moments but somehow inconsequential.

Nice voice. Some good tunes. Nothing to write home about though.

Fantastic album. Love it as much now as I always have.

Nice. Quite an impressive work. Sounds like a '70s (although released in the '80s) movie soundtrack, expansive, West Coast feel, jazzy, cool, yeah...

Decent music and songs. Shame about the comic con voice. Cheap-looking album cover, too.

Seriously? Jeez... Clever it might be, but it ain't music. Well, there are moments of music, but a lot of it is just industrial experimentation. Sounds like they got bored of making music. Or had breakdowns. Or both. Case in point: U.S.S.A.

Really enjoyable album. Some of the songs really rock. A few are a bit ponderous and folky and not so exciting.

Okay, but not like his later, more intriguing stuff, or the earlier, awesome Simon and Garfunkel songs.

Harmless but not sure what it's doing in the 1001 to listen to before you die :/ Genius of Love is remarkable and illustrative of its time but, as an album, it's not amazing. The cover's cool.

Some really good songs and production/performance here. I enjoyed it a lot. There are a few less notable tracks but really good to hear this as I never would've bothered without the tip-off.

If the Carpenters had been Brazilian…

Pretty out there. Also kind of bluesy. Interesting in a way. Not one I'd repeat play much though.

A masterpiece. (Once we get Maxwell's Awful Silver Hammer out of the way!)

Decent

Interesting. Clever and unusual.

Like jazz, looks/sounds more fun to play than to listen to. Turgid rock music with icing sugar classical topping. It's all just a bit obvious.

Love this. Great album.

Very different and interesting. A couple of the hits are fantastic. The whole thing really has a cool atmosphere. It might be a bit much to listen too often.

Science documentary music. ...Kraftwerk for dead people.

Kind of interesting. That said, it is the typical babbling late '60s psycedelia, with self-indulgent prog rock sections. Some good bits of music though.

A pleasant listen. The jangly guitar contrasts with the introspective bass and vocals. Pretty abstract but also eminently listenable.