503
Albums Rated
3.33
Average Rating
46%
Complete
586 albums remaining
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1970s
Favorite Decade
World
Favorite Genre
UK
Top Origin
Wordsmith
Rater Style ?
57
5-Star Albums
24
1-Star Albums
Taste Analysis
Genre Preferences
Ratings by genre
Origin Preferences
Ratings by country
Rating Style
You Love More Than Most
Albums you rated higher than global average
| Album | You | Global | Diff |
|---|---|---|---|
| Rock Bottom | 5 | 2.39 | +2.61 |
| I Am a Bird Now | 5 | 2.84 | +2.16 |
| All Hail the Queen | 5 | 2.86 | +2.14 |
| Non-Stop Erotic Cabaret | 5 | 2.87 | +2.13 |
| Ghosteen | 5 | 2.97 | +2.03 |
| For Your Pleasure | 5 | 2.98 | +2.02 |
| Suzanne Vega | 5 | 3.02 | +1.98 |
| Floodland | 5 | 3.04 | +1.96 |
| Treasure | 5 | 3.07 | +1.93 |
| Immigrés | 5 | 3.08 | +1.92 |
You Love Less Than Most
Albums you rated lower than global average
| Album | You | Global | Diff |
|---|---|---|---|
| Dirt | 1 | 3.47 | -2.47 |
| My Beautiful Dark Twisted Fantasy | 1 | 3.42 | -2.42 |
| Stardust | 1 | 3.39 | -2.39 |
| Deep Purple In Rock | 1 | 3.33 | -2.33 |
| McCartney | 1 | 3.26 | -2.26 |
| The Predator | 1 | 3.26 | -2.26 |
| John Lennon/Plastic Ono Band | 1 | 3.24 | -2.24 |
| Pyromania | 1 | 3.13 | -2.13 |
| Rage Against The Machine | 2 | 4 | -2 |
| Reign In Blood | 1 | 2.96 | -1.96 |
Artist Analysis
Favorite Artists
Artists with 2+ albums
| Artist | Albums | Average |
|---|---|---|
| David Bowie | 6 | 5 |
| Nick Cave & The Bad Seeds | 3 | 5 |
| Joni Mitchell | 3 | 4.67 |
| Roxy Music | 2 | 5 |
| The Cure | 2 | 5 |
| T. Rex | 2 | 5 |
| Radiohead | 5 | 4.2 |
| Talking Heads | 3 | 4.33 |
| The Rolling Stones | 3 | 4.33 |
Least Favorite Artists
Artists with 2+ albums
| Artist | Albums | Average |
|---|---|---|
| John Lennon | 2 | 1.5 |
| The Beach Boys | 3 | 2 |
Controversial Artists
Artists you rate inconsistently
| Artist | Ratings |
|---|---|
| Jimi Hendrix | 2, 5, 4 |
| Deep Purple | 4, 1, 3 |
| PJ Harvey | 2, 5, 4 |
5-Star Albums (57)
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Popular Reviews
The Specials
4/5
Baffled by some people giving this one star. I don't normally worry about opinions that differ from mine, but... eh? Anyway. I love The Specials. No, the singers don't sound like they could audition for X Factor. Thank goodness! Can people not hear the tight band, the wonderful cross rhythms in the bass and that punchy brass? All fronted by a laconic, grumpy Midlander and his mates, having fun but despairing at what's happening aroung them in Thatcher's Britain (and oh gawd, it got far worse), and/or making wry observations; I chortled more than once. My family are from Coventry, and I was 12 when this came out, so I'm biased. But surely, it's great isn't it? Did I mention I love The Specials? Their debut was maybe better, but this is ace.
4 likes
The Smashing Pumpkins
2/5
Not a band that I liked, then or now it tuns out. I don't buy into it somehow. They can play. The songs are okay. But I don't feel anything. And now I've read that review that says the singer sounds like Cartman, so I'm just giggling.
3 likes
Coldplay
2/5
The problem is, lots of people now realise that Coldplay are quite dreary. Dreary doesn't mean rubbish, but, to me, they had that thing: a moment of impact when they briefly seemed exciting, but then, a few albums in, it became clear that they were actually always pretty dull (see also James Blunt, Ed Sheeran). It's impossible for me to listen to this now without hearing the inherent dreariness. The most enthusiasm I can muster is that there are a few pleasing, less predictable chord progressions now and again. But I like my rock to have a bit of edginess and swagger. Call me shallow, but Coldplay are a big snooze-fest. 5 out of 10.
3 likes
UB40
4/5
I really like UB40, especially their earlier stuff like this. Tbh I love most of the politically conscientious stuff that was coming out of the Midlands around this time. Great album.
1 likes
Rage Against The Machine
2/5
I like a heavy riff, and for a while I was into the stompy, backwards-baseball-cap antics of Faith No More etc. Unfortunately, I didn't hear this back then and for whatever reason, this type of thing doesn't do it for me any more. I appreciate the riffs and the funky moments, but there are other ways to express frustration than by shouting. It probably didn't help that I've already had to listen to Raekwon and Kanye this week. Nor that I'm a British, middle-aged woman being stretched in several different directions.
1 likes
1-Star Albums (24)
All Ratings
Aretha Franklin
5/5
Pretty darn perfect. That voice, and some wonderful grooves. And of course, soul, in bucketloads.
4/5
Still sounds sweeping and impressive all these years later. (Saying that, I'd be happy never to hear With or Without You and I Still Haven't... ever again; they're so overplayed.) The album was important to me during some upsetting events in 1987, and I'm still moved by most of it. Favourite tracks probably Red Hill Mining Town and Running to Stand Still. Where The Streets... still makes me want to roll down the windows on a freeway somewhere. Overall, it deserves its status; it was everything that the previous 4 albums had been building up to.
Led Zeppelin
4/5
Enjoyed listening to this as a whole album. It's the definition of a classic: guitar sound, drum sound, fantastic vocals. Favourites were Misty Mountain Hop and When the Levee Breaks.
David Bowie
5/5
It's not possible to encapsulate David Bowie into one album, but if you were limited to, say, five, this one would need to be in there. We get a more eclectic David than on his previous albums, still loving a bit of the soul he explored on Young Americans, but with more complexity (Station to Station, Stay). He's developing songs of a grander nature again (Word on a Wing), full of amazing chord progressions, such as were glimpsed on Space Oddity (Wild-eyed Boy) and Hunky Dory (Life on Mars): to me, WOAW takes this to a new level. There's a perfect pop song (Golden Years) and also Bowie at his most vulnerable (Wild Is The Wind). The only one I'm not mad on is TVC-15 but as usual, even less good David Bowie is still pretty amazing. Literally all the others are amongst my favourite songs of his.
Eels
2/5
New to me, but I didn't feel a connection (at my advanced age, on a rainy December morning, planning a food shop). Not really my thing. I liked the guitar but I'm not a fan of the vocal style. Well-crafted though and I quite liked Rags to Rags.
Count Basie & His Orchestra
4/5
Really enjoyed listening to this while cooking, so have no idea which track was which, but it was great. I'm not an aficionado of this type of music but I really liked it and will play again in future, for sure.
Kate Bush
5/5
A fabulous album which I already knew well. Every track is affecting. The Ninth Wave is a masterpiece of theatre and storytelling. Favourite track probably The Morning Fog.
Various Artists
4/5
I listen to this every Christmas and its sound is definitely part of my Christmas, despite the controversies around the man himself. Darlene Love is an amazing artist, and Walking in a Winter Wonderland has long been one of my favourite Christmas songs. I also love The Ronettes' version of Sleigh Ride.
Emmylou Harris
2/5
New to me, and I don't know much about country. I looked it up and found that EH only contributed to the writing of one track, Boulder to Birmingham, which was one of my favourites. Actual favourite was Before Believing, which is lovely. Otherwise, it wasn't really my bag but she has a beautiful voice. Oh and it was interesting to hear a Beatles song I didn't know before, and the Dolly track which I did.
Sex Pistols
3/5
Enjoyed this after all these years (used to have a cassette of it in the 80s). Some good tracks I'd forgotten - Problems, No Future. Obviously lacks the shock factor these days and if anything it made me smile fondly, which I'm sure isn't what they were going for!
Yes
3/5
Inoffensive. I quite enjoyed it.
The War On Drugs
3/5
Had been meaning to listen to this band for a while and I can see why friends like them. I liked the overall sound and vibe very much. Certain songs had a meandering style which I'm not a fan of, but a good album nonetheless. The Springsteen/ Dylan influences were clear as was some Phil Manzanera/ Mark Knopfler guitaring.
Weather Report
2/5
I'm not knowledgeable enough to know how this sits within the jazz canon, and so can only judge on its overall sound, which to my ear hasn't aged well. I like the freedom and funkiness, but don't really enjoy synths and electronica in a jazz context; it feels dated and a bit cheesy. Which is doing a disservice to the musicians' prowess. Sorry.
Morrissey
3/5
Musically well put-together and a mixture of tempos; a better album than I expected. It didn't sustain my interest for a whole album though. I really liked The Smiths' first couple of albums when they came out, but 40 years later, I was probably never likely to be really moved by what essentially sounded "not as good as The Smiths were".
Simply Red
4/5
Good to hear this in its entirety and I think it's stood the test of time. You can see why it had an impact, especially coming out of Manchester which wasn't well-known for smooth soulful sounds. Quality. Would be a 7 out of 10 but I've rounded it up.
Led Zeppelin
3/5
I liked it. Quite a bit of the merry peasant sort of stuff alongside some good heavy riffs etc. But I can see why IV got more accolades.
Stan Getz
4/5
Soulful, classy, relaxing. Made me want a cocktail and some elegant surroundings. Loved the trumpet sound and that infectious bossa nova! It did all blur into one, but I didn't mind. Needs a 7 out if 10 (again).
The Blue Nile
3/5
I enjoyed this overall. It didn't make a massive impact on a first listen, but I appreciated the sound, which took me back to 1983/4: shiny production, tinkly sounds, introspection. Lots of apparent influences: Peter Gabriel, Japan. Overall a bit earnest for me, but I think I'd get more out of another listen, and it would have been interesting to see them live.
Paul McCartney
1/5
Should probably not have been released. One man in his bedroom enjoying lo-fi tech and dumping song ideas (not even fully-formed songs) out of his brain after what must have been a tumultuous few years. So whilst I don't begrudge him taking the time, it's not interesting enough to be on this list in my view. The one actual song is Maybe I'm Amazed, which I do like.
Nightmares On Wax
3/5
Completely new to me, and I knew nothing about the trip-hop scene in Leeds, which apparently was a big thing. I liked it, but truthfully found it more like background music; if it was on in a bar while I was chatting to mates, I'd probably think it was brilliant, but it didn't sustain my interest in a more focused way. Quality, though.
John Lennon
2/5
This one popped up straight after Paul McC's debut so it was interesting to compare. Lennon definitely a more interesting writer imo, but still not really my thing. Knocked a star off for the terrible Yoko song.
Jimi Hendrix
2/5
A couple of tracks that made me get my groove on, but I think I was waiting for a Purple Haze moment that never came.
Run-D.M.C.
3/5
Not my bag, but they do it well.
Cornershop
3/5
Enjoyed several tracks but a bit too eclectic for me overall. 5 out of 10.
FKA twigs
3/5
Started listening on my phone only, big mistake as couldn't hear the lush fuller bass sounds. This is a good album I think, but not really "my sort of thing". Interesting
The Avalanches
3/5
This passed me by at the time. It's clever and groovy but I'm getting a bit frustrated by lots of albums that feel vaguely trippy and just wash over me. Not bad though. A true 6 out of 10.
Sonic Youth
4/5
I always thought that I didn't like Sonic Youth, so I'd avoided them. Turns out,
I do like them, up to a point. Unfortunately though, I have an issue with indie bands from New York; there's usually something about them that irritates me. As in this case, it's often the vocals. I blame Lou Reed for starting the drawly/talky thing, but he did it quite well. David Byrne can get away with it, because of Talking Heads' amazing rhythm section. This fella also gets away with it at times, because the guitar sound and song structure is so interesting. But more often than not, the vocals grated on me and there are only two or three songs that I'd go back to. I'm afraid I didn't enjoy the ones fronted by Kim Gordon at all. So why the high score? Because I think it deserves its status for being genuinely very interesting and creative, and my personal "ick" with New Yorkers drawling into the mic doesn't really make it bad.
Paul Simon
3/5
Used to know this well. Pleased to find it was like revisiting an old friend. (Side note. Another New Yorker who can stray into talking instead of singing, but barely often enough to be annoying.) (Another side note. The modern lens means questioning a wealthy white man increasing his own success by working with African musicians. But it sounds like it was a joyful collaboration, and I'll have to trust that all parties were respected and remuneration was handled appropriately.) I like it, although truthfully by the last two songs I'd had enough. Good to hear it again and I was singing along. 7 out of 10.
Elton John
4/5
Easy to see why this became a classic. Not completely my cup of tea but some great songs. Elton doesn't really sound like anyone else, either, except maybe The Who a bit and obviously they knew each other anyway. Mostly, very strong songs.
Tom Waits
5/5
Loved it!
Leonard Cohen
4/5
I'd never heard much LC and am so glad I was "made" to listen properly. Thought-provoking, moving, beautiful really. I didn't enjoy it quite as much as Tom Waits the day before, but it
won't be the last time I listen to him.
Alice In Chains
1/5
I like rock and metal up to a point, but couldn't see anything special about this album. By side 2 (as I call it) I was wanting it to end. I guess they were holding their own at the time, but from my own limited knowledge I'd say they weren't as interesting as Nirvana, Soundgarden or Pearl Jam. I can't claim to be an expert but I didn't get it.
Youssou N'Dour
5/5
Enjoyed all of this album very much, had never heard it in full before. No wonder western musicians were queuing up to collaborate! Will certainly be listening again. I can't think of anything I'd change so in the absence of 9 out of 10 I've rounded up. 5 stars from husband, too.
Astrud Gilberto
2/5
I thought I'd love this, but didn't find it very cohesive. Some high points. A very laid-back singing style which at times soothed, and at other times maybe needed another "take"!
The Beach Boys
2/5
Disappointingly dreary. Nice harmonies.
Metallica
3/5
A classic, I know, but quite an assault on the ears to just listen to. Not my cup of tea, although I acknowledge the complexity.
Bob Marley & The Wailers
4/5
Very good.
Supergrass
3/5
Not bad, bit punkier than I expected in places. I still don't really like them overall and I'm not sure why. Extra star for great album title.
Björk
3/5
Ethereal and strange. Made more sense when I read about what she was trying to do, but not very accessible on a first listen. I love her though.
Radiohead
3/5
Whilst I "appreciate" this band, I didn't enjoy listening to a whole album. Made me very gloomy. I liked the two singles, and a couple of others.
The Flaming Lips
3/5
Really enjoyed this and will re-visit at some point.
Talking Heads
4/5
Probably my favourite band to hail from New York. Good to hear an earlier album than I'd known previously. Good stuff.
Metallica
2/5
Not my thing overall. Like the track "One" but still find it hard to listen to a whole album!
The Crusaders
3/5
Enjoyed it. Street Life is a classic and it seems it could go on indefinitely and I'd still like it. If I got to know the rest of it better it would probably go up to 4 stars.
Elvis Presley
2/5
I thought this would have more wow factor, but of course it's not 1956 any more. It must have been so impactful then, but I just found it OK. Sorry, Sun Studios/RCA.
Beastie Boys
2/5
Remember finding this quite fun at the time. Prefer the more guitar-y ones. I had a sense of humour failure over "Girls" - can't be bothered buying into it these days. But it sounds like they had fun and there were some grooves. I think it was always going to be two stars.
Oasis
4/5
Having avoided listening to their songs for quite a while (Manc swagger not being my thing) I actually really enjoyed rediscovering what a good album this is and particularly for a debut. Seven out of ten but I'll be generous as I do love a touch of psychedelia and a great outro. I'm still Team Blur in the scheme of things, though.
The Doors
5/5
Already a favourite. Love almost everything about it: vocals, sound, song construction; just the right mix of freedom and tight playing. It's just cool (it might help that I discovered it aged 15). A pretty astonishing debut, too. Love it!
Nick Cave & The Bad Seeds
5/5
Profoundly moving. Really quite amazing.
OutKast
3/5
Almost certainly wouldn't have listened to this without this project. I didn't like everything, but managed to groove along with some of it. More thoughtful than I expected if I'm honest. From my very limited knowledge of hip hop, I can see why it's a noticeable album. I'm enjoying learning about where things "sit" in genres that I know nothing about.
Little Richard
3/5
I'm not into the slightly formulaic blues (?) structure of 50s rock n roll, but of course this is an important album and still has huge energy and is great fun.
The White Stripes
4/5
I loved this. Jack White can't do much wrong in my book, he's the perfect mix of classic influences with a twist. He's very cool.
The Birthday Party
2/5
Dark, noisy, great drums and bass. I didn't really like any songs once I was past the first couple, but it's good to hear what NC was up to at that point.
Love
2/5
Started off in a pleasing fashion and I liked the ones with the trumpets. Overall though, a bit weedy-sounding and Not Very Good.
CHVRCHES
4/5
Really liked it, will listen again, and seek out their other output. Thought I might find the vocal off-putting, but I didn't mind it. It stayed just dark enough. Reminded me of Ladytron and occasionally LCD Soundsystem, both of whom are even cooler. Probably a 7 out of 10, but I'll be generous as I do love a synth.
Lauryn Hill
3/5
Knew little bits of this but good to hear the whole thing. She's definitely very talented but truthfully I only really liked a couple of the tracks.
Guns N' Roses
3/5
I remember liking this at the time. I want to say that, looking back, GnR are more than just their big hits, but honestly, if I only ever heard Welcome to the Jungle, Sweet Child Of Mine and of course November Rain that would probably be enough. They did pack a punch, but the cruder ones are lost on me these days. Extra star for awesome guitar-playing though and Axl weaving around.
Fleetwood Mac
3/5
Probably a bit long overall and I preferred the women's contributions (unlike the critics at the time, it would seem) - none of the Lindsey Buckingham-led stuff had the impact of, say, Never Going Back Again or Go Your Own Way. I will always be here for Stevie Nicks's voice and lyrics. Didn't really get the title track but I'm told it can be appreciated on a baser level, lol.
Def Leppard
1/5
At my most objective, I suppose this joins some dots between older UK metal and the kind of more fun rock thing which US bands like Bon Jovi did a bit later on? Maybe? But it's already apparent that whoever picked 1001 albums is a bit too interested in a particular aspect of the route that involves men and guitars. As important and cool as that route has been, I'm not convinced that we need to listen to every single nuanced step along the way. This is a solid rock album, but doesn't feel very important to me.
Hole
4/5
A really good surprise. Will be listening again.
Thelonious Monk
2/5
Nothing to object to but I haven't found it memorable.
Fats Domino
4/5
Really enjoyed it. An oddly short compilation, so went and listened to a bit more Fats, too. It's a 7 out of 10 but I'll be generous.
Donald Fagen
2/5
Not my thing really. Undoubted skills on the keys, but I'm not a fan of his voice, and it's all a bit pleasant. I did remember the singles, from the time, but found it dull overall.
Neil Young & Crazy Horse
3/5
Enjoyed it
The Young Gods
1/5
A challenging listen. Bits of cabaret, bits of sampled heavy guitar riffs, a few strings, all led by Killing Joke- style roaring vocals. To be honest, I found it pretentious, but was that because it was in French? Couldn't engage with it so unfortunately I started to laugh at one point. Maybe some dazzling visuals would have helped.
Deep Purple
4/5
A classic by any standards. Less heavy than I expected, really quite tuneful and even reminded me (just now and again) of the Doors in terms of the arrangements. My brother says it's brilliant, but I'm not quite there, and am unlikely to have it on heavy rotation... I'd feel mean giving three though, for his sake, so four it is.
Led Zeppelin
4/5
Riff-tastic. Deserves its classic status.
Slayer
1/5
I read that this features in a number of "best" lists - best metal albums, best of 1986, etc so I really tried to be objective. It's very fast. But I hated the vocals and honestly, you can do much nicer things with guitars. Dreadful. Or to quote another, succinct reviewer: "horreur". 0 stars.
Elvis Costello & The Attractions
3/5
So, unlike some other reviewers who evidently have Elvis Costello fatigue, this was the first of his to pop up for our group, and it came after 4 metal albums in a row. Consequently perhaps I really enjoyed the change. I'm not a huge fan of his, but this reminded me how creative he is and it was gorgeous to hear some piano after all that guitar. (I like guitar! But Slayer has traumatised me for a bit.) By the last two tracks I'd kind of had enough, but I thought some songs were definitely interesting enough to revisit in future.
XTC
4/5
Not really a fan of their hits so didn't expect to enjoy this, but I was drawn in by the quirkiness and overall vibe, and I found it really satisfying as an album.
4/5
My sons were heavily into Muse just after this came out, so I know it well. I think it's peak Muse. Every song is quality; the whole thing's so ambitious. Music from a man who builds his own guitars is always going to be serious, but there's enough swagger and playfulness not to put me off: yes it's intense, but in a theatrical way. He's also an accomplished classical pianist and I enjoy listening to those passages. An excellent album. I don't really need to mention the Radiohead influence on them, it's widely recognised, but I'll acknowledge it for completeness. I need 9 out of 10, and am going to sit here and decide whether to round up or down.
Depeche Mode
5/5
Great album. Since I'm an 80s electro fan, my knowledge of whole albums by DM is shamefully poor. I was glad to begin to rectify that. Loved the whole vibe. More of this, please!
Lynyrd Skynyrd
3/5
I liked this but it didn't blow me away. Tuneful blues. I can see how they add to the picture, and Free Bird is pretty joyous.
Michael Jackson
2/5
So many "1 star or 5 stars" polar opposite reviews for this. Personally, I just thought it was mediocre overall. He was only ever an ok songwriter imo, and the production on this wasn't as shiny and 80s-tastic as I expected, not enough to elevate the songs, so I'm really not sure why some folks see this is the ultimate 80s pop album (ABC and Duran Duran had already nailed that in 1981 and 1982 respectively, surely). I do like Smooth Criminal, he certainly released the odd banger after Off The Wall but overall... mediocre. I always did like his dancing more than his music, and I'll stop there.
Barry Adamson
3/5
Interesting, and a few really lovely tracks. Definitely didn't make me think of Manchester in the late 80s, but I didn't read the full concept, so I don't really know the story he was telling. I liked it overall.
Isaac Hayes
3/5
Great voice, great vibe. Not sure the monologue added much... could have had a couple more songs instead perhaps, Isaac? But good on him for doing his thing. 7 out of 10.
Michael Jackson
4/5
This was, simply, massive at the time. I remember the singles just seemed to keep on coming out. I still rate most of the singles as quality pop songs, but, as then, they're not really my thing. Actually that's being a bit grudging: Billie Jean, Beat It and Thriller did have huge impact and are great tracks. Wanna Be Starting Something is probably my favourite these days, as it still sounds quite 70s Jacksons and I like that stuff now. I can't give it five, because the slower "romantic" tracks are so uncomfortable to listen to but I'll give it 4 for its quality and impact.
Laibach
1/5
I found this similarly inaccessible to The Young Gods. Clearly I have a blind spot when it comes to post-industrial stuff being roared at me in another language. Thought I'd be able to get on board with the humour at least, after the two openers, and FIAT was ok but after that I couldn't wait for it to end!
The Modern Lovers
4/5
I really liked this. Yes, it's clear that he loved The Doors and The Velvet Underground, but most of this was recorded in 1971 - who better for him to have loved? I'm on record here as saying that the NYC drawl style of singing can drive me a bit mad, but it worked with the overall sound. I liked the sense of urgency and honesty and thought it was cool.
Iron Butterfly
3/5
Probably not as good as Cream, or Jimi Hendrix, or The Doors, all of whom had released really good (and not dissimilar) stuff the year before. I therefore dispute how influential this actually was (m'lud). (What do I know though: I wasn't there.) I'd never heard of Iron Butterfly, or this album, before, but now know that it has a famously long song. Truthfully, if you'd told me it was a spoof album recorded last year, I'd have believed you. Saying all that though, it's actually quite good.
A Tribe Called Quest
4/5
A good surprise.
Johnny Cash
3/5
This kind of bouncy, alternating bassline country music really isn't my thing musically, BUT JC had a gorgeous voice and charisma in bucketloads. He tells a fine yarn, both during the songs and between them. It was clearly a memorable day for all.
Prince
4/5
Prince was a true artist. I saw him live on the Lovesexy tour, which remains probably the best concert I've been to. Swagger and stage presence in spades, and a fantastic singer, dancer and guitarist. I didn't know this album well, and there are admittedly a few songs that didn't do much for me, but I really enjoyed it overall: he can do romance, and he can be funky as hell; he's also very funny, and just cool. You Got the Look and Sign o' the Times are definitely banging 80s singles but I was happy to find myself enjoying this as an album, I loved the overall vibe and sound.
Creedence Clearwater Revival
2/5
Started well with Ramble Tamble, really liked the middle section, and I was thinking that, hey, maybe if I'd been 17 in California in 1971, I might have found CCR quite cool. Sadly, the three bog-standard blues tracks which followed did nothing for me. No disrespect to anyone's musicianship, I just find that sort of thing boring. The next track to stand out for me was Up Around The Bend, which is a great song, but I already knew it and already preferred Hanoi Rocks version... love rhyming 'bend' with 'wind' though, just so darn Southern. Who'll Stop The Rain was nice, and it was a decent version of HITTG (I was hoping for a guitar solo to nod and frown along to, and certainly got one.) I ended on Long As I Can See The Light (rather than listening to an extended version) but unfortunately found it pretty uninspiring again. So overall, a bit meh.
The Smiths
4/5
Was a fan from 84 - 86-ish, but I'd moved on a bit by 87 and didn't listen to this back then, although I remember the singles. As for the songs that were new to me, Morrissey's sad /funny /clever words and singing style no longer have the same impact at my advanced age, so I wasn't always engaged with what he was singing about. What hasn't worn off, though, is everything else. I still adore the sound of Marr, Rourke and Joyce. I like Stop Me. And even my wrinkly heart melted at Last Night. There were some gorgeous instrumental passages. In fact, if you just take the instruments, the Smiths' sound is sublime. I don't think they released a bad album, but I'll remain stuck in the past and say that I still prefer their first two. I wonder if they're on this list. Need a 7/10 but will round up.
The Strokes
3/5
A good album. They're not my favourite band, owing to a couple of my personal dislikes around the musical style. But it's good.
Coldplay
2/5
The problem is, lots of people now realise that Coldplay are quite dreary. Dreary doesn't mean rubbish, but, to me, they had that thing: a moment of impact when they briefly seemed exciting, but then, a few albums in, it became clear that they were actually always pretty dull (see also James Blunt, Ed Sheeran). It's impossible for me to listen to this now without hearing the inherent dreariness. The most enthusiasm I can muster is that there are a few pleasing, less predictable chord progressions now and again. But I like my rock to have a bit of edginess and swagger. Call me shallow, but Coldplay are a big snooze-fest. 5 out of 10.
Solange
4/5
Loved the vibe and the sparse arrangements. A good discovery. Has anyone else noticed she sounds like Siobhan Donaghy?
The Incredible String Band
1/5
Nope.
Frank Sinatra
3/5
Nothing wrong with this, lovely voice of course, great trumpets and keys. I enjoyed it, but had lost a little interest by the end. Frank is one of my mum's favourites, and this would have been released in between her getting married and having her first baby (my big brother) so I enjoyed speculating about her life then.
The Rolling Stones
4/5
I so need a 7 out of 10 for this one! I love the Stones but it did just feel a bit long. I've been inconsistent in rounding up or down according to personal preferences, so this time it's up, because I love Mick and Keef; they never compromised having a groove for being too arty or clever, and to me that's a good thing.
Fleetwood Mac
5/5
Their best album, for me, when this unique blend really produced something very special. I've always thought that Fleetwood Mac shouldn't have worked; they could have been an absolute cheese-fest, musically, with the jolly, folksy elements. I don't know whether Stevie Nicks is an actual witch who weaved magic around this album, but I think she has a lot to do with the fact that it became a thing of wonder. Her own songs will always be my favourites; I adore her voice and her searing lyrics. But it's so good as a whole. People will listen to it forever, and reflect on life and love and heartbreak.
The Beach Boys
2/5
Pleasant
Bon Jovi
3/5
Bon Jovi strike me as being hugely influenced by Van Halen, with a fresher energy and with bigger, anthemic choruses made for the stadiums. This is a mixture of some genuine classics that still fill the dance-floors, a few of the said big choruses, the marvellous Wanted Dead or Alive, and some, er, other rock. I bought this at the time, and even started going to rock discos. All that's far behind me now, and I prefer my music a bit less tight-trousered and in your face. But I can't be too churlish. This still rocks, even if it's only part killer and quite a lot of filler, especially on side 2.
UB40
4/5
I really like UB40, especially their earlier stuff like this. Tbh I love most of the politically conscientious stuff that was coming out of the Midlands around this time. Great album.
The Offspring
3/5
I came at this as someone who liked rock in the late 80s, and Nirvana and Pearl Jam in the early 90s; I also listened to and enjoyed the entire back catalogue of Green Day in the noughties, repeatedly, because my kids loved them. So I actually quite enjoyed some of this, even though I'm unsure if it really leaves much by way of its own legacy. It's very derivative of Nirvana. I probably wouldn't listen again; some tracks weren't very good, and it doesn't have the "remember when" of those other bands for me personally. I've realised that I've no desire to immerse myself in any 90s US grunge-punk that I didn't already know. 'S alright tho, and the drummer's great.
Sister Sledge
4/5
Nice to hear the whole album. The 4 best-known tracks are just absolute classics which I love, so definitely no hardship to listen to this.
Gary Numan
4/5
Love Numan - seeing him on TOTP in 1979 is an unforgettable musical memory. This is fab.
Al Green
3/5
Not a genre I explore very often, but very enjoyable.
Koffi Olomide
4/5
Very enjoyable despite making the mistake of reading up on the singer's life. Can't fault the music, though.
Miles Davis
3/5
Accomplished and enjoyable.
Air
4/5
Brilliant. An immediate hit with me. I hadn't listened to it before. I knew some other chill-out stuff, but these two seem to have had toutes les idées first. Really creative use of all the electronica and some good grooves. Très bon.
Steve Earle
2/5
No stand-outs for me on this, although I've heard and enjoyed a little of his later album El Corazon. 3 out of 10.
Deee-Lite
3/5
Groovy in parts. Probably needed to listen to it louder and at a different time of day to get into it. Nothing to dislike, love the image and the sound, just didn't seem to be in the right mood!
Mekons
4/5
Excellent, a great surprise, reminded me of the Pogues and the Clash combined.
Steely Dan
3/5
As mentioned in my other Donald Fagen review, this genre isn't my cup of tea, but that's not to take away from the proficiency of the musicians.
Talking Heads
5/5
Utterly brilliant. I first heard this properly in about 1990, and I've never got tired of it. As others have said, the sense of drive is incredible. So many interesting cross-rhythms and melodies in the instruments and vocals. It shouldn't be possible to create fascinating songs around a single chord, but TH manage the brilliance of Crosseyed and Painless, then immediately eclipse themselves with The Great Curve: just two of the "one chord" songs on the album. I didn't know until today that Brian Eno was involved, oops, but the production is certainly masterful. I agree with David Byrne, who apparently said it was "joyous and ecstatic and yet it's serious." It's genre-less, fabulous and even better, makes me want to dance, at least until the (still wonderful) darkness of the final track. 11 out of 10.
Fleet Foxes
2/5
Oh dear. I feel like I should have liked this. I like mandolins and nice harmonies (and Bruegel). Unfortunately, my sarcastic, flippant, Brit nature won and it just annoyed me. I really wish I could say it was a beautiful thing, but I wanted to do a Jarvis Cocker. Robin, go and swing your pants somewhere else. Meh.
Blondie
4/5
I've always liked Blondie's singles, but was aware the band's lustre didn't seem to last that long, and I'd heard rumours about them not actually being all that good. And, reading the Wiki write-up, it made it sound like recording this was a triumph of production in the face of poor musicianship and the band being a bit, well, rock n roll in their attitude. Well, pah. As far as I'm concerned, this is a collection of really good songs and the playing sounds fine to me. As for the overall sound, whoever was ultimately responsible for it, it encapsulates all the good things about pop in 1978 - edgy guitars, fun, dark enough, synths creeping in there. I'd actually forgotten how much I really, really like Debbie Harry's voice. A properly good album with loads to enjoy, and several classics that people will be singing along to forever.
Marianne Faithfull
2/5
A decent album. I'm glad she recorded it and enjoyed some acclaim. It didn't set me on fire though and I didn't really get a sense of her as an artist, somehow.
Green Day
4/5
Green Day are such nice guys, and this is full of bangers. Happy memories of car journeys with the family.
Dolly Parton
4/5
How could anyone *not* like Dolly. Truthful songs, quality playing, heart on her sleeve. Humble but sassy. Sincere but funny. She communicates both joy and sadness with such simplicity. Apparently she's incredibly generous, too, and I feel mean giving it four stars. But it's not quite my genre. And I'm not as nice as she is, clearly.
Peter Tosh
4/5
I really enjoyed listening to this.
The Sonics
4/5
Ooh, this joined some useful dots on my Jack Black-style, School of Rock, mental blackboard. Definitely a link between nice 60s-style guitar pop and the punk and indie stuff to come. Even a wee bit o' screamo! Who knew. Is it just in the UK they're a bit obscure? Good to hear some boys enjoying making some noise and being innovative. I enjoyed the blend of traditional rock n roll classics with the desire just to be properly noisy. My fave tracks, truthfully, were Gerry Roslie's originals; I shall endeavour to remember his name. (And I now know that Richard Berry wrote Louie Louie, which isn't on here, as well as Have Love Will Travel, which is. Satisfying musical knowledge.) 7 out of 10 but I'm feeling generous
D'Angelo
2/5
I liked his voice and the sound. Could definitely hear the Prince influence. Smooth and soulful but truthfully not my kind of thing.
Curtis Mayfield
4/5
Excellent. Understated, impactful funky soul with a message. Deserves all the acclaim. Possibly overdid the falsetto now and again (sorry!)
A Tribe Called Quest
2/5
I'd enjoyed their debut a lot but this wasn't for me.
Earth, Wind & Fire
4/5
Great playing, great grooves, great sound overall. Doesn't feature either of my favourite bangers - Fantasy or Boogie Nights - but it was really enjoyable!
The Black Keys
3/5
There are lots of reviews commenting on a lack of authenticity; why not just listen to actual blues; etc. I don't really know enough about where the Black Keys sit, to judge. It didn't strike me as try-hard or pretentious, as some have said. I did clock the resemblance to the White Stripes, who sound cooler imo. I enjoyed it (it was a bit long) and would go 7 out of 10, but perversely, perhaps, would also comment that I don't think it belongs on this list, because I don't think it particularly adds to or illuminates the story of music. So there you go, I did judge in the end.
Yeah Yeah Yeahs
4/5
I'll admit that the Americans are quite good at this stripped back, heavy, grungy stuff. Now that I'm old and more sedate, I'm less inclined to put this sort of thing on to listen to, but it's exciting, full of energy and it's great to have an unapologetic female lead singer who just wants to stick it to everyone. I had to seek out "Modern Romance" on a different version than the linked one, and concur that it sounds a bit like the Velvet Underground. The whole thing obviously owes a massive debt to the past, but I can't really blame them for that since they're channelling the good bits! I also appreciated the 80s influence (hello keyboards), so have probably rounded up from a solid 7 on that basis.
Pink Floyd
5/5
Simon & Garfunkel
2/5
I've enjoyed the odd S&G track over the years, but for me, this album was a mixture of mainly uninspiring songs interspersed with some nice musical moments. The big Moog moments in track 2 did make me sit up for a minute. Punky's Dilemma made me want to punch someone; were they on drugs? - bit funnier if so. Mrs Robinson is a bit of a tune. I'm boring myself writing this. Meh.
Sheryl Crow
3/5
Nice to hear this again; I listened to it quite a bit when it was first out. I never found it a terribly exciting album; it was more just something easy to stick on in the car. (I seem to remember that boyf - now husband - and I were into anything that made us think about driving across the vast expanse of the USA, because we really liked Thelma and Louise, and this fitted that vibe.) It turns out I've forgotten quite a few of the songs, oops. Positives: I love her voice, and the songs are decent. She's actually released a couple of singles that I love, but neither of them is on this album. A solid 6 out of 10.
The Chemical Brothers
3/5
Really good overall; am not a dance music aficionado and found it a bit same-y to do a whole album, but I do like their sound.
Frank Sinatra
2/5
Very late night, very smooth. It did get a bit meandering at times, and I think the first track was probably the best one. Classy though.
Peter Gabriel
4/5
In 1986, we had plenty of meh AOR, and to some extent I understand some reviewers thinking this is an example; yes, it's over-produced. But I rate the songs (actual bangers, Kate Bush!) and think it's deeper and has more to say than might first appear. I'm no better informed about him than I was back then, tbh: my impression - Genesis were wacky, then became quite boring, then Peter Gabriel went solo and became edgier again, then he went more mainstream (this album), then he did Biko, which was really impactful at the time. I can't quite explain it, but I somehow know that he's smart and emotionally intelligent and has something to say. He has a great voice. A good album.
Adele
2/5
The Adele album before this, "21", had some good singles on it, which led to Adele being EVERYWHERE. I was all Adele-d out by the time this came out. I do remember hearing Hello for the first time and thinking it was pretty good. Then I heard it again, and again, about 75000 times. I was soon switching channels to avoid her again. I approached this today as objectively as possible; after all, I've been avoiding her for nearly 10 years, so maybe I'd see something justifying her omnipresence? She undeniably sings really well. I don't feel engaged musically by the songs though; they tend to start well but sound repetitive by the end. As for the emotional journey that she's on, I could relate at times, but the unexciting music meant I wasn't ever, really, drawn in. Two more things: 1) it turned out I knew nearly every song, so I'd clearly been unable to avoid her after all. 2) I will NEVER forgive Adele for inspiring hundreds of young women to copy her bizarre faux-Irish accent. It's a huge ick. Stop it, girls!!
3/5
Had to seek it out on YT, so couldn't look at lyrics etc. I'm glad this album exists; it's unusual and appealing. Some tracks did meander off a bit but I enjoyed the overall sound, and would be putting "Green Man" on a playlist if it was on Spotify! Hurrah for British quirkiness.
Kendrick Lamar
2/5
Not for me. Good to express views on society etc, but the excessive swearing is a big no for me, and meant that any interesting jazzy bits, etc, were lost to my wincing. Sorry. Just personal, not saying it's no good, in fact I get that it's eclectic and interesting.
OutKast
3/5
Lots to enjoy.
The Temptations
3/5
Enjoyed this v much and would go for 7 out of 10. Slightly unmemorable perhaps so I'm rounding down rather than up. But I really liked it!
The Clash
3/5
Not at all bad, I prefer their slightly later stuff but the fondness for melody and interest in exploring beyond punk (eg reggae) is here to see amongst the more straightforward noisy stuff. Proper punk and I'm glad to have heard it.
X-Ray Spex
3/5
Poly was a trailblazer who should still be out there sticking it to the establishment. Glad this seems to be widely recognised as a significant contribution to the punk catalogue.
Hole
3/5
This 1001 project had already delivered up Celebrity Skin, which I loved. So my mid-90s media-led prejudices about CL had already been dispelled, and I was eager to listen. This is a great grunge album. I don't actually love grunge, or it would have another star, but it's got some brilliant tracks on it (Violet, Asking for It, Doll Parts). I also loved the cover version, Credit in the Straight World, and am consequently now enjoying Young Marble Giants' Colossal Youth (apparently beloved by both Kurt and Courtney, and I can see why so far). Love Courtney's voice, incidentally.
Radiohead
5/5
Ooh, this one was very good. Knew bits and bobs, but hadn't listened to the whole album. Was worried it might go a bit Coldplay at one point, but it soon recaptured my attention. Loved instantly, tbh.
Funkadelic
4/5
They rock hard. And they groove hard. I liked it.
Foo Fighters
4/5
Call myself a fan? I'd actually never heard this before. And didn't know Dave had done this first Foos album all on his own. It's all there already, isn't it? Those characteristic chord progressions and harmonies. I own a few of the later albums, and imo these songs would fit right in. I read about it first - apparently, a cathartic, hastily-recorded effort after Kurt's death, and I was prepared for it to be pretty bad (I thought it might all be like Weenie Beenie, which wasn't my thing.) But no. Most of it's great! I love Dave. He's a creative, rocking force of nature, and apparently a really nice guy. One of those that makes you think - what else could he possibly be doing? He was put on earth to do rock music. Foos songs are never boring, even when I don't especially like them. I really, really liked most of these.
Lupe Fiasco
2/5
Well this project has confirmed that rap really isn't for me. I keep trying. I did like some of the backing and instrumentation (Just Might Be OK was really interesting) but I find the vocals get boring after a couple of tracks. Sorry.
Frankie Goes To Hollywood
4/5
The singles were simply huge at the time and haven't gone away. I completely concur with another reviewer's excellent summing up of why it felt so great in 1984 to have queer lads from Liverpool sticking it to Thatcher, but doing it 80s-style, ie with excess. These songs were so good to dance to! Anyway the album was a tad longer than expected and Born to Run was a mis-step for me. But apart from that I loved the basslines and the shininess and all of the "hwaaah!"
Cocteau Twins
4/5
Loved it. Listened to some of the back catalogue as well, because I knew I'd neglected them in my youth, oddly, as I've always loved a shimmering guitar. So I had a very happy three hours or so. This particular album didn't disappoint even though I do prefer their earlier stuff (I'm such a cliché). Beautiful stuff.
The Velvet Underground
4/5
It's all been said before. Arty. Influenced so much of what has since followed (particularly from NYC). Viewed objectively, a bit odd in places.
Bruce Springsteen
3/5
This was released when I was about 15, at which point I was emerging from a goth phase (Bauhaus, the Cult) and discovering Bowie and Roxy's back catalogues. For me, men were supposed to be skinny and wear make-up; music needed minor chords, and preferably synths. Consequently, I thought all the singles from this album were dreadful, especially the title track. In 1991, I fell in love with someone who was obsessed with Bruce, and discovered that literally every other Bruce album appealed to me far more than this one. I still don't like this album; the songs are too stompy and cheesy-sounding, and I can't get past that to hear the message (Downtown Train is the only one remotely "me" musically.) Bruce writes some searing lyrics, but I'd rather hear them à la Greetings From Astbury Park, or even Nebraska. (Let's face it, I'm very unlikely ever to like a song called "Bobby Jean". And, if he had 70 songs to choose from, how on earth did "I'm Going Down" make the cut?) Title track still gives me a headache, though I do now appreciate the lyrics. Bruce is great in many ways; this just isn't for me musically. Shout out for the E-Street Band on this though, they're really good at what they do.
4/5
I really rate Blur. Yes, they're pointedly quirky and clever, but it's never annoyed me, because in their case, I'm involved and engaged with it. I guess that's down to the fact that I like the songs themselves. And the musicianship; they're really good. Blur are never boring. I do hear Kinks, but I also hear early Roxy (let's all play our instruments loudly and discordantly at odd moments) and post punk. Great! And that'll do for my review. PS woke up singing La, la, la-li-la this morning 👍
PJ Harvey
2/5
I expected to like this, because guitar-led music by angry women is a good thing imo, but truthfully it just didn't speak to or engage me, and I didn't. Sorry. I do like some of her stuff from 2000 onwards but I just didn't think this was great.
Leonard Cohen
3/5
It probably didn't help that I listened to this while waiting for an exciting election result, but I failed to enjoy the album's subtleties and undoubted quality, and instead was irked by some slightly out of tune moments and impatient for it to end. I'll maybe revisit it another time but already know it's not really my genre, however cool Leonard is.
Ella Fitzgerald
4/5
Not sure why we needed a 6-disc compilation. She has a lovely voice and sings lovely songs.
Iron Maiden
2/5
Enjoyed it in parts. I think they got better after Bruce D came along, though. I liked that you could hear elements of prog rock in there but also that they were moving things along in an 80s metal direction. Didn't like the last two tracks though, which meant it finished on a bum note for me.
Buffalo Springfield
3/5
Not sure I'd call it psychedelic; folky, yes. A few nice harmonies for sure; the California side of the country was good at those, as we know. So for me, this started well, but didn't engage my attention all the way through. I liked the Young and also the Stills songs; it felt like Stills was trying to rock a little harder than the others. Not bad but not hugely exciting; overall, I liked it.
The White Stripes
4/5
Another fab White Stripes album. As I said before - the perfect mix of classic influences with a twist, and very cool. Nice to hear the beginnings of some of the crazy piano which comes into its own on Blunderbuss. Jack White always draws me in both musically and lyrically, and leaves me with a smile on my face, fancying a glass of bourbon.
AC/DC
4/5
I would hope everyone likes AC⚡️DC. Fabulous riffs and catchy hooks; metal you can dance to and that doesn't take itself too seriously. Happily, their legacy is assured. Already knew this album from my youth, great to hear it again. They're one band where I happily overlook the daft lyrics, because they feel utterly unthreatening. Sheer entertainment.
Deep Purple
1/5
Wasn't feeling this today. Not as good as Machine Head.
King Crimson
4/5
So famous, and yet I'd never heard it before nor really paid attention to who was in the group. I enjoyed it, and it brought home to me just how much happened in pop music in the 60s - from where it started, to the amount of experimentation that was going on by the end of the decade, is incredible (and nicely set up the 70s, when pretty much every genre we have today seems to have been established). Anyway, I did enjoy this, I can hear that it influenced many others; prog rockers of course but also I thought of early Roxy Music, and also (to my surprise) quite a bit of Bowie's Man Who Sold the World. Of course it's a bit daft but I don't mind that. Can't decide between 3 and 4 but I'll be generous.
M.I.A.
1/5
I couldn't seem to vibe with this, apart from Jimmy and Paper Planes. Otherwise, I found the rhythms and vocal off-putting.
Beyoncé
2/5
Great singer, great dancer. Star quality when she performs. But the music really doesn't do much for me, unfortunately. Like other reviewers, I was a bit bored 🤷♀️
U2
4/5
One that I know well. New Year's Day was the chart single that made me a fan of U2 at the time, and I was soon borrowing War (on vinyl, of course) from my friend, like you did then. I still really love lots of the tracks - Like A Song is my favourite; a burst of pop melody and aggression that would fit in on my now favourite U2 album, October. I prefer the single edits of both Sunday Bloody Sunday and New Year's Day: they don't need the extra verses and howls. Maybe all U2 really needed all these years was a critical friend/editor? Either way, they definitely went too far down the "world saviours" route at some point. But that was in the future. Here, they're still pretty heart-rending, and only a tiny bit pretentious. Musically, the band sound great, and this justifiably springboarded them to huge success. I only wish I'd seen them on tour at this point. "40" is a gem, even though it's probably responsible for many Coldplay-like imitations. Will always be fond of this.
Sly & The Family Stone
3/5
Enjoyed this very much.
Deep Purple
3/5
Probably excellent in its own way, but I struggled to sit through a full double album after having already had two other DP albums quite recently via this app.
Anita Baker
3/5
Pleasant! And she has a great voice.
Red Snapper
4/5
Really glad to have discovered this, didn't know it at all, but really enjoyed it. Will definitely be listening again.
Grateful Dead
3/5
Well, I quite liked it at first, but by half-way through, it was sending me to sleep. More Cali 60s-70s folky harmony vibes. I get it, dudes. Edit: I knew they were my eldest brother's favourite band, but hadn't realised Brokedown Palace was his "you'd better play this at my funeral" song. So I listened to it again. Yup - it's a beautiful song. Sometimes, you just need a reason to tune into something.
David Bowie
5/5
One of his very best.
Arcade Fire
2/5
They could have done with sneaking a few bottles of wine into the studio. Interesting, but too sombre for me. I could hear some good influences, from singer-songwriter right through to New Order, but they all came out badly in the mix. The Killers did it better; this is too intense and misses the fun.
Meat Loaf
5/5
Powerful, theatrical, tuneful. I'm old enough that Meat has been a figure of awe since this came out. What a nice bloke, too. I'm glad he lived long enough to get involved in the stage show of this, which is also hugely enjoyable. Respect to Jim Steinman for just doing what he did best.
Black Sabbath
4/5
I thought we'd had this already, lol. I must have researched it at an earlier stage, when I was more interested in the story of metal. Little did I know how much nuanced detail we'd be covering it in! Well, I'm glad it exists I suppose (not as glad as Jack Black though). Extra star for Midlands.
Buddy Holly & The Crickets
3/5
I wasn't looking forward to this, as it's not my favourite era of music, but I enjoyed the nice harmonies, and, of course, many tunes that I've been hearing all my life. Looking at his writing contributions to the album, I've also newly thought about how absolutely tragic it is that he died at 22. We can only imagine what a 32 year old Buddy might have been writing by 1969, for instance. How very sad.
Beatles
4/5
I've always been more Team Stones than Team Beatles. Shallow perhaps, but I love the swag and the energy. "Imagine" put me right off John Lennon when I was 12, and Macca has written some right old nonsense. However... I'm re-appraising the songwriting ability and influence of Lennon and Macca in the Beatles days (lol. Not like they needed me to). (I already rated George). There are a few misfires on here: songs that are too twee for me (Macca *cough* and "Girl" was pretty dreary). But it's the chord progressions that you need to appreciate, innit. I'm beginning to realise that collectively, they all did invent quite a lot of Stuff. I'm embarrassed to have to quote from Wiki: "it has been recognised by music critics as an album that opened up the possibilities of pop music in terms of lyrical and musical scope." Yeah, that. I owned this album already, and I stand by George's songs as being the best ones for my taste; I hadn't listened much to the rest, although I knew the hits. But I now concede: it's a good album, and Lennon and Macca are all right I suppose ;)
MGMT
3/5
Pleasing overall. I didn't really have the mental space to give it the attention it deserves.
The Jam
5/5
My first time listening to a whole album by The Jam. I knew it was regarded as a classic, and it contains my two favourite singles, Start and That's Entertainment, so I was interested to see if I'd like the whole thing. I thought it was excellent! Melodic as well as thought-provoking and such a great energy. Paul Weller is ace.
New Order
2/5
I truly love most 80s electronica, but, for some reason, I've always been lacking the New Order gene. I actually hate Peter Hook's plinky plonky high notes/ melodies on the bass guitar (it's a BASS). I can't engage with Bernard Sumner's understated vocal style. And there are, generally, too many major chords. I find New Order really bland, with the exception of Blue Monday. Despite all that, I went in with an open heart, as I couldn't remember what they sounded like by this late stage and was hopeful. But I haven't changed my mind. If I had to listen to any of this again, it would be the purely synth, dance breaks (ie where I can't hear Peter Hook). I always liked Blue Monday and disliked everything else. Apparently, my taste hasn't changed. Go and plinky plonk somewhere else, Hooky.
Miles Davis
3/5
Hmm. Well I found disc 1 pretty unlistenable and nearly gave up. Had a break, and listened to disc 2 in headphones, which was much better as I could hear the instruments properly and not only the free-form parping and squeaking. Interesting, is my verdict, and "Miles Runs the Voodoo Down" reminded me of Aladdin Sane's crazy piano. Bowie always liked jazz, didn't he. So I should respect its interestingness.
Metallica
3/5
I shouldn't really rate this as I didn't get through the whole thing. But I want to show my approval for the project and the performances.
Joni Mitchell
5/5
A beautiful album, much-loved since my teens. Not a bad song on it.
Django Django
4/5
I bought this on iTunes after hearing Hail Bop on 6Music. I basically do really like the sound. I found it surprisingly difficult to get through a whole album though, and never managed it at the time. I still think it's a bit long, but like the vibe. Some really good quirky harmonies and chord progressions; a couple of tracks perhaps tipping into "irritating". I've no idea what their more recent offerings might sound like, as they'd completely dropped off my radar. Oh, and I'd always thought they were American.
LCD Soundsystem
4/5
I like LCD Soundsystem, and they're definitely cool, but I'm not always in the mood to listen to them, if that makes sense. Before listening to this, I only knew American Dream, so I was late to the party. I do like American Dream more. But this is creative, groovy, and hypnotic in places. The final track was an interesting surprise and roots them firmly in NY, (which I know is where they're from).
Aerosmith
2/5
Not really very good at all, fun in places I suppose.
Gorillaz
4/5
Elliott Smith
3/5
Started well but not quite the undiscovered gem I was hoping for. Undiscovered by me, that is, I hadn't heard of him. Some nice Beatles, Blur, Radiohead stuff going on with a bit of his native USA folk. Sorry that he died so young. But it didn't stand out to me.
Public Enemy
4/5
I don't like rap, but even I can see this is really good.
Jean-Michel Jarre
3/5
Yay for synths. Very soothing. Not terribly exciting.
The Velvet Underground
3/5
I expected this to be interesting, and it certainly didn't disappoint. Only a 3 because I doubt I'll go back to it as an album.
David Bowie
5/5
David very much getting his soulful groove on. Fabulous title track. I also adore Win - it mixes Diamond Dogs disturbia with soulful BVs and floaty gorgeousness. I love Can You Hear Me. Other tracks, eg Fascination and Somebody Up There, have a great groove, but do end up a bit repetitive. I've never really liked Fame, but it's interesting. It's really a 9.5 out of 10 for me, but I refuse not to round up cos BOWIE.
Raekwon
1/5
Through this project I've been able to engage with more rap and hip hop than I'd expected to, but not this one, sadly. I can get angry about some of the same stuff as the writers, but it's the genre itself that I can't often click with (Public Enemy being a recent exception, I enjoyed that one). I gave up half way through, so probably shouldn't be rating it.
David Bowie
5/5
I absolutely love this album, and have done since I was 15 (41 years ago, gulp). I don't think I'll ever get bored with it. The short tracks on side 1 are delivered in a throwaway manner, as if Bowie's emptying out some pop stuff that's been rattling around in his brain for a bit, perhaps. Except that every one of those short pop tracks has musical depth and complexity, and brings a sense of darkness in the lyrics. The opening and closing instrumentals on side 1 hint at what's to come: side 2 is epic, and beautiful. Having decided to get on board with the synth thing, and assisted by Eno obvs, Bowie was evidently happy to completely run with it, and create long, filmic soundscapes that perfectly describe post-war Europe. I feel as if I could write a book about this album. Did I mention that I absolutely love it? Never mind 1001 albums, this should be in every top 10, surely, for creativity and importance. I wish he was still here.
Kanye West
1/5
Rage Against The Machine
2/5
I like a heavy riff, and for a while I was into the stompy, backwards-baseball-cap antics of Faith No More etc. Unfortunately, I didn't hear this back then and for whatever reason, this type of thing doesn't do it for me any more. I appreciate the riffs and the funky moments, but there are other ways to express frustration than by shouting. It probably didn't help that I've already had to listen to Raekwon and Kanye this week. Nor that I'm a British, middle-aged woman being stretched in several different directions.
Peter Gabriel
4/5
Definitely a strong 4. New to me, apart from Games Without Frontiers and Biko, both of which I already really liked. I love Peter Gabriel's creativity and willingness to go into darker places in such a thoughtful way (this is so much more me than shouty rap). I bet he'd write great novels.
Fishbone
3/5
New to me; possibly didn't do very well in the UK? Anyway, it's not bad. They were all quite young guys at this point, by the sounds of it, so there's no point being unduly harsh; it's perfectly proficient, and the ska influences were good to hear (there weren't enough of those moments; a lot of it was more like the J Geils Band, or maybe David Lee Roth-lite.) Overall, it was very mainstream - not sure it's very noteworthy, tbh, although they must have been entertaining live. Perhaps they still are. To finish on a positive, I really like the singer's voice, and the trumpety and funky bits were enjoyable.
Leonard Cohen
4/5
Not to all LC fans' taste it seems, but it's a clear case of when you've got it, you've got it.
The Velvet Underground
3/5
The third by the Velvet Underground to come up in fairly quick succession. Love the grungy backing (especially on Lady Godiva) but not really into the vocal styles (or lyrics) on display here. Whilst not disputing the cool vibe and their influence, it'll have to be a 3, I guess.
The Rolling Stones
4/5
Two classics: Sympathy for the Devil, and Street Fighting Man. SFTD is excellent and will be enjoyed eternally. The rest of the album shows the Stones comfortably in their groove, and it's good. I still love Mick and Keef, it'll be a sad day when they put down their instruments.
Beck
4/5
There is some true beauty here. Beautiful melodies, chord progressions, words and, indeed, production. I love how it sits somewhere amongst psychedelia, blues, prog rock, chill-out 90s and Chris Cornell, but remains its own thing. At this point, I should admit that this is the first Beck I've heard, and I'm well overdue a catch-up with his older stuff. I shall atone. I really liked this.
R.E.M.
4/5
I like REM but hadn't heard such early stuff before. I wasn't disappointed! All the things I enjoyed about them at the end of the 80s were already in place here; in fact they seem to me to have a very mature sound already. Thanks to this project, I thought I could hear some of the New York alternative influences, and also hear how they, in turn, influenced bands like Nirvana, so thank you Wiki for backing me up on those things. I think I just like the overall blend that makes up REM's sound. Thoughtful without being annoyingly so; melodic and jangly but not twee; enough edge, rockiness and misery to keep things cool.
Abdullah Ibrahim
3/5
Jazzy! (Obviously.) Very smooth and melodic. It didn't really get me excited, but had some very beautiful moments. It's not my area of expertise At All, so sadly I can't judge whether this is a stand-out in terms of jazz compositions, but I enjoyed it.
Siouxsie And The Banshees
4/5
A favourite band whose music takes me back immediately to the atmosphere of the 80s indie disco. As a goth-lite, I always thought Siouxsie was magnificent, and still do. I especially like the guitar sound. Great stuff.
Leonard Cohen
2/5
A couple of standouts, but mostly it hasn't left an impression since I heard it on Friday.
Keith Jarrett
4/5
Very enjoyable, completely new to me. I read about the concert and wouldn't have known the piano wasn't up to scratch! Although I wasn't listening to it very loudly. Such an accomplished performance.
The Specials
4/5
Baffled by some people giving this one star. I don't normally worry about opinions that differ from mine, but... eh? Anyway. I love The Specials. No, the singers don't sound like they could audition for X Factor. Thank goodness! Can people not hear the tight band, the wonderful cross rhythms in the bass and that punchy brass? All fronted by a laconic, grumpy Midlander and his mates, having fun but despairing at what's happening aroung them in Thatcher's Britain (and oh gawd, it got far worse), and/or making wry observations; I chortled more than once. My family are from Coventry, and I was 12 when this came out, so I'm biased. But surely, it's great isn't it? Did I mention I love The Specials? Their debut was maybe better, but this is ace.
Roxy Music
5/5
Both Adam Ant and John Taylor named tracks on Country Life as being amongst their favourite songs, which was enough to send me scurrying to the shops for this in the early 80s. Having grown up in the 70s thinking Bryan looked a bit creepy on Top of the Pops, I'd been won over by Avalon in 1982, and a friend and I then lost no time in filling in our knowledge of what had come before by buying half of Roxy's albums each and swapping now and again. (Some home taping may have gone on, ahem.) So, this one was mine, which meant I had to stick a piece of paper over the cover when transporting it to school. Anyway, ever since, Roxy Music have been one of my favourite bands. I never get bored by them, and although there are a few tracks (across their whole catalogue) that I can't get on with, I usually love the melodies, chord structure, instrumentation and of course their style. Phil Manzanera is definitely one of my favourite guitarists. On this album, I particularly like All I Want Is You, Out of the Blue, and A Really Good Time. Their songs are nearly always about people and relationships, but there's always an interesting edge. All of their albums are fantastic.
Bob Dylan
2/5
My husband and son love Bob Dylan. I do not. His voice has never appealed to me, and I've found it too much of a barrier to appreciate his much-revered lyrics or the songs themselves. Consequently, I've never listened to a whole album before. Apparently we get seven in the 1001 - this was the first to come up for our group. Husband thinks there are more than seven Dylan albums better than this one. I guess it's included as it marked a "return" and won lots of Grammys. (And it's got the song that Adele covered, of course.) Anyway. I didn't hate it. It was, at times, bluesy and quite atmospheric. It's not really for me, though, and I was already finding a lot of it boring before I got to the 16 and a half minutes of the final track. Phew.
The Who
2/5
I like the Who, but they were definitely still finding their way on their earliest albums. Best bit here is the title track, especially it's legendary ffff...ade away lyric, which is definitely a moment. In my opinion, they found their sound around 1967. By the early 70s Roger Daltry had developed one of the best rock voices out there, they'd embraced a bit of theatre, and they were great. But even with this hindsight, I didn't really rate this, it seemed to merge in with much 60s stuff and I can't think of much to say about it.
Nirvana
4/5
This was much-needed in 1991. Edgy, visceral, heart-rending at times. Just, really interesting. Gone for me was the brief appeal of hair metal; back were grungy, sensitive boys in cardigans like those I'd dated in the 80s. I'm English, and I also remember thinking this was the first time I was aware of something actually "alternative" coming out of the States. (Which of course may be unfair. Just saying how it felt.) I know there were other bands doing similar things, so I don't know if Nirvana were truly original, but they seemed to be, and definitely had a magic formula. Every track is good, and side 1, in particular has lived long in the memory, with every song still evoking an emotional response. I like the riffs, the harmonies, the drums. Kurt was very beautiful.
PS I didn't think I was in the mood to listen to this today. I was wrong.
PPS I didn't know the last track, which is apparently because it wouldn't have been on my vinyl? I'm not sure I needed it.
Anthrax
1/5
No, thank you. I did sample it, and immediately disagreed that there was any need to listen to the whole thing before I die. So, I didn't listen to a lot. My rating is, therefore, unsound. I'm not disputing how much practice it takes to sound like this, incidentally. I just don't like it, and I'm not in the mood to be objective.
Jazmine Sullivan
3/5
Loved the overall sound, and the idea of women sitting round talking about sex, but some of the lyrics were a bit explicit for me, I'm such a prude! I saw how many writers were involved, and I'm surprised that it felt so cohesive. Very mellow but also quite rude.
Can
4/5
Unexpectedly brilliant. I had no idea this sort of thing was coming out of Germany in 1973. Surely Bowie must have heard this, before he got into his own ambient thing. The last few minutes of the final track reminded me strongly of Bauhaus. Talking Heads were clearly fans of track 3. The whole album thrums with the weird and the wonderful, combined with African and Latin rhythms; even jazz-like at times. I did feel as if drugs must have been involved. But what a great result! A good surprise.
Nas
3/5
Great-sounding album. The only thing that this middle-aged white English woman didn't like was the bad language. I've said it before, I'm a prude! But the samples were cool, funky and stitched together perfectly; I was inspired to check out 'NT' by Kool & the Gang, which is sooo funky and chill and helped me understand more about what inspired hip hop in the first place. The live trumpet (his Dad!) was great when it came in. And yes - he's a great rapper. I don't mind rap when the voice is easy to listen to; it reminded me a bit of Melle Mel, so for me it had an 80s feel as well as harking back to 70s funk. Vocally, some really clever rhythms and cross-rhythms, delivered with laid-back ease. I just would prefer not having to hear the N word, the F word and the MF word Quite A Lot. I know I'm old, and he's no doubt talking in his authentic voice, but truthfully those words add nothing for me, and push me away a little bit. I'm sure he wouldn't be too fussed about that...
Rush
3/5
People seem to have written a LOT of words about this one. I'll just say that I was surprised that it's not very heavy. I'd assumed all those denim-jacketed fans were listening to something a lot more aggressive, back in the 80s. It's very upbeat. Excellent drumming, melodic bass. They sound very comfortable in what they're doing, and a sense of creative fun comes across. Not really for me; I'd had enough after side 1, but I can see why they inspired such devotion.
Daft Punk
4/5
Oh, I'm so smug that this came up as an acknowledged classic, because, as a newly qualified teacher back in 1996-7, I got my class (7 and 8 yr olds) to do a dance to Around The World and perform it to their parents. The kids all appeared to love it. I can only hope that, years later, when Get Lucky made Daft Punk even bigger, some of them looked back fondly on how cool their Y3 teacher must have been 😉 So basically, what I'm saying is, this stood out to me at the time as being uber cool and a bit different. It was great to hear it again; it's house music that actually makes me want to dance. It's repetitive, as house music is wont to be, but they have the magic formula and it's very engrossing. Très bien. Now then kids... 5, 6, 7, 8...
Van Morrison
3/5
Emotion-filled and some lovely acoustic guitar, with a not-unwelcome jazz feel at times. A bit too rambling in places.
The Prodigy
3/5
My heart initially sank when I saw this, but lifted again when it turned out not to be the one with Firestarter on it - sorry, but I really disliked those 1997 hit singles. I was further relieved that Keith didn't do anything on this; he's pretty scary. This wasn't bad. Not something to get me dancing - I prefer my dance music rooted somewhere in the 70s, even if it's later, if ya get me. Anyway it's way too fast for me nowadays 😆 My favourite bits were when it slowed down and went a bit filmic, which it did fairly frequently. 3 Kilos was a jaunty little tune, but I didn't like the last track at all. I don't know enough to know whether it's ground-breaking or anything like that, but it was clever and, as I say, not bad.
The Cure
5/5
Great to hear this all the way through. Having loved A Forest since hearing it on John Peel some time in 1981, I don't know why I've never delved into the full album. I absolutely love the sound: sparse, just enough pedal to make it ethereal, Robert's faraway vocal relatively low in the mix. (And none of the annoying high note plinky-plonk bass that crept into later, "jollier" singles.) Really gorgeous.
The xx
2/5
I wanted to like this, but dear lord, the awful soppy singing. Combined with a bit too much plinky guitar, my teeth were on edge and I couldn't get into what I'm sure some people find a moving and affecting album. I wanted to crank everything about this band up by several notches, because I feel sure their musical hearts are actually in the right place.
Nick Drake
4/5
Some beautiful songs, both in terms of the words and the music. I get that some people prefer the stripped back version of Nick, but apart from on Poor Boy, I liked the fuller, jazzier sound; not too different from what Joni Mitchell was doing around this time or shortly thereafter.
The Mars Volta
4/5
Ooh, what a mish-mash of other artists jumped into my mind listening to this. As was, apparently, said at the time - Led Zep, Santana, King Crimson. If you listen out for Flea, you can hear touches of RHCP. But I also heard Muse and Jack White, and even a little-known British band called The Music (mainly in the vocals, that last one). Plus others I couldn't put my finger on. (Told my brother* to listen to it. He notes similarities with The Pretty Things.) What a wonderfully crazy thing this is; unknown to me beforehand, but definitely one to remember. Obviously completely bonkers in terms of the concept and lyrics, but, musically, I loved it!
*thank you, 1001 Gen, for allowing me to introduce an album to my 64 yo rock fan brother, who normally knows Everything about music. He says "magnificent".
Gene Clark
2/5
I know there are various Byrds albums in the 1001, and, despite being 250+ in, I still haven't heard any of them. The Byrds aren't a band I've ever been particularly inclined to explore, new wave/ art rock/ post punk fan that I am (apparently those are the accepted terms). Anyway the point is, I would have preferred to judge this after hearing Gene Clark's contributions to the Byrds, first. But never mind. For my taste, it's very... conventional. Nothing particularly to dislike, and undoubtedly melodic and well-constructed. But this type of thing doesn't do a lot for me. Should it be more widely regarded as a classic? Other reviewers think so. Maybe. It didn't seem worse than some pretty well-known Americana from the 70s. Just not my thing. 5 out of 10, but I've got to differentiate somehow.
Santana
4/5
I mostly found this hugely enjoyable. I already knew and loved Oye Como Va, thanks to the Carlito's Way soundtrack, and was vaguely aware of the rest of the album. I knew of Carlos Santana, and his fondness for rendering vocals largely unnecessary, putting the guitar front and centre. The album romps along in a pretty joyful way. I'd have preferred even more Latin content and a bit less of the Cream-style rock, but it was a great listen over the weekend.
Alanis Morissette
4/5
AC/DC
3/5
Some stand-outs and generally really enjoyable. I think I did prefer Bon Scott's voice, y'know. Slightly same-y by side 2.
Ravi Shankar
4/5
Quite hypnotic, really, and I didn't object to a bit of explaining as we went along. Twingly twangly good stuff.
Pearl Jam
4/5
Bought the vinyl at the time, still like it very much today.
John Coltrane
3/5
Too highbrow for me! Undoubtedly proficient, and a fine example of its genre, but I prefer the sort of jazz that has a nice smoky vocal over the top and/or makes me want to dance/smooch (sorry for that cringey word), rather than just nodding earnestly while Bob* indulges in a drum solo and a sax squawks in random fashion. It has to be a 3 for sheer proficiency, but I didn't enjoy it.
*this may not actually be his name
5/5
A gorgeous and enthralling album. I enjoyed it WAY more than Rid of Me, which wasn't entirely surprising, as I already had Good Fortune on my master playlist. I'm not sure why I hadn't explored the rest of the album. I loved the sound and the mood. She sounds completely in control and completely authentic. I'll definitely be listening again; it's right up my street. (Shout-out to the drummer, too; they're great.)
American Music Club
3/5
Managed to track this down on YouTube and had a slightly cursory listen. Some lovely melodic tracks; I think my favourite was Pale Skinny Girl. Reminded me of what Suzanne Vega was doing (better) on her first two albums. Some tracks drifted a bit too aimlessly for me but overall deserves 3 stars.
Dexys Midnight Runners
4/5
I can't give this less than 4, even though Dexys ruined everything by subsequently releasing Come On Eileen which I've always utterly loathed. However. I always loved Geno, so I was very happy to give this a whirl, and I wasn't disappointed. I don't love Kevin Rowland's voice, it's true. But I really like the "brass with attitude and despair" sound. I Couldn't Help It If I Tried is a great track. And Geno is still awesome. I just wish their output had ended here.
Cyndi Lauper
4/5
I wasn't mad on Cyndi at the time, but now completely get what she brought (and brings) to the picture. Great pop tunes with attitude, and thoughtful lyrics. A satisfying album.
Scott Walker
3/5
Here is someone who really likes singing. And is really good at it. He didn't write very much of it, so it's harder to judge him as an overall artist, but he's a master of his particular craft if that makes sense. A theatrical, amusing at times, collection.
The Dictators
3/5
Like everyone else, I'll use the word "fun". I like a band that doesn't take life too seriously, and I'm glad to have filled in another jigsaw piece (had never heard of them). Not good enough for a fourth star though.
Pixies
2/5
Another band that lots of people-who-like-music-that-I-like really, really rate, but I never liked. I gave it a go. I still don't like them. It's just the wrong combination for me of a drawly vocal, discordant tunes and a sense of everything being vaguely unedifying. I can deal with any of those, but perhaps not together. It's not objectively bad, just very much not for me.
Muddy Waters
4/5
The Clash
5/5
I thought this was going to be a solid 5 stars, then realised it was a double album. I loved it, but it was a bit long and, inevitably perhaps, included a few tracks not quite up to the standard of the others. Ah heck, I'm giving it 5 anyway, because it's basically the perfect blend of many of my favourite things: tunes, energy, fun (but not too much), swag.
The Beta Band
2/5
I'm not sure the music scene really needed this in 2004, but it was okay overall and in fact good in places. Agree with another reviewer who said it was like Britpop plus AltJ. Some pleasing tunes and sounds, but too many dull moments.
Nick Cave & The Bad Seeds
5/5
Theatrical, thrilling, thought-provoking.
5/5
I love this album.
The Temptations
4/5
Really enjoyed it. Brightened up a Monday. Everything from funky to soulful, and always smooth.
The Louvin Brothers
2/5
Interesting (I use the word loosely) to hear an example of this type of thing and not without merit. Perhaps, even, evocative of the time and place. Also interesting to read about the brothers falling out and the bad behaviour - same old same old, eh? Musically this stuff doesn't move me though.
Portishead
4/5
I neglected this at the time, and wish I hadn't, because I think it would have become a favourite. I liked the atmosphere of spooky, melancholy unease. The rhythms drive it forward, not letting it meander too far into uncertainty. The backing is sparse, but interesting. I did know some tracks, particularly Glory Box. Funnily enough, I saw Beth Gibbons on Jools Holland the other day, and was intrigued enough to look her up. "Oh, she's from Portishead. Must listen to them" I thought (as such was my ignorance, I didn't recognise her name. Or her.) Happily, it wasn't too late, and it's finally in my consciousness properly. I did get that mid-side-two lull, where it all started to get a bit samey, so it's not five stars but it's really good overall I think.
The B-52's
4/5
My first time listening to this as an album (I knew the singles) even though I own and love both Cosmic Thing and Good Stuff. Considering how annoying Fred's voice is, it's amazing how much I like the B52s. But I really do. I especially love that Kate Pierson is still going strong, dying her hair bright red, releasing music, and singing in that fantastic "I'm just singing along" voice. I should have listened to this before, it's great!
James Brown
3/5
Didn't get much time to appreciate this, but sounded like they were having a good time.
The Band
2/5
I don't get much out of this type of music, and I'm afraid I found this as boring as the brown cover. The most positive phrase that came into my head was "quite nice" as in, "That bit was quite nice"; then I'd doze off again. They were probably better live.
Jacques Brel
4/5
I'm very happy that Jacques Brel existed. Sidestepping the rise of blues and rock n roll, he charted a completely different route through into popular music. And as much as I love a bit of blues and noisy guitar, how much richer were the 60s and 70s for having had someone like Jacques to keep alive the theatrical passion of the old cabarets. Because of him, we got artists like Bowie, able to combine the best of all worlds. I knew some cover versions and Brel-style songs given to us by Scott Walker, Bowie and Marc Almond, but had never made time for Brel himself. There's something so enjoyably despairing about French, delivered in a minor key and (often) 3/4 time. Moi, je l' aime.
Tom Waits
3/5
I'd enjoyed Rain Dogs a lot earlier in the project, but was a bit underwhelmed by this more straightforward blues album. Jersey Girl is a Springsteen staple, so it was good to hear the original. But I do prefer quirkier Tom. I thought On The Nickel was the stand-out, and liked Ruby's Arms.
Nick Cave & The Bad Seeds
5/5
Well, this landed at the perfect time, as I saw Nick Cave live last week on the Wild Gods tour, and I'm still floating. After being a bit "challenged" by the Birthday Party as a teenager, I didn't explore much of the Bad Seeds until quite recently. An absolute treasure-trove, which I hope to explore for years to come. I'm guessing this one counts as a relatively upbeat album; I already knew Nature Boy, and was surprised quite a lot is in a similar vein. Anyway, I thought it was brilliant, bar a few challenging moments. Humour, darkness, melody, and he's just cool as, isn't he? I love him, and I loved this.
Ray Charles
3/5
One of the greats. I'm guilty of treating jazz a bit like background music though and should have paid more attention.
Red Hot Chili Peppers
3/5
I bought this on vinyl at the time, because the videos for Under The Bridge and Breaking The Girl were on heavy rotation on MTV; I bought into the whole vibe and am still fond of the Chilis. UTB is a huge, deserved classic and I liked the other singles, but for some reason, I've neglected to return to the rest of the album. Listening now, I think that's because I'm less keen on shouty/stompy Chilis, and more keen on melodic Chilis. The balance is better for me personally on Californication and By The Way, both of which would/will probably get 5 stars. But this is still very good: Flea and Frusciante always create Magik of a sort. See what I did there. Good to rediscover a couple more for my Chilis playlist but (whispers) I'd have preferred this as a single album, I suspect, without a few of the dafter and/or noisier tracks.
Arcade Fire
3/5
I didn't have much time to listen to AF at the time, so was interested to hear it; I remember various friends liked them. It sounds like this was peak AF, with all the awards? It's definitely a good album, and I believe they were/are a great live band. It's a 7 out of 10 really - I do love the sound, but not always the music itself. I also detect (thanks to this project) a big Neil Young influence and am not convinced it's particularly unique. I'm being slightly ungenerous, therefore, rounding it down to 3, but tbh I wasn't awed enough to know that I'll definitely listen again.
Buck Owens
1/5
Marvin Gaye
3/5
A good, cohesive and heartfelt album with a smooth and soulful sound. I'm not sure I'll be going back to it very often though, it's not really for me at this point in my life.
B.B. King
3/5
I enjoyed it a lot.
Les Rythmes Digitales
3/5
Ooh hello. This was an unexpected blast of clubbiness. Mainly, I really liked it. As in, I liked the synth sound, basslines, chords, rhythms. Most of it's definitely something I'd enjoy dancing to. On a first listen, my favourites were Dreamin', What's That Sound, Take A Little Time and Sometimes. However, Soft Machine and Disco II Disco were really pretty terrible, with Soft Machine being particularly ill-conceived - it sounded like some cheesy hair-metal outfit from 1988 had suddenly decided to go electro. And the only trouble with repetitive electro dance stuff like this is that, if you don't enjoy a particular phrase, you're usually stuck in at least 16 bars of it before anything changes or happens. I did have some of those moments. But overall, I'm glad to have heard this and will listen again - I'll just be skipping tracks 3 and 7.
Christina Aguilera
2/5
Gosh, she works hard on her vocals and is great at what she does. Unfortunately, the accomplished vocals don't always mean that emotions are communicated better than they would be by just, er, singing. And a large team of writers, it seems, didn't stop this being an album of largely forgettable songs.
Donovan
2/5
The title track is fun and catchy, and he sounds like a lovely happy, hippy person. I'm afraid, overall, it failed to transport me away to those happy places however.
Amy Winehouse
4/5
Another reviewer said it better than I could: "Amy Winehouse released her debut album when she was just 19, singing about her life where the men that she craved love from were all weak, manipulative or needy." Some reviewers seem to have taken this as an insult to men, or women, or both. To me, she was just being authentic. And she wasn't without self-awareness: Amy, Amy, Amy. This is an extraordinary album for a 19yo to have produced. Great voice and great songs. And, as we know, she got even better. We were lucky to have her.
Bob Dylan
3/5
I'm in the camp that can't deal with the voice and the delivery. My husband is the Bob fan. He tells me that, objectively, this one might be the best. So I really listened hard and yes, the songs are good. So are the words. I'd prefer them to be sung by someone else though. Who doesn't have a mouth organ. I'm sorry, genuinely, that Bob just isn't for me. But his voice sets my teeth on edge.
Missy Elliott
3/5
I couldn't have named a Missy Elliott track, but am glad she's included here. I'm also glad her debut album has come up first; I like chronology when getting to know an artist I haven't previously made time for. So the singles appear first, I gather, which explains why they're highly listenable. I like the laid back slow beats and basslines. I'm never really going to relate to lyrics of this type, so I tend to tune them out. Enjoyed the overall vibe of the music.
Jane's Addiction
3/5
A mix, for me. Track 1 was great, and I thought I'd be writing a sort of "I like Jane's Addiction, who knew" style review. But then tracks 2 and 3 happened and I thought they were awful. Track 4: better. And a mixed bag after that; 6 and 7 were actually pretty great. It seemed to get more psychedelic as it went along. Overall, what struck me was that this sounds *exactly* like it should: a band from LA; post-GnR but pre-grunge, mates with the Chilis. Mix all that together and, yes, it should sound exactly like this. Music is funny like that. I would probably have liked this more in 1990; it's not very "me" these days, but I'll still listen to some tracks again. (However. The "godfather of alternative music"? No. He may have influenced some things to come, but equally the influences are plain to hear.) Overall: more interesting than I expected.
The Smiths
3/5
Not their best, in my view. I loved their first album and Meat Is Murder but truthfully it was getting a bit blah by this time. I know it's revered, but apart from a couple of great singles I'm not mad on this one.
Fela Kuti
3/5
Enjoyable rhythms, vocals and brass. Bit too much Ginger Baker, although I'm happy that he was having a good time. I thought Egbe Mi O was a great rousing finale, and didn't bother with the bonus 16-minute drum-off although I'm sure it's excellent(!)
Stevie Wonder
5/5
Absolutely no reason not to give this five stars. A fabulous album that shaped the sound of many things to come.
The Associates
4/5
Taylor Swift
3/5
My son told me to listen to Folklore as well, so I did. Apparently, they sort of go together, and he says Folklore is better; if it's in the 1001, I guess I'll be ahead of the game. I know that Folklore got him through summer 2020, but he knows Taylor isn't my thing. I know she seems to speak to a whole generation; well, across generations even. I'm largely unmoved - although she's certainly gifted at writing words, I tend to find the bones of the songs dull in terms of the actual chords and melodies. It's a personal thing. Lyrically the themes *can* be heartbreaking at times, but the music just doesn't take me there. I guess I'm just not a Swiftie. (There was some very pretty piano on Folklore.)
Jerry Lee Lewis
2/5
Captured all the energy from the time and v influential over what was happening then and now. Not a personal favourite but rightly included.
Duran Duran
5/5
A wonderful album. Admittedly, it meant EVERYTHING to me at the time, as a Duranie who was in weekly correspondence with the fan club about when it was coming out. It really didn't disappoint back then: tears, hysteria, adoration. But, happily, it's also stood the test of time. Never mind the shiny suits and videos which led to people writing this off as belonging only in the 80s. These songs are absolute pop classics. DD particularly have a gift for writing strong choruses, in my view - almost every album track demonstrates this. To think that they put together an album of this calibre at an average age of approx 20 is truly amazing. Fantastic.
Michael Kiwanuka
4/5
I was fond of this one already. Looking forward to seeing how his career continues to develop.
Radiohead
4/5
Very good
Thin Lizzy
3/5
Saint Etienne
4/5
Enjoyable. I'm a bit annoyed I missed this at the time - I was hearing good things about them, but never made time to invest, emotionally or otherwise. I like the vibe very much.
Marvin Gaye
2/5
Miles Davis
4/5
Very groovy indeed. I felt like I was in the middle of a long Doors instrumental break for much of it, which is not a bad place to be. Quite transporting.
Nick Drake
4/5
Such a lovely album. And so very sad that he never knew how loved he would become.
Supertramp
2/5
Not terrible. I think it hasn't aged well, though, and now sounds like a band who didn't know what they wanted to be: pop, rock, prog. I mean I guess they knew at the time, that's just how it sounds 50 years later. There's so much great music around from 1974, but this isn't.
Fatboy Slim
3/5
Deserves its place here - despite being 26 years old, you hear snatches of this album all over the place, and it still sounds good. Whilst it might be a tad unimaginative to use Right Here, Right Now to introduce YET ANOTHER live TV event (ahem, Sky Sports and BBC) it does, still, create a sense of excitement I suppose. Praise You is a really great track and I remember loving the video. The singles are all strong tracks, helped no doubt by Norm being a bass player. The other tracks are very repetitive though, as lots of reviewers have said, and a couple (Love Island!) were pretty unlistenable. But I like the overall sound he created from the vocal excerpts, soul vibes, basslines and great rhythms.
PS just listened to Take Yo' Praise by Camille Yarborough (which the sample comes from). Now that's a bassline.
Elvis Costello
3/5
Not bad, but I don't really understand why it's here. By all means, educate us about EC's late 70s contributions to the quirkier side of British pop. But I don't think this represents anything very interesting about 1994. It feels like the selecter just thought, ooh, Elvis Costello did a decent 90s album that no-one knows about. Well, it turns out, so he did. It's quite good in places. Some of the lyrics are very good. But it's not very exciting - in fact it really drags in the middle - nor, as far as I'm aware, is it representative of any notable musical developments at that date: the best bits hark back to the sounds of the mid-70s, which were done better by other people; sorry Declan.
Living Colour
3/5
Probs would have loved this at the time, but I never got round to buying it. Not really my thing now, but it's a perfectly decent late 80s rock album.
Beatles
3/5
I've never listened to this in its entirety before, the reason being that I'm not a huge Beatles fan. Obviously, I appreciate their importance. After Rubber Soul and this one, oh plus a couple of the solo ones, my overall view is still that George wrote the best songs, John was an intense ball of creativity, and Macca was (and is) quite cheery and a bit twee (goodness knows what Ringo was on by this point.) It's quite a disjointed album; I found myself puzzling over it, and dare I say, it's not hugely surprising that they broke up soon after this. Reading the Wiki description of its recording, afterwards, made total sense. I liked the beginning of the side 2 medley, combining humour with some interesting constructions and progressions, but Macca ended up dominating, which I'm afraid isn't a good thing in my view. Even though I love Here Comes The Sun, with it's super-cute mix of synth and guitar, it wasn't enough to round up to four overall. I preferred Rubber Soul.
Beatles
3/5
Another Beatles album - two in succession. George still gets the best song prize - taste is a personal thing, but I always engage most with his music. However I do think Lennon and McCartney were writing better songs than most of the people they were covering. I described Lennon in my previous review as an intense ball of creativity, and you can hear the urgency to get his output out there. Perhaps it was the way things were done then, but it sounds like they were rushing to get albums out during these first three or four years, and it would be interesting to hear what they'd have come up with with a bit more time and without filling the album with covers.
John Lennon
1/5
T. Rex
5/5
Unexpectedly fantastic. I already loved the Marc Bolan that I knew from old TOTP clips, and the singles, but had never really thought about whether I'd enjoy a whole album and be able to engage properly with the songs. I loved the mix of pure rock n roll with humour, eccentricity and catchy tunes: it's frivolous, but with an underlying impact that I didn't expect. And, of course, swagger! I felt like it got better and better; so many cracking songs. The list of "influencees" on Wiki is long - I'd add Jack White to the list, as I can definitely hear T Rex in his output.
Violent Femmes
4/5
I'd heard the name, back in the 80s, but never got to know this band. I was hoping for edgy 80s indie/punk. I thought at first I was going to be really disappointed: I don't like a drawling vocal style, and didn't like the first track at all. But things really improved. Add It Up convinced me that the band had great energy, punk sensibilities, a hint of folk, and a sense of swagger and humour (which, yes, I mention frequently). And then it kept getting better, harking back to Iggy and a stripped-back Doors, as well as the Velvet Underground, but also sounding fresh. The folk influence, happily, persisted, and then unexpectedly you got the bonkers rock n roll of Gone Daddy Gone, which is a bit B52s. It made me happy that the album ended with some quite earnest la-la-la-ing. And had some great bass playing and a xylophone! Decent.
Led Zeppelin
4/5
I really wish I'd heard this in 1969, instead of on a dull January day, thirteen months into the 1001 project, during which time I've heard a LOT of noisy albums by hairy blokes with guitars, including two other Led Zep albums. I'm feeling a tad jaded. And that's a shame, because this is a brilliant debut. Gorgeous guitar, of both the acoustic folk and face-melting blues-rock varieties. I love Robert Plant's voice (if not what he's singing about some of the time). I love that they recorded this pretty much made up on the spot, without a record deal. It's clearly the birth of a fantastic rock band. I wasn't really in the mood, but I bet it sounded wondrous in 1969, so I've tried to mark it objectively.
Brian Eno
4/5
New to me! Only heard him with Roxy and Bowie, before. The first track appealed, being so reminiscent of Station to Station and Japan. Generally, I found myself really liking the music, but sometimes alienated by rather naff "quirky" lyrics ("Backwater") and boring melody lines. I loved the synths and bass, though, and when the music came together to achieve a Talking Heads-like drive, for example on "King's Lead Hat" (ha, I see what he did there) I enjoyed it. The slower songs were atmospheric, and contained some beautiful synths (unsurprisingly, similar to Low, etc) but the vocals still didn't hook me in. In fact, I thought both "By This River" and "Spider and I" would have been gorgeous with a different melody line and vocal (loved the music) but what Mr Eno came up with, left me a bit cold. As if to emphasise my point, the instrumental "Through Hollow Lands" was, I thought, utterly gorgeous. I'm not sure if any of his other solo albums have made the list, but it was definitely interesting to hear this, as a big fan of 70s Bowie and Roxy... and Talking Heads.
Minutemen
4/5
This is an example of this project adding real value for me. I'd never heard of them before, but I completely get why this is here. Unaffected, punk spirit, combined with joy, grooves and social commentary. Completely authentic. I didn't love every track. I liked D's side the best, but was really moved by History Lesson Pt II. The 27 club is a bastard, isn't it?
Mj Cole
3/5
Chill beats with jazz elements and a boomy, but background, bass sound. Re the vocals, I thought the Elisabeth Troy tracks were nice, but I didn't like the couple of Danny Vicious ones. I suppose I share people's confusion over why it's here; it sounds dated to me too, for 2000. Personally though, I didn't mind that, and I'm not sure why so many "it's hideously boring" reviews are showing at the top. It's pretty chill and enjoyable. Long, though. (Note - I just listened to a single he released last year. It sounds exactly the same as Sincere, 24 years later. I'm not sure what that means.)
The Verve
3/5
Nearly a really good album. My sort of thing - rock, beats, bit of psychedelia, songs that build. I love Lucky Man. Unfortunately, as a whole album, it meanders a bit and starts to drag, in my opinion.
Crosby, Stills & Nash
3/5
The Who
2/5
Hmm. I don't think The Who could ever be totally shit, and this isn't, but apart from I Can See For Miles, I didn't like it. I felt like I wasn't in on the joke and/or aim. It's no wonder you never hear any of this nowadays (at least, not in my experience) when people are reminiscing over their glory days.
New York Dolls
4/5
Great to have an excuse to listen to this, as I've heard the New York Dolls referenced so often in the context of bands I know: Bowie (Spiders), Velvet Underground, T Rex, the Stones, early Roxy, early Japan etc etc. I'd probably need "Mr Schneebly" and a blackboard to figure out exactly what fits in where, so suffice to say this holds its own and I wasn't disappointed. It even sounded quite fresh. All the songs held my interest and I liked the musicianship and production. Really good.
Mylo
2/5
I wasn't particularly enjoying this, but got more into it halfway through when the energy picked up. I didn't love it, but can imagine it would sound good in the summer. Some good beats. Truthfully though, in my opinion he didn't improve any of the originals that I recognised (Utah Saints are better at that; can we have their album please? And actual Kim Carnes and Judi Tzuke?) His own creations were... okay.
Talking Heads
4/5
I love Talking Heads. Not sure why I'd never listened to their debut before. I think I'd describe it as deceptively light and poppy-sounding. In other words, there's a lightness to the sound which could make it seem quite simple and frothy. But there's lots going on: in the lyrics, the rhythm section, the choices of song structure. I have the benefit of hindsight, of course, but I reckon you can see that something special was brewing. Enjoyed it a lot.
The Police
4/5
Message in a Bottle is one of my all-time favourite songs (just to get that out of the way). I didn't know the album as a whole. I've decided it's a bit like early U2: loads of energy, fast songs and interesting guitars, but you can tell that there's a serious, ponderous brain at work somewhere in the background. The result is good, although I prefer early U2, who seemed to have a clearer direction, and hit me more in the feels, as they say nowadays. This is fresh and fun, though, with its interesting mix of pop, punk and African influences. There are one or two overly-experimental moments which probably are best forgotten (plonky piano on Does Everyone Stare being a case in point) and the last track is a bit of a mess, but overall I liked it. (MIAB is still the best thing on it by miles, though, imo)
ABBA
4/5
ABBA were great. I'm more of a casual fan, and never owned any albums (apart from ABBA Gold), and no others have popped up, so far, in this challenge. I was predisposed to take this seriously, because my husband has always loved ABBA completely, and with no sense of irony. To be honest, he's already pretty much persuaded me over the last 30+ years that they absolutely deserve to be taken seriously. So. Barring a few moments that were just *too* happy-sounding and/or stompy-sounding to appeal to my taste, I loved this. Wonderful arrangements and some lovely melodies. Some really moving moments which by far outweigh a couple of sillier ones. They're not afraid to tackle some heavy topics, too. They're also one band where I can forgive a bit of earnestness, because they just make you love them.
k.d. lang
4/5
I'm not really a country gal, but hey, "torch country" (thanks for that, Wiki) apparently does it for me. It's also jazzy, in places. I didn't know k.d. lang had recorded an album of covers before coming up with Ingénue. Her voice is so gorgeous that I forgave any cheesiness; the album is soothing, sultry in places, and beautifully crafted.
Queens of the Stone Age
3/5
I quite like this sort of thing. It didn't set me on fire, though. Decent.
Fiona Apple
4/5
I hadn't heard this before. She has a lovely smooth voice and it's an accomplished debut, I'll be seeking out more of her work.
Queen
3/5
Wild Beasts
4/5
This is the sort of band you might first encounter on Jools Holland, where it can go either way. On a good day, they might sound brilliant. On another day, you might watch and think "What the hell was that?" I don't remember them from 2009, but was encouraged by the first track: Hayden's voice was definitely a surprise, but, once I decided he was channelling Billy McKenzie, I was on board with it. After that, I felt some highs and lows - loved the overall artistic sensibility and the pop rhythms, loved the guitars, but I only liked some of the actual songs. I had moments of being afraid I was about to find it annoying, because pretentiousness and earnestness are big turn-offs for me and I kept waiting for the tipping point to come. But actually, it never did. It remained quirky, interesting pop with some moments of real beauty and enough drive to be enjoyable. Full disclosure: the lyrics seemed pretty bonkers, and I didn't bother trying to decipher them. I think they'd appeal to Gen Z; they should have another go.
The Who
3/5
Radiohead
4/5
Excellent album: artistic, musically accomplished, melodic, complex, thoughtful and driven. It just gets a tiny bit too intense for me to give 5 stars. It's my age. Sadly I struggle to engage properly with anything with this much artistic depth, now, unless I already knew it as a younger person. So there were moments where I felt lost. It's really good, though.
Metallica
3/5
I love how, if you walk into a musical instrument shop, there's nearly always someone playing the Enter Sandman riff to test out an electric guitar. If it's not a teenage customer, it's a staff member. It's a hugely satisfying riff, with a weirdly danceable rhythm. A bit like heavy goth, perhaps. Anyway. I've always loved Enter Sandman; it was love at first listen, and noone was more surprised than me, as my only prior feelings about Metallica were that I'd thoroughly disliked Master of Puppets when a keen boyfriend played it to me in 1987. Fast Metallica are still not for me. I'm much happier with the more measured, heavy riff stuff. Saying that, not all of this album is really all that good. Sorry. I found some of the songs a bit naff, despite the musical ability on display. Enter Sandman, The Unforgiven, Nothing Else Matters - they're all up my street. I guess I only like Metallica-lite, not that "lite" describes those songs very well.
R.E.M.
4/5
Not one of the REM albums I knew, although I bought, I think, the following two. I remember not liking It's The End Of The World As We Know It, but loving This One Goes Out To The One I Love. Overall, I do really like REM; they're essentially a pop band in my opinion, but with a dark, moody twist. I always enjoy their guitar sound, chord choice and the singalong backing vocals. Occasionally, they go too far into quirky, and I find them annoying. But 90% of their stuff is great, and I enjoyed getting to know another album. Struggling to decide 3 or 4; I'll be nice.
Grizzly Bear
3/5
Siouxsie And The Banshees
4/5
Sisters Of Mercy
5/5
So what if Jim Steinman sent them all shiny production and OTT choral intros. It's a match made in heaven if you ask me. Goth heaven. I love a throbbing bassline that's presented unapologetically front and centre, too. The trio of singles - Dominion, This Corrosion and Lucretia are just brilliant, and, I may add, the videos for them are as sexy as hell. I love the whole dark/dance combo of goth music, and this is just marvellous.
Eagles
3/5
This sort of thing doesnt really excite me; however it's very accomplished, and easy to listen to. I enjoyed the harmonies, guitar, and bass. The title track and its cracking guitar work has stood the test of time.
Elvis Costello
4/5
My sort of Elvis C. Love the band sound, the interesting songs. Thoughtful, creative, with a punk vibe.
Ice Cube
1/5
Pet Shop Boys
4/5
I love 80s synth pop, especially that which tends towards the more melancholy, like The Cure and Japan. I'd always been put off the Pet Shop Boys by Neil T's deadpan, disaffected delivery. I did realise that was the point; it lent an irony to songs like Shopping and Let's Make Lots of Money, and a poignancy to more emotional songs. But it annoyed me nonetheless. So I didn't expect to cope well with my first time listening to a full album. To my surprise, though, I enjoyed this a lot. I think it helped that I couldn't *see* the deadpan delivery in the grey overcoat. I was able to enjoy the lush synths more, and just fall into that 80s dancefloor vibe. And I enjoyed, afresh, their take on politics. Saying that, I hated It Couldn't Happen Here (musically, that is). But I'd forgotten Heart, which is really good. So. Perhaps my only 80s blind spot is now New Order (sorry. It's the basslines).
The Beta Band
3/5
Not bad, I like this genre, but I quickly get fed up if it sounds too introverted and serious. Despite quirky lyrics, this often did seem a bit earnest. It was too artsy and (not literally) one-note for me: my favourite moments were the sudden, speedier outros in Human Being and Quiet. Lovely chords and harmonies, sometimes some good beats, but I don't think I'll come back to it. Reminded me of Alt-J? I think. Controversial comment: they need a better singer. I did snort when I read the review complimenting the recording engineer, despite the singer's head being up his own arse. Yup.
Linkin Park
4/5
I can't pretend I listen to this type of music very often now, but it's still good, bar a couple of really shouty ones on side 2. I remember it seemed genuinely cool, different and exciting at the time. I also remember two 8 yr old boys in my class, back then, who thought it was brilliant, and one of them was still playing guitar in a band last time I checked, which is cool. I don't know if LP originated the idea of rap + rock vocals interplaying with each other, but it works really well and definitely had impact. In The End still sounds great. As I write this, they've recently resurrected with a female singer in place of poor Chester. Maybe I should check them out anew.
Creedence Clearwater Revival
4/5
Enjoyed this! As I only knew Proud Mary, which I'm not keen on due to the Tina Turner version being massively overplayed and over-covered, I wasn't expecting to like it. But I found their sound pretty cool: grungey and rocky enough to keep me interested. Some nice wandering bass at times. Even the more straightforward blues-y ones like Penthouse Pauper threw in a few extra chord changes to keep things interesting. (I'm not sure we needed to keep on chooglin' for nearly 8 minutes, though.) It's always nice in this project to be able to see how musical pieces fit together, and I could definitely see where CCR fit into the picture of late 60s music, with their particular blend of blues, rock and psychedelia.
Neu!
4/5
I very much enjoyed this album. I'm profoundly grateful for the cool things happening in Germany in the early and mid 70s, since they influenced Eno, Bowie and everything wonderful and "new wave" after that. This almost sounds post-punk, despite being pre-punk. Whilst I didn't love the vocals, 'twas sehr gut.
Cat Stevens
3/5
Very sweet and heartfelt, pretty tunes, and I know there will be plenty of people who adore this album. It's a classic in its way. Unfortunately, it's a little soppy for my taste.
Queen Latifah
5/5
Extremely groovy. Great dance beats; a melodic style of rap vocal; perfect funk, jazz and occasionally reggae samples (? - I think they're samples). I can't think of a reason not to go 5 stars.
Tracy Chapman
4/5
As others have said, unfortunately this brings home that nothing's been fixed since 1988. We had some hope for a bit, but it went badly wrong. However, although painful, I loved hearing it again. I'm glad the production is simple, mainly just a bit of bass and percussion; it's just enough to enhance the beautiful songs and their hard-hitting lyrics. Really good album. The last track is simple, poignant and beautiful. May this resonate and inspire.
The Zutons
3/5
I quite liked it, but didn't feel part of it, if ya get me. I think if I'd seen them live, I'd have had a great time, but listening in my headphones I felt slightly detached and like I wasn't in the gang. Objectively, it's very good.
The Shamen
4/5
Love these sort of sounds and rhythms, and Move Any Mountain is just a great track. I got a bit bored in one or two tracks, but they're not really made for a dull, grey Wednesday afternoon on the sofa. Tracks from this and Boss Drum will remain on my dance playlist for ever more.
Dennis Wilson
3/5
I was a bit terrified by the cover, expecting an utter MOR snooze-fest. Then I realised it was a Beach Boy, and what's more, probably the most "troubled" of an undoubtedly troubled family. Saying that, I didn't have huge expectations, as I'm not a fan. But this did give me a sense of an artist; I'd describe him as a "sensitive rocker" at this point. There's sleaze and drama: several tracks, including Friday Night, would have sounded perfect in a Miami Vice episode. It has some enjoyable moments of guitar, synth and lazily-paced piano, all wrapped up in that marvellous late-70s production. There's truth, sensitivity and vulnerability. I ended up feeling very sad that his life went the way it did.
Ramones
4/5
Electric Light Orchestra
4/5
Slint
4/5
To some extent "my sort of thing" - very raw, though, and I'm not sure why this would achieve cult status in preference to a thousand other schoolboy/student bands. I'm pretty sure I went out with boys whose bands were at least this good. But it's pretty good. It has ambition and is probably a bit pretentious - just like those other boys. It made me nostalgic, for that reason. Washer is perhaps the best track. Giving it 4 to make sure I remember it.
Billy Bragg
4/5
I appreciate him more now than I did then. I'm glad we have him.
The Chemical Brothers
4/5
Jimi Hendrix
5/5
There must be a lot of pedantic people like me doing this project, who get annoyed when we're directed towards longer, later versions of the classic albums we're supposed to be appraising. (Not blaming anyone personally.) Anyway, I found the original version eventually, after a couple of false starts, Purple Hazes and Hey Joes (not really a hardship). I'm going 5 stars either way - it's just the coolest, most magical fusion. The sounds! The soul. The insane drumming. This was way better than Axis Bold As Love imo.
Miles Davis
4/5
Fairport Convention
4/5
I enjoyed this! I've always loved folk tunes when I've come across them, but I've never really made time to listen to an album like this. I'd heard of Fairport Convention and Sandy Denny, but didn't really know anything about them. I loved the fiddle, and liked her voice very much. My favourites were the opener (Come All Ye) and the last two tracks of the original release: Tam Lin (brilliant, musically) - quite a saga; and Crazy Man Michael - lovely tune, and heartbreaking story. I must admit, I was absorbed by these, and happily transported to a time when tales were passed down by the fire, through the generations.
Kid Rock
1/5
It's been a while since I felt no guilt or uncertainty about awarding 1 star. This had absolutely no redeeming qualities.
Neneh Cherry
4/5
Ooh, I'd forgotten what a tune Kisses On The Wind is. Neneh Cherry was very cool, to 20yo me, and I still think she's cool. She's always struck me as an entirely authentic force. I'm not nearly as bothered by the 1989 production as some of the 'top' reviews; I love the sound! A star off for a couple of weaker tracks, but basically, good songs, good times.
De La Soul
4/5
Loved the overall sound and vibe. Definitely deserves a fourth star for The Magic Number, Say No Go, Eye Know, Me Myself and I, and its sense of fun. I definitely get on with this kind of hip hop much more readily than with the sweary stuff that seemed to take over later on. A tad long, though.
Beck
4/5
Black Sabbath
4/5
The xx
3/5
I might be remembering wrongly, but I think there was a buzz about The xx in the mid 00s, amongst Gen X-ers like me, because they were apparently being influential in bringing back electronic pop. Saying that, I was too busy wrangling small children to check them out, and I'd evidently lost track of them by 2017. So I was interested. Unfortunately, I spent the first two tracks trying not to be annoyed by the subdued vocals; Romy and Oliver, I gather, singing an octave apart (a sound which has always irritated me, for some reason) or taking turns as if in conversation (also annoying, in this case). I realised that I did like the sound of the instruments on track 3, Lips, which has a proper late night feel. So I can sum up by saying that, generally, I enjoyed the instrumental backing, but not the vocals. R&O seem terribly miserable. Some cool moments, but not an album I'll be digging out again.
Slipknot
1/5
I mean, they can play, I suppose, but oh dear, my ears. I really can't cope with drums at this speed and the incessant roaring and shouting. It's probably a three out of ten, because I don't like completely dissing bands just because I don't like it, but there's really no point rounding up to two out of five - I hated It.
Curtis Mayfield
5/5
Others have already said it all, better, but yes: superb instrumentation and story-telling. Loved it.
The Stone Roses
5/5
Joy Division
4/5
I was a teen in the 80s, and have spent decades defending my right not to like New Order, despite the fact that all my friends like them. What makes it worse is that I've now spent 30 years living in the NW of England, where everything Hook- and Factory-related are Revered with a capital R. (My main problem with New Order has always been the aforementioned Mr Hook, whose tendency to play plinky plonky high notes in the bass is not to my personal taste, and I don't find Bernard S very engaging either.) And so, reversing in time, to Joy Division. I only really ever heard Love Will Tear Us Apart, growing up, and I wasn't keen, just not really "digging" the vocal melody being in unison with the instruments. However in the last few years, thanks to social media, I've been hearing more snippets of Joy Division, including stuff off this album, and liked what I was hearing. And, hooray, this album proved to be more my thing. There were still tracks where I just don't get why anyone would do that with a bass guitar (eg Insight, parts of She's Lost Control.) But I was frequently able to get lost in the bleak darkness. Loved the guitar and synth. Loved the driving rhythms. And, we need to talk about Ian. I've spent time in Macc, where he grew up, and it's impossible not to connect with his voice and his spirit, hearing these songs. Atmospheric and darkly wonderful, most of the time. I'm genuinely sorry that I can't sit through the plinky-plonk bits; I feel it's my loss.
The Electric Prunes
2/5
Groovy. Got off to a decent start; quite edgy-sounding in places. Became more twee, and, lyrically, I'm not convinced they understood women... I wonder what they were like to see at the time; I don't think I've ever even seen a video clip. I'm afraid the final track has just lost it a further star; terrible!
Love
2/5
An album of some pretty dreadful tracks with a few moments of interest. She Comes In Colors was probably my highlight, and The Castle was my low point. I guess I feel that, for the bits I liked, other artists just did it better. Eg: the last track? No need for 18 minutes - just listen to LA Woman. Flutes? Try Peter Gabriel. Etc.
The Mamas & The Papas
4/5
Not quite as much of Cass's joyful voice to the fore as I would like, but I do really love several of these tracks, including of course the brilliant California Dreaming. I also love Monday Monday which has some of my fave harmonies EVER. I've taken a star off because a couple of tracks were a bit unmemorable, and I prefer more "unbridled" Cass such as on The In Crowd and, of course, her own solo stuff (everyone should listen to Make Your Own Kind of Music at least once a month). Highly enjoyable album, though.
Bruce Springsteen
5/5
An easy example of an album that isn't always to my personal taste, but clearly deserves 5 stars. There's nothing wrong with it. Songwriting, musicianship, energy all excellent, and it will always be a classic. Just because I like skinny guys in eyeliner doesn't mean I can't appreciate Bruce, and it's just as well, as my husband and son worship at his temple, so I've seen him live a few times. Bruuuuuce.
Billy Joel
5/5
A wonderful collection of songs.
Pere Ubu
3/5
I'm about 350 albums in (wow!) and this is definitely one of the craziest and most off-beat albums we've had so far. The vocals are very much not my thing, and make it almost a certainty that I won't be listening again. I appreciated the weirdness and wonder, and even some of the music (I was nodding along here and there) but I didn't find it enjoyable. Who would ever put this on, and when? Maybe if it was a soundtrack, you could sit back and watch something interesting unfold to the sound. But just as an aural experience, I can't imagine anyone ever rushing to plop this onto the turntable. It feels indecisive opting for a 3, but the score reflects my grudging respect alongside a hefty dose of "nope, never again, thanks".
PS Codex, the final track, nearly lost it a star 😳
Neil Young
4/5
I nearly made the mistake of writing this album off during track 1, because it sounded upbeat and less haunting than my favourite Neil Young tracks (I don't know many). But its quality became apparent. I've come to Neil Young later in life, and I'm enjoying the process of discovery. Even where the energy might seem to dip, if you engage your brain the beautiful guitar-work and intensity remain. His songs are deceptively simple; there is much to hear and feel.
Dire Straits
4/5
I bought this LP in either 1982 or 1983, which is strange, because although I remember *really* liking Romeo and Juliet at that time, it's not on here, and I was never crazy about Sultans of Swing, which is the only other DS track I think I would have known. I can only think that my logical brain was at work, making a decision that Dire Straits were worthy of investigation, and so I might as well start at the beginning. Anyway, I became really fond of it, and, of course, because I bought it as a teenager, I still know literally every note. The other odd thing is that I did become fond of it, because this was, and still is, a bit of an anomaly in my record collection. I liked posers! Cool stuff! The Cure, etc etc. But like it I do. I like the fab guitar work, the unsophisticated lyrics, a suggestion of north-east misery in the melodies (despite fierce pride in their roots: it's only just occurred to me that much of this album is about what it's like to try to become successful, to have to travel to London, to deal with agents, etc, when you're from the north east of England). It's to their credit that they unapologetically expressed all of this via the sounds of U.S. country roads, which doesn't make any sense, but, hey, that's what they were into. Mark Knopfler couldn't pull off cool menace (Six Blade Knife) but he cannily observed all life around him and described it in some great songs. I do still (mainly) like Dire Straits; they're not cool, but they're good. There's more than enough here (and on Making Movies, which I hope we get) to show that they had soul in abundance. (Their nadir, for me, several years after this, was the unbearably stompy and cheery Walk of Life. We'll probably get Brothers in Arms as well, at which point I may have to be quite rude about that song.)
Pixies
2/5
I always feel like I have to justify not liking (The) Pixies, because friends like them, and because they're ostensibly "my sort of thing" ie they fall under "indie rock". So please do scroll on by, but, meanwhile, I feel compelled to point out why I don't like them and never have.
(I'll be positive first though.
1. I like the drumming.
2. I like the guitar sound.
3. I like the energy. Sort of.)
Now the things I don't like.
1. Their riffs being based largely around major chords, despite the songs being alternative in style. Always bemuses me.
2.His voice.
3. Her voice.
4. Shouty, discordant, or talky, vocals in general. There are exceptions (D. Byrne for instance.)
5. People trying to play "tunes" on bass guitars.
That's pretty much it. I did try this, but they're still not for me, for the reasons itemised above. M'lud.
Brian Eno
4/5
I was definitely predisposed to like this, as I'm a fan of both TH and Eno (albeit a rather embarrassed one who only recently realised Eno contributed to Remain In Light, etc. I blame having had cassettes of TH taped from other people, and therefore NO SLEEVE NOTES. Home taping is killing music, and also your future music cred, kids.) Anyway, this was really interesting. Possibly less enjoyable than just listening to David on lead vocals, but then they were clearly not only going for "enjoyable", and the use of sampling is really clever. I feel like I could respond to this on a lot of different levels; what's it saying about Africa and/or religion? But I'm going to settle for saying that the familiarly brilliant rhythms carried me through, and I not only appreciated it; I did actually like it.
Gang Of Four
4/5
Never heard this before, but loved it, mainly because it made me want to dance and jump around. I feel like it sits nicely between The Clash and Adam and the Ants' Dirk Wears White Sox. A punk energy, but a very pop sensibility if you ask me, and there's nothing wrong with that. The wondrous basslines nearly secured it a fifth star, but I found tracks 10 and 11 (out of what I think are the original 12) less appealing.
Dirty Projectors
1/5
Like another reviewer, my usual objectivity failed me utterly, here. I (possibly inexplicably) hated it, and couldn't wait for it to end. I couldn't enjoy a single guitar twiddle or interesting harmony, because everything managed to combine to make something completely infuriating. I'm reasonably open, but my brain was quite certain in diagnosing that notes and sounds should NOT go in this order. I hope I never hear it again.
ABBA
4/5
I had to listen to this with my husband, because it's one of his absolute faves. When I met him in 1991, I'd dismissed ABBA as a nice pop group who I'd liked in the 1970s as a child (especially that video for Knowing Me Knowing You), but had since thoroughly grown out of in favour of *cool* bands. But here was a man who unabashedly loved them, and regularly sought them out to listen to. Unironically! I found this extraordinary for about two months, but then, of course, had to admit that ABBA had, in fact, been great all along. I even bought ABBA Gold. The songs are beautifully crafted and produced; perfect melodic pop. Some songs are just fun and some make you want to dance; others deliver a real emotional punch, but they all make life better. I've only taken a star off because Benny does favour a stompy rhythm which I'm not hugely keen on and which spoils my enjoyment of one or two songs.
Beatles
3/5
A bit too much Beatles in one go, for me. I've said it before, I'm not too keen on their songs about quirky characters, or their twee and/or fun numbers. But let me record here my love for While My Guitar Gently Weeps - my favourite Beatles chord progression ever - and my appreciation of Back in the USSR and Blackbird; both excellent. I'm not fussed about the rest, although I'm sure it was all very influential, etc etc.
The Cure
5/5
I don't know what I was listening to in 1989; it wasn't this, but it should have been. I do remember liking the singles, particularly Fascination Street and Lovesong, and dancing around to them at the uni discos. Possibly, my album-buying had dropped off a bit, due to being a poor student. Anyway, I've remedied my remiss-ness since. Disintegration definitely has the feel of being a peak Cure moment: atmospheric, slow-burning, expansive, sad, and with some gorgeous layered riffs, eg Prayers for Rain (and Last Dance, which I see was added on to reissues, but which sounds like it should always have been there imo). I agree with the chap quoted on Wiki that it sounds like "the culmination of all the musical directions the Cure were pursuing over the course of the 80s". When Songs Of A Lost World came out, majestically, last year, I went back to listen to this, and the two albums now have a permanent place in my heart. The songs are compelling and affecting, and the sounds are dark and beautiful. Brilliant.
Drive Like Jehu
4/5
Three tracks in. I keep thinking that surely I should hate this. I don't normally get on well with shoutiness and fast rhythms combined. In fact the words "post hardcore" filled me with trepidation. But, so far, I'm being blown away by the incredible guitar-playing and the emotion. Not to mention the insanely good rhythm section. Let's see how we go... hoping to hear more of the singer's really nice tone and a bit less of the shouting, although, as I say, I'm finding the emotion is compelling and I'm enjoying how the music frequently (but not too frequently) changes up.
Next three. Luau didn't engage or move me in the same way, and was really long. I wasn't mad on Super Unison, either, although I liked the long outro. New Intro lured me back; I liked it (and it was a break from the shouting!)
Final three tracks (I don't do bonus tracks in this project; there isn't time!) Once again I found myself weirdly enjoying this band: New Math - great lyrics and loved the rhythm change when it came; insane drumming. Human Interest - interesting but I'm flagging. Finally, Sinews. The gorgeous opening riff took its time and made me think that the 9 minutes could be quite a journey. It was an aptly-named track; twisting and tortuous; ultimately satisfying.
So overall, to my surprise, I liked this; it has intensity, virtuosity, energy, great chords, power and authenticity. Am I likely to sit through it all again? Probably not: whilst the vocal style works perfectly for what he's saying, it's not a style that normally makes me reach for my headphones. But its quality as an album was evident to me.
The Beach Boys
2/5
I've read lots of other reviews, and I'm not sure what I'm missing! For me, it's a collection of mainly pleasant, but rather dreary songs, arranged and produced in an uninteresting way. Apparently it's their 17th album, which might explain why it sounds like they're going through the motions; I can't imagine them racing to the studio to capture this stuff. I know they have a complex history and a deserved place in the annals, but this seemed quite insipid, especially if you consider what else was exploding around them in 1971. Some nice harmonies and melodic moments, as you'd expect, but ultimately, it did nowt for me.
The Prodigy
4/5
A quality album of its type, for sure. Something makes it not my thing though; just a bit too much. Musically it's actually pretty great: powerful and exciting. Everyone will "@" me, no doubt, but I'd truthfully prefer it if it was just instrumental, I think because the words bring an additional layer of aggression and "f**k-off-ness" that I think aren't needed! Great beats and energy in the music though, and an extra star for the crab.
Amy Winehouse
5/5
Pretty perfect. I don't see anything wrong with emulating the sounds of the 50s and 60s, if that's the music you love. Amy was a gifted songwriter, musically, and, to my mind, her lyrics are timeless, yet also position the songs firmly in the modern era: the trials, temptations and flaws of a 21st century London girl, expressed with authenticity and humour. Credit to the producers on the album for letting her tell her stories relatively simply. I just wish the album didn't make me so sad, at the fact that she died so young. At least she'd been much-lauded in her lifetime.
Big Brother & The Holding Company
3/5
I knew of (and liked) Janis Joplin by reputation, and had heard a few bits, including a version of Piece of my Heart, which I'd liked. I found listening to a whole album of her voice a bit more difficult, although I'm not casting aspersions on her talent or passion, I just didn't enjoy listening to it as much as I expected to. What I did enjoy was the band, including the quite basic stereo production (guitar twangs suddenly sounding in one ear) who conjure up a free, smoky atmosphere. I'm aware it's not actually an entirely live album, but I bet it would have been a great night if it had been. Some of it maybe went on a wee bit.
Tori Amos
3/5
I like Tori Amos, and do listen to her occasionally, but somehow she never quite "hits" as much as I feel she could/should. There are some beautiful sections here, and Me and a Gun is incredibly raw and brave. My favourite tracks are Crucify and Winter. But I find her extremely introspective (obviously she's hardly alone in that, as an artist) and perhaps tries too hard to be "different". That could be unfair, but it stops me from engaging fully. Purely on how much I actually like the album, I can't go higher than 3. I like her second album more.
Joan Armatrading
5/5
Wonderful, timeless songs.
Funkadelic
3/5
Tracked this down on YouTube. I enjoyed the vibe, and the sounds and rhythms, but it went on a bit. I think we got Maggot Brain ages ago, but I can't remember what I reviewed it. For this one, I can't go higher than 3 despite the obvious musical proficiency on display.
The Smiths
5/5
Meat Is Murder: the Smiths album that I bought on its release, and the tour that I went to. This fact gave me much cred with my youthful work colleagues, until another colleague Tina divulged that she went out with Mike Joyce's brother, and consequently saw the Smiths before they were famous. Oh well. (I can't remember if I've shared that already.) Whereas The Queen is Dead seems to get a lot of the plaudits, this one is my favourite. The fantastic basslines add so much to Johnny Marr's brilliant playing, humour is to the fore (albeit dark), and the energy is just great. I'd still rather not listen to the last track - confronting, which of course is the point. I love all the other tracks, and can still remember my delight on hearing such masterpieces as The Headmaster Ritual and Barbarism Begins At Home for the first time. The music is so interesting; the arrangements and chord progressions feel a bit more psychedelic than their other albums, maybe? Anyway. Yes, I know you-know-who is awful now, but let's appreciate this for what it is: fantastic. RIP Andy Rourke.
Everything But The Girl
3/5
I suppose that, whilst I do appreciate and value EBTG, I've never been mad on them; they never excited me much. I'm fond of them, I guess. Saying that, this album was new to me. The "sophistipop" label on Wiki isn't wrong; this is a very polished album. Really nice songs, but a bit like something I'd put on in the background if I didn't want to offend anyone. I found the song about Caruso and Apron Strings most affecting, which were the most stripped-back. I liked Tracey Thorn in The Marine Girls; she maybe just got a bit serious (and "sophisti") for my personal taste, although her voice is beautiful. Quality and talent, just not really for me.
The Thrills
3/5
From the opening bars, I knew this would be a 3 for me. I had moments of "Oh, maybe it's only a 2" and even a "well it could be a 4" (that one was fleeting). Melodic, decently-constructed songs. Not enough edge or energy to excite me, which is probably why I don't remember this band at all.
The Roots
2/5
Erm, probably quite creative? Not for me though, thanks. I'll either go 2 or 1, I'll decide in the morning. I try to reserve 1* for records that actually have something wrong with them musically (rather than just those that I don't like) but, I dunno, it's a strong dislike. But it's not bland, and I guess it contributes.
Prince
4/5
I love, admire, respect and miss Prince. His Lovesexy show in Birmingham is still up there in my top five ever gigs. His musicianship and his ability to bring the party is always extraordinary, but for me his songwriting isn't *always* amazing. I found a lot of filler here. I would probably go 7 out of 10, but I simply can't round it down, because the man had charisma from the top of his hat to the pointy tips of his boots. DMSR, indeed.
T. Rex
5/5
I loved it. Musically, the arrangements are usually simple, or even understated, but every song makes an impact because the band ooze cool and charisma. None the worse for the lyrics being a bit trippy in places.
George Harrison
3/5
Went back to listen. It should have been four stars. It cemented my opinion that he's my favourite songwriter from the Beatles. I side with those reviewers who describe these songs as having been overlooked by Lennon & Macca, for whatever reason, rather than being less good than theirs. They're good songs. But yes, it needed a really good edit. It's understandable that he spewed it all out in one go but it stopped it from being an objectively good album.
Penguin Cafe Orchestra
4/5
There's a re-mastered version of this, as well as the one that's linked to *helpful face*. I think everything has been said already; a bit weird and wonderful, and not unenjoyable. Not a surprise to find Eno is involved! I'm not sure I'll be spinning it regularly but it held my attention.
David Bowie
5/5
Already my favourite artist by several miles, so this is an easy review to write; I've owned and loved this album for more than 40 years. It's just wonderful. Absorbing, moving, thrilling, yes quirky (if you must), unique. Life On Mars is simply a masterpiece. Quicksand is another one. Anyone musical will find something of interest here. I miss him.
Bruce Springsteen
4/5
As I write this, Bruce has been just up the road from me in Manchester, calling out the Trump regime for its lack of humanity. Go Bruce! Here, many years ago, he was writing about the working man, struggling to the point of desperation in the early 80s as white-collar workers were being enabled to stash away the wealth for themselves. He was also writing about characters from films that had interested him. The heart of the album is in the lyrics - some of the music is so muted and simple as to be truthfully pretty basic. But it has so much power and heart.
Fugees
3/5
I always feel like I don't have the right language to review hip hop but I'll try! Some cool beats, but, with hip hop, because I often struggle to relate to/engage with the words, I need some exciting things to be happening musically before I start to respond. First half of The Beast was a good example - loved the repeating musical motif. I didn't get the sweary last minute though, so it's not going on my playlist 😆 Fu-gee-la was probably my favourite, musically. Overall - a quality album; I understand the appeal, but too much rap for me personally. (I did go down an enjoyable rabbit hole investigating the sampled tracks on The Beast, which, I now know, include the Headhunters c.1975, as well as Millie Jackson c.1977. Fabulous! And a further rabbit hole has taken me to Millie Jackson's apparently infamously bad album cover designs. Recommend 🤣).
Ali Farka Touré
4/5
Really enjoyed this, good to learn the name of this gifted musician and performer. I'd like to hear him without Ry as well but it all seemed to mesh well.
Soft Cell
5/5
Hearing this again underlines my belief that 1981 was one of the best years to turn 13. (It might have been even better to have turned 13 in the early 70s, but then I'd be ten years older already, and hey, ageing isn't fun.) In 1981, this kind of sparse synth pop sounded (and looked) utterly fresh: dark and exciting, and it was "our" music, unlike anything my older brothers had been listening to during my childhood. I still feel like it's ours, although it's great to see it being embraced by Gen Z. Marc Almond and David Ball cast a wry eye over the frustrations of everyday life and getting older, set to a backdrop of sleazy cabaret with a joyful hint of disco now and again. Soft Cell had a gift for writing a melody, and, indeed, a pop banger. Youth has a beautiful chorus, Bedsitter is an eternal fave of mine from this time, and Say Hello Wave Goodbye is, objectively, one of the best pop songs ever written (fight me). I am hugely fond of this album.
Big Black
3/5
New to me. It sounded fresher than I expected from the description, and heavier, and, in places, funkier (Wiki seems to lump all sorts of things under the word "punk".) It was a bit Killing Joke, and definitely seems to have influenced stuff like Slipknot and nu-metal, from my limited knowledge. I didn't pay attention to the words, but I gather the subjects covered are Dark. I started getting into it, musically, with Kerosene and Bad Houses, and from there on in, it captured my attention until the last two tracks, which I thought were less good. I liked the low bass and drum machine. The guitar playing is incredibly creative - it's used to sound like everything from a saw to a keyboard to an, er, guitar. The album isn't really my thing at this stage of comfortable middle age, but it's actually pretty good.
Muddy Waters
3/5
Not as impactful on me as I'm sure it would have been at the time. He's a legend, and put the blues over fantastically well, influencing generations to follow. But his style of blues is, now, so familiar that I didn't respond with much excitement.
Steely Dan
4/5
Lots of reviews on here seem to acknowledge that this is pretty good, with the score then depending on how much the listener objects to its general "niceness" as a record and indeed to the whole soft rock genre. I enjoyed it more than I expected to. One or two songs did err a bit too far on the side of dull: unexpected chord progressions can only create so much of a vibe when the overall pace is quite sleepy. But generally, it lifted my spirits and warmed some cockles. Great melodies, too. I really need a 7 out of 10, and haven't quite worked out which way I'll go, up or down, in the morning.
Cee Lo Green
3/5
The first time I heard of CeeLo Green was when he released F You, so you'll gather I'm pretty ignorant of the hip hop genre (he was already a big deal by then, I find), although this project is helping to catch me up a bit. I quite liked this blend of laid back beats, soul and and funk; I liked that there was singing alongside the rap, and the little trumpety bits were up my street too. I liked the upbeat vibe, and danced around quite a lot. I'm still not confident in rating this sort of music objectively, and it was a bit long, but 3 feels right for the level of creativity, production, and energy. Glockappella nearly lost it a star, but things picked up again; Let's Stay Together was gorgeous.
The Smashing Pumpkins
2/5
Not a band that I liked, then or now it tuns out. I don't buy into it somehow. They can play. The songs are okay. But I don't feel anything. And now I've read that review that says the singer sounds like Cartman, so I'm just giggling.
Wu-Tang Clan
3/5
I don't often enjoy rap, and here, the voices didn't draw me in. The backing was pretty stripped back but I enjoyed some of the groovier bits. 5 out of 10 for enjoyment, I'll round up because my colleague reckons it's quality.
Willie Nelson
1/5
Was I just in the wrong mood? Genuinely surprised that people like this. If you're going to cover all your favourite songs, please add something to them, rather than distilling them down until they all sound pretty much indistinguishable from each other. Admittedly, I don't know much WN music; I know who he is, but that's all. So perhaps there was some context to the choices he made here? Apart from Sunny Side briefly lifting my spirits (and securing a grudging extra star) I found this very dull. (Update. Changed my mind about the extra star over the weekend.)
Black Sabbath
4/5
This album brought out all the huge fondness I have for Birmingham, Ozzy, Tommy, mellatrons, the song Changes, etc etc. There are some great riffs and creative passages and (surprisingly?) some really nice melody lines, even in the heavier songs. Is this Black Sabbath at their freshest or best? I genuinely don't know, but they sounded pretty good to me, especially in the middle of the album. Supernaut was excellent, and Snowblind was particularly enjoyable too - made me nostalgic for the days of vinyl only, where you'd finish side 1 buzzing from a brilliant song, then turn the album over and get excited all over again by a great start to side 2. Yeah!
The Undertones
3/5
I hated Feargal's voice when I was young. I guess I've got used to it after 45 years though because I enjoyed this. It doesn't take itself seriously, and has all that great youthful punk energy. Lots to like.
Sly & The Family Stone
3/5
Sly Stone died the day before yesterday, so this is spooky. It's like he's come along to say Hey! It's time you listened to me properly, young lady. Happy to comply. More laid-back than I expected (I was expecting a bit more Dance to the Music or I Wanna Take You Higher-style) but when It's A Family Affair kicked in, the vibe of the album all made sense. Loose-sounding, but actually the band are so tight. Some tracks meander somewhat, but I suspect this would grow on me a lot, given time. I liked it anyway, even though the yodelling was unexpected. I hope he's still grooving away, up there. RIP, Mr Stone.
Brian Wilson
2/5
I listened to this the day after his death. It's a shame, then, that I don't "get" it, even today. I understand that he's truly revered in musical history, and still important to lots of people. I hope that returning to this music was a good experience for him. But. With the exception of a handful of tracks that I really enjoy (eg God Only Knows) his music usually either annoys me (all that quirkiness and stopping and starting!), or sends me to sleep. Simultaneously, in some cases. Sorry.
The Specials
5/5
A favourite. The tunes are cheering, but the words often present a searing take on life. I love the deceptively tight musical accompaniment. These Coventry boys said what they thought and had fun in the process, also covering some of their favourite influences. Memories of good times; a pretty perfect album.
3/5
I'm not always the biggest fan of the Beatles' music (I know, I know) but some of their best songs are on here. It's massively creative. The melodies, harmonies and chord progressions are all interesting, and the inevitable quirkiness doesn't *overly* overshadow the music (except at times; Mr Kite, sigh). I can hear the Pet Sounds influence, but it's far less dreary. They still, mainly, sound like a cohesive band here, although George was clearly having a little frolic of his own on Within You Without Me. I think by the White Album, the fractures were clear and I found it sad to listen to on Abbey Road. But here, the Lennon McCartney chemical reaction was still working really well. So creative, as I've said. Objectively, and shutting out the noise of who they are, a solid album. And quite a few tracks that I actually like.
Dexys Midnight Runners
3/5
Largely inoffensive. Which, for me, means that it sits between the tremendous "Geno" and the appalling "Come On Eileen". I'll round up to three stars because I quite liked the vibe.
The Monks
4/5
Unexpectedly marvellous. (There was one track I couldn't find; didn't have time to comb YT, etc, but I found the others on a compilation.) Tbh, it probably sounds exactly like you'd expect five GIs based in Germany in the mid-60s, pissed off with the war, to sound. Hints of California, but darker: paving the way for the Doors, the Stooges and beyond. Groovy, but subversive. Like they're playing at a holiday camp, but someone might just be about to kill everyone. Irresistable repetition. Mad drumming. The organ is so randomly enjoyable! Not for the first time, this project has thrown up something subversive, addictive and ahead of its time from Germany (well, America, sort of). If Quentin Tarantino had stuck any of these tracks in a film, I reckon, you'd hear it everywhere.
I had to include this from Wiki (all of the Wiki write-up is very enjoyable): "Much was made at the time of the Monks' unconventional attire, with their tailored-made black robes strikingly at odds with the prevailing trends among contemporary beat groups. With all five members abandoning their Beatlesque hairdos for tonsures and plain rope serving ties, the band exuded a mysterious aura, while also looking menacingly non-conformist." As I said. Marvellous. I'd love to have seen them live. (Edit - have now tracked down live footage 😍)
Suede
4/5
I like Suede, and knew the singles from this. Their beautiful guitar sounds and glam swagger, with echoes of Bowie, were always likely to mean this would get at least four stars from me. I hear they're a five star live band, due in part to Brett's charisma. There's something about his voice on record, though, that can jar for me, and I didn't love all of the melodies here, on first listen. In fact I'd say it dragged occasionally, although it picked up with the last two tracks: the epic The Asphalt World, and the gorgeously over the top Still Life. Overall, very much My Sort of Thing. Bernard - incredible.
The Doors
4/5
I like The Doors very much. My favourite album is their debut, but this is good. I'm not sure I agree with the description "stripped-back blues" because to me that implies a regretful man with a guitar, and The Doors are never that; they always have huge energy and a sense of grandiosity alongside a helping of tortured genius. Perhaps if we're just talking chord progressions, then yes, they're blues-y. Anyway, there were a handful of slightly less inspiring Doors-by-numbers songs here, but Love Her Madly is a perfect (bluesy) pop song and LA Woman is brilliant; I can never get to the "Driving down your freeways" line without jigging around in my seat. I was struck this time by Hyacinth House too; very good. And I love the moody Riders on the Storm. Lots to enjoy and, as always, Jim Morrison's vocals take you into his world.
Stevie Wonder
4/5
It's probably a good thing I was turning four in 1972, rather than, say, 14, because I don't think I'd have done ANY schoolwork. What a year - amazing albums coming through in, and, indeed shaping, every genre from there onwards. I can only imagine how eagerly my friends and I would have pored over all the wondrous offerings. This is up there. Some of the ballads aren't quite my cup of tea, but the funky pop songs, which absolutely slap, by the way, certainly are. Terrific.
Nine Inch Nails
4/5
Challenging. Noteworthy.
TV On The Radio
4/5
Not bad, but the fact that various publications deemed this the best album of 2008 speaks volumes about the lack of impactful music at that point. I quite liked the blend of instruments. I liked the vibe on some of the songs, but it occasionally became irritating (eg the first two thirds of Golden Age). There was enough complexity, especially in the way that the songs "built" (the final section of each song tends to be the best bit), to be interesting. I do think that it's very representative of its time - it made me remember bands like Foster The People and Alt J.
Sepultura
2/5
Seemed generic rather than stand-out to me; poor lyrics, too.
Dead Kennedys
3/5
I last heard this in about 1984, in a certain boy's basement. It so wasn't my thing, and still isn't, but I still rate it. American punk done right, with humour, anger, and massive energy. Best song for me is California Uber Alles; what a song.
3/5
Some beautiful passages, and impressive overall in its ambition and musicianship. Actually quite short and sweet, considering. I did get a wee bit bored now and again.
Tortoise
3/5
Enjoyed this, and am glad to know of its existence. Relaxing, but also interesting. Probably a seven, but I'm rounding down because I can't think when I'd want to listen again.
N.E.R.D
2/5
The Charlatans
3/5
Lush guitars but, as others have said, a bit generic. (In case their debut isn't on here, may I just say that The Only One I Know is One of my absolute favourite indie dance tunes and will still drag me to the dance floor long after my hips have ceased to work.)
Antony and the Johnsons
5/5
Stunning album. Beautiful music. Sensitive, melodic, interesting; simple, piano-led arrangements, allowing the songwriting to shine. This is the sort of music that can save people. ANOHNI appeared at Glastonbury the other day and is a true artist. I loved it.
Johnny Cash
3/5
I think Johnny Cash's voice sounds wonderful on this album. I already knew Hurt and its incredibly affecting video. Not every song is to my taste, but the depth and emotion is never in doubt. A powerful record.
James Taylor
3/5
Better than I expected, because I'd pigeon-holed James Taylor as looking dated and naff in the 80s, and had never actually listened to anything. Saying that, it doesn't exactly sound like a guy who'd done a lot of living in his late teens - I was surprised to read about the heroin, etc - it sounded very "safe" to me. He has a great voice and plays guitar really well, and there are some lovely melodic passages; the blues attempts are less successful. Overall, a bit too nice for me.
2Pac
3/5
Didn't really like the rap (I rarely do). But the backing and the beats were pretty soulful and chill in places.
Ministry
1/5
Noooo. Yes, the drummer is amazing, and track 1 was pretty interesting. But mainly, I found it unlistenable, not least because of the vocals. Too full-on for me.
The Cars
5/5
Really good! Mainstream rock, but with a hefty injection of "new wave" (aka synths and minor chords). There's something about 1978: loads of bands from that year sound so, erm, 1978 (the Vapors, Boomtown Rats, Elvis Costello & the Attractions, etc etc). (Mainly) blokes in suits, not quite punk but lots of energy; bit of synth in there. Anyway, to me, the Cars fit in to that gang, and are among the best of them. Some real tunes here. In fact it seemed to get better and better; side 2 was even better than side 1. I'd shamefully neglected The Cars, apart from a couple of big hits, so this was a great discovery. (Also, it's mad that music like this is nearly 50 years old. Despite sounding very 1978, it also sounds pretty fresh in places.) 9 out of 10 but I'll round up cos it's all good, tbh.
Peter Gabriel
3/5
I haven't got time to write much, so I'll just agree with those reviewers who found this too much of an eclectic mish mash. I suppose it's interesting as a step on his journey, but I didn't find much to return to; there's a reason Solsbury Hill is by far the best-known track.
Joni Mitchell
4/5
I think Joni is brilliant. I've been a fan for over forty years; mainly listening to three or four albums in particular, of which (as it happens) this isn't one, although I do know it. When this one came out, a little later than my favourites, the overall band sound is definitely very 70s, and the songs are more jazzy and less acoustic (and there was still jazzier to come). But there are still some classic and wondrous Joni songs here, my favourite being Edith and the Kingpin: songs with that melodic, meandering storytelling, weaving a beautiful spell. It's not my favourite allbum of hers, and The Jungle Line is, frankly, odd, but I love her. She has musicality in spades; a true artist.
Ananda Shankar
4/5
It's no wonder that lots of fun was being had in the sixties. Most of this made me want to dance around in a psychedelic kaftan, bare-footed of course. It's groovy as anything, and I'm here for it, drawn in by the fabulous, whirling cross-rhythms. The production actually seemed really fresh; as clear as anything. Most enjoyable.
Randy Newman
2/5
Nope. I mean it's not without merit (like some nice piano playing) but it's very much not my sort of thing. Just uninspiring to me, musically. Apparently, he's quite satirical, but as I was failing to engage with the music or his voice, I was disinclined to consider the lyrics properly. Sorry Randy.
Roxy Music
5/5
Some of the reviews that I've just read suggest this album hasn't aged well, in the sense that most people hearing it for the first time don't seem to get it and award no more than a max 3 (usually, for being "interesting"). That makes me a bit sad, because I've been a fan of Roxy's entire back catalogue for over 40 years, and this has some truly genius tracks on it in my opinion. Perhaps the changes in tempo, the art-school vibe and Bryan's unusual voice don't grab people the first time around, nowadays. However, for me, it's all here. Brilliant melodies developing in unexpected ways. Phil Manzanera - my favourite guitarist of all time - creating incredible soundscapes but also able to melt faces. Eno. Creativity; stories; occasional kick-ass rock; all, sometimes, within the same track. Roxy were as cool as f*ck, and combined art and rock like no other artist imo; even my idol, Bowie. But. Even though they're unquestionably in my top five artists, sometimes all that creativity inevitably crystallises into something I cant quite get on board with, and on this album, unfortunately, I don't like The Bogus Man, and never have. So it's really a 9 out of 10, but I'll have to round up, because of this album's importance to my own LP collection and overall taste in music.
The Rolling Stones
5/5
Happy memories of messing around with my brother's LP, complete with working zip, which would have been in the mid to late 70s. I started to appreciate the music properly in my teens (80s). I haven't listened to it as an album for absolutely ages. It's so good! Love the weaving guitars, rhythms, touches of brass, and all of the sass. I'm not going to attempt to dissect the appropriateness of Jagger and Richards in 1971, I'm just happy that they loved the blues and were writing absolute tunes. And, oops, it turns out I've totally overlooked Mick Taylor's wonderful input until now. Ten great tracks; an absolutely classic album, by any standards.
My Bloody Valentine
4/5
I wish I'd found MBV when they released their debut in 1988, instead of reacting to the rise of Stock, Aitken & Waterman and house music by pivoting into American hair metal for a few years 😬 This album in particular is definitely My Sort Of Thing. Love the soundscapes created by the guitar. Love the dreamy vocals. The drive in the songs kept me happily nodding or swaying along. I don't know why I'd never listened to this before (or even bothered to find out anything about the band; I knew the name) - I really like it. I think the Cocteaus are better at the truly magical stuff. But the heavier sections are excellent; I think it's a very good album. PS bonus points that Bilinda is now 63, and will be 64 when they play a sold out show in Manchester this November. She must have more energy than I do, in my fifties!
1/5
I didnt like it, and didn't think it was objectively any good either.
Pulp
4/5
So I'd bought Pulp's two previous albums in the 90s, and liked them, but I didn't get round to buying this one. (I'll blame that (again) on having children.) It was a pleasure to hear this now, and it's also, coincidentally, a pleasure to have them back making music again in 2025.
Pulp follow all the important rules for British bands: 1. Take music seriously. 2. Acknowledge that life can be serious, but deal with it by laughing (or at least, pretending to laugh - think: veiled desperation). 3. Don't, ever, take yourselves seriously (which doesn't mean you can't be a bit pretentious; ironically of course).
Follow these rules, add some grandeur, theatre and great tunes, and you generally have a great British album. Jarvis and Pulp embody all of this. The energy on this album is quieter than on tracks like Disco 2000, etc, but the album has an intensity that sustained my interest from beginning to end. Really good.
The Sensational Alex Harvey Band
3/5
If you'd asked me what I remembered about The Sensational Alex Harvey Band from my '70s childhood, when my older brothers liked them, I'd tell you that I had a memory of slightly stompy, solid, blues-y rock and roll, with a charismatic front man. 50+ years on, my impression seems to have been accurate. I quite enjoyed it, although my own taste does normally veer towards the slightly more "arty", for want of a better word.
Lou Reed
5/5
Wow, I hadn't listened to this for years. It's truly a classic, and when you read who was involved, it's no wonder. It's arty, it's touching, it's powerful; it's cabaret, it's glam, it's edgy. And it was ridiculously influential. The 1970s was surely the decade when ALL of the building blocks for pop/rock/dance were cemented; I can't think of a single genre that can't be traced back to the 70s or before, and here, already a hugely influential figure, Lou Reed helped ensure that several of the more interesting avenues we enjoy today would continue to be explored and developed.
M.I.A.
3/5
As a newcomer, I found this quite full-on to take as a whole album, but its energy, originality and creativity were obvious. Really interesting (as is her back story); and, good, albeit not quite my thing overall.
Ryan Adams
2/5
I was disappointed by the opening few tracks. Very safe, country-infused rock; "by numbers" if you like. That's presumably what happens when you openly "try to invent a modern classic". How about some authenticity? It got a bit more miserable part-way in, which I preferred, and there were Stones-esque moments to enjoy (although, why not just listen to the Stones?) Ryan Adams has a nice voice. But the album didn't move me much. He sounds like an angry person in his life outside music, too; someone who abuses their power and struggles to understand that.
The Flaming Lips
3/5
I can't imagine ever having strong feelings about this sort of thing. It's okay. The vocal is a bit insipid. Some of the music is nice, and even interesting in places. The closest I came to being moved was by the lyrics do "Do You Realize" and I *nearly* dug the final, instrumental track. Overall though, a big meh.
Boards of Canada
4/5
You'd need to be in the mood for this. Fortunately, I was, pretty much. I loved the synth sounds, bass and beats. I didn't really love the sampled voices; they were spooky at times, and could be annoying (Telephasic Workshop). I could imagine the tracks with children's voices in the background to one of those weird TV series from around 10 years ago like The Returned. I get the nostalgia vibe, but warm and comforting those tracks were not.
I loved the short Bocuma, and enjoyed Rue The Whirl, both of which made me think of Bowie, Numan or Ryuichi Sakamoto. And some of those synths on the final track were very Japan-esque, which is of course a good thing. Olson also hit my aural sweet spot. So, I know everyone says these guys are hugely influential, but I'm fairly sure there was lots of This Sort of Thing going on in 70s and 80s (albeit perhaps with different techniques? I wouldn't know.)
So. With this sort of thing, which is so very considered, I have to decide whether the cleverness is cool, or annoying. I found this pretty cool.
Flamin' Groovies
4/5
Should this be as famous and successful as a couple of the early Stones albums? There's nothing wrong with the songs*. But I guess the magic formula wasn't there, or they wouldn't have fallen out, lost their singer and gone in a totally different direction. I'm happy to learn of its existence, and appreciated its swagger and humour. I enjoyed the subtle production: some of the most interesting musical tracks seemed to be buried quite low in the mix, which made me concentrate! I'm undecided as to whether I'll ever seek it out again, but it's a thoroughly decent album.
*I wrote that before I got to Evil Hearted Ada and Doctor Boogie, which were both a tad annoying. But Whiskey Woman was a strong closing track.
CHIC
5/5
Perhaps a slightly underwhelming opening track, but as soon as that bassline kicks in on Le Freak, you don't look back. Whilst it's the two singles that you hear wherever you go (and no doubt we will for the next 50 years and beyond, too) this is a great collection of tracks. Chic *are* disco, and Nile Rodgers has contributed to some of the very best pop music out there. I enjoyed the slower, more expansive tracks too - didn't Alfa Anderson have a beautiful voice? C'est Chic is iconic, shiny and fabulous; influential; funky and enjoyable as heck. And they could *really* play - let's all give thanks for Bernard - that incredible bass riffing on Happy Man being just one example of what a funky bass can do for a three-chord motif. He was the man.
Bee Gees
2/5
Oh dear. I've listened to my elders and betters, and I do believe the people who tell me that the Bee Gees are seriously good songwriters, rather than just a band that did two great disco tracks (Stayin' Alive and Night Fever, obviously). But this didn't do it for me. Objectively good, some of the songs may be. "Nice", even, in places. It seems sincerely meant, and ambitious in scope. But it sucked all of the energy out of my evening, except for when it made me laugh for the wrong reasons. I thought it was pretty awful. Like they'd taken the dreariest bits from other artists of the day, and sat strumming and harmonising earnestly until they had enough for an album. Two albums.
The Gibbs are/were very nice guys (hence the second star, I'd feel mean giving them one), but I can think of much more interesting things that were going on in 1969: Led Zep, The Stooges etc.
It strikes me that David Bowie (all hail) briefly dabbled in this sort of thing, too. Thank goodness they all moved on from it. And the difference being that, by 1969, Bowie *had* moved on, and was writing such incredible songs as Unwashed and Somewhat Slightly Dazed.
If I need a thoughtful and authentic folk album from 1969, that doesn't sound twee, I'll stick to Nick Drake.
Ladysmith Black Mambazo
4/5
I remember hearing LBM on the radio in the 80s and enjoying the sound; I still enjoyed them today. Voices blending into a peaceful sea of sound (okay, I stole that from one of the top reviews - but yes). Also uplifting, and reassuring.
Throwing Muses
4/5
Tracked it down, thanks to some other reviews. (The pic is correct; just listen to the first ten tracks.) I liked it. From the perspective of this British teen-in-the-80s, they seem to have had all the right sort of influences: Siouxsie, Toyah and janglier stuff like the Smiths, which is all good; maybe even a bit of Bauhaus in there, and a few other British bands whose names I forget. Echo and the Bunnymen. Cocteaus. But there is plenty of their own creativity in evidence, too. I can hear that they influenced artists like PJ Harvey, Tori Amos, Sinead O'Connor and lots of other 90s indie types. In summary - interesting indie guitar pop. Apparently, they're playing in Liverpool soon, so Kristin Hersh definitely gets credit from me for still rocking at 59. (Algorithms? - it was her birthday yesterday.)
Pet Shop Boys
3/5
Pink Floyd
4/5
Destiny's Child
3/5
I knew this wasn't my usual kind of music, but, bearing in mind the incredibly strong singles and the force of nature that is Beyoncé, I was expecting to be quite impressed. Unfortunately though, I found it a bit dull overall and too long. I did enjoy some of the tender moments, as well as the strong "posturing" (meant in a good way) - but I didn't enjoy it as an album. All power to them, though.
Sebadoh
2/5
I feel like this should have been better. The sound was great; I'm here for the low-fi guitars playing Nirvana-like chords; I'm even here for the discordant harmonica and general cacophony of track 4. Not uninteresting. But the songs are, ultimately, not very good. Overall, it sounded like someone not good enough to get into REM made an album with someone not good enough to get into the Pixies and someone not good enough to get into Nirvana. Perhaps. I didn't like the vocals at all, or I might have awarded a third star, especially since I unexpectedly heard the odd echo of early Roxy Music now and again. I suppose I'm sort of glad to know of its existence, but I didn't find many songs I could engage with.
The Libertines
3/5
I'm not a fan of the myth and mayhem surrounding Pete Doherty, and I hadn't really taken the time to listen to the Libertines. Objectively, I think this is a good album - care has been taken over the lyrics, the arrangements, the variety. The janglier numbers aren't to my personal taste (NY meets northern England?) and I didn't get carried away by the faster, punky stuff - better live, no doubt. What I enjoyed was the more melancholy moments. Clearly, their relationship was complex. A mixed bag of an album, but worthy of being in the 1001.
Radiohead
5/5
Ha! From Wiki: "Departing from their earlier sound, Radiohead incorporated influences from electronic music, krautrock, jazz and 20th-century classical music, with a wider range of instruments and effects. The singer, Thom Yorke, wrote impersonal and abstract lyrics, cutting up phrases and assembling them at random." Well let me tell you, those words held no fear for me - as a Bowie devotee, that all sounded splendid!
Sure enough, I really enjoyed it. It might have got a tiny bit w*nky here and there, and I'm not sure I'd want to get stuck in the kitchen with Thom at a party. But Radiohead are cool, and know how to weave magic spells that draw you in, unlike some introspective bands where you feel like you're not at the party. I loved The Bends and OK Computer, and I loved this too. I doubt it would sound any good on a road trip, but listening in my headphones, it was just great.
Julian Cope
4/5
I imagine the vocals/words sound even stranger if you're new to JC. For me, I'd been a fan from the Teardrop Explodes albums in the early 80s, and really enjoyed his later 80s solo pop stuff, particularly the St Julian and My Nation Underground albums; I saw him live around that time. (Fried, I'd enjoyed less.) There was always a lot about him that was unusual and outspoken, too, making some of his output challenging - Reynard the Fox, Bouncing Babies. Anyway. I bought this at the time, and remember really trying to engage with this new double album spinning around on my turntable (and I remember the long sleeve notes) but feeling challenged by a lot of the confronting, rambling lyrics. I basically used to listen to Beautiful Love and a couple of other tracks, but the album largely stayed on the shelf. I subsequently acknowledged that he'd now become a bit too weird for me, and I never bought another of his albums. So it was really interesting to hear it again - it was actually far better, musically, than I remembered. That brilliant Pink Floyd-esque intro to Safesurfer! The guitar and rhythm section, especially, are fantastic throughout the album. It also frequently sounds *really* of its time - so many of those dance-y rhythms are joyfully reflecting the NW/Madchester sound that was massive in 1990. But. I'm still struggling to go on the emotional journey with him. I'm glad he's angry about organised religion and the state of the planet. But he sounds quite disturbed, which is hard. Sorry Julian. I'm still giving it a four though - he's an artist, and the music is great.
PS I have a colleague who still always catches JC's live shows - I gather he's pretty much a performance poet these days? Apparently, it's always a great evening. Hmm. I'm not sure I'll go along.
Circle Jerks
1/5
Well, I gave this album a go. I was even entertained for occasional, brief moments. But let's be honest, it's really not My Sort Of Thing. Mainly, just exhausting to listen to, and I don't think they really had anything to say that couldn't be said better in a nice, strongly-worded letter to The Guardian 😉
3/5
I knew, and didn't really like, Whip It, and that was about it. So I was a tad apprehensive, but this wasn't as annoying as I expected; at least, not all the way through. Some of the riffs were actually pretty irresistable. I'm not keen on the vocals, but I quite enjoyed a lot. Would listen again.
Einstürzende Neubauten
1/5
🤷🏻♀️
Guided By Voices
2/5
I just didn't see anything novel or particularly good about it. Sorry. I wonder whether, if this had been my, say, third album generated, rather than my four hundred and forty-somethingth, I would have found more in it. But we've had such a *lot* of noisy blokes with guitars that my enthusiasm for analysing why particular chord choices, production choices, lyrics, etc might be more meritorious than others has waned. It was lo-fi. It was quite noisy. It didn't really add anything to the music scene in 1995, as far as I can be bothered to think about it. Sorry again.
Elvis Costello & The Attractions
3/5
Definitely a good album; anyone altogether refusing to engage because they don't like his voice is missing out. (I'm aware of my hypocrisy; at times I won't engage with rap or screaming 😇) I don't really like his voice either, as it happens, but I do like the way he constructs deceptively simple pop songs, through which to convey all sorts of aspects of the human condition via clever, thoughtful lyrics. I'm aware we get lots of Elvis C on this list; this is at least our third, and I think it's a pretty good one. He's a good songwriter I think. It's not entirely for me, but it's pretty good.
The Streets
4/5
Really funny and unique. Savage social commentary, with a sense of humour, in the guise of a story: what a brilliant idea. I see him as the rapping, noughties heir to the Specials, ramped up a few notches. It was an unedifying tale, to be sure, but I emitted several snorts of laughter. The backing could have been a bit more interesting: when it was more musical, like in Dry Your Eyes, it added a lot for me. Overall - a tale with two endings. I'll take the happier one, of course.
Gil Scott-Heron
2/5
Hard to find! Smooth, jazzy. Happy that I now know there's a piano guy called Brian Jackson (iykyk). Not that exciting though tbh...
Alice Cooper
3/5
As others have said, this takes you on quite a surprising journey. It gets pretty jazzy and theatrical, complete with West Side Story references. I'm not letting my heart rule my head, though, just because it was a nice surprise; I reckon the songs are only "mid" (as my son would say).
Grateful Dead
3/5
I didn't hate it, but I think I've realised why the Stooges and MC5 invented punk rock in 1969. Presumably, to counteract this sort of thing. Boy, it did go on. The best I can say is that some of the noodling guitars sounded... pleasant. But it was a bit of a snooze. My brother is a huge fan, and he tells me I'm at the beginning of an exciting journey, as there are probably around 100 live GD albums to listen to. Thanks, bruv.
The Boo Radleys
3/5
Better than I expected. As I previously only knew Wake Up Boo, I thought they'd be terribly cheery and bouncy, but they can turn up the distortion when they want to. I especially liked the Rodney King song. The negatives: I'm not mad on the singing; it's a bit long; the more poppy stuff isn't my particular brand of pop; and the more trippy psychedelic parts lost energy. But I loved all the swirly, heavier bits and the dub. There weren't enough of them: I got impatient when the energy dropped. They probably deserve 3 and a half.
Jimi Hendrix
4/5
As expected - really good. He truly did amazing things with a guitar!
Paul Simon
4/5
Some lovely stuff here. For one thing, I really appreciated his gentle voice. Some lovely melodies and arrangements, presenting interesting stories. Lots of variety; mostly, good. I put this on quite late in the evening, and gave in to the peaceful, relaxed, but entertaining, vibe.
Korn
3/5
They're basically a pop group who think they're quite scary. I used to enjoy the videos that popped up on MTV in the early noughties, but I'm not really captured by any of it now. I still like the very low-tuned bass.
Doves
3/5
Quite good - in parts. There are attempts to do different things, but none of the actual songs ends up being very original, and at least four of them sound just like Coldplay (not a compliment). My interest was piqued by the instrumental Where We're Calling From leading into NY, but then it all went a bit meh again. Accomplished, with some interesting instrumental twiddles (mainly outros and intros) but didn't grab me overall. As I lived in the area for a long time, I can safely say it's all a bit... Wilmslow. (Shout out for their hit as Sub Sub, though - I hadn't made that connection.)
R.E.M.
3/5
A wholly decent album and I value REM's contribution to rock. So no arguments from me about why it's here. I like the blend of instruments; the propensity for a minor key. But I did find that it dragged a bit more than I remembered. The songs can be a bit one-level in terms of energy, and I think Out of Time is a better album. Favourite song is Man On The Moon.
Cypress Hill
2/5
I guess it's good in its genre, I liked some of the sampling and Latin flavour, but there's very little rap I can engage with and I was relieved to get to the end.
Echo And The Bunnymen
4/5
I'll admit to something a bit embarrassing for a British 80s indie kid - Echo and the Bunnymen are, truthfully, a "greatest hits" band for me. In other words, I enjoyed their singles, but never felt invested enough to buy an album, and I seemingly haven't changed that opinion. It's my kind of vibe, and I like all the elements; I'm just not in awe of the non-single songs (although I did like My Kingdom). I'm still giving it 4, though, because they sit so perfectly in my favourite genre, and the singles are such great tracks. I feel like Ian McC was really enjoying his vocal capabilities here, and I love that they went with an orchestral backing, rather than moving in, say, a punkier direction.
Eric Clapton
2/5
Cream were a pretty good band. Layla has a great riff. I don't need any other Clapton in my life, though, thanks all the same. Yes, he knows his way around a guitar. But he rarely brings a spark to anything he performs here, and besides, he's a massive plonker.
3/5
Found on YouTube. Wild! So this is what two drummers, two alto sax and a bass, all playing full pelt, and all, apparently, doing their own thing, sound like. Not scary in any way, but certainly wild. And cacophonous. And almost entirely tuneless. (I listened to a couple of Ornette Coleman tracks as well, out of interest, and even they are not really my kind of jazz - all a bit free-form, I guess.) This was like free-form on speed. I kind of loved the insane drumming, and I know they're probably all, in fact, hyper-aware of what everyone else is doing, but it would take me multiple listens to even begin to identify any musical patterns - and by then I'd have gone mad.
Garbage
4/5
I think this is a strong album. So what if three fellas recruited a singer; this must have happened in a million bands, it doesn't mean a chemistry doesn't develop, and the songs were evidently crafted by them all as a band. (You might be able to tell that I'm irritated by one "top" review that finds them really fake. But that person's favourite album was by Sepultura, so we're coming at guitar-based music from very different places.) I love the overall sound; a great blend of hazy guitars and driving, pop, rhythms. I don't think Garbage pretend to be anything they're not, and the songs are good. I really enjoyed this.
Grandmaster Flash & The Furious Five
4/5
Iron Maiden
4/5
This made me think happily of those 1982 episodes of Top Of The Pops, where you'd get a line-up that included, say, Adam and the Ants, Bananarama, Iron Maiden, and frequently something schmaltzy from a bloke with a bushy moustache who thought it was still 1976. Brilliantly eclectic, the UK singles charts back then. And my only exposure to Iron Maiden was on those episodes of TOTP, when I decided that they, and their denim-clad fans, were very much not for me. I was synth and indie all the way, and remained averse to Iron Maiden throughout the 80s and beyond. (Although I do remember secretly thinking Run To The Hills was a bit of a banger.)
But never mind what I thought then, they're rock legends, aren't they? And now I listen to it, this album brilliantly straddles (now there's a rock term) the heavier British/prog-leaning acts of the 70s and the lighter, more fun hair metal that was still to come. It's fast, but not overly aggressive; takes itself seriously but not ridiculously so; and is full of well-crafted songs. (I include 22 Acacia Avenue in that, despite the daft lyrics.) Bruce Dickinson has a heck of a voice. Considering the eye-roll I did at yet another album of hairy blokes playing guitars, I enjoyed this, and can definitely see the value in it. It might even be better than some of the Van Halen I now listen to quite willingly every so often. Fast, rocking tunes.
Todd Rundgren
3/5
I haven't heard the previous album, but, from what I read, it seems it was quite mainstream so he made a conscious decision to take drugs and try to sound weirder. Sigh. I'm tempted to comment that men can be very self-indulgent, but I'd better not, so I'll just shake my head fondly and say: Oh, these artistic types!
To be fair, he's not exactly the only one to go down that path, and some great art was born in just such a manner.
Here, you can hear the "nice" 70s soft rock underlying everything, but the attempts at adding a psychedelic twist don't succeed in elevating that to anything memorable. You've sort of got your normal rock backing (either Billy Joel-ish or Beatles-esque, at different times) with weird shushing noises and some alto sax trying to pep it all up. And occasional "I sound like I'm a crazy man talking down a telephone" vocals. It's reasonably creative, but the songs aren't especially good to begin with in my opinion, and it doesn't become great art. There are decent moments, but I doubt I'll be listening again.
PS ironically, I thought the least psychedelic passages were the best bits. Perhaps I should listen to the previous album.
Nitin Sawhney
4/5
Two beautiful tracks in, and I'm genuinely shocked that there are *any* one star reviews of this album, let alone, apparently, lots. I shall rise above my indignation, and resume writing this when I've heard the rest...
So, I really enjoyed the whole thing. Measured and thoughtful chill-out vibes; hypnotically beautiful at times. Several stand-out tracks. Homelands, Immigrant. Tides is a beautiful jazzy instrumental that reminded me a bit of some of David Sylvian's post-Japan stuff.
I can't claim to have got very far exploring the subject-matter, as this was my first listen. But it brought cohesion. So, a cohesive album and also coherent (well - apart from The Conference) despite the mixture of styles (described by the artist as "a mixture of Indian classical music, flamenco, acoustic drum and bass, hip-hop, jazz and soul"). I'll be listening again, for sure.
Stephen Stills
3/5
I'm finally getting to Crosby, Stills, Nash and Young through this project (as an 80s teen, I ignored that sort of thing). I've enjoyed getting to know Neil Young; I didn't know anything about SS, so I had no expectations here. Well, perhaps I was expecting it to be a snooze, from the cover pic. It wasn't bad, in fact. I enjoyed Jimi H's contribution to Old Times Good Times, which built to a dated, but satisfying romp. I also thought SS's own guitar-playing on Black Queen was terrific. I thought To A Flame's attempt at slow grandeur was unsuccessful, though. But most of this was very listenable; accomplished musicians (often just SS himself!) having a good time. Definitely dated, including in the lyrics, but I did feel like I was in a 70s movie at times, which was kinda fun. It improved after I cranked the volume up a couple of notches. I don't think I was vibing with the final, rousing concluding number, but there are a few tracks I might revisit.
Patti Smith
5/5
Oh, I get why some people don't like this. But those people and I respond to music very differently. I loved it. It weaves a spell. Fascinating, authentic, and cool as.
PJ Harvey
4/5
So far, I'd responded positively to Stories, and really struggled with Rid of Me. I was a bit nervous going in, as this was back to "early" PJ, but I really enjoyed it.
Music has always needed women like this - unapologetic, authentic, direct. Happily, there always tend to be a few around in any generation. I liked the simple structures and arrangements, driving beats and uncompromising lyrics. A lot of emotional power is delivered, despite that low-fi production.
This came up straight after Horses by Patti Smith (good lord, two women in a row) and PJH feels very much like a natural heir. And she dated Nick Cave! Not to even hint at defining her by that, but... kudos.
White Denim
3/5
Decent. As well as all the oft-cited "OG" influences, I wonder whether the success of Kings of Leon, a few years before, also inspired them to play around with old-school blues rock in a garage/ indie way. This is more expansive in sound than KOL, though, and doesn't have the attitude (opting more for 'considered psychedelia' rather than raw snarl). There's a pleasing world music element to the rhythm section. It did become too meandering for me at times, in the instrumental passages especially, and I found Street Joy and the final track a bit dull. Overall: musical; great rhythm section; I enjoyed the late 60s/early 70s vibe. But to become a favourite for me personally, I'd want a bit more attitude in the vocals.
The Only Ones
3/5
Decent post-punk pop; New York influenced; definitely not my preferred vocal style. Kind of trying to be a Cockney Lou Reed? (Jilted John meets Lou Reed, perhaps.) But I liked the musical arrangements and production very much. Eg the instrumental passages on The Beast were really good. Their "big hit" - Another Girl, Another Planet - isn't my favourite track on this album; there are other, more affecting songs. The deceptively throwaway It's The Truth drew me in, for instance. None of it really set me on fire, although you can tell, from the satisfyingly noisy outro on the original album closer, that they'd have been good live. Final point to note - yet another really good drummer. I have a new appreciation of drummers, from this project.
PS I don't ever remember them being on Top Of The Pops. Were they?
Genesis
3/5
Joni Mitchell
5/5
No matter how personal to her are the matters that she sings about, Joni Mitchell's songs always draw me in. I think that's her gift to us: she sings intimately, as if sharing her stories for our ears alone. Most of these songs do meander somewhat, but always thoughtfully, with the melodies tending to resolve every so often into a lovely warm, major chord. The effect is one of Joni being on her journey, observing, puzzling over things, worrying, messing up, examining her feelings, but ultimately content. And, of course, sharing it all with us through her lovely storytelling. I told my two friends who are sharing this musical journey that this wasn't one of my favourite Joni albums (that was before I put it on), but it's a measure of how good she is that I immediately stopped everything else to be able to soak it up (I'm guilty at times of multi-tasking my way through the 1001). Wonderful album. She's just great.
Emerson, Lake & Palmer
2/5
Quite pleased that I wasn't at this gig, tbh. No shade on the idea or the musical proficiency, it just didn't sustain my interest.
Blood, Sweat & Tears
2/5
Yikes. This was all over the place. I'm 470-ish albums into the project now, and I can usually predict whether an album will be averaging more or less than 3. I'd have put good money on this being less than 3, but I'm surprised to see it's currently 3.1-something. I'm afraid I thought it was terrible. Being able to play really well has, sometimes, elicited a third star from me, even when I haven't really enjoyed an album. But not here. Yes, they can play. But the songs are mostly delivered in such a way as to sound really bland, if not hilariously bad at times. Trying to be positive, I liked the random salsa burst in the middle of God Bless the Child and one or two other trumpety moments. For me, no matter whose songs they're singing, they generally managed to make them sound very bland or excessively drawn out. It all needed to be dirtier.
The Divine Comedy
4/5
Despite the fact that, if I could sing, play and write songs I'd want to be in a band more like Siouxsie and the Banshees, I was pre-disposed to like this, because The Divine Comedy are the lovely bunch of Northern Irishmen who gave us the splendid National Express (which, I note, features on the album that followed this one). And, by halfway through track three (Someone), I'd given myself over to the lush arrangements, even enjoying the fact that Neil seems at times to be channelling Tony Christie or Herb Alpert. What's not to like about an album about love, filled with wistfulness and melancholy combined with daft lyrics. I'm not sure when I'd put this on, but hurrah that, in the UK, we can deliver poignancy with a sense of silliness.
*PS as to why he writes like this, I've just read that it's partly to "escape" memories of a childhood spent in Northern Ireland during the troubles. So, he's definitely entitled to be daft if he wants.
PPS Someone. What a great track.
Songhoy Blues
5/5
Loved this. It has a wonderful energy, a quiet power and some fascinating, hypnotic rhythms bringing a different flavour to the blues. Really glad to know it; can't think of anything wrong with it.
TV On The Radio
3/5
I wanted to like this. Some of the heavy synth bass and long synth notes (like on King Eternal or Wear You Out) appealed to my 80s sensibilities. But often, it would fall too far into its own quirkiness (Ambulance!?) After struggling with the first two tracks, I thought perhaps Dreams would be the track to hook me in, but that octave-higher backing vocal made me giggle, and continued to annoy me throughout. I think they probably like a lot of the same bands as me - Bowie, too, at a guess. It was definitely interesting; it reminded me somewhat of Alt-J at times. I think they needed a proper drummer instead of the machine, and definitely needed to lose the hugely irritating falsetto backing vocal. Hmmm. Can't quite decide whether I should reward its bravery with a third star.
Rocket From The Crypt
4/5
This got better. I was going to dismiss it as one of those mid 90s punk rock bands, swerving grunge and basically writing pop with louder riffs, perhaps whilst wearing backward-facing baseball caps, to attract a young audience. But it's more authentic than some of those, I think, and there are good songs, especially around the middle of the album. During this project, unexpectedly, I really liked Yank Crime by Drive Like Jehu. It was challenging, loud, but really edgy and original. I was a bit surprised to see that one of the core founders of that band came up with this at basically the same time, as it felt like it was going very mainstream (unexciting) to begin with. But he won me round. There are good songs here, too, and I concede - it deserves its place. Extra points for the brass. A solid seven out of ten, really, so as usual I'll decide in the morning whether to round up or down.
John Cale
2/5
"Highly melodic songs with arcane and complex lyrics" says Wikipedia... I would agree. This is an unusual album, and I'll not sure I'll be returning to it, but I welcome the addition to my musical knowledge - I hadn't really paid attention to how John Cale fitted in to *things* although I knew the name. Anyway, it's interesting that Lou Reed saw him as the wacky one, because this particular album seemed very gentle. Wacky in a spacy sense, I guess, but not musically challenging or avant-garde. I didn't gel with it, unfortunately. A bit too whimsical, perhaps, and it was definitely dragging for me, by the end.
Spiritualized
2/5
I was open to this, no preconceptions, but it didn't do it for me. Some gorgeous synths and a moody atmosphere. No doubt because it was 1992, the songs themselves were a bit Manchester-sounding in their vocal arrangements, melodies and chords (despite the band hailing from, er, Rugby) but sadly, they lacked the dance factor. It was bit like the Stone Roses crossed with Pink Floyd, but only the very dullest bits of each. Disappointing.
Solomon Burke
4/5
Not a name that I knew well enough - it was only dimly familiar, so thank you, 1001. He was clearly hugely gifted and influential, and I loved his voice. The songs are arranged simply, but he expresses much emotion in that considered, restrained setting. Proper soul.
Echo And The Bunnymen
5/5
I've already reviewed the EATB album that followed this, Ocean Rain; 4 stars. As I said then, for some reason I'd never sat down to listen to a whole album of EATB before, despite liking their singles and overall vibe at the time. I had a feeling I might like this one even more, as it preceded their move towards a fuller, mid-80s sound with orchestral backing. In other words, I knew it would be a bit more more stripped-back (although I note it still has quite a bit of echo in the production - no pun intended). With simpler arrangements, the quality of the songs and the energy are even more important. Energy-wise, this is great: driving indie pop and some real emotion in the vocals. And I was impressed with the songs too. Some haunting melodies; I'm on board with their apparent fondness for an Egyptian-sounding vibe. I thought there was an early Cult vibe too (not as tribal-sounding, but some similarities). The title track, with its mid-track change of pace, is especially good. Another highlight was Gods Will Be Gods, which suddenly developed the expansive feeling of being a great track to drive to (and the Jim Morrison love was front and centre - a good thing imo). I still love The Cutter and The Back of Love. To repeat, they're a band who sit perfectly in my favourite genre, and I thought this was a great album. Perhaps: an oddly weak ending to what was originally the last track, In Bluer Skies. I'd made up my mind by then, though.
Robert Wyatt
5/5
Robert Wyatt wrote the beautiful hit of my youth, Shipbuilding, and his version of that is better than Elvis Costello's cover. That was the sum total of my prior knowledge. I'd no idea of anything else he'd done, before or since.
Some words as they come me whilst listening: challenging, curious, moving, Bowie (Eno)-esque, strange, Radiohead, wailing, other-worldly, simultaneously naive and complex, sea, sand, jazzy, wahhh, gorgeous, ethereal, Mike Garson-style plinky plonk, trumpets, soundscape, beauty, wandering bass, trippy, scary in places, Bowie/Eno again, amazing.
Maybe I should review more albums with random words. This is as odd as anything, but I'm truly glad to have found it. Genuinely extraordinary. I loved it!
Finley Quaye
2/5
On seeing this pop up, I was thinking, from memory, that music wasn't in a particularly exciting place in 1997, but then I googled Best Albums of 1997 and in fact, there were some pretty good ones - OK Computer, The Fat of the Land, Dig Your Own Hole, The Boatman's Call, The Colour and the Shape, Homework, etc etc - not all personally to my taste, but all interesting and still notable. I remembered the name Finley Quaye, but didn't remember any of his songs. On listening, I'm underwhelmed, I'm afraid. Sunday Shining had a really nice feel to it, but it wasn't a compelling album overall. I didn't hate the chilled sort of dub bass or overall vibe, but I did read one review pointing out that he wasn't Jamaican and it lacked authenticity, which bothered me, and on side two, more tracks were boring than not. I guess I'm left thinking it was an okay-sounding album overall, but I can't think I'll have a reason to seek it out again.
Mudhoney
3/5
Yes to the punk vibe, the mix of instruments, the energy, the low-fi production, but the songs aren't all that great imo. I was waiting for a melody or a chord progression, or even an instrumental break or solo, to really hook me in, but it didn't happen. Broken Hands and Move Out did come close though. I'll round up to 3, because it's decent and I wish them well.
Ozomatli
3/5
I enjoyed all the Latin elements, especially the brass, and I like the idea of mixing up genres in theory. But, like another recent reviewer, I wasn't super-keen on the rap and nu-metal bits; I think I'd rather listen to pure salsa. Good to hear about their activism, though.
Lou Reed
4/5
I'm giving this a high score, not because I particularly want to listen to it again, but because it's a work of art, in the way that some of the best albums are. It's so sad. There are moments of beauty and despair. I only knew Caroline Says II, previously; I think it's one of the strongest songs. The Bed, too; it blew me away with its beautiful guitar. I'm not sure I see this as a rock opera; that implies some sort of bombastic-ness, to me. This was like going to see a really sad play, which happened to be set to music. It's sort of wonderful, really.
Off the back of this, I also sought out his debut solo album "Lou Reed" (not on this list, I dont *think*; I've already reviewed Transformer and three Velvet Underground albums) - apparently, he thought that it had some of his best songs on it but suffered from terrible production. It's perhaps due a remaster? - it's great! If it's not on here, I recommend it. The man could definitely write great songs, and, now that I've said that out loud, I might need to listen to everything I've already reviewed all over again. He was ace.
The Soft Boys
3/5
I listened to the recent (2025) re-master of this. So, Robyn Hitchcock seems to have had a long and illustrious career which has passed me by until today. Sorry, Robyn. Anyway, I took this at face value; it's a decent album of pop tunes delivered with that 1979-80 post-punk guitar energy, and some occasional 60s touches. Nice wandering guitar tunes throughout. Not especially strong songs in my view, although I enjoyed the overall sound and vibe. 'Tonight' was probably my favourite song and I loved the instrumental that followed it, too. Everything you read about them says "influential". As a Brit, I'd like to believe that, but it's hard to join the dots precisely, isn't it? I'm a long way into this project, but, after you get to about 1977, for the next few years I still find it hard to pinpoint exactly what happened when and on which side of the Atlantic. Everyone seems to claim post-punk and garage rock as their own. So, best just to take it at face value, as I say; verdict: it's quite good.
Aimee Mann
3/5
This was an enjoyable but fairly unexciting listen. The songs are melodic, carefully crafted, and well-produced. It feels like a lot of thought went into the construction of the songs and the production - the balance of instruments, when to have a bridge, when to have a solo, etc. I think I might have preferred something more raw. Saying that, it sounds like she'd dealt with some "stuff" in her earlier, noisier bands, and by this stage, in her thirties, she was embracing her skill and maturity as a writer. I liked a couple of tracks that reminded me of Suzanne Vega. Some of the melodic choices also made me think of Sheryl Crow, although I note this album preceded Tuesday Night Music Club. I'm glad to have heard it, and would happily listen to more of her output. Three seems slightly mean as it's objectively very good, but I wasn't really moved. I'm aware that my threes and fours aren't very consistent!
Pavement
2/5
One of these days, I'll be able to put my finger on why I love alternative rock, but can't click with this, The Fall or, indeed, The Smashing Pumpkins. To start with the positives, the production is raw and fun, and the energy and attitude are good. But the songs are only okay (I quite liked "Here") and I disliked the vocals.
Fugazi
4/5
I've genuinely been meaning to listen to this since it came out. My two much-cooler-than-me housemates loved Fugazi in 1989, when we were all about 21, and I've never forgotten the name. I was a little nervous to dive in at the time, because, despite having embraced some pretty noisy stuff in the mid-80s, for some reason I was more into Suzanne Vega and even (whisper it) sophisti-pop at that point. I'm very happy not to have missed my chance, because it's really good. The bass, especially, propels every song so well. I don't often like a shouty vocal, but, as with the best Killing Joke stuff, it's so right, here. It's a very cool album and a deserved classic.
The Mothers Of Invention
3/5
From the first track, this was very groovy and evocative of its time. I also heard a kazoo. So I gave myself over to the images of daisies and pink and yellow swirls that suddenly filled my head, and tried to enjoy the experience. However, I'm not quite sure I ever worked out what journey, or concept, we were supposed to be following. The 50s rock n roll songs definitely wandered into spoof-sounding territory: Wowie Zowie could have belonged in The Little Shop of Horrors or Rocky Horror. Small peeve that there were a lot of rhythm changes mid-song: stop-start tracks annoy me a bit. Some tracks were just trying too hard to be odd (track 3!) and the last track lost me all together (cream cheeeeese!) I feel a bit bemused, but that's Zappa, I guess. I can't agree with the top review which states this was ahead of its time - to me, it screams 1966. Overall, a 3 it is, but I'm glad I had an excuse to listen to it. I think.
Kings of Leon
4/5
Pooh to the nay-sayers! I love this. At the time, it sounded really fresh and clever to my 30-something Brit ears, being derived from old-school blues and southern rock, but delivered with (deadpan, slightly eccentric) humour and a modern swagger. I think I acquired it when my sons were about six and seven. We all liked it, and played it, and the KOL album which followed, on many a car journey. Sound-wise, this is my favourite of theirs, although California Waiting hints at the more conventional chug-chug to come on later albums (I'm not a fan of Sex On Fire, nor Use Somebody). I love the stripped-back sound. I haven't listened to it as an album for far too long, although Red Morning Light and Molly's Chambers are permanent fixtures on my playlist. Dusty is just great. The album is technically proficient, the songs have great energy, and crucially you shouldn't take it entirely seriously (however deeply the Followill sense of humour may be buried, trust me, it's there) in the same way that you shouldn't with anything Jack White does. Pretty darn brilliant.
The Triffids
2/5
I didn't know anything about this band - if they had success in the UK, I missed it. I thought track 1 was awful, just really boring soft rock. Track 2 was more interesting and the singer was attempting a Nick Cave style vocal (I see from Wiki I'm not alone in thinking that). But then it all settled into dullness. I'm surprised at the general tone of the plaudits from the critics on Wiki, to be honest. They talk about the singer's vocals as having "fiery passion" that "never dwindles in intensity", but to me he sounded more like Lloyd Cole - good, but more conversational in style and tending towards low-key expressiveness - and about "melancholy songs with stark yet beautiful and uniquely Australian imagery". Was I listening to the right album? I thought the songs were weak and a bit dreary, and I can't see anything special in his voice. Michael Hutchence was a far better, more passionate singer, imo, and Nick Cave is in a class of his own in every way. I concede that the lyrics are quite good. But I was uninspired by the music. Sorry, Triffids.
Common
2/5
The Zombies
3/5
Lots of objectively good stuff here, I suspect, but I wasn't in the best mood for it, unfortunately. Instead of appreciating the understated production and the harmonies and stories, I felt a bit impatient for something to really sock me between the eyes. Time of the Season is definitely the stand-out but still didn't "sock". My favourite Zombies song remains She's Not There. Which is... Not Here.
The United States Of America
3/5
I liked the tracks where it all got going a bit, but too much of it was just a bit too, er, mind-expanding for me.
Brian Eno
4/5
I love the way that the current top review on here (1 star: "What makes this example special other than it being the first?") not only answers its own question, but is also beautifully countered by the second review (5 stars: "This is the album that transformed ambient music from a concept that some artists used to toy with to a de facto music genre"). That. So, having accepted why it's here, let's move on. I really enjoyed it. It's relaxing and intriguing. Sparse, looping musical patterns. It's less "Berlin" than I expected (I thought there might be a few more hints of Station to Station or Low, as there were on Before And After Science) but I do hope that David Bowie found this relaxing, too, amidst his coke-fuelled craziness around this time. I've enjoyed all of Eno's albums, and contributions to albums, on the list so far. Whilst perhaps not THE man, he's very much one of them, especially when it comes to synth.
Captain Beefheart & His Magic Band
2/5
Full disclosure, I only listened to part of this. Enough to conclude that it's worth two stars, in my own personal system, for its wild levels of rhythmic experimentation.
Pentangle
4/5
I kept veering between giggling, and getting properly into the music. Verily, 'twas most confounding. I've decided to go uncynical, and rate it for the music. If they want to sing about the woes that can befall a fair maid at the hands of ye eville powers (generally, men who be false) good on them. The guitar playing and rhythm section are fabulous. An accomplished folk album, forsooth.
Moby
4/5
I still like this, but I don't (and probably never did) find it hugely exciting. My favourite Moby tracks aren't on here - Extreme Ways, and We Are All Made Of Stars. But it's still enjoyable, has some good beats and is quite clever. He's also a nice chap, it would seem.
Brian Eno
4/5
Another Eno, more evidence of creativity in abundance.
The Fall
3/5
I forgot The Fall would be on this list. I was so close to skipping this - I absolutely hated them, growing up. Despite that, I get *why* they're here - anyone that John Peel rated is worthy of note and has merit, even if I personally don't like them. Anyway, this was a better experience than I expected. The songs are, mainly, groovy - even poppy - enough for me to let the atonal thing wash over me. It's when his vocal combines with an equally tuneless song that I really can't get on board, no matter how clever, acerbic, etc etc it's all supposed to be. There wasn't too much of that here; I thought the guitar parts and pop rhythms were often really cool and interesting. Some parts did make me grimace, though.
Lorde
3/5
Not really my cup of tea, but I admire a lot about Lorde. It feels like it's tougher than ever for a young woman to carve out a music career. The melodies and lyrics aren't really for me (apart from Green Light, which was already on a playlist of mine) but I like the overall sound; it's stylish and well-produced. I'd be interested to hear her first album properly, too.
The Notorious B.I.G.
3/5
As with some other albums in this genre, I doubt my ability to review it because I can't engage with it. Unfortunately, it's the level of swearing that literally makes me wince, and stops me really hearing what's being written about. And the level of swagger around sex is really off-putting. So all I tend to do is think about whether the backing/sampling and beats are cool, and try not to "tut" at the bad language. Maybe the language should draw me in, I know it's entirely authentic and appropriate, but it doesn't. For what it's worth, though, even I can hear that the album is creative and really expressive. And well-produced. He was clearly really good at what he did. But I'm sorry, I didnt get through it all (so shoot me for rating it anyway - oh, erm, actually please don't). Gosh he was young when he died.
The Vines
4/5
I enjoyed this blend of 60s pop and 90s garage rock. I'd forgotten this band, but do now remember that magazine cover with the "The" bands, and, after a little delve, I remember "Ride" from album 2. I'm not going to moan that this album is derivative and pronounce it unworthy; I thought it was good, and I've concluded that moments of "newness" are, in any case, really rare post-2000, and quality should still count. Quality was found in every song, and the last track is actually pretty epic. Young lads having a properly decent go, they deserved their success.
The Residents
3/5
What have I just heard? And how do I review it 😆 The kazoo. The just out of tune, distorted vocals (like kids using a voice-changer). The groovy little rhythms. Definitely the funniest thing we've had to listen to, so far; totally bonkers. But completely inoffensive, as far as I could tell. I didn't hate it... it just made me laugh. And, occasionally, even, tap my foot.
The Slits
3/5
Not what I expected; I expected angry punk guitars! I loved the heavy, wandering dub-style bass and creative percussion. Apart from that, the songs were quite sparse, but with intensity delivered through the vocal. The songs weren't very memorable on a single listen, but I enjoyed it. Definitely a band I'd always meant to check out, and they weren't scary after all.
Nirvana
4/5
Truthfully, I wasn't really in the mood for this, as I'd been listening to happy Christmas songs all day. I also reacted initially by thinking "Oh... more guitars."* But, Nirvana were definitely a cut above, in terms of the creativity in their song-writing, and the range of emotions being conveyed (none of which is very happy and Christmassy, as it happens). I hadn't listened to this album before, but it's really good. They just get the balance of sound right, and the music is always interesting.
*I realise that sounds ridiculous in the context of this project. And I do like guitars. But 500+ albums in, perhaps there could have been a bit more variety...
Suzanne Vega
5/5
I was delighted to see this come up, because it's an album I've loved since it first came out. I hope the first track didn't put people off, because I think it's the weakest one, with its 'talking' vocal. Otherwise, the songs are tuneful but also musically interesting, which seems to be a surprisingly rare thing. Her poetic storytelling is, on every track, compelling and evocative. I enjoy the haunting, slightly chilling quality that the whole album delivers. Fun fact, I bought this on LP after hearing Small Blue Thing on John Peel, and writing the name down in my diary. So, when Marlene OTW exploded, I felt slightly possessive. I will mention that I absolutely LOVE Straight Lines (excellent), and Some Journey is my favourite track: just beautiful, especially the outro - it never fails to give me goosebumps. The second album is also very good, but this will always be my favourite of hers. I'm also delighted to see that she's currently back on the road: I saw her play at Leeds Uni in about 1987, natch. Sorry for the Gen X smugness.
Skepta
2/5
Once again I find myself unable to engage with grime. Sorry, Skepta. I'm happy that, as a Brit, you got it all out there and won a Mercury music prize, though.
Digital Underground
1/5
Oh, humpty hump off with this tedious nonsense. The bassline in Underwater Rimes was the only enjoyable thing on the whole album. Otherwise, revolting.
SAULT
4/5
I'd heard of Cleo Sol, but I hadn't heard of Sault or this album. Unlike some reviewers(!) I have no problem with the fact that they chose to release this, in this style, at that moment. I mean, how dare musical artists express how they feel about a horrific, symptomatic event in a manner of their own choosing 🙄
I thought it was compelling, powerful and cool. And, seriously funky in places. It definitely deserves to be heard; in fact, the only thing that made me cross was that I hadn't heard of it.
Cocteau Twins
5/5
An easy five stars for me. Very much My Sort Of Thing. There are already some lovely descriptions of its sound on here, so I won't take the time to say it all again; suffice to say it's musically interesting (which is important, to me) and ethereally beautiful.
It's also a blessed relief when something less "angry"-sounding comes up on here now and again. I'm all for powerful energy and the expression of intense feelings (whether it's through guitars or rap) but (500+ albums in) I do find listening to a full album of it a day, challenging!
Derek & The Dominos
3/5
Love songs... this isn't how to woo me, Derek/Eric. It's all a bit of a snooze, and very dated. I don't think it was dated and generic in 1970, though, I think it probably stood out as being a great album. For now, though, I think we're allowed to recognise that, whilst it's very solid and accomplished, it's ultimately unexciting, apart from one great, famous, opening riff.
Todd Rundgren
3/5
It's that comforting sort of 70s sound again, the one I associate with bands like Steely Dan and ELO, and which I had absolutely no time for in my youth. Now that I'm over 55, I often welcome happier, more relaxing music (sorry if that sounds sad) and I enjoyed it. Saying that, a double album was a bit too much for me.