The emperor is naked, let's just be honest about it. Just because people say this is the coolest album ever made, doesn't make it any better to listen to. It has its moments but is wildly overrated in my opinion.

Spot the fake Cocteau Twins track name is the quiz round we never knew we needed... a) Iceblink Luck b) Fifty-Fifty Clown c) Socketface Grapefruit d) Frou-Frou Foxes in Midsummer Fires Some albums just scream 80s at me from the first few seconds and I immediately fear the worst (despite being released in 1990). In fairness, it has some hooks and the overall sound is richer and less cheesy for the most part than I was worried it could be. I find myself quite enjoying the shoegazy production and her vocals somehow both irritate and intrigue me, at times I swear she's singing in a strange foreign language. Spotify doesn't have the lyrics so I never bothered finding out.

I somewhat remembered this album from its original release but I didn’t remember how dull it was. It never gets going and never goes anywhere. I clearly didn’t remember it very well as it’s just not that memorable. The follow up was much better.

Started off thinking this would be dull, generic cock rock but I got quite into it and found that lots of it was really good. Most of it is indeed generic cock rock and variations on the 12 bar blues but they could rock out and it has all the energy and grime you want from a live album. It’s probably a 3.5 but I’m feeling generous for some reason with this one.

It’s ok. I mean, it’s all very samey reggae. I liked the overall groove but it doesn’t really change formula throughout and had me waiting for it to end.

If you only listen to one Green Day album before you die, make sure it is Dookie. But hopefully you have time for two, as this one should also not be missed. Yes, it’s a fairly formulaic pop-punk album composed of catchy riffs and Billie-Joe’s signature vocals but the ambition and creativity to attempt the concept rock opera should be applauded - the segues between songs work well, a few nice changes of pace and instrumental arrangements, and the recurring lyrical themes make you feel like you’re on a journey, not just listening to a collection of songs. Something to make America’s youth think about what was going on in their post-9/11 world without being preachy, but more importantly, packed with great tunes. American Idiot, Jesus of Suburbia and Holiday are all memorable but it’s Blvd of Broken Dreams that is the real jewel in the crown. Only loses a point for me due to a slightly weaker second half but it would be an easy 4.5, great start to this project for me. *my CD version must be different to what’s on streaming now as I have a 13 tracks compared to the 9 on Spotify, altho the runtime is the same. 1/1001

While I enjoyed the timing of this coming up, it feels like a strange inclusion for the list. Are there really many people who die without having heard this dozen or so schmaltzy Christmas standards? It’s essentially the 1960s edition of Now That’s What I Call Christmas so of course it contains all the festive classics but it feels out of place in the project for me. The narrated final track ruins Silent Night as well, sadly, and has me reaching for Simon & Garfunkel’s version to cleanse my palate. Roll on, Boxing Day. 2/1001

This is the kind of challenge I was hoping for but also not prepared for with this project. How to rate an album that is quite clearly and objectively beautiful and essential, but so far outside my own wheelhouse that I’ve never heard it before and probably won’t put it into regular rotation. It feels daft to underrate it based on my own ignorance but pretentious to just slap on a 5. But I thoroughly enjoyed the listen, at times spine tingling and heart wrenching. Musically excellent and vocally delightful. While I may not put it into regular rotation, when it does next come up, I know I’ll be very happy to spend more time with it. ‘Midnight’ gave me goose bumps. 3/1001

I must’ve listened to Blister In The Sun a hundred times in indie clubs through my University days without knowing what it was called or who it was by. So I was immediately grateful for that discovery. The remaining half hour or so was unremarkable. The sound doesn’t deviate much from track to track although the acoustic bass is fun and I had a few chuckles at the lyrics. Can’t see myself coming back to this one, and not sure I really get why it makes the list. I guess you had to be there. 4/1001

Brilliant and seminal album, an important piece in the history of hip-hop but also, more importantly, a joy to listen through, with bangers at every turn and lyrically engaging. Manages to sound fresh even nearly 30 years on. 5/1001

Bluesy country rock. It's a little formulaic and the album doesn't stray far from its template but there's a quality to Willie's voice and guitar playing that I can't help but appreciate. The storytelling and concept feel to the album was an unexpected treat and I definitely plan to give this more time in future. There's plenty to like about it, even in a style and genre that I would never choose for myself. It's a very very strong 3.5 that could even end up a 4 if I were to get to know it better. 6/1001

Something of a surprise - I had no idea Zappa was this jazz-influenced but it's clear this is an adventurous and highly accomplished record. I pretty quickly found elements worming their way into my brain and as challenging as Captain Beefheart's singing may be, his performance on Willie The Pimp is memorable and brilliant in its own way. The bluesy elements and dense production definitely appealed to my more classic rock taste, although the composition is looser than I tend to prefer. I can understand why this is an important album and glad to have met it, but we're likely to stay acquaintances, rather than friends. 7/1001

- "Sorry to let you know you have died. Welcome to heaven. How are you feeling?" - "Relieved that I listened to Fred Neil before I went. Wow. That was lucky." Said nobody, ever. Give me actively terrible over offensively bland and unmemorable, any day.

Probably not for me but lots to appreciate and some great numbers. Shining Star is great, and plenty of this album feels familiar from film soundtracks and the like. 9/1001

I know Leonard Cohen a bit so wasn’t surprised by the fantastic voice and the songwriting. I was surprised by the 80s flavour to the production and instrumentation. Almost go so far as to say cheesy in places but this was an enjoyable listen and I am glad to have given it a couple of goes through. 10/1001

A classic that could be heard everywhere in its time. Listening to it now I was a bit surprised by the number of slower songs that I didn’t really enjoy so I can’t quite give it that 5 stars but it is rare to find the sheer quality of the title track, The Way You Make Me Feel and Smooth Criminal, all sitting together on one record. 11/1001

Lot of respect for Polly Jean and gave lots of her albums a go but none of them ever seemed to stick with me. Same for Rid Of Me. First track was great but I felt it went off the rails a bit after that and after two listens I’m glad I know it now but don’t think it will enter my rotation. Heavy influence on a lot of great artists too, I can hear a lot of this in Garbage, Elastica and even more recently Wolf Alice. It’s one of my stronger 3s for sure. 12/1001

I've never been massively keen on the post-punk/new wave sound but I enjoyed this more than I expected. Its influence on some of my favourite 90s Britpop bands is really clear to see as well.

Quite enjoyed the overall vibe and some classic tunes. I don't love the proggy, organ-led numbers or the long stonery jams. It's probably not quite up my street but I am glad to have given it a couple of listens and I do get the hype, at least at the time. 14/1001

Obviously know Bjork but this was a new album to me and one I enjoyed through twice. She is a mad genius and it’s about of fun to hear her creativity. An influence on many many other musicians. This worked well for background atmospherics and it might just be the time of year but feels frosty, delicate but powerful.

I was pleasantly surprised by this one! All I really knew was Girls Just Wanna Have Fun but ended up gladly giving it a second listen. Also learned that Cyndi Lauper wrote Time After Time. Plenty of good tunes and overall an enjoyable listen.

Quite enjoyed my slice of classic rock this week but I don’t tend to love live albums and there was a bit more on the jammy side here. It lacked a bit of punch and cohesion for my liking but a lot of fun.

Just an essential album for any guitarist. Was great to give this a couple of proper airings. I knew all about Voodoo Child (Slight Return) and All Along The Watchtower but Little Miss Strange and 1983 are also brilliant.

All I really knew about Elvis Costello was his cameo in Austin Powers. So much more to be discovered. Great debut album that could’ve come from the 50s with its rock n roll swagger. Really enjoyed it.

Awful

A pleasant surprise today as an album I know well from when it was new. It’s not quite ‘White Blood Cells’ but the White Stripes in their prime were exciting and consistent, bashing out their unique brand of blues-rock. Equally capable of creating a catchy rocker like Blue Orchid or My Doorbell as a tender but accomplished piano ballad like I’m Lonely or Forever for Her. Great album and very close to a 5. Comfortably a 4.5.

Really enjoyed this one. I know bits of the Grateful Dead from my Dad and they certainly know how to take a solo for a walk, go on a jam or write a hook that'll stick in your head. This particular one had some familiar hooks and tunes and some new ones. Definitely worth a couple of listens. Great album.

First dabble into Miles and still not a big fan of jazz/fusion. Found the first half chaotic, noodly and directionless. Enjoyed the second half more and could contentedly work with it on in the background. That said, I’m quite happy to work with music on that is actually a lot more melodic and deliberate than this. It’s a 1.5 but I’m rounding up because it’s definitely not offensively bad.

Took a while to get to this as it's not on streaming but it was worth the wait, it's got some great stuff that I really enjoyed. He can write a hell of a song. I felt it tailed off a bit in the second half making it a strong 4, rather than scraping a 5.

It’s a great album, a dub and hip-hop classic that introduced me and a lot of the indie crowd to this kind of music through Damon Albarn’s connection. Really enjoyed having another listen. Although there are one or two odd experimental tracks that prevent it from being a perfect 5, it’s a very comfortable 4 and a half.

Not really my thing but she does it well and has a hell of a voice. There were some memorable numbers but I just don’t see myself going back to it. Glad to have heard it though.

I don't really get why this belongs in the 1001. It's interesting to hear the sitar used in a contemporary (well, 1970...) setting, but the inclusion of Stones and Doors covers, especially in the opening run, make this feel like a bit of a novelty record. The most entertaining parts are the original works towards the end of the album but overall it doesn't get out of second gear, for me.

I liked it better than I expected but I had really low expectations from brief previous encounters. Won’t be going into my rotation but I can see how it would be important within its genre.

Listened twice and didn't really interest me. They sound like an imitation of Bowie but the tunes weren't catchy or interesting and I'm left wondering why this was included. Pretty ordinary to me.

Fairly unremarkable 60s fuzz rock. Summertime Blues was a nice surprise; I only knew of the Who version (which is better). It's hard to unpick the influence of a band of 60 years ago when I am so much more familiar with all the artists it has since influenced but to me, on two listens there was nothing I'd come back to.

This has been a pleasant surprise. I knew nothing of Screaming Trees and didn't even know they comprised later members of Queens Of The Stone Age. This is a great melodic grunge album from a time when I was listening to a lot of this kind of music so I'm surprised it passed me by but maybe I just had plenty to keep me occupied at the time. I'm glad to have found it now though. It's nothing massively groundbreaking but I am definitely keeping it on my radar for the future.

Not really my thing but objectively good and a couple of classics on here. I gave it a go but won't really be coming back to it.

Simply the greatest album of all time. Even if it had come out today it would be incredible but the fact it is nearly 60 years old and changed the course of music makes it even more extraordinary.

Listened to this a few times - really good album and a clear influence on a lot of the post-punk/garage type band and albums of the 90s and 00s. I am sure this one is going to head into my rotation now.

Can do without the screamy stuff but liked the second half. Quite a clear pathway to a lot of music I liked in the 90s and early 00s and a lot of great guitar work.

Had never even heard of this but if I’d discovered it in the late 90s or early 00s I would definitely have bought it. Great hip hop album that clearly influenced a lot that came after it. Glad to have found it.

A lot to like about this and something that I didn't know at all before today. Another pleasant surprise in that this album is 55 years old yet, to recycle a cliche, sounds fresh to me and has influenced a lot that I like, from Portishead to Labi Siffre. Probably won't be one I add to the regular rotation but I have enjoyed a couple of listens and certainly won't mind dabbling again in future. A very very strong 3.5!

Oh dear. Just so dull. Very very country and it all sounds the same. Some poetic lyrics and he has a good voice but I have no interest in coming back to this.

A lot of it didn’t really stand out, a fairly middle-of-the-road 80s rock album as far as my two listens went. Some nice familiar numbers but I have to say the lyrics feel a bit cliche and I don’t think there’s anything remarkable about his vocals or musicality. Just a few catchy hooks. The title track is by far the redeeming moment and a couple of nice numbers in the closing run.

Janis rocks and has some great songs here. She also wails and I enjoyed this one a lot. Really on the fence between 3/4 as I don’t really feel myself coming back to it on a regular basis. Probably the highest 3 I’ve given.

What have I just listened to?! Swiss French industrial metal apparently. And yet having found it bizarre and horrendous at first, I quite enjoyed a bit near the end and might give some of it another go. Some of it, I never want to hear again in my life.

Pretty good Beatles-y rock. Nothing that really grabbed me but it was good and I'll keep it around for a couple more listens. It's hard when The Beatles did all this first and so very well, raises the bar to ridiculous standards and now with all the benefit of hindsight, it's hard to judge them fairly hearing them all together. Still, I enjoyed it and will listen to it again.

My favourite new discovery so far. This is a cracking album and one I’ll be buying. Going Back is a brilliant song. They have a lovely psychedelic folk-rock sound that just rolls through the album and then they seal the deal with effortless harmonies. I really really like it.

Not really my thing. Gave it a go and yeah in some moods there’s a good groove and some fine guitar work but I just can’t see myself ever choosing to listen to it.

I didn't particularly like Nu-Metal when it was new but it was at least interesting - mashing pop-punk with turntablism and rap. Now it feels dated and there's really nothing here I'm that interested in returning to.

Really listenable and clearly a classic. More bluesy than I was expecting and I was surprised I only knew My Generation and none of the rest as The Who have always been a staple of my Dad’s taste.

It’s an indie staple with a lot to like about it. Not quite as enjoyable to listen to as I want it to be but there are some fantastic moments, like Here and Fame Throwa. Really on the edge of a 3/4 but I’m in the mood to round up.

Only knew the name and nothing more before today but this was a lot of fun and an unexpected hit with me. The 2010s was a quiet period for me with new music so it’s good to find some hidden gems that had passed me by.

Nah. Seems wrong to give an album 1 star that includes Fairytale of New York but I was just waiting for this to end and don’t see myself ever coming back to it. I’m sure it’s a great album if you love Irish folk but it was very much not for me.

Lots of classics here. Already a fan of Walk This Way and Sweet Emotion but there is more to like and overall a solid selection.

It’s just organ and guitars. It’s a cool groove and the title track alone goes straight into the library but the pace, instrumentation and mood never really shifts and it didn’t really stick with me. Glad to have found it. Will be moving on, thanks.

One that I know very well but in my opinion, bettered by its successors. I didn’t quite get the hype at the time; it sounded a bit mechanical, the vocals are all distorted and I sort of felt the songs all sound too samey. It’s still one I listen to quite often though and was hugely significant at the time, which fortunately I was there to see.

Started off thinking this would be dull, generic cock rock but I got quite into it and found that lots of it was really good. Most of it is indeed generic cock rock and variations on the 12 bar blues but they could rock out and it has all the energy and grime you want from a live album. It’s probably a 3.5 but I’m feeling generous for some reason with this one.

It’s wacky but I’ve listened to it a few times and really enjoyed parts of it. Nice to have something completely different but they could also write a good hook to be fair.

Really didn’t grab me. Found myself thinking (wishing) something catchy like Get It On or 20th Century Boy would come on but it was all pretty drab and samey. Obviously got the wrong T Rex album for today.

Obviously an important album for punk and the direction music would go in from here on but after a couple of listens, nothing really got me wanting to keep it in my rotation. Decent but not incredible.

Liked it but not as much as the previous Byrds albums (Notorious Byrd Brothers). It feels a lot like The California Beatles and the best numbers here are jangly covers of Dylan songs. I like their sound but evidently they got better as they started writing their own stuff.

Some good moments that I enjoyed. Generally very 90s alternative US, feels a bit cookie cutter at times.

Liked this more than I expected. A varied mixture of sounds and perhaps a touch too long but there were some songs I really enjoyed and will spend more time with.

Really good album. Nirvana were just a bit before my time but I’m looking forward to digging deeper and live acoustic is a great different angle to approach them. Will keep this one in rotation.

Liked this more than I expected to. It’s more mid 60s jangly folk rock but the songs are solid, catchy and I’m a sucker for a harmony. Discovering so many contemporaries of the Beatles is also making me realise more how special they were, considering they basically pioneered this movement and achieved what they did in just 5-6 years. But I enjoyed this one twice and will keep a few highlights on rotation.

I really thought the biggest struggle of this challenge would be RnB, Soul and maybe Jazz. But no, who would’ve thought? It’s the dull, depressing 60s Country albums that turn up from time to time. I will be forgetting this one immediately.

I’ve discovered a fair bit of 60s rock and beat pop etc through this challenge so I was pretty keen for this one but it fell flat. Disappointed. Nothing really stuck with me after two listens and I can’t see much reason to go back. The overall sound was ok but never really turned into anything.

Great stuff! A very cool album and hard to imagine this hitting shops in the 70s when it was a pretty new sound. It’s basically what has evolved into Daft Punk but a bit more atmospheric rather than dance floor friendly. Definitely coming back to this one.

I actually liked this more than I remember. Still not sure there’s enough material for a double and it would’ve been incredibly consistent if it was whittled down to one disc but I respect what they’ve done here. Speakerboxxx over The Love Below for me but it’s a solid collection and doesn’t seem to have aged in 20 years.

Already know and like this one although it’s definitely stronger with the bonus tracks as ‘America’ is a prog masterpiece that the original is missing.

It’s nice but it didn’t blow me away. Admittedly I’ve heard it before but other than Heart of Gold and Out on the Weekend, it pretty much passed me by.

I live by the RIVERRRRRRRR!!

Nah. I heard this one at the time it was new and a bit hyped but I found it dull and cheesy. Time has done nothing for it. No idea how it has made the list. Is he trying to sound American? It’s just not good and it was also too long, I could not wait for it to end.

Three songs in, I thought I was headed for an easy 5 but it goes a bit soft rock in the second half and overall just has a middle-of-the-roady feel to it. Title track and Life in the Fast Lane are brilliant though and generally just enjoyed it a couple of times through.

Took a few days to digest this fully and there are some outstanding songs here, certainly close to being a 5 but I felt it just dragged a bit. It's a huge volume of work and such consistently high quality. In a way it might have been better as a tight, 12 track masterpiece but at least this way we get more of Harrison's genius, just spread across three discs, including all of the filler.

I found this really interesting. I’m not sure what it is - a bit like rock but then it’s also funky and a bit jazzy. I did like it though, strangely. It’s close between a 3 and 4 but I think it’s going to fall on the higher side. It’s just fun.

I remember this when it was new and didn’t try it out but it’s nice. A lot of atmosphere and a decent album. Just not one I can see myself coming back to, but that’s probably not Talvin Singh’s fault to be fair.

Owned this one for a while and probably never gave it enough love beyond Perfect Day and Walk On the Wild Side. It’s much more than that, really consistent and enjoyable listen. Tails off a bit at the end or it could even be a 5.

It feels like an important album in the history of hip hop but personally I don’t see myself coming back to it. Other than The Message, which is a classic. The rest was a bit slow and unremarkable.

It not my favourite or one of the Beatles’ 5s but it’s still packed with tunes and great songwriting.

Of course I know Bowie but I don't know this one. First three tracks had me really interested. But then it lost its momentum and direction and the second half was pretty disappointing, weirdly avant garde and just a bit random.

This is a stormer. I bought it way back but clearly hadn't remembered how good it is, just consistently excellent throughout. I probably didn't give it as much love as their debut back in the day because it doesn't have stand-out single type material but the overall quality is really high and the production is superb.

Didn’t do loads for me but his patter is quite amusing and clearly he can turn a tune. Can’t see myself coming back here again.

It sounds a lot like an 80s movie soundtrack. Which in a way isn’t surprising as this is what JMJ did for a lot of his career. While it’s still pretty impressive in a ‘before its time’ kinda way, I just wasn’t that excited by the idea of listening to it again.

This gave me American Zeppelin vibes. Very similar sound but the voice is nowhere near as good as Plant and the guitar work is nowhere near Page. Some stuff I liked but not as much as I’d hoped.

Familiar with lots of QOTSA but not this one. And it’s good, consistent with their work but it’s no Songs For The Deaf to be fair. Slightly too long as well, but I later found out they added some extra tracks to the original release. Some great stuff but it’s not quite a 4. Not far off it but not there.

I somewhat remembered this album from its original release but I didn’t remember how dull it was. It never gets going and never goes anywhere. I clearly didn’t remember it very well as it’s just not that memorable. The follow up was much better.

I appreciate the musicianship here but it's more jazz fusion and I just don't really click with it. Some very long tracks of (albeit impressive) just drumming. And drumming. I appreciate that Tony Allen is a legend but can we give him a band to stick an actual melody over that?

Another really strong entry in the hip hop genre and one that is just classic after classic. Amazing to think this happened in 1988, which is 36 years ago now, and the influence it spread across the decades that followed.

I've probably prematurely dismissed Captain Beefheart after hearing Trout Mask Replica many years ago and finding it pretty painful. However, I found a lot of good stuff in Safe as Milk and kept it in rotation for a few days while deciding between a strong 3 and a scraped 4. But every time it comes on I enjoy its bluesy vibes and variety so I'm going generous.

Don’t really get what’s special or significant about this. It was ok, similar to much other 60s beat pop. Maybe I’m missing something.

I was expecting a bit more as this one feels like it should be a classic but found it a bit bland. Some nice moments but nothing really grabbed me and doubt I’ll rush to return to it.

Bit of thrash metal. Not super keen. Obviously there’s always some good guitar work in these albums but there’s not enough of a melody and the drums are so fast it just feels exhausting. Not for me.

This was a joy to discover. Never heard of him but reading around his bio, I'm familiar with a lot of his peers and collaborators. Clearly a really talented guitarist and takes a lot of interesting directions on this album. At first seems like a fairly tame folk record but there are some real gems hiding in here. Very tempted to give a 5 but will go with a strong 4.

Great album! One I’ve owned for a while and packed with bluesy classics. Come for Freebird, stay for Tuesday’s Gone and Mississippi Kid! It’s not a 5 but it’s a very very easy 4.

It’s very textbook punky new wave. A bit jangly for my taste but I can see where this comes in the line from the punk and rock eras to where we were in the 90s and today. Don’t see myself going back to it but I appreciated it.

More of the jangly new wave and just boring. Not for me. Couldn’t wait for it to be over.

Some good moments that I’ve heard sampled in other hip hop and apparently pretty important in its place but it’s just so cringy to listen to. Sounds dated and embarrassing. It’s a whole album about some kind of weird sex drug. What?

Underwhelming. There was a fair bit of hype when it came out and I gave it a go then but didn’t really get it. Listening with fresh ears, I still don’t. It has some nice moments and overall a good vibe but it’s nothing I haven’t heard before or since really. Basic Space and Crystalised just about got me thinking 3 over 2 but it’s more of a 2.5 really.

While Morrissey is a complete lunatic and wildly unlikable, I do try to separate the art from the artist. However, the ‘art’ here is also boring, full of asinine and hypocritical political bollocks and just not very good.

There’s nothing like this in my collection so I guess I’ve learned about something new. But there’s also a good reason I have none of this in my collection. I can’t stand it.

Just not that inspiring. Better than some of the more drab RnB but it’s not as fun or exciting as the classic Hip Hop that’s been on the list so far. Don’t really understand why he’s considered as highly as he is. It was very average for me.

Very random and quirky noisy post-punk type stuff. Pretty bizarre but I feel it warrants more than a 1 because it’s sort of innovative and original in a way and not boring. Can’t see myself coming back to it but it’s something learned that I’d never heard of, and I can see where it led to things like Pavement, Talking Heads and LCD Soundsystem.

It’s ok. I mean, it’s all very samey reggae. I liked the overall groove but it doesn’t really change formula throughout and had me waiting for it to end.

Really enjoyed it. Especially after days and days of duds, a bit of good old fashioned rock music. Easy to get into, rock out a bit and not overthink my 4 star rating. Knew Jump was great but there are numerous bangers here.

Don’t tend to like live albums and I also don’t know The Who much deeper than Who’s Next and the singles, so I’ve never given this a go til now. But it was a lot of fun with a number of really strong live takes. The medleys and jams are great, take a lot of these songs to the next level and they have some good patter with the crowd.

Generally enjoyable cookie cutter hard rock but it does start to feel a bit generic and samey by the end. Would be interested to hear the odd change of pace but not really their thing I guess.

Always liked Hot Chip and while this has been somewhere in my collection for years, I hadn't given it a fair crack for quite a while but it's a brilliant album, both eclectic and focused. Nice and chilled but has its boppy moments too, although I think it fades a bit in the second half which is keeping me from thinking too hard about a 5 star. No qualms on giving this a 4 though. Great stuff.

Nice little album although I found it tailing off in the second half. Never really made time to listen to a lot of Bob properly but enjoyed this and happy to have found it.

Some of the post-punk movement really bores me, even when I understand that it forms an important path from rock and punk to the indie and garage music I liked around the late 90s-early 00s. But something about this album really appealed. The rhythm section really gets into some grooves and I can also see the path to the likes of The Prodigy and Primal Scream through this. I can definitely see myself listening to this again. It is a chaotic, noisy mess at times but there's something strangely brilliant about it.

That was hard work. Good grief. A truly horrible vocal performance. But something about this prevents me from giving 1 star. There is some really nice music hidden under it and it's full of variety and intrigue. In a way it's a shame he ruins it by singing over it, to the point where I never want to listen to this again in my life, but I do have an appreciation for the character and craft on display.

Yeah just not my thing. I gave it a go. Next please.

Remember this one from the late 90s and it was pretty important in terms of opening the door to more of the mixing and sampling subgenre of hip/trip hop. It’s mostly great as background vibe music but undeniably cool.

I’ve been surprised not to have encountered Dylan yet in over 100 days, and here comes one I don’t know at all. I didn’t actually know he was still releasing decent new material in the 90s to be fair. It’s a good job he knows how to write a damn fine song and execute it with this much earnest authenticity, because he sounds like a goblin and that’s the only thing holding me back from considering 5 stars. Great album.

Liked it. I know OF The Fall but not sat and listened to any of their albums and this one I enjoyed twice through. There's a bit of baggy type early 90s influence and a bit of post-punk new wave, a bit of a Talking Heads meets Primal Scream vibe but also with Smith's distinctive vocals.

My reviews have settled into a much more succinct form since starting the challenge. Who has time to listen to AND write a full page review for an album every single day?! But this one is special. I already loved the Prodigy by June 1997 and had been anticipating this one since the Firestarter single in 1996. I can't remember why I would have had a day off school on a Monday in June 1997 but I clearly remember meeting my best mate in town to buy a copy of this from Our Price at the moment of release, 9am. I also clearly remember taking it back home and smashing it on Dad's big stereo at about 9:15 and for most of the rest of the day, and much of the rest of the year. It's just an all time favourite. Are some parts of it dated now? Sure. Are there still new releases in the 2020s that borrow from and are indebted to it? Absolutely. I'm sure there were less well-known artists fusing punk and techno at the time but none were doing it AND breaking the UK charts with consecutive huge #1 singles. The side-B suite of Mindfields - Narayan - Firestarter is one of the strongest 3-track runs in all of music, and while I was slightly worried that I may have gone off it somewhat in the past 25 years, I thoroughly enjoyed listening through today. It was a life changing album for me and a game changing album for music in the 90s.

I'd not come across this before but really glad I have now. Loved how distinctive and different it sounds. Really tribal rhythms and her voice is brilliant.

It's good. I've often been underwhelmed by these 70s-80s post punk albums which is probably unfair as I'm coming at them with the benefit of hindsight and taking them for granted. You can hear the influence of this one in Ash and a lot of the 90s-00s guitar music I love, so it's great to experience it as part of that journey. I didn't quite love it though; the sound is great and I did enjoy the overall vibe but never quite found myself thinking I'd come back to it in any hurry.

I liked it but not as much as I'd hoped. It felt up my street stylistically and there were lots of good elements. The searing guitar solos kept grabbing my attention but then they never lasted long and despite three full listens it never really raised my head above a pleasant nodding along. 1967 was a great year for albums but I'm a little surprised this is one that gets held in such high regard.

Today I learned that Amnesiac was essentially a Kid A leftovers album. It makes a lot of sense too, as it has very similar atmosphere and instrumentation, particularly compared with the pre-Kid A Radiohead sound. It also explains why this is a bit of a loose and inconsistent record. In places it soars and touches the highs of its predecessors but it doesn’t feel as coherent or rewarding a listen.

It has a lot of ingredients that I often like. Post-punky, crunchy and rocky. But beyond a couple of songs, the vocals really grated on me and the chaotic arrangements just don't land often enough. I don't really see myself wanting to come back to it.

More 60s US country. Not my thing. But there's a little more here than in some of the previous albums I've been dealt. A bit more blues and some variety on the pace and overall feel. I still didn't like it much and was glad when it was over.

Another classic from the golden era of hip hop. Just flows and never really drags for the better part of an hour, then you get ‘Fight the Power’! Great stuff

I remember parts of this from when it was new and it's actually even better than I remembered. Some great electronic-tinged rock and Bellamy's voice and guitar playing are on another level. I thought about giving this a 5 but somehow just feel it's on the lower side of a 4.5, a little overblown and bloated at times. Fantastic album though and really glad to have rediscovered it.

There isn't much to be said about this album that hasn't already been said. The first half is classic after classic and the second is one of the most fun runs of songs in the history of music. It's probably only my 4th or 5th favourite Beatles album but it's hard not to consider it an all-time great. And that's even when you allow for Octopus's Garden.

It's a nice, safe rock album with some really enjoyable numbers but never quite consistently crosses over from good to great for me.

Not really playing on my home turf here but for a precious hour on a Friday afternoon, I'm more than happy to slip into the warm glow of a Cuban evening and enjoy this slice of the Caribbean. Impossible not to move your hips, admire the musicality and enjoy the vibes.

The other Elvis has been a really fortunate discovery for me on this challenge. Who knew he'd done so much and carried the rock'n'roll torch for so long?! I liked this more than the previous one, he does catchy and hooky really well and lyrically there's loads to unpick, so this one stayed in my rotation all weekend and will stay on the radar.

When it's good, it's really dreamy and atmospheric. It's also a lot of slightly out-of-context soundtrack music so at times you don't really know what to make of it. Air are fantastic and do what they do better than anyone else. But this one feels a bit odd outside of the film it was created for. Some great moments though.

I always have time for a concept album and obviously this is one of the 'rock opera' variety. It's got so many great tunes on it that even if the story gets incredibly weird and doesn't always make complete sense, the songs are there and it's great fun to listen to, regardless. Pinball Wizard has to be one of the greatest rock songs ever written.

I was a little concerned when it started off a bit funk/jazzy but then they pull out a really classic rock sound with some great guitar work and catchy hooks. I've enjoyed keeping this one around for a few days. Nice find.

I didn't realise Gene Clark was a member of the Byrds, but it makes sense. The guitar playing is nice if pretty simple and it's a soft and enjoyable little collection of songwriting. Some great moments but a few too many that didn't really stick in the brain after a few listens, for me.

Gave this a couple of goes but it really didn't click with me. It's not terrible and there are some good moments but I could never hear this again and not really feel like I'm missing much. Geno is good.

When I listen to an album in the car, I often turn the volume up when my favourite song comes on. When I listen to Led Zeppelin II in the car, I often turn the volume up 9 times by the end of my journey. It’s probably my favourite pure rock album of all time. I defy anyone to listen to the opening riff of Heartbreaker and not want to be Jimmy Page just for a few sweet moments.

I had to give this one a few goes through with the good headphones. It's a fantastic record. The minimalistic sound and the poetry in her lyrics are just perfect.

This was a really pleasant surprise. I had no idea this is what The Temptations could sound like but reading around the progression of the band and their sound it makes sense. The brilliant 'Papa Was A Rolling Stone' is a perfect centrepiece but it's just groovy and fun the whole way through.

It's a decent slab of grunge. I would definitely have enjoyed it more if a third to half was trimmed off as it's a bit long and bloated with some of the more middle-of-the-roady mid-tempo stuff but there was plenty I enjoyed. Chris Cornell was one of the best vocalists of his generation, but I prefer his later work against the harder backdrop of Audioslave.

It's inoffensive if a little dull. I'm sure it would be easy to shit on Taylor as she's become irritatingly ubiquitous and I'm really not sure she deserves it. The songs are ok and she can sing them just fine but I don't really see the appeal above any other young pop female singing about their breakups while seeming to sit on a mildly feminist platform. I gave it a couple of spins but don't see myself coming back for any of it.

I've found it hard to decide how I feel about the 'between' albums that plot the course from the 70s classic rock I like to the 90s-00s garage rock I like. I know without some of them, we never end up with some of my favourites; the grunge movement is a crucial piece of the puzzle and this is a significant band and album of that movement. But I haven't got into most of them as much as I had hoped. I gave it a few listens and enjoyed it overall but it never quite felt like something I'd buy or consider essential. It's consistently good but never quite crosses into 'great' for me.

I respect this more than a lot of the bland two-note pop music. She’s gone for it with both feet and at least written something as cool as Under The Table. Lots of it is very very odd and doesn’t strike me as something I’ll be coming back to.

Considering how far out of my usual territory this fell, I really liked it. She writes a nice country love song and tells stories that have some real emotional punch.

Just an incredible piece of work. From start to finish, creates an atmosphere, smashes it up, takes you on a journey and it still feels as amazing 30 years later. It’s as good sat in the background, listened to in detail on headphones or blasted on the stereo. One of the all time greats.

Had no idea what this would be and was a really pleasant surprise. If music has a colour scheme, this was one of the most colourful and joyous records I've heard in this challenge. Some outstanding playing and just a rich tapestry of instrumentation and melody. I was reminded frequently of Paul Simon's Graceland and clearly this style of music was an inspiration throughout that project.

This album was utterly ubiquitous throughout the 90s so it's hard to be really objective about it but giving it an honest listen through from front to back, it's held up really well and you can immediately see why it was such a massive influence on alternative music - and culture - of the time and the decades that followed. I've had a handful of grunge classics so far but this definitely stands above the others.

I’m pretty sure anyone who died without hearing The Man Who will be just fine with that. It was everywhere for a few minutes in 1999 partly because of the dirge that is Why Does It Always Rain On Me? But even that doesn’t really justify the hype. I’m giving it an extra star for Turn which I always liked, but it’s just not a great album.

Once again, the list delivers really high quality in 90s Hip-Hop fare. I only (currently) know the tip of the Wu-Tang iceberg, so adding more context and background is definitely a rewarding process. The production is excellent and Raekwon plus an array of guests add superb vocals throughout. The quality rarely dips although it is a long old album to get through at times.

Gave it a few goes and thought it was fine. Some good moments but nothing to really grab my attention. The jazz/soul variations of rock are always interesting to discover, drawing from a slightly different palate of instrumentation to what I'm used to in the rock genre. Overall it felt nice for the background but not one I feel the need to add to my collection.

Spent a few days here to make my mind up, although it's one I owned when it came out. There are some tracks I really enjoy here but there's also just too much arty, directionless later-Radiohead noodling under the whiny, mumbling version of Thom Yorke. I remember now why I lost interest in Radiohead after OK Computer. The good moments are too deeply buried in art noise.

This is a great album. Beck does so much hopping around between genres, styles and instruments and it's always fun and arresting. I don't think Guero quite reaches the highs of Odelay or the fun of Midnite Vultures but it's got good to great songs peppered throughout and never really dips too far below the median.

I tend to roll my eyes when I get anything in the jazz realm but shame on me today. I had no idea how much I would enjoy this. Probably a bit elevator-y at times but the musicality really grabbed me, it's got some brilliant moments and overall a good upbeat vibe. A pleasant surprise.

There's enough classic psych rock riffage here to warrant a comfortable 4. There's also unfortunately too much weird vibrato vocals (We're Going Wrong - yes you are) and what sounded like a bad Monty Python outtake (Mother's Lament) to hold me off giving a 5. Overall a great discovery and definitely one I'll be coming back to.

Exit Planet Dust came out at a time when the whole big beat genre was still mostly hiding underground and brought it to the mainstream. Hugely important and influential and also a lot of fun to listen to. They really soar with their collaborations and it's Beth Orton and Tim Burgess who take this album to another level. It's iconic and truly brilliant.

I think this suffers from being too long in places but there is loads of it I really enjoyed and I like the overall concept feel of it. It seems they were trying to show the world they were more than just 'Stayin Alive' and job done, because I had no idea this sort of work was lurking in their catalogue and I'm glad to have found it now.

Really enjoyed this and had to go back for repeat plays. Found it on the rockier and more accessible side of the prog spectrum and really cinematic in a good way. Naturally made to be played loud, I feel. Looking forward to trying more Supertramp in the future.

Another Elvis Costello album but this one failed to grab my attention in any serious way. It's consistently good but doesn't ever really raise its head much higher than that and I don't think I'll come back to it in any hurry.

The progression of the Beastie Boys from hardcore and joke punk songs to become pioneers of hip-hop is laid bare on these 13 tracks (and the album that followed) - from picking out the samples that range from Led Zeppelin to 80s television characters to tracking the beats and snippets that were subsequently sampled by the future hip-hop greats, it's very clear to see where this absolutely vital album sits in the history of the genre. It's a phenomenal record that takes rock and rap and forces them to play nice. Sure, some of the lyrical content is dated, but the Beasties were literally boys at the time, and the production is many years beyond its time.

Such a fun album. The beat kicks off and just never seems to stop. Easy to forget this album is over 45 years old! The influence it's had is enormous and it's also a really solid great album to listen to.

The emperor is naked, let's just be honest about it. Just because people say this is the coolest album ever made, doesn't make it any better to listen to. It has its moments but is wildly overrated in my opinion.

My second Pere Ubu album and I'm none the wiser as to why it's here. They seem to have been an important underground influential artist but it's just such messy noise and not a million miles from the last one.

Obviously a hugely important and talented musician but this style of music just does nothing for me personally.

At their peak, the Beta Band were one of Britain's most innovative, creative and promising bands. Sadly that peak came and passed far too quickly. The aptly-named Heroes to Zeros soundtracks the period from their excellent Hot Shots II era to their breakup just months after this was released. It's a damn shame but they just didn't seem to be able to agree on the creative direction, some members struggled with mental health and they and collectively kept hitting the self-destruct button. Lots of this album are of the playful, genre-bending variety that made them so exciting, but it lacks consistency and sags in the second half. I can't go lower than a 4 because they were just so special while we had them around (and outstanding live) but it's much messier than its predecessor and not as much fun as the 3 EPs that put the Betas on the map in the first place.

I'm know this is an important, milestone collection from the very roots of rock'n'roll and blues but I prefer the later music it inspired. After a few goes, it's good stuff but doesn't really have me adding to my rotation.

Always been aware of Nick Cave and sort of considered him a Leonard Cohen-lite. Probably a bit unfairly, but this album has done little to deter me from it. That said, there is some stellar songwriting here, he does a superb job of stripping back the production to make the lyrics the focal point. Would have liked the odd change of pace but in the right mood, it's an excellent record.

I remember this being synonymous with a certain demographic at school, which put me right off but it you can't deny its influence. I went into it with an open mind though, but it's too long and really not as hard or heavy as I expected and left me a bit bored.

Never been the biggest Johnny Cash fan but I found this engaging and I love the idea of him playing in prisons for some reason. He has a good bit of fun with his banter with the inmates and delivers his brand of country rock with humour and conviction.

Found this one washed over me as background music but I appreciated it a lot more a second time on headphones. It's moody and atmospheric and never in a rush, which is much rarer in more recent music. But I can see the influence from here on lots of great bands like Interpol, BRMC and Bloc Party who moved post-punk into the 21st Century. A challenging listen but well worthwhile.

Getting this immediately after Joy Division was interesting as I'm pretty sure it was a major influence on them and the two flow quite nicely into each other. Dark and angry but some great riffs and tunes and they really lean on quality basslines, which you can miss if you rush it.

Everyone will remember Cornershop for Brimful of Asha but I did a little more digging back in the day so I remember this album and it is a brilliant, colourful cocktail of indie rock and electronica with its British Indian influences worn very proudly throughout. It was a joy to revisit and has held up extremely well.

My third Neil Young and it's a worrying trend - I've gone from a strong 4 to a comfortable 3 but this one I can only give a 2. I didn't realise I had it on repeat and listened to it nearly three times without noticing. I just thought it had gone on a long time without ever piquing my interest. Just very bland and unremarkable. I understand why he's made the list, even multiple times, but surely this spot could've been given to something a bit more interesting?!

The highs are high; Movin On Up and Loaded are two absolute anthems of the baggy era and helped spawn a genre and a whole range of subcultures. I owned this album but didn’t remember any of it outside those two tracks. On a few pills at an early 90s rave this album, I’m sure, was as good as it gets. I just find that on headphones in 2024, it’s hard to keep enjoying the formula for a full hour. Influential and brilliant in its time but happy to move on now.

If nobody has yet taken this ‘singer’ aside and discussed alternative career options, it’s just cruelty at this point.

I had high expectations and while it’s a good album I didn’t quite understand why it’s so highly rated. Some good moments and an overall well written and complete-feeling LP. But it misses in places and didn’t jump out for me as often as I had hoped.

The album that started Britpop. Basically sounds like a week in the life of your average Brit in 1993. Light-heartedly cynical at every turn and full of wry smiles and nods to the British way of life. Not to mention the work of a master songwriter and a genius guitarist, in Albarn and Coxon, beginning to find their feet as a creative force that would influence and lead the whole Britpop movement. And it's just a fantastic record from start to finish.

Great record, kept this in my rotation for a few days and enjoyed tracks from all over it at different points. Varied but still cohesive. Reminds me of the Young Fathers more recently and had me digging into their back catalogue all week.

Odd lyrics, unimaginative production and generally forgettable experience bar one or two half-interesting moments.

I’ve always viewed the Stones as predominantly a singles band and I’m afraid Sticky Fingers has done little to challenge that preconception. Brown Sugar is great and I really enjoyed Midnight Mile but there was a lot in the middle that didn’t stand out in two plays through. Can you Hear Me Knocking has good moments but is just too long.

Remember this being a towering influence at the time, a true drum n bass classic. And at times it scales those heights still today. At times it also sticks around longer than necessary and feels very dated but in fairness, it wasn’t written to be listened to while unwinding in my lounge after work.

I've been dreading the inevitable tide of Morrissey albums on this challenge but determined to give everything a fair crack with an open mind. Here goes... I really liked this. Yes, I struggle with his voice and knowing more about him as a person whose views I disagree with but I sat and enjoyed listening to pretty much every track of this album. The guitars are brilliant (credit to Alain Whyte and Boz Boorer, and probably Mick Ronson) and I don't hate Morrissey's dry humour on this occasion. A pleasant surprise, in spite of myself.

Funky and foundational rock'n'roll. It's hard to put yourself into a 1963 state of mind and listen to this as it would've been heard back then, before rock music had taken all the turns it took in the subsequent 60 years. There's a lot to enjoy here though. The man can sing!

Considering this album came out in 1993, its production is fantastic, the beats are smooth and grimy and it massively influenced hip-hop in the 90s. The only downside is the lyrics which are just puerile and uncomfortable in far too many places. That was the game though, and if you enjoy it in the right mood, it doesn't ruin the better tracks.

A pretty safe, enjoyable pop rock album that feels very 90s, I remember a few of these hits. Found this hard to rate as it was nice enough and has some great moments but also never really held my attention in a serious way. I won't begrudge it coming up again but I can't see myself seeking it out in future.

The 90s Hip Hop selections have so far been excellent, showcasing the records that influenced the genre at the time and are still generally good to listen to today. Likewise, The Blueprint has held up well and is a reminder that Jay-Z was pretty ubiquitous at the time, collaborated with all the big names in a way that elevated both his work and their involvement. This one does strike me as a little 'safer' than some of the others though, less of an edge to it and perhaps a little overproduced at times. It's nice not to be cringing at the lyrics but it's also a shame they don't ever really hit deeper or challenge the listener too much.

I hate to judge a jazz album by its cover but this is as dull and loungey as it looks. I know it's great for people who like jazz but it just felt like background restaurant music and went on far too long. Looking more closely at the tracklisting, most tracks are played twice? But I couldn't have told you that. Not for me.

I wonder if there’s a trend in people’s ratings of Elvis Costello albums depending on what order they were generated. I’ve gone on the journey from ‘oh cool, Elvis Costello, the guy from Austin Powers. He’s pretty good’ to ‘Elvis Costello again? Ok. He’s good but why’s he here so many times?’ And finally I’m approaching ‘Really? Again?’ And my ratings will probably reflect that. I like the album. It has some great moments, I just don’t get why we need quite so much of his really-fairly-similar body of work. We get it. He’s good. He’s not THAT good though, is he?

It sounds a lot like a Nirvana album with Courtney Love on vocals to be honest. Good in places but not amazing. Definitely an influence on the post-grunge/punk scene, can hear shades of this in things like Ash and Garbage.

Classic swing and very easy to listen to but not really my home turf. Not one I've minded listening to but not really one I'll put on rotation.

There's flashes of brilliance but his slow songs are just dire. Same experience on Bad, which I was really excited to get (months ago) but found that outside the upbeat singles, it's a bit disappointing.

I've had this on rotation for days and it's an absolute beauty. Sometimes it feels like a folk-rock album with some brilliant electric guitar and bass, but it's also so much more. The soul in her voice and gentle forays into jazz and blues make for an incredibly rounded and varied, yet consistent album. I didn't know this one before but I am so glad to have discovered it. The songwriting is first rate and she executes time and time again.

A times I thought I was onto something really exciting as he and the band are clearly all fantastic and can really rock out. But then I also found bits of this just odd - lots of it is covers or sort-of covers, including his take on 'Greensleeves' among the blues standards, and it has a weird flow, to me. Doesn't feel like a coherent album. One or two highlights but will have to move on to the next.

I really enjoyed Countdown To Ecstasy so was excited to dig into Aja, but left feeling pretty nonplussed. It feels a bit elevator-y, very easy-listening and lacking in any real edge. Musically, it's solid and the songs are well written and constructed; It's fine and inoffensive but just can't think of any reason to keep it in my rotation.

I’m afraid this was never going to be a big favourite for me but she does have a fantastic voice and puts it to great use here. I appreciate that she leaned into the RnB and soul influence and her vocals work well in that oeuvre. It’s slick in its production and you can see why it sold so well and she was such a star. I didn’t mind it but it was definitely too long - two discs are really not necessary and while it’s all good fun pop, it’s not something I really need in my life.

I've kept this on rotation for a week now and every time I hear it, I really enjoy it. They nail the dark and moody, they nail the rhythm section and I love how it's produced. It's also a huge influence on what came next - the alternative transition from 80s hair metal to 90s/00s post-punk that doesn't have to veer into punk or grunge. It's another pleasant surprise and welcome discovery. It's probably a 4.5 but I'm feeling a little generous and will definitely be adding this to my collection.

There are some great moments I really enjoyed but Bowie also likes to experiment and while I applaud his efforts, I don’t always like actually listening to them. When it’s good, it’s really good, but when it’s not, it’s pretty forgettable.

Ah yes, UK Garage. Popular for 20 minutes at the turn of the century. And still grim. This album is far too long, full of awful vocals and irritating beats.

Pour some sugar on me. In the name of love.

Nice that my first Floyd album is the first Floyd album. And really good it is too. Hadn’t listened to this for many years but there are great moments I remember, like Bike and Astronomy Domine and great moments I was more than happy to be reacquainted with, like Lucifer Sam and Interstellar Overdrive. A sign of things to come, albeit via some lineup changes, and a great listen in itself as well.

Is it pretty derivative blues rock? Yes. Is it fairly generic and predictable? Sure. Did I enjoy almost all of it for just being pure rock n fun? Well, yes I did.

I respect the art and genius of Bowie. He does piece together some fascinating work, that's full of ideas and interesting production. It's just not always that fun to listen to. I liked the slow burn on the opening track and there are some great details throughout but I found a lot of it was a bit of a slog to get through.

He does what he does but it’s not quite my thing.

ZZ Top are one of those bands I’ve always been aware of but never really given a longer thought. This is a great album though, so I’m really glad that it’s come up. I love the way the first couple of tracks bleed into each other, it’s a really strong start and time and time again they deliver catchy and brilliant dirty, bluesy rock. Only once or twice does it sag but this earned a week’s worth of replay; a comfortable 4 that I contemplated awarding a 5.

Another great addition to the hip-hop selection here. Picked this one up on second-hand vinyl about 20 years ago and it was nice to get reacquainted today.

Really really not my thing but also not that good.

It’s hard to argue with an album that can boast Welcome to the Jungle, Paradise City and Sweet Child O’ Mine but it does have a handful of middling songs in there too in my opinion. Obviously it’s iconic and was a pretty important album of its time that inspired generations of future guitarists and subgenres.

Found it really hard to decide between a 3 and a 4 on this one. It was much less hard and heavy than I expected and I really enjoyed it overall. Some terrific guitar work and great changes of pace and rhythm. Definitely glad to have discovered it and will be a lot more excited and open minded when Iron Maiden (surely) reappear in the challenge.

It’s another hit for 90s hip-hop. Production is great, the bass and beats are hard not to like and it’s generally just a good groove throughout. With the lyrics and vocals there’s plenty that’s poignant and clever but there’s also a fine line between what’s still funny and what’s a bit awkward. The majority falls on the right side but there’s a chunk of this album I’m not in a rush to listen to again. I don’t love his delivery but overall I’ve enjoyed the album.

Know this one well from 2001/2 and it’s packed with brilliant singer-songwriting that varies effortlessly from bluesy to rocky and ballady with a dose of the better kind of country in there too. The opening run of five tracks is pretty spotless (New York, New York, Firecracker, Answering Bell, La Cienaga Just Smiled, Rescue Blues) but the latter half does drop off. I learned today that there’s a second disc that apparently Adams always intended to be included. It seems he can be a difficult person to work with and was regularly at odds with his label but I must say, in my experience the labels know what they’re doing as the extra minutes only serve to dilute the quality here. It’s a fantastic album that I’m always happy to play but doesn’t quite sit in my absolute top tier.

About a month on from getting Sticky Fingers, which I liked for some individual songs but didn't love. This, I like more. There's more blues and soul and it stayed in my rotation for a few days quite happily. Much more consistent and more memorable for me.

A stone cold 90s classic. Gets lumped in with Britpop but is definitely part of that post-Britpop maturing movement. You couldn’t go anywhere circa 1998 without hearing Bittersweet Symphony or The Drugs Don’t Work. Lucky Man and Velvet Morning were my favourites though. I think it’s a little on the long side and has some middling tracks in amongst the great ones. It’s still brilliant overall and has held up well 25 years on.

One of those albums that will forever be associated with the whole Britpop genre/movement and spawned a thousand copycats. They had a formula and they delivered on it again and again. For me, there are a handful of mediocre songs here and as perfect as Liam Gallagher's vocals were for the band, they are also an acquired taste and bring back memories of what an arrogant, insufferable nugget he was as well. Noel could certainly turn a tune though and they captured a moment brilliantly.

While I remember the predecessors to this album and I remember the existence of this one, I don’t remember any of it. So they apparently became a bit more sophisticated in the production and songwriting but also apparently became a bit less memorable. There are some good moments here but they really get lost in the mediocrity of general alternative mush. Skin was a great frontwoman and singer so they were very good when they were good. But I don’t see myself coming back to this again with any urgency. I am glad it reminded me to listen to their first couple of albums again though.

I have no problem with slow burn albums that build tension gradually. As long as there is a payoff. This album felt like 35 minutes of build-up, and decent at times, but with no climax. I gave it three goes and none of it grabbed my attention at all. Fine for the background but not enough... happened?

I love that albums like this happened and the impact this had on punk, post-punk and all the guitar music that came after it. But that doesn’t make it that great to listen to. Would it have hurt to give your angst a bit more of a tune? I’ll tick it off and move on.

It’s great to sit and listen to a Beach Boys album that’s not either literally or effectively a collection of singles. Of course I know Pet Sounds and Smile very well but otherwise tend to lean into the hits. This is quite a different experience and one I enjoyed. The lyrical themes are different and the production feels a far cry from the Brian Wilson masterpieces. But it’s no less enjoyable for it.

I can understand why this album was so massive and continues to be considered a classic in the metal genre. It just does nothing for me. The drums are always maxed out (on speed and volume), the guitars chug along in much the same way on every song and there's nothing particularly interesting about his voice. I do get it but I'm not feeling it, personally.

I wanted to like this more - you can see its fingerprints on a lot of post-punk, grunge/noise and indie of the 90s and 00s but I just found it a bit short on tunes and not particularly memorable.

Backgroundy Jazz. It's just never going to be my thing, as cool as this is, I don't really see myself choosing to come back and listen to it again.

Enjoyed the bass and beats and generally it's a great vibe. Didn't quite stick with me as much a Fear of a Black Planet but still good, solid stuff.

Famously the soundtrack of the Beatles starting to break up. The White Album always felt to me like a sketchbook of musical ideas from all four Beatles that they were too tense and fed up of each other to agree on and properly produce. Had they not been breaking up by this point, they could conceivably have trimmed half of the album down, polished the chosen tracks and made another tight, 35-minute album. But luckily for us, we got to see the full workings of their minds and hear them play around with a whole smorgasbord of genres and styles. And astonishingly, they rarely miss. It’s a brilliant, if at times bonkers and confusing, absolute masterpiece.

Fond memories of this from the mid 90s. It was nice to have a relisten, but I'm a bit offended on behalf of my poor, innocent teenage ears. Jarvis was one horny bugger!

Not as good as its successor and sort of feel like once you've heard one track, you've heard it all.

Nothing wrong with a bit of reggae, it's groovy and you feel incredibly cool listening to it. I do find after a while that I might appreciate a change of pace or a different dynamic.

Quite enjoyed this raw and messy, punky number. Not exactly a masterpiece but short, sweet and to the point.

I'm not sure if it was the vocals, the music, the production, the lyrics or just the whole sum of its parts. But I found this to be dreadful, unlistenable and an absolute Displeasure. I never want to hear it again.

The better moments are really funky and a lot of fun - reminiscent of Talking Heads and baggy indie. The rhythm section is having a great time and I enjoyed it. The slower numbers didn’t do anything for me though and I generally struggle with overly ‘80s’ production and post-punk/new-wave vocal style, which definitely tempered my overall enjoyment here.

The vocal harmonies are first rate, there’s a fantastic blend of borderline country, blues and acoustic psychedelia that really hit the right notes for me. The vocal harmonies are first rate, there’s a fantastic blend of borderline country, blues and acoustic psychedelia that really hit the right notes for me. Worth listening to again and again.

Led Zeppelin were remarkably consistent through their first four albums. Then they got experimental. They dropped off a bit with Houses of the Holy, and then they came roaring back with this, their double, Magnum Opus LP, Physical Graffiti. It chugs through an hour and a half of various genres, ideas and variations on their signature blues rock and never really misses. Genuinely might be the best rock album ever made and has an amazing cover, just to throw into the mix too.

Plenty of great glam riffage, I enjoyed it considerably more than its successor (The Slider) although the two aren't miles apart stylistically, I just felt it had more tunes. Maybe I was just in more of a T. Rex mood today.

Really impressed by what he does with almost exclusively a guitar and a voice. Fantastic songwriting and some really enjoyable guitar work. Definitely going to be digging deeper into his catalogue. It's exactly the sort of album I wanted to make about 20 years ago.

I know the singles of U2 but only a cursory knowledge of their LPs (I'm sure this won't be their only appearance on the list). While the singles do stand out on War, there are a lot of good moments further down the tracklist, not least "40" which I thought was just the change of pace that was needed. I enjoyed the album overall but it's not one I'm too disappointed not to own.

Very enjoyable folk classic. The fantastic Who Knows Where The Time Goes is its clear highlight but I also got a lot of enjoyment from the epic A Sailor's Life and Percy's Song either side of it. It's not my favourite genre but it's a great record that I enjoyed a few times through.

Picking this mammoth double album apart, you find all kinds of treats and tricks, from the proggy opener, Funeral For a Friend, to ubiquitous classics like Candle In The Wind and the title track, via the rather irritating Bennie and the Jets and Saturday Night's Alright (for Fighting) which never quite found a place in my favourites. For me personally, it's an impressive work of art but one I admire from afar. It won't make it onto my regular rotation but that doesn't mean it isn't a great record worthy of its success and acclaim.

I don't think degrees of perfection exist. Something is either perfect or it isn't. But Graceland is perhaps the most perfect album of all time. Paul Simon's lyrics floor me time and again, his way of poetically portraying any emotion and making it beautiful is just unmatched. And here, he went outside the realm of popular music and brought the very best of what he found back with him. There isn't a wasted note, word or moment here, one I can listen to anytime, every time and hopefully many more times to come.

All just a little bit over-the-top for my liking. Yes, there are some killer licks and great rockers in there but I can't really get on with Lemmy's amelodic yelling and the rhythm and bass just lack nuance and variety.

I'm sorry but I don't get it. Willie Nelson has a great voice and I know he wrote some fine country music but what has he added to this relatively uninspired selection of predictable covers? It's interesting to hear a country legend take on classics of swing and pop but I just found it a bit pointless.

Simon & Garfunkel seemed to evolve from fairly simple folk numbers to the big, grandiose songs and it’s interesting to see the progression as they got a bit more experimental and veered from the folk tradition. Not all experiments work out and while this is an interesting listen throughout, the more ‘concept’ elements are less compelling on repeat listens. But the genius of Paul Simon’s songwriting comes to the fore on the album’s best moments (America and Mrs Robinson are some of music’s best moments, period) and make it a classic nonetheless.

I’m a sucker for an overblown concept album so there was always a danger that I’d love this. Fortunately I’m also a sucker for a catchy hook, good riff and a bit of poetic storytelling and these are all present in spades. Of course, there is a lot here that is batshit crazy but it keeps on rewarding me with melodies, basslines and little fills that just bring joy to my ears. I had to come back to it a few times and kept expecting it to outstay its welcome (23 songs, 94 minutes…) but it never did. An absolute masterpiece.

Batshit crazy Yugoslavian industrial-military metal. There are actually some pretty cool moments here and some rather terrifying ones. Sometimes you just have to Laibach, think of England and welcome discovering something a bit different.

I've always considered Belle & Sebastian to be one of the most inoffensive indie acts that never really became anything - they seemed to earn exactly the levels of tepid enthusiasm and moderate critical acclaim that they deserved. I almost smashed 3*** before I'd even got halfway through the album as it seems the 3***est album ever by the 3***est band of all time. But I held off, listened to Tigermilk three more times this week and enjoyed it a lot.

This album just oozes sexy funk vibes. It's not the sort of thing I'd usually listen to regularly but they do it SO well, I'm definitely glad I've now discovered it.

Albums like this are one of the best things about this challenge. Scuzzy, Indie-adjacent 90s band I’ve heard of but never listened to? Good start. 28 tracks? Uh-oh. But wait, 41 minutes total. And all tracks under 3 minutes. Most of them under 2 minutes and some of them under 30 seconds? What’s up here then? Well, it’s a fun little blast through the mind of Robert Pollard. Some of it fades out, some blends into the next idea, some of it comes to a deliberate - and sometimes abrupt - halt. I didn’t necessarily love it but it kept my attention and I was keen to give it another go soon. This maybe a slightly generous score but I just respect the fact it does what it wants and never outstays its welcome.

I sort of feel the amount of EC on this list does him a disservice in a way. This is my fourth, from under 250 albums so far, and I can’t see much discernible evolution in his sound, there’s a lot of overlap and while it’s all good, there’s plenty that’s just that, and not enough that’s great. Not sure how many more times he’ll appear but it’s getting harder to be objective when I see his name appear. Again. I did really like Uncomplicated though.

To be honest, I recall this album being better than this. Midnight Rambler and You Can't Always Get... are elite rock'n'roll and obvious standouts. I also quite like Gimme Shelter but there's a lot more forgettable in there than I'd remembered, which I guess makes sense somehow. 3 stars feels a bit low; it's consistently solid even if it's only fleetingly outstanding. Let's say a light 4, definitely would be a 3.5 if it were possible.

Really bland and dull. No earthly idea why it's been included in the book. A bit like the jangly Smiths-y late 80s indie I’ve heard before and that’s not really helping its cause.

I'm generally pretty keen on raw, scuzzy indie noise rock, but then I never seem to enjoy it as much as I'd hoped. This was the case again with this album. I kept it in my rotation for a few days, hoping it would click but it never really did. It's a good overall vibe and I feel it's worthy of more than a 2, but I still feel a bit disappointed.

I was expecting a much more depressing listen but either my preconception of Leonard Cohen is off, or it's based on later work once he's become old and sadder. Either way, I really enjoyed this; his songwriting and delivery are both excellent, understated but also grandiose. I'm looking forward to listening to more of his work and seeing how wrong I was to expect the worst.

There are some great moments here but it's mostly buried deep in layers of cringe. It was pretty shocking and fun at the time but we always knew it wouldn't age brilliantly. Fair play to Eminem for bringing this stuff into the mainstream shifting a LOT of units, but it's not one I feel the need to put into regular rotation.

Has some cool bluesy tracks and overall enjoyed it but nothing quite raised its head above the 'pretty good' bar. I quite like Rod's voice and it's better with this kind of backing than what I've heard of his solo work. The harmonica is one of the best things about this record though. The title is comfortably the worst.

This one is an all-time favourite. An in-depth study not necessarily about love (after all, we know nothing about love) but about that great art form, the love song. Some of it's just transcendental, and some of it's just really dumb. Could this have been shorter, tighter, more glossily produced and a bit more 'curated'? Perhaps, but then it wouldn't be anywhere near what it is; you'll find jazz, country, pop, indie rock, a bit of electro and a lot more that doesn't really fit any label except that it's a version of a love song. I bought it years ago for The Book Of Love, after I fell for the Peter Gabriel cover. But I found that to be just the tip of the iceberg and a wonderful gateway drug for the creativity, humour and genius of this simply marvellous album.

Sludgy, dull and dreadful. I tried a second time on a new day but couldn't find anything redeeming and will happily never hear this again in my life. I don't hate grunge and at times I really like it as a genre, but this feels like it beds down into one chord progression, one guitar tone ('chug'), one tempo, all laid under that whiny, uninterested, reverb-laden drawl. Even the lyrics are utterly miserable when you can actually make them out.

There's some interesting stuff going on here musically and I respect the ambition in a lot of places, but I'm afraid I found his voice really hard work and it just didn't really stick for me consistently. Good in some places but never really much more than that.

I respect the art. Of course. You have to; it's Bowie. Still creating experimental and unpredictable music on his deathbed. So it's hard to separate this album from its context and story. I am trying to be really objective though and honestly, this isn't an album that I feel I'll be coming back to for regular replays. Once again, Bowie creates great tunes but buries them in a more ambitious and grandiose work of art. So yes, I can appreciate how GOOD this is, in spite of the fact that it's not really for me.

My first encounter with Meat Puppets was on the Nirvana unplugged live album; it seems Kurt Cobain was a fan. I can see why, this is a whole collection of fun little nuggets of songs from lo-fi indie, folkish in places to angry little punk numbers. I like the pace of it; lots of 1-3 minute head nodders and all very listenable. Not one I can see myself buying but have had a good few days listening to it on and off.

Bought this at the time, mostly on the strength of Take Me Out. Still comfortably the best track on the album but there are some hidden gems in the form of Tell Her Tonight and Michael. I never quite fell in love with it as an album and don't feel that Franz Ferdinand really lived up to the hype. Fizzled out very soon after their patchy sophomore effort. Enjoyed the trip down memory lane as this took me right back to my first year at uni but it's still in the 'good' not 'great' column for me.

A band so inspiring they named themselves ‘The Band’ and released, as their second album, and album called ‘The Band’. I’m not sure what I was expecting here but it’s about as exciting as pocket fluff and while I read that they inspired the likes of Dylan, Clapton and Harrison, I’m glad they took that inspiration and turned it into something more interesting than this lot. It’s slow, ploddy country rock with one or two toe-tapping moments and a lot of meh. The Bland.

I've always known Carlos Santana was a good guitarist but it's good to be reminded that he (and his band) was making stuff this creative and genre-crossing as early as 1970. The Latin vibes combined with classic rock sensibilities and spotless execution made this a really enjoyable listen for multiple days.

One of those consensus masterpieces that I've always been aware of but shockingly it took until today for me to sit and listen to the whole thing. And it's very easy to see why it's so loved and highly acclaimed by so many. So many iconic standards of soul and funk, some that I knew and some that were brand new to me. Some that frightened me on first listen; sounds I had no idea were being employed in the mid-70s and just a level of pure sexiness that is just unfair in these kinds of quantities. This is not my favourite kind of music and I don't own a lot of soul but it's clear how far ahead of his peers Stevie Wonder was and it's obviously a good starting point to dabble into the unfamiliar. I will be returning.

It feels a bit unfair to drop this badboy right after Stevie Wonder as it was never going to match up, but hey, I'm on a funk kick, why not extend the grooves. Enjoyed the vibes and had a good time with this on the rotation for a few days.

My wife walked in and asked why I was having a high school sockhop in 1959. Some nice harmonies but let's be honest, I'm never consciously listening to this again.

After 20 seconds of mostly screaming, it seems like this is going to be a tough listen. But wait. 40 minutes later and I've tapped my toe, nodded my head and smiled far more than I expected. It's dirty, dirty blues guitar with the lots of the good kind of experimental edge and a raw, raucous coolness that I can get on board with. A really pleasant surprise.

It feels a bit cruel to notice this was a 1967 release as it was never really going to match up to Sgt Pepper, Piper at the Gates etc. It's nice enough and some songs I recognised straight away but it didn't really grab me in any powerful or lasting way. Maybe you had to be there.

I know nothing at all about Emmylou Harris but from what I read, this is quite a departure for her in the latter stages of a long career in the country and folk scene. I really, really enjoyed it. What grabbed me first was the wall-of-sound production. In places it sounds more like Eno than Eno (Nod to producer Malcolm Burn here, it seems); combining hypnotic drum machines with rich instrumental layers and then just floats her voice over it all like syrup. And the vocals are just fantastic - she's able to turn her tone from sweet folkiness for the more country moments like the title track to bring a dense, ethereal quality to tracks like Bang The Drum Slowly and Hour Of Gold - huge shades of Massive Attack's Teardrop. Then just for fun, she drapes big power popstar vibes over Michelangelo and One Big Love. I very strongly contemplated giving this a 5, I just think it's one that you have to be in the mood for and while I don't think I always will be, I happen to be in that mood today.

Apparently this is some kind of parody of 50/60s high school rock'n'roll but then it's also really pointlessly weird for no good reason. Feels like an odd in-joke that I don't get. And while fragments of the normal songs are OK, the utter bollocks that passes for the final track is just an irritating, deliberate 'look-how-zany-we-are' effort. I'm sure Zappa is a genius but this was more annoying than funny.

One thing this book has absolutely nailed is its coverage of classic Hip-Hop from the golden era across the late 80s and early 90s. This is yet another superb entry to the chapter. The beats are slick and just incredibly listenable. It never outstays its welcome and the blend of vocals keep it fresh, fun and arresting throughout. Still find it astonishing that this album, along with its peers, is over 30 years old. It surprises me that there aren't more acts like this in the 2020s; solo rappers and RnB artists seem to have taken over and it's a real shame.

It's a delightful voice to listen to, and I'm glad for the challenge to have been educated and experienced it. But boy, did this one drag on. I really liked the upbeat bluesy rock'n'roll of I Love Your Lovin' Ways but the rest of the album slowed down to an almost pedestrian tempo and I found it far too slow and sad.

She's got a lovely voice, sure. It's just not doing anything that interests me, unfortunately. Getting this one the day after Nina Simone is possibly doing her a disservice as I feel similarly about both, but it's not a genre I enjoy listening to a lot.

Comfortably better than the iconic but underwhelming Velvet Underground & Nico, this one is rockier and has some actual tunes. What Goes On and Some Kinda Love are both great and even it’s token weird, avant-y epic, The Murder Mystery is superior to anything on their debut. It’s only getting one star more for me but if I could give half marks it would be 3.5 (vs 1.5).

I’m pretty sure this is the best bossa nova album I’ve ever listened to and I’m also pretty sure that’s a title that is never at risk of being challenged too hard.

A pretty wild ride and a lot of fun! I was a bit confused at first as I couldn't really work out what this was. It feels like it's going to be quite hard rock, but then it has some ska elements, even quite soulful vocals, while getting very political and deep in a lot of places. I had to play it through multiple times and felt like it revealed itself the more time I gave it. I'd never heard of Fishbone but this is definitely a worthwhile discovery and one I'm not sure I ever would've made otherwise.

It's no Hotel California, is it? Found this to be pretty drab and unremarkable country rock. Never actually offensive but just nothing reached out to me at all after a few listens.

Ok, I get it. You’re a grimy, punky grunge band railing against the establishment when you suddenly get massively popular from your polished, commercially-friendly album. How do you respond? Why, you make a deliberately abrasive and decidedly un-commercially-friendly follow-up. It’s pretty hard to listen to in places, but the songs that were taken and remixed to be more palatable (Heart-shaped Box and All Apologies) are, well, much more palatable. Maybe that means I’m pretty basic when it comes to my taste in grunge, but I’m not gonna argue with that. Very Ape, sampled as the basis for the Prodigy classic Voodoo People is a bit of a hidden gem as well.

A familiar old friend - one of my Dad's all-time favourites so an LP he has given me when he replaced it with the CD. It's quite understated and easy to miss the quality of songwriting if you're not looking out for it. I still think it starts too slow but picks up from the title track onwards. Down Where The Drunkards Roll is a classic. If you have any interest in folk, it's surely essential but I am content to listen to it from time to time when I'm in the mood.

I love this challenge for discovering albums like this. Never would've listened to it and would be missing out. I've heard of Ry Cooder but Ali Farka Toure is completely new to me. The man can play the blues though; there's a general grooviness and great vibes throughout. And unlike a lot of blues albums, it feels full of joy and colour. In its best moments, it reminded me of Graceland, which is an absolutely massive compliment.

This one has been really hard to rate and I've had to listen to it about four times to figure out how much I like it. At its best, it's really good; he builds these grandiose tunes with loads of instruments and theatrical levels of drama and songwriting. But then the pace drops off and I just can't quite get on board with the slow burners. His voice falls somewhere between Thom Yorke and Robbie Williams, which is odd for a North American. But it also means it veers into 'whiny' when it's going too slowly. 11:11, 14th Street and I Don't Know What It Is are brilliant, but the rest just doesn't do enough for me to think I'll be back. I'm glad I have given it a go, though.

And on the 8th day, Black Sabbath created Doom Metal. And it was ok in places. I quite like the long, atmospheric moodiness of some songs but it didn't blow me away. Quite amazing that later in the same year they came back with Paranoid, which seems a lot more deliberate and sure of itself, where this debut feels a bit more of an experiment.

You’ve got to be really spectacular if you’re coming at me with 13 covers of traditional folk songs on just a voice and guitar. She’s a good guitarist but the arrangements are nothing to write home about and she’s a good singer but the constant vibrato just gets annoying. El Preso Numero Nueve was the most exciting moment as you try to understand what it means in realtime. Sorry Joan but it’s just not that essential or interesting to me.

Spot the fake Cocteau Twins track name is the quiz round we never knew we needed... a) Iceblink Luck b) Fifty-Fifty Clown c) Socketface Grapefruit d) Frou-Frou Foxes in Midsummer Fires Some albums just scream 80s at me from the first few seconds and I immediately fear the worst (despite being released in 1990). In fairness, it has some hooks and the overall sound is richer and less cheesy for the most part than I was worried it could be. I find myself quite enjoying the shoegazy production and her vocals somehow both irritate and intrigue me, at times I swear she's singing in a strange foreign language. Spotify doesn't have the lyrics so I never bothered finding out.

It's a modern classic that helped define post-grunge and late-90s alternative is very much indebted to it. There's always a temptation to take a double album that has flaws and proclaim that 'if you cut out x and y, it's a perfect album' but that always feels like an insult to fans and artists alike. There's a reason and a place for all of this and it's a journey, albeit a long one, that deserves to be travelled in full. That said, this journey does sag in the second half and takes itself out of contention for a fifth star, from me. Is that fair, when it easily has ten or more tracks of 5-star quality? Well, if I'm going to appreciate the full journey for the journey's sake, then I can judge this journey to be a little too long and a little bit self-indulgent. The run on side one of cassette one (yes, this was an old Walkman favourite of mine) is absolutely ludicrous though. 1. Mellon Collie... 2. Tonight, Tonight 3. Jelly Belly 4. Zero 5. Here Is No Why 6. Bullet with Butterfly Wings

The title track was definitely a guilty pleasure for me at the time and I have a lot of respect for the fact the Like A Virgin and Isla Bonita girl came up with this in 1998... and had a massive hit with it. Frozen is brilliant as well, but while the overall vibes are good, I'm a little disappointed to learn that the singles are its best moments. So while 70% of this is new to me, nothing is quite as exciting a discovery as I'd hoped. Still, the production is excellent and overall I'm glad it's included as it's definitely a snapshot of the time and a testament to Madonna's versatility, something that probably doesn't get talked about enough.

In 1995 I was irrationally irritated by the fact that a song about irony, called Ironic, could be filled with so many bad examples of things that, ironically aren’t actually ironic. They’re mostly things that are just a bit of a bugger. Eventually I developed the theory that the irony all along was that the song highlights examples of things that people seem to call ‘ironic’, despite them actually just being a bit of a bugger. Still, Jagged Little Pill, bloody good album.

Hard to explain but something about this album left me just a bit cold. The ingredients are there; good harmonies, nice, well-crafted indie-folk-but-not-quite, but I've been playing it for a few days and every time it starts again I don't feel like finishing it. Somehow less than the sum of its parts.

I know my Dad is a fan and his classic rock taste is generally superb. So I'm not sure why I always gave Jethro Tull a miss. I knew there was flute involved but while I don't mind the flute in itself, I assumed it would feel like a bit of an anachronism in rock music. Well, my own loss as this album is great. The melodies and chord progressions got easily stuck in my head and I'll definitely be coming back to it. And the flute works just fine, as it turns out.

Well, today we ran the gauntlet from ‘OK this is actually pretty funky’ right down to ‘Good grief, do you kiss your mother with that mouth?!’ I’d listen again, but certainly not in polite company.

It's just a great vibe and while it's not my home turf, it's great turf to spend time on. My favourite moments are the bluesier numbers but you can't fail to admire the quality of her singing throughout.

It's fine. A chaotic rowdy live rock'n'roll album of almost entirely other people's songs. Nothing massively exciting and actually pretty exhausting to listen to if we're being brutally honest.

The first 10 seconds was ok but it went downhill, and fast. Something I never want to listen to again in my life. I'm often bewildered at how we took the amazing rock of the 70s and went so far backwards in the 80s. But we did. And luckily the 90s turned up to save the day. This is dull, terribly produced and totally unmemorable. I guess we could blame The Keyboard but plenty of people figured out how to use it without creating soulless cheesy pap. Prefab Sprout did not.

Oh yeah, The Police, I like them. I have that greatest hits collection, it's great. Wait, what's that? It's a load of weird noise. But why? They made such great singles... OK, phew, here we go. Every Breath You Take. But no, that's it. Really the only memorable moment on this album. Earns it a second star on its own but I can't find any reason to go higher than two. Miss Gradenko has a cracking bassline, to be fair.

Feels a bit cliche but it's just good, gritty indie rock from indie rock royalty. I can't really explain why I've never got massively into PJ but while I've never loved her work, it's very consistent and highly listenable.

First guitar riff I ever learned. Me, my mate Sam and a million other budding young guitarists. A fire in the sky.

Once again I’m left bemused by why someone felt strongly that this warranted a place on this list. Perhaps it was close to a publication deadline and they wanted to take a punt on something new with a mildly evocative name. Sadly the music is as bland as rich tea biscuits with one or two moments of vague interest.

Great timing for this one and a certified banger. You have the outrageously funky North American Scum and Watch The Tapes, along with the emotional punch of Someone Great. I never quite got New York, I Love You but You're Bringing Me Down but it makes a good comedown closer, I must admit. I've always considered LCD Soundsystem one of those acts I like the idea of them more than I actually like their music but this was their finest hour and it's a top, top record.

Just a lovely warm vibe, hard not to move your body. I must confess it’s my first time listening to this classic and I think it deserves more time to fully appreciate. Christie loved it so it gets a bonus star for that.

I'd never heard of The Zombies so this was an interesting little rabbit hole. The album is nice enough, mildly psychedelic beat pop - I particularly liked 'I Want Her She Wants Me' but overall it was nothing to rush to write home about after a couple of listens.

This was a really pleasant surprise, even for a pretty long album (70 mins, 20 songs), I had no idea what Hüsker Dü were all about and I found that album cover frankly offensive. But they're like a melodic, post-punkier 80s REM with some great tunes and a handful of really catchy hooks. I found myself adding more and more tracks to my playlist and having a good dive down the rabbit hole. Definitely the sort of day I hoped for when I started the challenge. Would not have discovered this by myself.

Is this the album that launched a thousand hip-hop careers? Quite possibly. I had no idea what to expect from what appeared to be 80 minutes centred around bongo drumming, but mercifully, it was much more than that and funky as hell. It might actually be my favourite discovery yet from this challenge.

It's hard to argue that this is a pretty lovely album. I have nothing like it in my collection and I probably never will, but if I did, I think it would be this one. Reading the context behind it was really interesting too. To think he made this up as he went along, on a piano he didn't expect to be using, at a time and place that wasn't ideal, when he was tired, hungry and in pain. The experience for me, was long drifts on one pattern that feel calming and a bit backgroundy, then he decides to shift key, do something unexpected and grab your attention again. I didn't think I had a favourite solo improv jazz piano album, but I do now.

A wise old sound engineer once told me there are two things a great album can be made of. Great songs or great memories. And sometimes both. Well, the songs on Youth & Young Manhood are regularly great (Dusty, Trani, Holy Roller Novocaine, Red Morning Light…) but the memories are what make this an easy 5 for me. I went to university in 2002 believing nightclubs to be somewhere you went reluctantly so as not to be the only one home on a Saturday night, danced ironically to bad house music and tried desperately not to waste all your CD money for the month on sickly alcopops or horrible lager. I left in 2005 with great memories of nights at Fuzz Club and the Leadmill spent in my ripped jeans, t-shirt and tie, listening to great indie rock’n’roll and drinking (horrible AND sickly - but I didn’t care) snakebite til the early hours. It only takes the opening chords of Molly’s Chambers to transport me back. Yes, I grew out of those days around the time KoL grew out of them too and became a shit U2 tribute act without the tunes. But in those heady days of my own youth and young manhood, this was a firm favourite.

In 1999, you were never more than 50 metres from someone listening to a track off this album via a film, TV show or advert. I don't think it's aged very well though and it's still definitely 6 tracks and 20 minutes too long. It's almost like he tried to make something to cater to every commercial opportunity that might come up... and forgot it was also supposed to be a coherent album. At it's best, it's really good though.

Something of a modern classic and another one that featured prominently in my university years. Not all of the experiments paid off so it has a few misses to go with the likes of Hotel Yorba and Fell In Love With a Girl, but overall it was great to see the blues-garage-rock crossover at the time and at a time when minimalist production was peaking. It's hard not to love the style and aesthetic as well. They were just so damn cool.

Very aggressively not my thing. It's somewhat cool in places, a few unexpected twists and turns and I appreciate the drumming. I'm never going to willingly listen to it again but it's good to have options for if I ever need to make someone wake up screaming in abject terror.

I just really struggle to get on with New Wave. We discovered keyboards and drum machines and for some reason decided to replace everything that was good about rock music with these thin, synthetic, monotonous tunes. For all their plaudits, this New Order LP delivers them in spades. I understand and respect the impact this had on dance music and some of the sub genres that emerged in the later 80s-00s, but twice through was more than enough for me. I just didn’t enjoy it.

This album has 20 people listed as producers or instrumentalists, including Kelela herself. I've no idea what they were all up to, as this sounds like something that could be knocked together on a laptop in about a week. Her voice is ok but it's just generic RnB. I gave it a second chance but couldn't last a full go through. Whatever was bumped from the previous editions to accommodate this 2017 effort was almost certainly more deserving of its place.

I listened to this a few times and feel like I enjoyed it more with further listens. Some fantastic blues-rock and a lot more developed and hooky than their debut which I thought was good but not great. My biggest gripe is the vocals but overall, I can see myself coming back to this when I'm in the mood.

It's 2002 and unbeknownst to us at the time, print-music-media has just about peaked and will soon decline rapidly. So how is the NME spending its prime-to-twilight years? Well, these are the days before rage bait and 'engagement'. In this simpler, less cynical age, engagement = sales. You don't actually want or need your readers to feel the need to argue with you. You want them to feel excited enough to keep paying money to read your pages every week or month. So how do you excite your readers? You tell them on a regular basis that THIS IS YOUR NEW FAVOURITE BAND! This is a SCENE and you want to be part of it! Every few weeks something else was ESSENTIAL listening according to the NME. It published a COOL list and a ROCK'N'ROLL list. And so we bought the magazines and CDs and gig tickets with our precious student loan money and loved them for a few months. Then we grew up, got mortgages, had kids and put our old CDs in boxes in the loft. And so with a little trepidation I'm here, rediscovering these LPs and realising I've not listened to them for 15-20 years and I'm really not sure how they've held up. Did The Hives do anything after Your New Favourite Band? (Insane fact: they actually did loads BEFORE it and it wasn't even really a proper album. Who knew?!) Did Bloc Party simply run out of ideas after their brilliant debut? (Yes.) And whatever became of The Vines? Like many of their garage rock revival peers, it seems from memory that they rode the hype train to decent sales of their debut, made a patchy follow-up then disappeared into oblivion. So I was actually pleasantly surprised to give this a spin after two clear decades of the CD gathering dust in the loft and discover that it was... really good. They didn't cling too stubbornly to the garage rock template, veering into some fairly successful experiments with slower songs, piano numbers and acoustic flavours while still peppering you with some great 3-minute rockers (Get Free, Outtathaway, Sunshinin'...) at regular intervals. There's a decent chance I'll wait another few years before busting Highly Evolved out of the loft box again, but I'm quite satisfied that in spite of the fact I will have bought it on the strength of one article, one glowing review and a couple of solid singles, I did have some sense of what made for a good debut album. And I might even dig into the six (SIX!) Vines albums that have come out in the meantime, as it turns out. Good for them.

I seem to be in the thick of a wave of New Wave. I've learned that this is one of my least-favourite genres in music. However, despite the heartsink and perhaps helped by my rock-bottom expectations, I thought this was pretty good for the most part and didn't mind giving it a second listen.

This gave me an immediate Shine when it came up. Immediately transports me back to listening to Dad’s records On his stereo in our first house. You remember little shards of music from your youth. It’s Crazy how then listening as an adult, it all fits together as a mixture of memories and new discoveries - I found myself flipping it over and listening twice in one sitting. A true Diamond of an album.

I think it’s ok to admit that early Beatles were just ‘ok’. I understand that they were starting to do things that other bands weren’t, but while there are some classics here (I Wanna Be Your Man, Hold Me Tight, All My Lovin’) we also have half an album of fairly ordinary rock’n’roll covers that don’t really add much to the story. Maybe it’s because we know how spectacular the story becomes in its later chapters, but I can only call it like it hear it.

Alright lads. You’ve had your fun with the power tools in the studio. We’ve all got actual jobs to do now.

As a rule, if there's a late 60s/early 70s classic/psych rock band that I've never heard of, it's either because my dad never heard of them or never liked them. So I was immediately suspicious. It turns out I'm going to have to be the one to introduce him to Spirit, as I thoroughly enjoyed this album. I didn't just like the tunes or the songwriting either; it hangs together as a concise project as well, sort of concept-y without leaning too heavily into it. I kept this one on rotation for the whole weekend and am quite likely to buy it very soon.

This is the jazz equivalent of that awful Adam Sandler film where everyone talks over each other constantly and the whole thing is stressful. It sounds like a random cacophony created by people who are presumably actually really good at their instruments. Why not just write something coherent? I dunno. There’s something somewhat cool about it but I just didn’t enjoy listening to it and I doubt I will again.

Britpop was equally brilliant and terrible for some of its poster children. Yes, it thrust them into the limelight, got them sales beyond their dreams (you'd imagine), and created anthems out of songs like 'Alright'. But at the same time, Supergrass are a genuinely fantastic band who nailed the genre, created multiple really strong albums that pushed its boundaries and really deserve to be seen through a wider lens. It's a real shame if they felt the need to play Alright at every gig they ever played, as it's far from the best track on offer here. They had an excellent knack for fills - nothing is ever just a simple chug through a chord progression. They add clever guitar work and basslines at every turn and while some moments are a little on the more playful side, they were basically kids at the time, and tracks like Lenny, Strange Ones and Time are hidden gems.

This was a lot more punk than I expected and a lot more punk than a lot of the more iconic, stereotypical punk acts that seem to be touted as pioneers. It's pretty cool in a lot of places, albeit also very, erm, gritty in others.

This feels like the big, ugly, complicated older brother of Rumours. It's not as immediately accessible or timelessly catchy but it goes to some fascinating places and tries some really interesting things. There are flashes of real beauty and I listened to it repeatedly through the day, having never given it a chance before. There's somehow both the feeling of dense overproduction and too many ideas, while also seeming to be stripped back to its bare parts. I actually really enjoyed it and glad I've given it the time of day. There's loads to like here and it requires patience. While the gold is buried in a lot of 'stuff', it's largely good stuff that is worth wading through. A couple of minor things that bothered me though are a) it's too slow for too long. Some lovely songwriting but the tempo hovers at a very pedestrian level. And b) why oh why must you fade out so much?! A good song deserves an ending. I imagine some of this was based on time constraints, but surely that's a question of deciding what to take out of the song, or which songs to cut, not just turning the volume down slowly every time you pass the 4 minute mark.

Polish up the production a bit, give it a less bizarre cover artwork and title, lop off about 8 tracks and 20 minutes and you have a certified masterpiece on your hands. However, you also lose a lot of the chaotic charm. It took me a few days to digest this fully as it is all over the place but I have enjoyed it more and more the more I've got to know it. It reminds me a lot of Stephen Malkmus, who I already considered a true lo-fi genius. The changes of tempo and raw bursts of furious melody are fantastic and for someone I'd never heard of or seen before (although of course I know the Pixies somewhat), I am really really glad to have met Frank Black this week.

Sort of feels like once you've heard a Rod Stewart song, you've heard them all? And once you've heard eight or nine of them in one go, you've heard every Rod Stewart album ever. I quite liked Maggie May though.

Pleasantly surprised again by how non-scary and heavy Iron Maiden truly are. I do have time for a dose of hard rock from time to time and there's some great stuff here. Probably not going to emerge as a personal favourite but I've not minded having this around for a few days.

Sorry but I don't really get it. The bombastic 80s Springsteen somewhat ok, patriotic and singalongable but this too-cool-for-school, drawling unremarkable Springsteen with odd saxophone interludes, I just got nothing from it in two listens and couldn't hack a third.

Pretty funky. Reading his bio made me sad and unfortunately you can't unread these things. I'm glad the music brought me some joy before I read it though.

My parents gave me something of a Bowie entry in my early music diet but I realise now that I barely scratched the surface. Changes, The Jean Genie, Major Tom... Bowie snacks. Bowie purée; easily palatable and tasty in small quantities. Then I went off to university and bought a Best of Bowie compilation so I'd know it all. A Bowie buffet. Still nice and tasty and nothing too challenging. (I also bought Hunky Dory, which as far as I could tell, was fairly straightforward but I mostly skipped from Changes to Life On Mars? and gave the rest a miss.) Now this challenge is gradually educating me on Bowie in a way that puts all of my existing knowledge to shame. Full Bowie meals are hearty, complex and unpredictable. The man was obviously a genius and a total innovator, and much more of a nuanced, acquired taste than I ever realised. Listening to full albums is an eye-opener and a fascinating experience. I don't love it all, and some of it I don't really like but he picks a direction and goes for it with all of his creative force, which I can't help but respect. Low is probably my favourite Bowie discovery so far, although it's also challenging in places. There's a definite groove and mood running throughout but it feels hookier and cool in a way that I haven't quite found with his work yet. The experiments are still bizarre but this time, he kept the bass running and the atmosphere similar, so they kind of pull you along. The first half is an easy 4. The second half is more of a 3 but it's a comfortable and interesting 3, so we'll go on the high side.

Coldplay are a bit of an easy target, what with Chris Martin being so irritatingly pretentious and utterly sold out at this point. But when this album came out, they were still on an upward trajectory and this was, in all honesty, an excellent progression from the groundwork laid by Parachutes a couple of years previously. There are too many excellent songs here to dismiss it as coffee table rock but it was starting to waver dangerously close. I must confess it has aged well and perhaps a 20 year break from it was what we all needed as it was just so ubiquitous at the time.

Always considered the Beach Boys to be 'just' a singles band. Of course with the exception of Pet Sounds. Oh and Smile/Smiley Smile which I really like. And then I got Surf's Up and that was really good too. And actually this is packed with gems too. Maybe it's time to reconsider.

Objectively clearly very cool but I just can't imagine myself choosing to put this on, it's just not a style of music I enjoy.

How could they ruin that brilliant first half of swaggering late-60s psych rock with the frankly ridiculous story concept on the second half?! I kept coming back though, as the music itself is so good. Thankfully Spotify has a massive deluxe version with a superb stereo mix and some alternative takes, so you can virtually piece together everything that is awesome about this record without the nonsense mockney narration. On the one hand, what a shame they didn't just make that, take their 5⭐s and move on. But on the other hand, they clearly had this quirky idea, took a load of drugs and made something a bit different. Is it mad genius? Maybe. I have to take off a star as it's just so hard to enjoy side 2 in its original form. I'm really glad to have discovered it though; the title track, Afterglow and the single versions of The Journey and Mad John are all damn fine songs.

I tried this once and dismissed it at the time, partly because I couldn’t stand Wayne Coyne’s vocals and his overall zaniness. 20 years later I’ve given it a fair shot and enjoyed it more. There’s a lot of careful craft and a vast array of ideas crammed into the dense, dreamy layers here and it’s actually quite lovely in places. I still found it pretty weird and don’t like his voice any more than I did before but I appreciate it’s a great work of art and have been happy to keep it on rotation for a few days. I’m also happy to be moving on to the next thing now.

I feel this warrants a review in two halves as the album felt like that to me. First half: it’s not exactly Loveless, is it? Sounds like a load of half-finished ideas from those sessions that he’s reheated and churned out for the sake of getting them off his plate at last. 2 stars Second half: ‘new you’ feels like a statement, it’s time to drag MBV into the 21st century with more progressive beats, more defined sound and much more engaging pace to the songs. I will definitely be coming back to tracks 6-9. I’m almost tempted to buy the record and just never bother with side a. 4 stars. Thankfully pretty easy to give the average here. They also have an irritating habit of naming songs like they’re reading a scrabble board. Except it’s a game of scrabble being played by two robots who have only learned pronouns, prepositions and conjunctions. Is this and yes? In another way, nothing is.

It's jazz. It's kinda cool. If you like jazz. Which I don't.

I was excited to see this come up - very much of my era, memories of university and one of few albums now that my whole family will get on board with. That said, it is pretty front-loaded with most of its best songs in the opening run and then sags in the middle. Glamorous Indie Rock & Roll is one of my all-time favourite songs though so I'm always happy to let it run to the end.

Just a few days after Yoshimi, a good way to give The Flaming Lips a proper go. I liked this one more, found it a bit heavier and catchier and less wacky and far out. I generally love a concept album but this one, being more of a standard LP was more of my thing. I felt my 3 was a little bit of a rounding-down for Yoshimi which was a weak 3.5 so I'll balance that out by rounding up this guy, which is a much stronger 3.5, to a 4.

Kind of amazing how Stevie was pushing boundaries such a long time ago; he's playing with sounds and sonic ideas that I would not have associated with the early 1970s at all. It's outside my comfort zone but multiple listens have all been really enjoyed although I don't think I can pinpoint a particular track or tracks that have really stood out. Just a lovely load of vibes and a fabulous performer.

Quite enjoyed the colourful, world-y vibes. So was very surprised to dig a little deeper and find that Jah Wobble is an old white punk from Public Image Ltd and a close associate of the Pistols. There are some great atmospheres and movements here and loads going on. It's all quite unexpected and unpredictable so while there are a couple of bits I really like, there are also bits that don't click but it's a good discovery and a good bit of education for me.

She’s got a lovely voice. This style of music just does nothing for me unfortunately.

Fix up. Look sharp. Was never really my thing but the album is better than I remembered to be fair. I also feel the need to slightly round up here to counterbalance all the reviews claiming that UK hip-hop is shit. Firstly because it isn’t, but also because this ain’t it. This is grime. It’s like saying Blur proves that UK grunge was shit. I can’t really in good conscience go above 3 but happy to go that far. OOOOOOOOOYYYYY!!!

It was pretty enough, singer-songwritery country folk and at first I found it quite pleasant but I also started to lose patience with it not going anywhere or showing much variety or innovation. Then the final track epitomised the whole experience by lasting 15 MINUTES and also going absolutely nowhere. Meandering, to put it kindly. I'd never heard of Gillian Welch before today and there's a good chance I'll have forgotten the name by the end of the month.

This really knocked me sideways on first listen. What an album. The songcraft and poetry is stunning and he delivers it in such an authentic way. Nobody has a voice like him. That's not to say it's my favourite voice and I certainly couldn't listen to this on any old day, but objectively I can only have huge respect for him. On second listen, I dug a little deeper and found out that he literally made it on his deathbed. He's staring death in the face and going, 'yeah I need to make a record out of this.' Which is both defiant and heartbreaking. I've consistently found Cohen's albums incredibly solid on this challenge and while I don't feel drawn to go out and buy this one, in the right mood I will definitely return to it.

I kinda go between finding this funky and interesting and just chaotic and stressful. From two listens though, I've consistently been waiting for it to end. I really think they struggled to predict what would stick in these later editions. This one is rather forgettable and long since forgotten.

Even Groove Is In The Heart can't save this.

Inventive, funny and utterly heartbreaking. This is one of the best albums I've heard in a long time and I had no idea who this guy was before today. I expected the worst when I saw the strange cover and started the first track, and let it wash away in the background while I worked. But it soon caught my ear and I had to start over on headphones and engage fully once I realised I might have a real gem on my hands. There's a special rung in hell reserved for people who waste good loose-leaf tea. But I brewed up, poured a pot and then got entirely distracted by the lyrics of song after song, meanwhile enrobed in a beautiful combination of catchy melodies, creative instrumental fills and moments of inspired genius. My tea was stewed and luke-warm by the time I remembered to drink it. But it was totally worth it to discover John Grant. Fantastic stuff.

She’s got a great, soulful but authentic voice; it’s impressive how she can channel who she clearly really is herself, while wearing her influences right on her sleeve. This is not a style of music I really enjoy but I’ve appreciated it and respect the quality of the songcraft and the talent. Don’t mind hearing it again but probably won’t seek it out.

Steely Dan is an artist I’d heard of but never listened to before this challenge. 3 albums down, I think I’m starting to get it. Music that sounds like it belongs in TV theme tunes. Technically very good music, but all very sanitised and safe, while the lyrics make little or no sense most of the time. I don’t hate it.

It’s a shame I can’t stand his voice because there’s definitely some great tunes here and lots of ingredients I’d otherwise like. The guitar work is really good and interesting in a lot of places. Apparently this was one of the founding Britpop albums so I do respect that about it but I can’t see myself wanting to return to it particularly regularly. First track is great though.

I've said before when rating jazz albums that if they stopped all just 'improvising' and agreed what they'd play together, they would sound so much better - as they're all clearly fantastic musicians. Thankfully here we have a jazz album where the musicians have decided what to play and all play it together. Yes, I realise that jazz has many forms and this bluesy/rock'n'roll form is just one of them, but I like it a lot more than the make-it-up-as-we-go-along kind. It's not really my thing but I enjoyed it and yeah, you can't deny he has a pretty cool, iconic voice.

Had never heard of The Youngbloods and after a couple of listens, I still can't really figure out what this is. It's not really typical late-60s psych rock although it veers that way at times. It has some country leanings but then it also feels a bit yachty and soft rock, with a handful of instrumental interludes. There are some nice moments here but I couldn't quite get into it as an LP. It's good to challenge one's perception of genre, especially in an album that is over 50 years old. So I respect that about it and I will give it some more play in the future. I also absolutely love that cover art. Not sure why but it really appealed to me as an aesthetic.

The two Bee Gees albums I've been served so far have confused me. This is the band of 'Stayin' Alive' and 'Night Fever' fame? Apparently they started off doing this soft-rock countryish thing and while I enjoyed Odessa, I'm not so convinced by this. There are some nice moments but I cannot be doing with the vibrato vocals.

I remember listening to this for the first time when it came out and thinking it might be a modern classic. A concept album for beginners; pretty straightforward story, easy to follow, written in modern English and sprinkled with humour. With a happy ending, to boot. A fairly accurate snapshot of life in 2004. Not my life, though. The humdrum life of a bored druggie whose daily highlights include monging out on the sofa, cheating on his girlfriend and getting into drunken scraps on a night out. Listening to it 20 years on, unfortunately all I can muster is cringe. It has not aged well. Even the beats and Mike's rapping at one time seemed fresh and a bit different but in the cold light of day you have the sound of someone who can't rap, talking through the tracks with poor sense of rhythm and a lack of poetic nuance. He even struggles to hit some notes within his own songs. It's your song. Why not change the pitch instead of just accepting that you'll sing it badly?? Fit But You Know It was always the most fun moment, a bit of a working-class 'Parklife' for the garage generation, but its inane lyrics have caught up with it and rendered it skippable. I'm embarrassed to risk my children hearing this album, sadly. I can't slate it completely because it was something at the time, but that moment has passed and it's something different now. Something I don't really care to listen to anymore.

I can very much remember this one coming along and blowing me away. They front-loaded it with the singles that had come out, so Beetlebum and Song 2 were already familiar but it then did for Britpop what the late-60s Beatles did for beat pop. Took it, threw it out and made a bold shift into a different direction. Britpop carried on doing its thing for a couple more years but with its primary flag-bearers now firmly focused on exploring their American influences, this marked the beginning of the end. Gone were the character-based songs and in comes the more personal writing, heavier riffs and more sonic experimentation. The Great Escape was the album everybody seemed to want them to make after the cultural phenomenon that was Parklife, but this was the album they wanted to make. Graham is absolutely in his element, tearing through guitar lines that are deceptively complex on Country Sad Ballad Man and I'm Just a Killer For Your Love, then throwing together chords and words with effortless effectiveness on You're So Great and Look Inside America, but it's when the band started to push the genre envelope the most, on Essex Dogs, On Your Own and the hidden gem, Death Of A Party, that this dark, growling masterpiece really comes into its own. 1997 was arguably my favourite year of all time for new music and this is the dark horse for album of the year.

Not one I’ll be coming back to but not as bad as I feared it could’ve been. Some decent moments.

It’s like doom metal and new wave had a baby. But even more ugly and fucking irritating than I even dared to expect.

The more closely I listened to this, the more I liked it. At first I was just relieved it's less kooky and challenging than 'Fetch The Bolt Cutters' but then I started to find it samey and wished she'd taken a few more risks after all. Then I listened to it a couple more times and thought, yeah ok. She does a fair amount of rocking out and there's a range of subtly different styles that showcase her fabulous voice. It reminds me a lot of Beth Gibbons but the production isn't quite at Portishead levels. Nevertheless, by the time I'd had a third go, I was really enjoying it. Probably more on me for not really giving it enough attention at first.

As a Blur fan, this is pretty familiar to me but I gave it a few goes through anyway. And to be honest, I feel the same way I do about it now as I did when it first came out nearly 20 years ago. Yes, it's interesting and packed with some good ideas, fun instrumentation and experiments with layers and tempos. And it's all well executed and high quality, musically. But I just don't find myself particularly grabbed or excited by it. Sorry, Damon.

I just really do not like country music. I can’t connect with it and the only real relief here was how short this record is. I am giving a bonus star for the quite superb harmonica performances on display, however.

I do get why you’d make something like OK Computer, basically building the blueprint for experimental rock, with the world sitting with baited breath for your next move… and go nuclear with what Radiohead did next. But that doesn’t mean I particularly enjoy it. Thom Yorke stopped singing like a rock singer and adopted his fractured, falsetto style, Johnny Greenwood basically abandoned the guitar for synths and the drums became mechanical and stuttering. Hail To The Thief is probably the ‘rockiest’ of their experimental shift from where I’m sitting but I just can’t get on board with it. I’m craving a riff, hook or melody in the swirling murk. Maybe if they’d always been like this, I’d have appreciated it more but I’m just frustrated that what we had on The Bends and OK seems to have been thrown out. There are some nice moments but it’s too much hard work to go through this and keep finding them amongst the discordant space debris.

Maybe unluckily for this album, I've had it after Electric Ladyland, which feels like an untouchable showcase of what Hendrix could do, both as a virtuoso and a visionary of the complete, wider production of the album. Axis seems smaller in scope and where there are flashes of his genius and some fantastic songs, it still feels like he's finding the direction he wanted to take us, or perhaps the exact destination. If this was the only Hendrix Experience album it might be even more impressive to me but it does suffer from the fact that I now know he will go on to reach even higher heights. I personally found this album a bit difficult to get into as well; it didn't flow naturally and feels like a smorgasbord of nearly-finished ideas. But when you're dealing with these levels of genius and innovation, even a nearly-finished idea can be something pretty special.

A hidden gem of an album! Had to go to some extra effort to tick this one off but it was definitely worth it. Latin-flavoured funk/rock with hip-hop elements and just all-round great vibes. Immediately swivelled my head when I heard Chali 2na's guest slot on Who's To Blame (aka the best voice in rap, IMHO) and repeatedly wanted to add tracks to my Spotify playlist but sadly couldn't as it's not on the UK version. So yeah, I bought myself a copy of the CD and can see myself coming back to it often. Reading a bit more about Ozomatli is fascinating too, just a cool group and one I am really glad to have discovered.

I’m really glad this album chose a quiet Sunday when I could lie in bed and do nothing but pop in my earbuds and *experience* it. I suspect there are other artists who create music like Björk’s work but they aren’t as famous or successful and she’s doing this while holding her own in the mainstream. Reminds me of Bowie in her ability to innovate and push boundaries while also remaining fiercely confident and individual in her style. There are also a lot of shades of instrumental post-rock in her soundscapes and mournful strings. All exacerbated and punctuated by her breathless surrealist and distinctive vocals. You can only respect the hell out of her as an artistic force. Is Vulnicura something I’ll now put into regular rotation or go out and buy? Probably not. But is this listening experience exactly the reason why I am excited to open the app and take on this challenge every day? Abso-bloody-lutely.

Didn't have 'came within a hair's breadth of awarding ABBA five stars on the old 1001 generator' on my 2024 bingo card. But here we are. It's basically wall-to-wall perfect pop songs. Even the songs I didn't know before today are catchy, funky and well executed. At no point did I get bored of this. Even the title track, a fun little instrumental interlude, is cool. If I liked pop music just a smidgin more, I'd be here dishing out an extra star but the reality is, I won't be coming back to listen to this all that regularly.

I remember Finley Quaye but I'd forgotten the actual tunes and this has been a pleasant stroll down memory lane. It never really grabbed me in a major way back in '97 and it also hasn't now but it's pleasant enough. He does a nice job of combining his singer-songwritering with some Reggae-tinged RnB, which was certainly having a moment at the time. I appreciate it, although it's not really my favourite thing.

I found this hard to rate as it's not particularly straightforward or accessible but there were loads of really interesting ideas and some fun moments that made me smile. The overall vibe was great. It feel unfair but I'd have almost definitely rated it a little higher if it was divided into more palatable tracks and the ideas fleshed out and tidied up, but I also appreciate that a lot the charm is in the messy looseness of it. I find myself coming down on the slightly lower side of a 3.5 because I don't think I'll choose to go here again but if it comes along I'm happy to have it on. If my finger slipped and gave it a 4, I wouldn't go back and change it.

I pray that I never have to listen to this again.

Here's the thing. This has a lot of lovely moments. His version of In My Life is very sweet. Hurt is excellent. His Bridge Over Troubled Water gains a nod from me for applying a different formula to one of the greatest songs ever written. But I don't really understand why this is here. It's a nice passion project or something for someone starting out to showcase their voice and/or playing. It's a nice thing to do live for unsuspecting punters. And sure, your fans might appreciate an album of your interpretations of covers. But why is it here, on this list? Can we not have a bit more coverage of artists who didn't make the cut at all, rather than this guy, once again, but singing other people's songs (and some of his) that we've already heard before?

Look, I'm fine with experimental. I love some experimental music. But I also understand that some experiments just don't yield good results. It's ok to admit that. What baffles me is that this experiment, in which four apparently excellent musicians get high and/or drunk and muck about on their instruments (sadly including the quite awful vocals of Robert Wyatt), has made it not only out of the jazz club where it took place but was then actively and consciously pressed onto a release and shared with the world. Sold for money. And even after that series of questionable decisions, the editor(s) of this book somehow decided to go one further, and that a lot of pissing about with instruments was worthy of being deemed a *MUST* hear. And I use the term 'a lot' because it is. 75 long, hard minutes. SEVENTY-FIVE MINUTES. It took about half an hour for any discernible melody to attempt to emerge and I use the term very loosely indeed. I had high hopes as my Dad has raved about Soft Machine for years but either he had gone off them by this point, started to lose his hearing, or he was just taking the piss out of me.

Massive Attack had an incredibly consistent run in the 90s, starting with Blue Lines and ending with Mezzanine, but Protection happened in between and is, for me, the weakest of the three. That's not to say it's weak, by any means. Protection, Karmacoma and Sly are all fantastic, brooding, sublime pieces of trip-hop magic. There's a great vibe that doesn't give up for the full LP but it does sag in the second half.

I've liked R.E.M. for a long time but I somehow just saw Murmur as Radio Free Europe and a bunch of other songs. I'm a lot more familiar with the major label stuff of the 90s but more fool me as I've now had this on rotation for days and it's stacked with quality songs that draw you in with catchy hooks left, right and centre. Michael Stipe has an excellent way of harmonising his vocal melodies with the guitar lines and it hits my ears in just the right way. I was strongly considering giving this a 5 in the end but I know the best is yet to come for R.E.M. as they perfected their sound and got even more consistent in the years that follows. For a debut though, it's an outstanding record.

I just love the production across this album. It bangs where it needs to and then it's also smooth in all the right places. Q-Tip is a huge talent but it's also fun to see the burgeoning talent of a young Busta Rhymes emerging. They switch up lyrical styles often enough to keep it fresh and keep your attention but there's a strong vibe running right through it with some just fantastic basslines.

Siri, please choose me the musical definition of the word 'vanilla'. Of course, her voice is gorgeous and she doesn't feel the need to push it or shove it in your face but this album can fade so effortlessly into the background, even on repeat listens on headphones, that it may as well just stay there.

Maybe there will be days that I'm in the mood for a thrash metal-a-thon but today was not one and honestly, they aren't a regular occurrence. Rapid bastard drums and growly vocals just can't make up for what I will admit is some cool guitar riffery in a few places. And it's too. Damn. Long.

Hey kids, we made you an album about willies and bums and lots of swear words so you can feel badass around the bigger boys and cosplay at metal. Tragically, there are a handful of semi-decent tunes but they’re all ruined by ridiculous lyrics when all Fred Durst really has to say 90% of the time is fuck you because fuck you. It’s one star for The One and another star for the other 70 minutes.