His masterpiece. Hang it in the fucking Louvre. If this had been his final album, and speedway the last song out of his mouth then his myth would have been cemented. I said what I said.

Murder ballad lyrics set to Broadway tunes. This is weird

I did not need to listen to this album before my death. Landfill indie that belongs at the bottom of Camden Lock

Does anyone know anyone whose favourite band is Franz Ferdinand? Quirky awkward pop, made by quirky awkward men, with quirky awkward lyrics about quirky awkward subjects. Yes, we get it; you’re really clever and rate the Berlin trilogy above Ziggy Stardust. Go you… 2/5

Never been a huge Queen fan… I remember my parents liked them and accordingly when I was about 12 I thought ‘One Vision’ was the pinnacle of guitar rock 🤦🏻‍♂️ This album did very little for me, but I will say ‘Now I’m Here’ is an absolute belter and if Led Zeppelin wrote it we’d be giving it 🐐 status!

I was today years old when I first listened to Nick Drake (despite many recommendations!) Fantastic album. Total melancholy

Incorrectly rated as a ‘top 5 grunge band’ AIC bear more similarities to Guns N Roses for me (hard rawk guitars, fiddly guitar solos etc). I liken this to Supermarket ‘own brand’ grunge. Yes the ingredients might be similar but the taste just isn’t the same! That said, ‘Would’ and ‘Them Bones’ are great songs

This album is a lifestyle! Listening makes me want to sit on the porch with some good ol’ boys, grow my hair and sing songs. Recommend.

Spectacular album. Lyrical themes of guilt, desire and repression are held in place by disciplined synth arrangements to create dance music you don’t want to dance to and pop music that delves to unpopular and unpleasant places. All delivered by Dave Gahans sombre, almost operatic vocals. Recommended.

So… with no expectations of what was to come, I was pleasantly surprised by this. There’s a huge scope of styles on show including futuristic blends of pop, jazz, funk, r&b and hip hop topped with the sweetest soul vocals. Unlikely to be a regular listen for me, but I enjoyed it nonetheless

Recorded in one eight hour session, this is an impressive range of storytelling songs, backed by some incredible vocal harmonies. It’s an idealistic view of the Ol’ West with tales of cattle, land ownership (!) travelling, lonesomeness and love backed by acoustic and Spanish infused guitars. It does recall an idealistic view of the time which does seem less than authentic when now know the USA to be a murderous entity ala Jack Palance in the movie ‘Shane’ (props to Bill Hicks)

Led Zeppelin III is a masterpiece, we all know that. Some of the prior ‘hard rock’ elements are replaced by acoustic guitars and string arrangements that give the album a much darker sheen than its predecessor. ‘Friends’ and ‘Hats off to Roy Harper’ are especially spooky whilst ‘Tangerine’ and ‘That’s the Way’ feel like great come down music. Plus ‘Immigrant Song’ rocks. My favourite of their imperious first four albums.

Murder ballad lyrics set to Broadway tunes. This is weird

Van Morrison’s earlier folk / soul albums are much preferred to his more recent Covid denying conspiracy nonsense

90 secs and 1 track into their debut, comparisons with Nirvana were not far off the mark, but The Hives added elements of acoustic psychedelia to the punk howl to take them beyond fellow Aus-Rock contemporaries such as the Datsuns and Wolfmother who emerged at the same time. Similarities to nirvana were further shared with the singer having mental health issues (being undiagnosed ADHD )which destroyed the band following a series of chaotic gigs and media interviews following the first album. A great album but not sure why you ‘must’ listen to it before you die when you could slip in utero on?

I swear this inspired the fast shows’ ‘Jazz Club’.

Dig Your Own Hole My fave chemical bros album, containing my fave chemicals tune (lost in the k hole - complete with backwards bass and vocals that is as close to being lost in a k hole without the titular chemical!) I’d argue that this album would be better without Noel Gallagher’s ‘setting sun’ which feels like a bit of a play for mainstream airplay and sales (how many oasis completists bought this album just for that song?) but the gamble paid off and paved the way for continued growth. For me, the tunes without ‘guest’ vocals shine brightest (electrobank) and the second half of the album is sublime from ‘it doesn’t matter’ through ‘don’t stop the rock’ and ‘get up in it like this’ which combine techno sounding synths with breakbeat samples and drum loops to create some fierce sounding electro - recommended 🤘🏽

The Modern Lovers Lyrics by Lou Reed Vocals by Julian Casablancas Guitars by The Velvet Underground Vibes by Blondie Pleased to hear the original ‘pablo Picasso’ (as covered by Bowie)

Aladdin Sane or ‘Ziggy goes to America’ as it’s widely understood is less a Ziggy continuation (the character of Aladdin Sane was different, but under developed) and more a reflection of Bowie’s second trip to America (and the drugs that followed!) Whilst backed by the spiders from Mars, Mike Garson joined to add his discordant hectic piano on the title track alongside Bowie’s cover of ‘let’s spend the night together’. Garson’s piano reflects the manic highs of all the Coke going up David’s nose at the time. Cracked Actor and Jean Genie are total blues grooves while lady grinning soul and time are suitably spooky and contemplative respectively. Fun fact. On the tour to support the album, Bowie would retire the character of Ziggy live on stage (Mick Ronsen was told beforehand - the other spiders were not leading to deteriorating relationships afterwards)

Bookends reminds me of my dad who, to his eternal credit was a big Simon and Garfunkel fan. This album reminds me of my childhood, which is ironic as the concept behind this album is about youth and ageing. As I listen again as an older man I’m consumed by regret for my life but optimistic for the lives of my children. Perhaps I’ll play it to them?

Moby ‘Play’ An overlong mix of post modern blues and gospel, produced by a man who likes to wipe his dick on strangers at parties. 3/5

Whilst the words ‘improvisational’ and ‘jazz’ should rightly fill you with fear, this is a surprisingly warm and accessible live album.

I can’t help but wonder if this is music for people who prefer poetry. Fascinating lyrics let down by late 80’s production and sub par musicality

None more 80’s. Listening to this I picture myself watching any number of John Hughes movies on VHS where our male hero realises his pursuit of the beautiful, yet shallow blonde girl was misplaced and the superficially plain brunette that he’d ignored was in fact the love of his life. Cue rush to public transport facility to stop her from leaving town. Enjoyable.

Morrisette portrayed a mute God in Kevin Smith’s 1999 film, Dogma. I guess if you were mistreated by some ass hole in the 90’s then this album may have messianic properties also. Sadly for me it’s a messsy mix of alt rock rage and arena rock balladry. Listen to Tori Amos or Fiona Apple instead.

The music is better than the album cover

Music for the apocalypse. I picture myself, on horseback shrieking ‘coming down the mountain!!!!’ As I take my axe to the heads of conservatives and republicans alike in the aftermath of WWIII

Decent Psychedelic blues and funk. ‘They’re selling hippie wigs in Woolworths, man. The greatest decade in the history of mankind is over.’

This should be called ‘maybe I’m amazed plus 12 other songs’ Lo-fi, listless and lack of effort combined

I was today years old when I listened to London Calling. I was a little underwhelmed. I think having heard so many rock stars state how great it is lead me to believe it would be the pinnacle of modern music, when it was just a decent album.

Total funk and soul

Like Bill Hicks, I forgive Willie Nelson for selling out to the advertisers 3/5

If you put ‘France’ into chat GpT I swear it would produce this album. My chief pleasure was recognising ‘Amsterdam’ from Bowie’s cover version. My GCSE French retains its usefulness

Nu Rave - combining elements of the past with elements of the future to create something not as good as either of its composite parts. Clem Fandango worships this album, whereas I give it 4/5

Perfect

Middle of the road acoustic guff. Dreary

His masterpiece. Hang it in the fucking Louvre. If this had been his final album, and speedway the last song out of his mouth then his myth would have been cemented. I said what I said.

I did not need to listen to this album before my death. Landfill indie that belongs at the bottom of Camden Lock

Ugh. This is standard turn of the century stuff that had some guardian reviewer named Tim, or Ben or Miles getting semi hard for on its way to the Mercury Prize and hipster end of year polls. The music drifts between acoustic down tempo pop, Bhangra beats and female vocals that could’ve been Morcheeba, Sneaker Pimps or countless others. Unremarkable

Misogyny in mono? Despite some dubious lyrics (stupid girl / under my thumb / mother’s little helper) this is full of fried R ‘n’ B gold.

The Temptations! Out with the more soulful Motown from the likes of the four tops or the miracles and IN with this slice of dirty political funk and soul 🤘🏽

The hip hop Morrissey.

Does anyone know anyone whose favourite band is Franz Ferdinand? Quirky awkward pop, made by quirky awkward men, with quirky awkward lyrics about quirky awkward subjects. Yes, we get it; you’re really clever and rate the Berlin trilogy above Ziggy Stardust. Go you… 2/5

Great songs, great production, great voice. No notes

Stay off drugs, kids. This was not a pleasant or enlightening listen.

GOAT level hip hop

Fantastic new wave / post punk / art rock / whatever.

Just ok. 3/5

Alpha male metal. songs about Gods, beasts, monsters and religion. Awesome riffs and playing and not brought down by Lars Ulrich being one of the worst people in the world

Garbage

It’s testament to great songwriting, that great songs transcend genres. So credit to plucky Taylor Swift for re-interpreting Ryan Adams’ alt-country classic ‘1989’ and presenting his songs as synth pop masterpieces. 5/5

Perfect 6/5

Fantastic debut album, containing the most perfect marriage of rock song / cinema with ‘the end’ featuring in Apocalypse Now… I think the song makes the film better and vice versa to the extent I can’t think about one without being drawn to the other. For me the doors have always been easy to like, but more difficult to love. I have all the albums, but rarely listen. This is still great though 4/5 - but with lyrics like ‘show me the way, to the next little girl.’ I’m giving this a yewtree rating of 3/5

I mean… it’s great but it’s not one of the 1001 albums you must hear before you die is it? There’s Blondie or The Wire or even The Fall that did it first. 4/5 fun fact, during one summer at uni I did early shifts at magna park with an ex estate agent who got sacked for doing coke in the office. His claim to fame was selling a big house in Warwickshire to the drummer from Elastica.

If I liked Deacon Blue or Big Country or Simple Minds I guess I’d like this. But I don’t, so I don’t. Not enough excitement to be pop, not enough attitude to be rock, not enough emotion to be soul. I have no idea what this is. 2/5

Chamber-Pop? This was pretty interesting, at least 4 vocalists, lots of skeletal backing vocals reminding me of ‘we suck young blood’ / ‘you and whose army?’ Radiohead. 3/5 and as a new-ish band a solid 0/5 on the yewtree scale

1967 grows even more mental. From looking at the ‘Disraeli Gears’ inspired artwork, I guessed at psychedelic folk rock and wasn’t far off. Destined for people far hipper than me this was ok. The language barrier (Spanish lyrics?) proved to be the thing that prevented me from giving this no more than a cursory listen. 2/5

An album title that is as relevant now, as it was in 1976. MAGA have a hard on for a civil war and the union will dissolve in 2025. Mark my words. This was a decent album, I guess if this is here then Superfly must be too. 3.5/5

I mean, how wholesome is Dolly Parton? Someone who has invested more money into child literacy in the USA than every administration since George W Bush? That deserves 5* on its own, but here we have 27 mins of acoustic Americana of the highest order. Dolly’s voice is as light as the bluebird on the prairie, but also covers the weight of the world such as marital infidelity and one’s relationship with the lawd almighty. I’m unlikely to listen to this again by choice, but Dolly is the American dream they should all aspire to. 5*

A concept soundtrack for an imaginary film in which the moss side estate has become part of a wider police state. I’m sure this was a novel concept in 1989 but I’d say now it’s a bit more quaint - especially as we’ve endured 14 years of aggressive Tory policies. The addition of crowd noises, breaking glass and other sound effects does take away from the music overall and moves it towards the cheesy. It sounds like a project Alan Partridge would be involved in 2/5

Always felt this album was a little weird, in that it doesn’t have a particular style when compared to what came before (the man who sold the world - guitar heavy) and what followed (Ziggy stardust - glam rock perfection) so an album of transition for me. Bowie bypassed the guitar for the better stuff (writing life on Mars, changes snd oh, you pretty things on piano) and using guitar some of the stuff that I liked less (Andy Warhol, sing for Bob Dylan etc) but the songwriting genius is here. Take Changes. Moody sax riff leads to Rick Wakeman’s piano starting the verse in an almost vaudeville melody before the chorus brings in sleek saxophones and rocking guitars. Versev2 starts with this low piano rumbling that’s just exceptional and when Bowie comes in with that whispered ‘oooh yeah’ he becomes the coolest person since Elvis took the stage. Not in Bowie’s top 5 albums for me, but way ahead of what everyone else was up to 4.5/5

Happy the man, who on a sunny Friday receives ‘in rock’ to his inbox to review. Richie Blackmore reigns supreme here with riffs so hard and heavy you could build train tracks with them. There is something sacred where guitar solos make way for organ solos and then switch back again 🤘🏽 was this the first heavy metal album? I’m not sure but you can draw a straight line between ‘in rock’ and grunge; sound garden and mudhoney in particular. 4/5.

Much like pegging, I’ve always been tempted to try the early Roxy Music as I’d heard it was exciting. However, much like pegging, this album was a painful and messy experience. 1/5

In order to maintain the integrity of this project, I have listened to over 2 hours (42 songs!) of bluegrass, interspersed with lots of studio chatter. I love ‘oh brother where art thou’ but this was a slog, and I’m left thinking of all the MAGA voting, tobacco chewing, tourist raping musicians that created this. A tiring 2.5/5

Just a bit ‘meh’

More turgid funk from this over-sexed dwarf. A credit to the Jehovah’s Witness movement, a stain on the musical canon 1/5

Back in 2021 I bought the vinyl 30th anniversary edition and so began a deep…. Passionate…. Fulfilling relationship with Mudhoney. I wasn’t too fond of it when it came out, having listened first to super fuzz bigmuff, so the ‘new’ sound of one clean guitar one dirty was a bit underwhelming. However revisiting the album now I think k it’s their best mixing influences as varied as 60’s beat pop, surf rock, punk and grunge to create something so sloppy yet so brilliant. Mark Arm deserves to be in the Mount Rushmore of grunge. 4/5

So… the fat dancer from take that tried coke, quit the band, hung out with oasis for a weekend, met a songwriter and rejuvenated his career through lifestyle magazine interviews, documentaries charting the ‘rise, fall and rise again’ and a later career flogging cat food on telly ensued. I don’t need to listen to this to know it’s dog-sh!t 1/5

Not sure if 90’s Neil is my thing. 3/5

Meh

Before the Bee Gees went falsetto and ruled the disco, they sang three part harmonic ballads that were turbo shite. 1/5 and I’m taking a point off for them singing songs that celebrate a genocide state (Israel) 0/5 and deservedly so.

We don’t need this. We have steel panther who can imitate the guitar explosions and spandex wearing idiocy, but they do it with a huge sense of irony that is missing from this slab of cheesy bollocks.

Not for me. South American salsa / rap / whatever - just is t of interest to me.

In her song ‘love like laughter’ Beth Orton sings ‘some of the worst wrongs get righted on three chords’ and this is where Oasis’ sophomore album excels and rightly takes its place amongst the cultural canon. Noel Gallagher righting the wrongs delivered as a result of cheesy euro trance dominating the charts for the majority of the early 90’s. 1995 was arguably the high water mark for britpop and (what’s the story) morning glory swept everything away in one mighty stroke. I can remember listening to the charts and being overjoyed that ‘some might say’ made number one. It marked a turning of the tide… ‘Where were you while we were getting high?’ Acknowledges the passing of the torch from the Stone Roses to Oasis and it’s hard to dispute. Like all successful sequels, this album builds upon what works with Defintley Maybe and develops that which needed improvement (in this case, Tony McCarrol was replaced by the more able Alan White) and while guigsy and bonehead’s playing remained basic, Gallaghers songwriting moves forward and upward noticeably with this batch of songs, especially the b-sides from this era (acquiesce / the masterplan/ talk tonight / rockin’ chair could be assembled to create a third era defining album that other bands would die for). A monumental achievement based on an unwavering belief that rock n roll can change the world 4/5

The ghosts of Simon and Garfunkel live! Top tier folk harmonies and melodies raised by spectacular production where the drums and vocals are given so much space they sound epic. Recommended 4/5

How the f*ck did Mick Hucknall smuggle his ginger dreds onto this list? Rumour has it, he was at the sex pistols debut gig along with Ian Curtis, Morrissey and Tony Wilson…. And yet despite that cultural warhead and how it affected all who attended… despite all of that he STILL turned out this turgid white soul within 5 years staggers me. The amount of willpower it must have taken to remain so dogsh!t when others formed the smiths, joy division and factory records when exposed to the same stimuli is fcuking sensational. This is the sound of a million call centres on hold, a million dentists waiting rooms, and a million elevators. With Adele or Robbie Williams I can forgive some elements of recency bias, but simply red have festered at the opening of satans anus for 40 years. How did this happen? HOW?! 1/5 for the music minus 1 point for Hucknall’s hair.