Chav sex after party music.

Well if you’re gonna listen to a Motörhead album, this is defo the one. They really were a band best enjoyed live (albeit I saw them later in their career than this ‘peak’). So this really is a greatest hits album with all the intensity from their live show. The drumming is immense (the double kick drum in this style must have inspired the thrash metal bands), bass so slick and fast and great guitar solos. I think they are best described as just ‘relentless’ and unique of course. Not sure any regular album would score high, but this is a 5 for sure.

Surprised me this, I’m not really a big fan of The Who albums (other than an odd track here or there), but this was more listenable than anything else I’ve heard. Unsurprisingly it felt more cohesive given the concept/story, and seemed more focussed on rhythm guitar and melodies and not Townsend’s insufferable ch-ch-ching rock signature guff. It has a great ending track as well. Good to know they did one not-shit album.

Songs only your grandmother (if she were from the Midwest) could like. I mean, seriously, why is this on the list? I genuinely think this is the most tedious album I’ve ever been forced to listen to. The fact it’s all covers makes it even less interesting. There are zero positive points to reflect on. Wow that was bad.

Quite simply one of the best albums ever made. End of.

Why does love have to be so sad’ and a couple of other bits where they do the fast blues/country rock thing (largely I think as one of the Allman brothers plays). Otherwise it’s pretty dull blues rock about how much Eric Clapton wants to steal George Harrison’s wife. I think this album marks the point post Cream and Blind Faith where Eric Clapton loses any interest to me. 2/5

I’ve always found David Byrne’s voice/style annoying and Talking Heads music uninspiring. This has clarified matters, what a dull album.

Never listened to them before. Was expecting something a bit more radical. Had some decent tunes though, s’ok.

Tinny drum roll, chugga ching chugga ching guitar bit, repeat ad nauseam. Yawn. I know I’m in the massive minority but I find listening to Bob Marley a thoroughly depressing experience. Just wish he’d lived a bit longer so there might at least be a bit more variety of dull songs in beach bars worldwide.

They have influenced so many bands I love, but I never really love their albums. Second half of this album much stronger than the first, would give that another listen.

Gem of a surprise. So much energy and thunder in that performance, totally had me smiling through what I thought would be corny old rock and roll songs. Point taken off for him being a wrong’un though.

Well it started OK, but descended into too much jazz wankery for my tastes.

Yeah he’s influenced a shit tonne of bands, but I’ve never really understood the appeal (probably as I’m not so influenced on lyrics alone). TBH, his voice is pretty reduced to speaking only given his age at this point, so this album just sounds like a bad version of Mark Lanegan.

Yay, post punk again. I guess this wasn’t awful so maybe as good as it gets?!

Clearly a great song writer given the surprising amount of hits on the album (even if they were more popular covered by others). Interesting but still not really my bag.

Bit of an odd album I thought. Homeward Bound the obvious good one. Otherwise a couple of quite enjoyable psych type tunes which I’m not sure are a piss take or not, and some not outstanding folky ones. Liked the Silent night one with the news overdubs, nice historical piece. Wouldn’t listen again I doubt.

Grating mysogyny and shit bants occasionally accompanied by some decent funk/beats. It ain’t all that let’s face it.

Ah west coast rap, again. Not being an officianado I have no idea how different this is from the norm. I quite liked the production and general more tuneful yet darker tunes and beats, seemed a bit different. But then all the gangsta, guns etc lyrics and it just loses me.

This may be the yardstick of ‘albums that have aged terribly’, it sounds soooo 80s. Anyway, hair rock, slap bass, oddly fast thrash metal style drums in places, funk, reggae combo really hits the sweet spot of styles I don’t particularly like and even less so in combination it turns out. The obvs result is that I skipped through most songs as I found them incredibly irritating, guess that must be a 1 then. (Bring back the gangsta rap, all is forgiven!)

Was really looking forward to listening to this as I’d heard it’s a classic live album, but ultimately couldn’t wait for it to end. Obvs he’s got a great voice, but that was all this is, the backing band felt non-existent. I always thought he was supposed to be legendary live, but I got no energy from this - maybe that’s the recording or I’m just not getting the pure soul element. Also the crowd screaming didn’t seem linked to the music, guess he’d just shoved his crotch in the general direction of some underage girl. Anyway, this isn’t a patch on that other wrong’un Jerry Lee’s live album we rated the other week.

Given this is a time/genre I love, I really haven’t listened to much Deep Purple. Halfway through the first listen it was obvious why, the prog stuff was pretty annoying and overbearing. However, the last songs Hard Lovin Man and Black Night had me rocking and drawn back in. 3 more listens later and I’m now hearing more the driving heavy rock, some OTT lunatic but great vocals and less of the silly prog bits. Fair to say it’s a grower and I’m won over. Will be listening to more of their stuff now…

80s chav sex music, but I’ll give it an extra point as Faith is a decent tune.

So I’m assuming John Lydon’s idea with PiL (at least initially) was to be a sort of antithesis of punk. So fair play, mission accomplished. Does it make it a great piece of music, not in the slightest. Really repetitive grating guitar or keyboard lines over some pretty basic rhythms and very little development in each song. Only ‘Socialist’ had me vaguely interested and that’s probably as it was borrowed from the Krautrock formula. Obvs a complete low score from me, but then that’s probably what Mr Lydon wanted anyway.

I was really surprised to see this album come up on here, in a good way as it’s the first one selected that I owned at the time it actually came out, but also warily as I didn’t remember it being that great. My opinion on the latter didn’t change that much from listening again. They’re really great at the full pelt post-grunge garage rock thing, songs like Outtathaway and Get Free (Ride, from the second album even better, and great video, check it out). But the slower psych type ones really were being done in much better and more original way by a stack of other bands at the time. So it was a nice nostalgia trip, but my overriding memory brought back was of one of those times when you spent £15 on an album off the back of two great singles, really trying to love the whole album by repeat listening but ultimately being frustratingly disappointed at the fact you should have bought a different album instead. So in honour to my disappointed mid-twenty year old self I’ll score this a 4 even though it’s a really a 3.

I had no idea what to expect on this one. I suppose the best way of describing it is a fun inoffensive mixture of styles. Actually I quite enjoyed it, but can’t say I’d ever listen to it again, except maybe ‘You’re all I’ve got tonight’. Random thoughts: I was quite surprised it was 1978 and not mid-80s, so maybe ahead of its time? Also ‘Just what I needed’ seems to be a very early precursor to skate rock.

I really struggle with The Who. Despite the fact Entwhistle is probably one of, if not the best bass players ever and Moon is a great foil. I just really dislike Daltrey’s delivery and Townsend’s guitar style. So this is probably my ‘favourite’ Who album given there are more rock out moments/sections where you can really feel a great live performance, but you have to sit through so much filler parts and songs to get there (Happy Jack ffs).

Think I used to have a copy of this. It’s more of a difficult listen than I remembered, but after a second pass I was really enjoying it again. Really raw guitars, production and vocals with some great tunes. Validated the fact I’m terrified of her.

Easy listening jazz. Inoffensive, dull. Let’s move on…….

I’m not one for crooner type stuff, male or female lead. And most of this seemed pretty traditional and nothing very inspiring. I’ll bump it up a mark though for Fuck me pumps which was very funny/bitchy.

Expected to enjoy this more than I did. It was much more standard blues rock with some jam parts. However, the lead guitar I found really irritating, partly how it was recorded in the mix (overbearing) and I guess I just didn’t get on with the style. Oh well.

Amused myself by wondering who this band was, excited to hear something relatively contemporary. Then it turns out I knew half of the album from their ‘hits’. It’s nice enough folk tinged pop indie rock stuff (with the oddest sounding Irish accents ever) but not massively memorable it would appear!

It’s the late 80s, you’re in the car with your family driving to France on summer holiday and you’re taking turns putting your (very limited selection of) tape albums on the stereo. Dad’s got Dire Straits ‘Brothers in Arms’ and Queen ‘The Works’, you’ve got INXS ‘Kick’, your sister is lethally armed with the Dirty Dancing soundtrack and your Mum’s got this. Happy memories of the times, less so the music selection. The upshot is I know every word and part of this album off by heart, purely by conditioning, it’s definitely not love. I have no idea how to rate it, but I think I actually might like some of it, but my perspective is totally shot . Gonna have to emergency safe ‘3’ it! (Side thought: wonder how many of those other albums are on this list?)

Tbh after 5 really dull croony songs about love, I gave up. Looking at the remaining titles I’m guessing the general theme didn’t change.

Not really sure what I was expecting but that was quite the miserable album. A couple of vaguely interesting songs aside, that just felt like downbeat monotonous warbling with very little pace/style changes and certainly nothing revolutionary in the backing dept. Rather left me wondering what the specific appeal of Adele is. I thought she was feted for her voice, but she just sounds like the general pop fashion of the last few years, the sort of slightly slightly nasaly and vulnerable semi-voice breaking thing. Maybe she started it all and is better at it, I’m clearly not a good judge….:

Aha, the first band about which I can say ‘I saw them before they were famous’. That was is their early pure two-piece rawer blues encarnation, which I liked (and I guess they lucked out slightly that the White Stripes opened the door on that style renaissance). This album seems to be the point they transitioned to a more popular sound, which I also like. However, I think other later albums are probably stronger at the latter. So this sits in a bit of a hinterland. It’s got some stronger tracks early on, but felt like the album dragged a bit to me. Other ones of theirs might be a 4, but think this is a 3 for me.

And this album is I guess the reason we’re all doing this website, to find little gems you’ve never heard of and wouldn’t have found on your own. Absolutely loved this. I have heard a couple of ‘African desert rock’ artists before, for example Mdou Moctar who’s pretty cool. But for whatever reason the combination of this style of vocals and beats with the western blues guitar with the African twist totally rocked for me. Just a great groove that brought a massive smile to my face. Soubour and Nick absolute highlights. Who knew the Blues had new life in it yet. Must have listened 7-8 times today, thoroughly looking forward to checking out the rest of their back catalogue.

Well it’s a 3 album isn’t it, completely listenable but never gonna listen to it again. I had no idea who they were so had fun guessing where they fit in the general garage/punk music timeline and how much they must have influenced the Beastie Boys. So fair play for the latter.

Ha ha, so funny this has come up so quickly since I mentioned it in my review to Paul Simon Graceland. Please apply the same context here, I was force fed this as a kid. Funny hearing an album over 30yrs since whenever that great day the last time was. My reflections now are that it’s still godawful 80s blues rock, I didn’t realise how bad a singer Knoepfler is/was, I like a long song but bloody hell THESE songs drag, and the cultural appropriation voice on Ride across the river is rather embarrassing/amusing. But but but but but, can you bump an album up to a 3 solely for the opening riff to Money to Nothing (as much as I don’t want to like it given everything surrounding it, it brings a massive smile to my face). …… …… Nope, turns out I can’t.

Knew nearly nothing about Dusty before this came up, so was interesting to read about her. As for the album, Son of a Preacher obvs v.cool tune. Don’t forget about me and Breakfast in bed also enjoyable, defo benefitting from the upbeat soul type arrangements of the day. Rest of the album all rather unmemorable and a bit slow for me. Windmills of your mind for some unfathomable reason makes me think of Greece - was it in a film or something?

What an album! Defining a genre rather than genre defining I guess. Full of great psychedelic sounds, fantastic song writing and topped by Grace Slick’s (one of the best lead singer name ever?) belting vocals. Love it. This is defo one of the time/places in music I would love a time travel machine too. Five stars alll the way. Side note: Interesting fact I hadn’t twigged before. Grace Slick was also the singer of Starship of ‘we built this city’ fame. I’ll let that not influence my scoring here!

Chav sex after party music.

Err why is this album in here, did they need one to fill the ‘unremarkable middle of the road blues country rock’ genre section? Faster numbers just sounded like Black Crowes/Primal Scream/Stones and the slower ones that sort of general late 90s/00s tortured male solo artist sound a la David Gray etc. Struggled to see anything really original/interesting. Easy enough listen though I suppose:

Ah, time for the Smiths debate (and I suspect this won’t be the only album on this list). So, Morrisey himself is obvs a massive bellend, but he is a wonderful singer and lyricist and for me is everything good about The Smiths. Without him I think they would be utterly middle of the road forgettable 80s indie and no-one would ever have heard of Jonny Marr (genuinely don’t understand why he is rated at all), let’s face it the music itself isn’t really very interesting. Given this I’m not a massive fan other than the more well known numbers. This album only seems to have a couple of those on it. Bigmouth Strikes Again is quality so I’ll give this album a generous 3.

Just an absolutely stunning album. Still sounds as fresh as the day it came out and totally unique. I’m not quite sure the sinister/beautiful mix will ever be beaten. Funnily enough I was listening to the Portishead back catalogue not that long ago. I never realised they did a live album before, if you haven’t heard it do check it out. Amazing obvs.

Meh, other than the big single this didn’t really grab me. Assume it was ground breaking at the time, but I guess listening now and not being immersed in it at the time it’s hard to detect. Unless it was the couple of songs which were slower r&b supposedly sexy type numbers. In which case there’s no excuse for inventing that bollox.

Never heard of this before at all. Very novel Pixies half cover on 20 Dollar kind of summed this all up really. It’s so abrasive challenging it kinda feels like a pixies/pj Harvey/albini vibe in the hip hop genre. There’s something about it I like but I’m not sure exactly what, however, there’s not one song that really nails it, or at least not on Day 1 listen. Suspect I may listen again, perhaps a grower, but not a high score for now.

So who knew the only Elton John songs I actually like are all on the same album! So I enjoyed this much more than I thought I would. Really good song writing obvs but generally I just like the sound/production of it. Downside is that it was a bit long and dragged a bit + Jamaican Jerk off is awful (why is that even on there).

I think it’s fair to say Hendrix was an awesome impactful guitarist, but still developing as a songwriter and still wildly experimenting with everything he did. Obvs the hits are the most impactful/enjoyable, but there’s a mix of interesting and not so throughout the rest. So as an artist you’d give him a 5, but not for the album as a whole.

Finding this one really hard to rate. While they’re clearly experimenting with new sounds which is interesting , it’s basically Led Zep, but not as good as their earlier albums. There’s not really one track that really stands out for me ( I don’t get why Kashmir is so popular) and some of them drag a bit. Guess I just prefer the balls-out rock of their earlier stuff more. All in all I don’t think I’d ever really repeat listen, which would seem to indicate a 3 score. However, their benchmark is so ridiculously high, if this was some other band would I look at things differently? Gah, what do you do?

So to cut a very long album short, his penis is in fine working order and he has lots of guns, possibly more than most people. Of all the gangsta rap we’ve had on here this is to be the worst (so far) for crassness, mysogeny and violence. Oh, and the beats and samples were pretty lame compared to others (which is usually the redeeming feature for me). And we move on…..

WTF peak 80s awfulness is this bollox! I know everyone was fed up of prog/punk etc, and synths were now readily available to all, but I genuinely wish someone could explain to me why making music sounding like this emotionless fluff was considered entertainment. It just sounds like some 18yr old was let loose with a new Casio keyboard hellbent on using all the settings (I haven’t googled the making of this album, so there might not be any irony in that statement!). At best, the lively bits sound like filler between scenes in Ferris Beuler’s Day Off, and I guess the vocalist isn’t awful. I pity the fool who has to listen to this ever again, obvs I won’t be.

Classic voice and tunes, but never going to be my go-to style.

I’ve not much previous on these guys but I like ‘em. Some really funky baselines and beats, and finally some non gangsta lyrics. A couple of bangers for me (What’s Golden and Thin line), it’s pretty smooth and varied to keep it consistently engaging and enjoyable. Will listen to more of their stuff….

I’ve always liked these guys in terms of the general sound, it’s kinda archetypical New York cool garage punk adapted to a heavier stripped back sound of this era. However, they’re not great songwriters, I can only think of one or two bangers I really like and they’re not on this album. Classic style over substance really.

Is there such a genre as ‘dinner party hip-hop’?

Well it’s not aged as badly as other big 80s albums (I guess his sound and style is distinctive enough to cut through) and it’s better than Dire Straits, but still pretty dull middle of the road rock.

So, my expectations were mixed as ‘Superstition’ is a belter but I really dislike ‘You are the sunshine… ‘. Turns out that was a rather accurate ratio for this album. Either he’s being super funky (love the squelchy keyboard thing) or writing some awesome melodies, or it’s a godawful corny ballad, with nothing inbetween. It’s kinda like Russian Roulette in album form.

Never really listened to her before. So the album started strongly, and ‘Four Women’, wow what a song, quite the punch in the face. For me it dragged a bit with too many slow songs, and could have done with a bit more change in pace. Nevertheless, it felt really super intimate and her voice and piano playing is just unbelievable in range and emotion (kicks the modern nasal pop divas completely out of the water). All in all a nice surprise, a really enlightening listen. Defo want to hear more of her own self penned civil rights targeted tunes….

Well let’s start by saying that I’d give any of the first few Pixies albums a 5, so thats got that out of the way pretty easily. Just such a unique band, so sinister and brutal yet beautiful and kinda euphoric. While they’ve been a massive influence on others, nobody ever has or likely will sound like them. Anyway, listening to this again (for the thousandth time) got me on the age old question of what’s your favourite Pixies album. I don’t think it’s the most common view but this always comes out as mine. Which might seem odd given Kim Deal had a massive back seat on this one (start of the fall-outs I think). I think for me the thing I most like about the Pixies is the rhythm guitar and those chugging odd chord progressions that drive everything. This album of all of them I think has that more to the forefront. Plus as an album it just builds from start to finish (every song just seems to get better) and by Hang Wire and Stormy Weather you’ve got just the most fantastic crescendo. I suspect this would be in my Top 10 on this list as a whole (and we’ve still got 3.5yrs of it left to go!).

Surprisingly boring. Started interestingly in being heavier than I expected and with the rockabilly twist. However that only held brief interest and it tailed off pretty dramatically thereafter. Next….

Two of my favourite albums ever in a week, Pixies then this, this algorithm is on it (cue some utter shite next week). Anyway, this is the first indie album I ever fell in love with, and it directed my earliest musical journeys I guess. I just love the, I’m gonna say bouncy style (you heard it here first) acoustic driven sound and the songs are just so well written. Spent years wanting more from them, but over time that’s made this lone effort feel more timeless. Odd aside is that I’ve always thought There She Goes is the weakest song on the album, it never sounded like it fit to me - guess I’m the outlier here. This has also left me wanting to listen to Weed Bus by The Stairs.

I guess if you were to look at this hypercritically, you’ve got a chap who can’t really sing and his ‘rapping’ ain’t great, the guitar riffs and drums really are very basic, and the sampling isn’t ground breaking. HOWEVER, it does have a tonne of swagger (that NY bands often seem to have more of - something in the water?), and the clue’s in the name of the band, this is just about vibe and fun. Yes it’s totally mid-90s sound, and the slow songs are a bit dull, but when it goes big it works and the tunes just make you smile and that I think is the point. (Not sure you’d admit that to anyone in person though!). It is a bit weird that they were really only big in the UK. What did we see, or the US weren’t being duped by? Firstly I don’t think we ever saw this as hip hop, more like lounge rock with a hip hop lilt. I’m gonna go with their general vibe suiting the early wave of Blair and Brit Pop and the world generally feeling a much more positive place than these days.

This one defo has the feel of a debut album. Seems to vary quite a lot between the jazzier hip hop and a more stripped back old school hip hop sound. Clearly a tonne of in jokes and they’re defo having fun making it. It’s all ok, and I preferred the jazzier stuff, but no single song (including ‘the hits’) really stands out to me.

Music to get anxious too. Which by some, I imagine, unintended irony ‘Inner Crisis’ was the most accessible tune on here.

(Uneducated/insulting review coming up) I mean all in all it’s like listening to The Who really. The backing rhythm section are great but the Flash Harrys who get their instruments turned up in the mix are just kind of annoying. Given I’m nearly 50yrs old, I think I’m just genetically disposed to dislike trumpets/sax etc in jazz.

Err (and desperately tries to find something positive to say), it’s slightly heavier/riffier than your average punk? Nah it’s really crap. It’s the sort of album that only a teenager could love and only if they were there at the time. Not surprised I’ve never heard of them.

Ah, the finest middle class sexy time /dinner party album ever (you’ll be lying if you said you’ve not accompanied both with this playing)! Is it original, in a way not, as it’s a re-imagining of the 70s Serge Gainsbourg type sound (I always have this and Histoire de Melody Nelson) linked in my brain). But it’s amazingly original in the sound they bring, and how effin smooth and sexy it is. La Femme D’Argent is just a killer track, so in a way the whole album goes downhill from there but not in a bad way! Could, and have, listened to this and other Air works tonnes of times.

3rd jazz album of the week and my heart sank! Thankfully the samba element was pretty strong and the trumpet pretty smooth and not overbearing, albeit it all just blends into one after a while. Quite jolly, perfectly listenable but doubt I will ever listen again.

So first up, I don’t think listening to this album on one of the first decent summers days of the year is a good mix. Buzzkill either way. I know I’ve liked this more when I’ve listened to it previously, but today I just found it all too melancholy/depressing (which I know is kind of expected/the point given the circumstances of its making) and nothing really grabbed me. Well, other than Lazarus which is the standout track. So I’ll give it a 3, but probably more a mark of respect for the artist than this particular offering.

Yeah so I’m gonna slightly lay into this one. Quite simply, what on earth is/was the fuss about this band, and this album in particular?! It really is bang average (at best) psych pop music. I quite liked a chord change at the end of ‘are you a hypnotist’, but other than that there isn’t anything that’s novel or interesting on here - none of the songs ‘do’ anything! There’s a stack of other psych/pop/indie bands better than this. I’m going to assume the live show is the reason for the misdirected adoration. And to be fair, having seen them at a festival a couple of years ago (admittedly not at their peak, but still headlining - it was a small festival) they do have a cracking light show and some big inflatables (not sure if that’s good or bad), and they did quite a passable ‘euphoric ending’. But my overriding memory was thinking ‘why is there a bloke in a Zorb singing’? It was novel for a song I suppose. But then he was in there for ages, which was a bit boring as he didn’t move around (which I thought was the point of being in a Zorb), and then I started to worry for his welfare, was he hot in there, did he need some fresh air or a nice drink of water etc? Well fortunately they got him out after a while, phew. But guess what, he got back in again to repeat the, let’s call it ‘trapped singer’ vibe, for the encore. Not sure if it was entertaining, just weird and baffling, and clearly designed to cleverly misdirect the audience from the tunes. Which brings us back to the point of writing this…….this album is dull.

First listened to and liked as a stoned teenager. Then probably didn’t listen to it for 20 years or so, and hasn’t really left my regular play list since. It’s hard to describe but I just find it kind of dreamlike, intensely relaxing, a bit like a warm hug really. Ageispolis in particular must be one of my favourite songs ever (that baseline!). My issue is that I’ve never found anything else like it to add to the playlist. Aphex Twin’s other work is obvs quite the opposite, maybe Boards of Canada’s frost album gets a bit close. All help welcome!

Well I liked it more than I remember when it first came out. It’s got a nice maudlin vibe and consistent sound to it, but none of the tunes really hammer home and some feel like they drag a bit. Pleasant enough but not remarkable.

Absolutely love this album. For me this is definitely the best ‘super-group’ album ever. I don’t really recall why/where I first listened, but I remember being immediately blown away by the harmonies. And there can’t be many bands to match that aspect. But generally it’s just 4 song writers at their peak, and every song is a winner (Woodstock and Country Girl absolute highlights, albeit Our House is possibly a bit saccharine for me). Yeah it can feel a bit uncoordinated, as the Neil Young led numbers do seem a bit at odds to the others. But the CSN harmonies applied to Young’s songs really lift them and vice versa there’s some ripping Young guitar work/solos on some of the CSN led ones. But I think that’s the benefit, the addition of Young to CSN breaks up a harmony led folk rock that struggles to carry an album on its own (or at least not to score it a 5). So even though it’s actually quite a dark album, it just always lifts me whenever I listen to it. Perfect for a summers day drive (well, for me it is).

So I put my hand up here and say I was defo one of those people who through a strop at this coming out after OK Computer (clearly a 5* album), given it was such a stark difference. Kinda made me give up on Radiohead for years afterwards (so this album defo scores a 5 in terms of ‘1001 albums that have totally and unexpectedly baffled their fan base’ category). I have since gone back through their albums, and while I’m not a staunch fan at all, their later stuff it has a dark edged but chilled vibe I like. Kid A, however, does not. It really does sound like a lot of experimentation in sounds and styles which makes it incredibly disjointed, and Thom Yorker’s vocals are quite whiny and annoying on this one (he usually finds a better balance). The only redeeming features for me are the first track, which has a gorgeous keyboard sound, and to me is more of a model of the sound they ultimately carried on with (that I like at least). National Anthem had nice bass and percussion. However, this is one of those ‘what’s this doing on this list’ albums for me, given pretty much their entire back catalogue is better. So does that mean they’re all on this list?!

Errr, right. So I generally don’t reach for the wiki page until after I’ve listened to the album, but after 3 songs I had to find out wtf this was all about. And if I really wanted to listen to someone’s made up interpretation of a noire film that doesn’t exist then I would………….we’ll I wouldn’t ever, and this album proves that point. Only not a 1* as where some actual real music did fleetingly appear it was actually quite alright.

Slight turn up for the books, I was expecting to really hate this, but turns out it’s kind of passable. My past history is not being big on these guys, and I find the vocalist’s raspy shouting like nails down a chalkboard. But somehow found myself being slightly drawn in to a couple of the songs in the middle. I think musically it felt more heavy (grungy in places) than their more famous work, which suited me. From a quick post listen google it turns out Richy Edwards was the main songwriter prior to his disappearance after this album. Guess that may explain it. Scrapes a 3.

I was intrigued to listen to this given I know nothing pre-late 80s from them. TBH I was left feeling a bit nonplussed by it. So it’s got some average blues rock that was the staple of the day, meh. There was a some individuality on Walk this way and Sweet Emotion which was much more funky and you can see how that may have influenced some 80s hair metal (fair play). My favourite was Round and Round, which was much heavier, but I suspect that’s a bit of an outlier for them. But overall I just didn’t get much personality from it, what sets them apart from other 70s rock. I should probably listen to further albums to find out, but off this showing I think it can remain a mystery unless this list forces me…..

I was looking forward to this as I’ve rarely listened to these guys, however, given how hyped they can be this was pretty disappointing. They do have a certain upbeat sass and swagger, but ultimately it’s just a bunch of average country tinged blues rock. I preferred the more ‘jam’ type stuff, so large parts of Ramble Tamble and the Grapevine cover. But stuff like the dreadfully corny honkytonk Ooby Dooby can just dooby do one. Is this really the peak of where they got to after 5 albums? Yeah it’s listenable, but not on my stereo again. Generous 3.

Finally, a jazz (or ‘afro beat American jazz’ or something) album that I actually enjoyed! I think the backing rhythms and intensity really drive the songs and add the excitement (and temper the jazzy trumpets), compared to some of the slower ploddy ‘jazz classics’ we get on this list in which the backing bands are key but not the major player in the mix. After my hearty approval of Songhoy Blues, it appears west coast African tunes are the unexpected way to go for me!

Wow, that was dreary. I didn’t really listen to the lyrics much, but I got the strong impression I was meant to cry more than I actually did. (Random side note. It also struck me that this album didn’t sound like it came from the mid 80s. Was country music immune to the general awfulness of that era?)

Well if you’re gonna listen to a Motörhead album, this is defo the one. They really were a band best enjoyed live (albeit I saw them later in their career than this ‘peak’). So this really is a greatest hits album with all the intensity from their live show. The drumming is immense (the double kick drum in this style must have inspired the thrash metal bands), bass so slick and fast and great guitar solos. I think they are best described as just ‘relentless’ and unique of course. Not sure any regular album would score high, but this is a 5 for sure.

Never heard of them/this album before. From the first song I was really intrigued. It was really nice melancholy tinged alt/country/folk rock, with some lovely subtle background percussion, keyboard and guitar parts and fills which elevate and made each song unique. Really felt well thought out and produced. It was totally up my street, but but but, I just found it boring. Unfortunately the song writing just didn’t hit the mark, and the vocals a bit too spoken to make an impact. All a bit like watching England at Euro 24 really, lots of exciting potential but ultimately dull to watch. So frustrating.

Curse you list! I used to think I hated Pink Floyd, and I was quite content in that space. However, now you’ve made me listen to them objectively, I actually ‘didn’t mind’ this album. Bastards. I refuse to have my tastes broadened so easily. You’ll have me trying to abide The Beach Boys next, and I’m not having it. Back off!

Wasn’t sure where I was going to end up on this album. I’ve never owned it or actively played it, but I know every song from extreme overotation on the radio of the singles at the time. More so because it was one of 2-3 albums on constant repeat (the Fuggees/Lauren Hill might have been another 🙄) in a coffe shop in Sydney I was working in around the time it came out. So basically I was very fed up of it. However, a break is clearly a good thing in this case. I expected to still dislike it, but actually it’s hard to deny that it’s super catchy, not a bad song on there and just a really strong album. And yeah, I was singing along a bit. Bit of an unexpected turn up.

What an odd little album. Somewhere in here there’s something good, and at a basic level the folky songwriting is quite unique. It immediately made me want to listen to it a second time (and also had me thinking Belle and Sebastian owe this chap a nod). However, the strings, brass etc arrangements added to some of these songs is really overbearing, for example. the sax on ‘chime of a city…’ just totally killed a good track. A lot of it just sounds like a folk singer being drowned out by a jazz lounge band writing a soundtrack to 70s film. Shame really, it was kind of intriguing.

Ugh, back to the chav sex music again. Garage (and R&B of the dance genre) is I think my most disliked music genre out there. It’s sooooo dreary and lacking any personality. I don’t like to give out 1*, however,…..

Not much to say really. Yeah she’s got a great voice, and it’s nice to have some more upbeat jazz backing, but ultimately the songs are just OK.

Tbh, this is the only Stones ‘album’ I actually know (or knowingly like), but I’ve not listened to this or anything else that much. It’s got a really nice vibe to it, defo sounds like the band enjoying themselves. I quite like the variable production qualities of the songs, which gives some nice variability. No hits as such, but some tracks stand out for me (Rocks, Torn and Frayed, Ventilator Blues). So there aren’t any bad tracks as such, but as with most double albums it does drag, and there’s only so much Jagger vocals, Richards slide guitar blues and honky tonk piano one can take in one sitting. They were probably so strung out at the time they didn’t care, and I guess neither should we really.

It’s really hard for me to separate this from most other dreadful 80s pop synth/drum machine dreadfulness. He’s even deployed the one of the 80s greatest musical instruments, Kate Bush’s voice, to very little effect. Only the singles Sledgehammer and Big Time (which I enjoyed more than imagined), save this from a 1*.

🙄

And this for me is very sadly the point at which Sabbath albums start to include some filler feeling tracks. Still, 4 albums in isn’t too bad going. Some absolute killer tracks on here, such as Supernaut (which spawned whole bands sounds on its own), Tomorrows Dream, Snowblind. But it’s something about the production and some of the song writing which feels a bit hollow in places, and just doesn’t have the same oomph and swagger/swing as the earlier stuff. But that’s a mega high bar. I’ll give it a slightly harsh 4.

So ‘preferred’ is a very strong term here, but the more upbeat slide guitar/generic 80s rock/pop ones were better. Overall, not unpleasant as such, but an uninspiring jaunt through a few country/ballad/AOR styles, with a grating 80s twist. Obvs will never listen again. Gets a solid 2 when taking into account the epic lady-mullet on the album cover.

So I haven’t listened to ‘more recent’ PJ Harvey for a while. Largely as I thought I didn’t like it as much as the really early stuff. I must have listened to this a reasonable amount before as I knew all the tracks. There is a load of great song writing, but I just found that even though I kinda wanted to I wasn’t really loving it. And then I got to Kamikaze and Is this love, and it was a total step change. Louder, dirtier and just works better for me with her voice. Basically, much more similar to the early stuff. So, trust your instincts kids. Maybe a slightly harsh 3*.

Well played list. You’ve won me round on (non-Nico) Velvet Underground and now it seems a Lou Reed album. I always thought he was supposed to be a miserable bastard, but I found this quite light, happy and an interesting listen. Defo will listen again….

This list is definitely improving my knowledge of west African/western music fusion. And I’m generally loving that. I really like the fusion with blues, and this album was super chilled. Ry Cooder did a good job in adding subtle embellishment rather than taking over. For my tastes possibly a bit too laid back and one paced to listen to much again, I’m just a fan of the more up tempo fusions we’ve heard.

I’d heard of the name, no idea what to expect, so was looking forward to something new. But, by the powers of greyskull, I was not expecting this puddle of bollox. I was genuinely cringing at some of this corny stuff, Brass Buttons in particular was just dreadful. I usually find country music has some charm/warmth, this is just devoid. Surely the world of country has a tonne of better albums than this?

Iconic yeah. But it’s a classic case of the one-trick pony band/album, so how much do you like that trick? I’m in the middling camp on this one. For a band with no great talent I always like how quick and smooth it sounds compared to some rougher garage rock/punk. Obviously Blitzkreig Bop is the standout, and then it’s varying degrees of the same, which while thankfully short, doesn’t really make it that exciting as an album. For scoring I largely found myself comparing this one to The Dictators album (same time, location, genre) we had in here a couple of months back. I gave that a 3 and to be honest preferred it as an overall listen as the songs varied more, however, it didn’t have quite the swagger of Ramones. Let’s call it a draw.

I was wondering before listening to this whether Beck had any decent albums. In my head he was always a bit of a ‘singles’ man. Well I got my answer straight away, yes, and it’s this one at least. I really enjoyed it, great mix of styles, instrumentation and samples etc. Tbh there’s probably more invention in this album than in some bands careers. And somehow in all that it keeps a really consistent sound. Will add this to the rotation list.

It’s just a fact of life. No matter how much I listen to The Clash, they will always make feel a bit depressed. I just find the delivery soul destroying, terrible singers, bang average guitars and terrible production. However, they actually have decent lyrics and something to say, which is more than most punks bands. Which all in all it does just generally evoke the relatively depressing times of the late 70s in the UK. I prefer music to make me smile, so for me, this just makes me want to stop listening to it. It should be a 1*, but I’ll give it an extra mark for them actually having something positive to say.

Let’s give credit where it’s due that as a debut album the musicianship, invention (shouldn’t be surprised at that) and production is seriously impressive. However, the song writing much less so. It’s seems to be either experimental songs with good/bad bits or piss takes of doo wop or other softer 60s pop styles. ‘Trouble every day’ is great and the only song I’d come back to. Overall I just don’t get it (maybe you had to be there at the time), I’ve seen this described as satire, but copying styles with some ‘amusing’ lyrics just seems the easy way out and not that interesting to listen to. So come on lads, you’re clearly talented musicians, why not put that satire into something original that defines a genre. This just feels a bit mean spirited. C- could do better.

I used to think I liked this album and hated the rest of Floyd’s catalogue. However this list has already forced me to realise that ‘Wish you were here’ is, well, OK. Re-listening to this has forced me to admit it’s a bit of a mess of an album. Yes there’s some great bits in patches e.g. interstellar’s intro riff and the organ parts are generally excellent. But there’s far too much filler experimentation, and Syd Barrett’s lyrics are rather childlike in all honesty. You can imagine this being a pretty awesome live show, particularly if you were mashed, and it has a certain charm about its dreamlike quality (albeit not a favourite dream). But it’s not really something to sit down and listen to for any great enjoyment, so it’s more something of a curiosity to wheel out occasionally for amusement.

Ah, we’re back to the Stevie Wonder Russian roulette again. It’s the same story as ‘Talking Book’ really. He’s either really magnificently funky or dull as dishwater, with nothing inbetween. And this time that precarious balance extends across a double album. On balance I’ll take the extra excellent tracks as a positive here (there aren’t many albums that have this many bangers). So let’s mark it one more star than the single album! (I’m also assuming I’m not the only one who did a massive double take at ‘passtime paradise’. I never knew that Coolio had ripped that off so blatantly.)

Totally blindsided by this one. Still struggling to pigeon hole a genre, so let’s keep it simple. It’s super chilled, and has a great vibe, largely contemporary but some lovely 70s leanings. Ah, I just really like it. Looking forward to reading more and hopefully more back catalogue.

[…..and takes deep breath, grits teeth] Abba are really quite good aren’t they. There, I’ve said it. As pop goes it’s ridiculously catchy when they get it right and the singles are bangin. Some filler though and the first track needs a bit of a rethink!

Absolute tosh.

Took a while to ‘get into’ this one. The beats were pretty basic and the production/samples really quite subtle, but it grew on me as a general vibe. However, lyrics are never my main focus and rap generally just passes me by. So who knows what they were mostly talking about, but it seemed on the, err, light side of gangsta which is a plus (compared to some of the childish/tasteless stuff we’ve had on this list). The samples of the manga stuff were a nice touch. Am I gonna listen to it ever again though, nah.

Another day, another Sinatra. Defines a genre, yes, classic tunes, yes, do I love it, no.

Kinda pleasantly surprised by this one. I dislike the title track and the wiki write up didn’t sound like something up my street. But actually Bowie’s voice and ear for a tune really shine through and I liked the backing, particularly the gospel/soul style parts. I even didn’t mind the sax too much, which is usually my kryptonite of the instruments. All in all, not amazing, but will likely listen again.

Context: I generally like the Beatles, but have never really listened to many albums. Don’t know why, guess I just thought I knew their many hits so was happy with that. So this list I’m sure will rectify the situation. 100 albums in and this is the first one up, and supposedly a classic, which somehow I’ve never listens to before.. Review: Well, to cut a very long double album short, it’s not a classic. Yeah there’s a smattering of great/good songs on here. But it just veers across styles at a great rate with a lot of average tunes. I just found myself listening and wishing the next tune was gonna be a banger, which invariably it wasn’t, so in the end I was just wishing it to end, by which point Revolution no.9 just kicks you in the bollox painfully before rubbing your nose in it by ending on an absolute dud. Seriously, whoever classes this as a great album needs to really needs to listen to it properly without the rose tinted spectacles (I’m Very confident I will prefer other albums). It’s pretty boring, and when George Harrison writes probably the best song on the album I think you have the evidence. I rest my case.

I’ve listened to this a couple of times in the past when going through old psych stuff. But to be honest I struggle with this being described as psych. Yes it’s got a tinge, but it’s primarily just a 60s pop record with just as much in common with the beach boys. It’s pleasant enough but nothing really gets me excited at all. The last song maybe the best because the keyboard parts are a bit more unique. The only remarkable thing for me was this is a British band, I always think they sound more US.

Ah it’s just OK isn’t it. I really struggle with 80s pop, just the drum machines and synths just make everything sound so tinny and just lacking some depth. However, there’s no denying she had some decent songs in her and a good voice. Obvs will never listen again mind.

It’s not awful, but the some of the production style is a little too smooth and R&B for my tastes. I suppose, at least, that’s another artist I never need to hear again ticked off the list.

No matter how much I loved the grunge era at the time, this is the one band I really couldn’t and can’t get on with. They are just less overtly riffy than their peers (not a good thing for my tastes), and Vedder’s vocals I just find a tone and style which makes me feel miserable. So while it’s not awful at all, I also get no joy from listening to it. Would be a 2, but I did see them live last year and that was way better than I was expecting. So let’s give a generous bonus point.

As Doors albums go I find this one maybe the most upbeat/happy, albeit from a low bar. Generally does have the feel of a band expressing themselves and experimenting a bit (Manazarek’s use of different instrumentation etc). The opening 2 tracks are just excellent, and while the rest of the album doesn’t quite hit those high notes (although Peace Frog is close), it’s a thoroughly enjoyable listen. Tbh I can listen to The Doors any time, I’m assuming there’s more to come on the list….

Now, one can take the viewpoint that U2 offer nothing exciting/new to the world in musicianship. That therefore leaves you only with the lyrical stylings of Nobo on which to judge their performances. On that, one may also take the viewpoint that his inevitable long screaming parts either sound like a man struggling with a difficult poo, or who has just caught their left nad on the bicycle crossbar when getting on too quickly and carelessly. Or you may have other viewpoints. On this album, I certainly can and strongly wish to leave it behind.

I was aware of these guys but never really explored before. Fair to say I really enjoyed it. Experimental without being too wanky, defo ahead of its time with some of the sounds and grooves. While individually the songs are not bangers as such, it’s nice to be taken on a journey through styles and ideas (had me thinking Black Rebel Motorcycle Club based their entire career off ‘Just a second….’.. Sounds like their earlier stuff is more experimental but will be checking it out.

Now I love me some Julian Cope as a song writer and raconteur, but that really doesn’t stretch to much pre-90s material. As with most 80s bands, I just can’t get on with the instrumentation and production trends. All sounds so dated and flat. While Cope’s lyrical stylings and the lively bass do give this some uniqueness, a lot of the songs drag and Reward aside (which is a great tune), nothing really grabs me. I’ll bump it up a mark though as I bet there’s no Cope solo material on this list, and the man deserves some respect for what he was to become……

I find it kind of tricky to work out how to score these 50s/early 60s albums where artists sang songs written and sung by others previously, mixed in with some stuff they got to sing first. Am I just marking the voice alone in this case? I did enjoy this album (which I appear to have listened to some extended version), but primarily the upbeat numbers, the corny ballad stuff not so. And yes she had a great voice and the delivery full of vigour and enjoyment. I don’t usually comment on it, but it’s also a really cool album cover. I scored her other album on here a 3, but this was a bit better. However I’m not sure I can go much higher when ultimately most other artists have written their own material. As a slight aside. In this case it does feel a bit awkward that a British white girl is singing soul and mowtown type numbers. Must have been a stack of black artists with as good a voice who could have recorded it. However, if that’s the music Dusty liked then I guess nothing stopping her. Interesting to note the attitudes and marketability of things at the time. Now it’s more about looks.

Two YYYs albums on this list, seems a bit much? Anyway, having already reviewed their first album which was all style and no substance, this (their third) album was a bit of a reverse. The first two songs are excellent, but then it rather falls away after that for me. I’m not so keen on the slower more electronic based songs, albeit the song writing is better. I missed the scuzzier garage sound of the first album, but with this song writing. Something like ‘Gold Lion’ which is on the second album hits the mark for me. Wonder if that album’s on here and I might finally find my YYYs sweet spot! If not, then I think I just have to conclude they’re a good band with some high quality moments, but not a great band.

Gah, the list does it again, and changes my opinion on a band. Having already reviewed The Queen is Dead on which I only liked the couple of hits, I wasn’t expecting much from this hitless affair. My main issue is Marr’s usual jingle jangle indie style. However, musically I found this much more interesting, however, I cannot find an obvious reason why. The general vibe of the album seemed more upbeat and less spikey. So I really enjoyed it, and there wasn’t a bad song on there. Meat is murder maybe the pick of the bunch at the end. That all being said, obvs it doesn’t change the fact Morissey is a massive nob now, and I will continue to enjoy a nice lamb cutlet.

What a freaky coincidence, I’m going to see these guys in a couple of weeks. Which probably gives away my scoring intention. It’s just one of those defining albums from the development of 90s UK electronic music. This one for me kinda takes on the ambient dub style laid down by The Orb, and ramps up the pace with a lot more house and techno, but with the added twist of adding vocals and more traditional song writing structures. The number of different vocalists and styles just add to the albums amazing variety. It just makes it an album to be listened to anywhere, not just on the dance floor. Obvs kudos to Chemical Bros, Death in Vegas etc doing a similar job around the same time in their own styles. I miss those days… 5 stars all the way obvs. Burn Hollywood Burn…..

70s guitarist does 80s synth pop, yay (rolls eyes and looks into distance)! Sounds awfully dated, as most 80s music does. There was some ok songwriting on there, Spanish Dancer and Night Train get a nod. The latter was the best one, as the tempo was upped and guitars brought to the fore, and hey presto. Stick to what you’re best at Steve.

Well they’re great at what they do, it’s fun, it’s catchy, it’s got bags of energy. However, slow down occasionally lads! Tbh by the end I couldn’t wait for it to end. Only so much 100mph pop punk one can take in one album.

I’ve never got on with the limited Thin Lizzy I’ve ever heard. I just don’t like Lynott’s vocals and delivery style for whatever reason. Other than that they just seem an ‘ok’ hard rock band. The only tracks I enjoyed were the rock-out/jam style parts in Emerald and Sha-la-la where there were no lyrics. Otherwise it seemed like quite a few songs with a lyrical variation on ‘The boys are back….’ Won’t be heading back here.

Where did this come from! It’s behind its time, contemporaneous and somehow ahead of its time all at once. Kinda makes you wonder on the opening tracks whether they copied or just happened to be doing similar to the Stones at the same time. Then there’s harder/heavier stuff, and some other styles. The ‘Elvis one’ was entertaining. I don’t think it’s worth overanalysing this and just celebrate it as being schizophrenic and a mess, but a really enjoyable mess.

The only remarkable thing about this album is the bloke in the hat’s eyebrows.

I don’t generally love hair rock. This is too long (tails off really badly), too overproduced and very silly. But those harmonies and choruses made me smile. Most records on this list don’t make me smile.

As an album just to listen to it’s not amazing, but has some highlights. Robots is kinda idiosyncratic of Kraftwerk, and I’ve always found it as deliberately ironic. The Model is such an outlier, but a cool tune, which is such a precursor to tonnes of 80s acts. The rest, while the style is a bit 70s sci-fi dated, it’s really interesting hearing some of the sounds and textures which influenced, well all of future electronic music. Special nod to whatever that wave like sound acting as a bass in Spacelab and the beeps in Neon Lights is/are, the 90s owe you a massive one!

Just Beastie Boys doing peak Beastie Boy things. Tbh I’d give most of their albums a 5, but this one is probably the cream of all of them. They’re just so talented and amazing song writers. Funk, hip hop, punk etc etc they nail it in their own unique blend. This one in a slightly more retro vibe that other albums. And in ‘Sabotage’ that has to be one of my favourite songs of all time, it cannot fail to pump you up and make you smile at the same time. Shame there’s no 6 star option.

It’s not very good is it. While for Pulp this seems quite musically brave and just sounds ‘bigger’ than earlier albums, it really highlights the frailties of Jarvis’s voice when doing anything other than talk singing, and no amount of clever/funny lyrics make up for that. Only Help the Aged is particularly catchy (albeit very Suede’y). I’m out.

What a charming album. It’s much better than his previous album Bryter Layter we’ve already had on this list. That was ruined with the mostly awful strings and brass accompaniments. Which reading his story was probably the fault of over enthusiastic producers/record company. He’s got such a unique voice and style that it seems just suited to stripped back with the picking guitar style only. Really super chilled and an engaging listen. ‘Things behind the sun’ was the immediate standout of sorts, but it all seemed of similar quality. So I’ll give it a 4 today off a couple of listens. But suspect I’ll regret that as I’ll listen to this more and I suspect it’s a grower.

And then man invented Flaccid Rock. It was at some point in the mid 2000’s, no one knows the exact trigger, where many youth and bands that once might have been described as alternative made a choice. They decided that rebellion and innovation weren’t for them and that the expression of youthful angst and frustrations once borne out in rock and roll or punk were best expressed through the medium of middle of the road 80s style pop and rock. Sadly, as of 2024, this has yet to find a cure. This lot seem to have decided that a crap Bob Dylan impression over some Bryan Adams/Springsteen style tunes with some contemporary sounds/production, and to add a bit of excitement they ‘get a bit louder, albeit playing the same thing, at the end of the song’ is the way to go. It definitely isn’t. Christ this album was about as dull as it comes.

Shit a brick, I like a jazz album! For the first time ever in my life! That’s thrown me, what do I do now?

Surprised me this, I’m not really a big fan of The Who albums (other than an odd track here or there), but this was more listenable than anything else I’ve heard. Unsurprisingly it felt more cohesive given the concept/story, and seemed more focussed on rhythm guitar and melodies and not Townsend’s insufferable ch-ch-ching rock signature guff. It has a great ending track as well. Good to know they did one not-shit album.

I like this guy. It’s pretty chilled, and sounds like he pioneered (of sorts) the distinct technique and style which is influenced other Malian bands. The kinda repetitive nature of some rhythms and sounds really drew me in. It’s maybe a little long, but it’s better than the one he did with Ry Cooder which we’ve already had in here, it seemed a bit livelier and varied. Defo something I’d put on again.

OK, so on the face of it this doesn’t bear much resemblance to music. But for some reason I didn’t hate it at all. I found the songs with the background talking strangely relaxing. And while they are supposed to have invented industrial music, actually some of this seemed quite proto electronic dance, in parts had the feel of Aphex Twin’s darker works. So I think a bonus mark for invention.

Yeah s’alright this, not gangsta, had a nice variation of styles (although maybe a bit too much). Preferred the more funk based tracks, and a good but random track to end on. Can’t think of anything interesting to say. Well, not related to this album anyway. But I did see Monster Magnet last night, and Dave Wyndorf has still got it, absolute legend that man. 10 min version of Spine of God was epic!

Classic game of two halves. The Temptations, who haven’t won a game for a few weeks, come out with a new game plan from the start, ‘fuck it lads, let’s try something new’. Go 2-0 up quickly with a couple of bangin out of type funk numbers. Then get a bit carried away with the new style, showboating, not doing much for an extended period but the crowd’s happy. Get in at half time and the gaffer gives them a bollocking ‘get your bloody heads together lads, there’s 3 points to be had here’. The Temptations, confused and scared to lose come out for the second half and revert to type with some lacklustre defensive Motown soul. Match probably ended a draw. Shame really.

Given I was just expecting some awful 70s sex music, this was alright. I never knew ‘What’s going on’ was a protest song, nor that the Motown/Soul was a vehicle for that. No reason why it couldn’t be, guess that just shows my naivety. Anyway, I preferred the second half of the album, which was funkier and ‘Right on’ was the standout for me. Tbh I think I just liked the backing band, Gaye is OK but I’m just not a soul man.

It grew on me quick and then grew off me just as quick. His rapping style I liked, some of the production seemed original and was really interesting, but I got really bored and irritated by it by about three quarters of the way through. I’m not really sure why but the endless bragging didn’t help.

Ooh no, this is not good at all. His vocals are really weird, somewhere just above talk singing and with grating pitch changes all over the shop, it ain’t pretty. Just to add to the confusion it’s kinda croonery over the top of Ennio Morriconi style western music. That really doesn’t work either. The blurb says this didn’t sell because he used his real non Walker name. I’m going to beg to differ and just say it was because it was an experiment that went horribly wrong.

Bjork’s voice is pretty amazing, so vulnerable yet so powerful. That aside she’s about as marmite an artist as you can get, and generally I sit in the dislike category. The backing production was really harsh and minimal, and not really providing a respite from her constant lyrical stylings. She is a uniquely challenging artist, and this is a very challenging album. I was not up for this challenge.

It’s undeniably cool, the vibe dark and brooding, but it’s also undeniably inconsistent. I’ve listened to it a few times over the years and all I ever get from it are a couple of great tracks, some average ones and the awful ones where Nico sings (she is the musical equivalent of shitting on someone’s doorstep). So no matter how much it’s also undeniably influential, I don’t massively enjoy listening to it, and as this list has taught me, their later albums are better.

Well this list certainly does a number on you in terms of making you listen to a lot of Bowie albums you normally wouldn’t attempt. Of the 3 randoms we’ve had so far, this is the best. Took a couple of listens, and while I don’t think it’s particularly groundbreaking music wise (albeit it’s untypicallly heavier than others, which gets no complaints from me), Bowie’s vocal performance is the star here. Some really strong melodies and is voice has that kind of slightly sinister power that he’s always had, and will always be fascinating. While it tails in the middle, there’s some great tracks top and tailing it. Album cover is nicely amusing too.

I generally think the word ‘naff’ is underused these days. So let’s bring it back where it’s rightly deserved. This album is very polished, and there are some occasional rhythm and bass parts which offer encouragement, but then it just does something incredibly cheesy to ruin the song e.g. crappy brass or particularly the chorus parts. It just feels like it borrows ideas kind of schizophrenically from better 70s rock at the time, and makes it worse. I think this might mark the beginning of ‘Dad Rock’. The whole thing, as I say, is just incredibly naff. If this wasn’t McCartney surely this wouldn’t have been as popular as it apparently was.

I’ve surprised myself at how surprised I am that this isn’t a particularly great album. I’m not a fan of 80s pop, but I’ve always rather liked Frankie’s singles, they always felt a bit darker and more subversive than other 80s toss. My hope there might be more depth to explore here was tragically misplaced. A couple of songs nearer the end were OK, but most of it just felt like a bit of a panic so they just ended up pointlessly extending songs with dull synth noodling so they lost their pop focus and adding some crap covers. Ahh the 80s, you never fail to disappoint. Still, I’ll give it a 3 for a couple of great singles and probably more so culturally for just being openly gay. Getting the BBC to renege on banning their biggest hit because it was ‘a bit gay’, was quite the FU.

So I’ve really tried my very hardest not to like this album. It’s completely unoriginal, it’s ripping off Air, Daft Punk etc all over the place. It’s generally a bit too cheesy house for my usual tastes. But nope, no matter how much I re-listen I still like pretty much every track. So it’s one of those times you just have to let your pop sensibilities take over and accept it for what it is, an uncomplicated fun elec dance album. Amen.

Even if driven very carefully and very skilfully I don’t think Tracy’s famous fast car could get more in the middle of the road than this album.

Well it is kinda likeable to an extent. But I just can’t get past the feeling that in this album he sounds rather like a corny pound shop Elton John, with some Benny Hill sax thrown in for good measure. Not for me.

Songs only your grandmother (if she were from the Midwest) could like. I mean, seriously, why is this on the list? I genuinely think this is the most tedious album I’ve ever been forced to listen to. The fact it’s all covers makes it even less interesting. There are zero positive points to reflect on. Wow that was bad.

No, Eno, no! I respect your ability to twiddle the keys and nobs but you’ve gone too far here FFS. I was really loving this (the drum style/sound in particular) until you got too heavily influential in the second half of the album which disappeared into some dull old electro noodling. A 5 album in the making if it wasn’t for you Brian.

It feels slightly intimidating rating the highest rated album on the list. There’s no denying they are great song writers, with all sorts of clever subtle twists musically and lyrically in the songs. Massive influence on everyone blah blah. But I listened to this multiple times (felt duty bound to), and nope, I just can’t fall for it. We’ve already had the White Album and that wasn’t very good. This was better, but I’m just left feeling it was a ‘nice’ album. Other than the end of ‘I want you’, nothing got my pulse racing at all. Can’t really see me listening to it ever again either. Guess I have some sort of Beatles immunity - I’ve never had a special power before. Well that’s exciting at least.

The first Stevie Wonder Russian Roulette fail of this list (3rd album we’ve had). Worst one we’ve had so far. Dull no funk songs prevailed making it not a great listen at all. It’s not a patch on ‘Songs in the key of life’ which followed this. So he came to his senses it would appear.

I’ve largely avoided Bob Dylan as a rule as I thought I only liked ‘Subterranean…’ from the songs I’ve ever heard, and his voice can be a turn off. Turns out I should have looked a bit more closely from exactly the same time period. I really enjoyed this album, lots of great songs of similar vibe and pace to the aforementioned. Some great lyrics as well. It’s Alright Ma was a real surprise treat. Gonna have to up my respect level to Dylan now. List wins again.

While it’s wall to wall hits, I can only now compare his albums to Songs in the Key of Life, and while this is good isn’t as good good as that, it’s just not funky enough. And as this is the 4th Wonder album we’ve now had, I can’t be arsed to write anything more. Message ends.

Well this was an unexpected and interesting surprise. Initially seeing David Byrne’s involvement gave me the fear, but fortunately he saved us from his usually dreadful vocals. What we end up with is mega varied experiment of sounds and styles from dub, funk, Middle East/afro rhythms etc. It’s one of those clearly way ahead of its time records, and I can hear its influence in a lot of later elec ambient/dance music, more so the 90s (the Orb in particular). The 80s was too busy up its own arse to cotton on to where this was trying to lead. As an album purely for enjoyment I’d probably give it a 3 (Jezebel Spirit the standout). It can feel a bit samey and some songs a bit too long. However, I’ll give it a rare extra point for its influence. Really pleased to have listened to this.

I haven’t heard this for years as I recall being put off the first time. But I was actually pleasantly surprised by some of it. The more experimental kinda proggy type stuff like a fair bit of the Larks tongue parts lacked enough cohesion and were a little too experimental/wanky for me (albeit had some nice chunky riffs occasionally). But where they played more jam style grooves (with a touch of Krautrock), like on Easy Money and The talking drum, it was a great listen. Kinda had me thinking of the influence on bands like the Ozrics and Earthless (albeit different genres themselves). I can see myself listening again.

Three Beatles albums in fairly quick succession, and I’m coming to two conclusions. Firstly, I prefer their early stuff. The poppier more r&b based stuff just seems more what was truly unique and exciting about them. And it certainly gets me more excited over the later slower more psych type stuff, which while they were influential they weren’t unique in that style/genre (and certainly not the best). Secondly, Harrison wrote the best song on this one, Abbey Road and White Album. Guess I was suckered into the wide assumption he was the untalented one. More fool me. Anyway, I enjoyed listening to this, but there are too many covers (not all that great either) to give it a big score.

Great album, and a percussionist’s wet dream I imagine. Funnily enough, I already had this album in my downloads as this list sent me down an enjoyable Fela Kuti wormhole a while back. This is just as good as any of his other stuff from around this time I’ve heard, the groove and funk just gets you hooked. This one just has the added bonus of a nut bag of top drummer to boot (check out ‘Beware of Mr Baker’ on YouTube for a crazy rockumentary). Although not being that much of an expert I didn’t find it that easy, drum battle thing at the end aside, to determine Mr Baker’s overt influence on the music, it seemed more him fitting into Kuti’s style. I suspect Tony Allen may be an even better drummer responsible for the Afro-beat thing in the first place. Anyway, defo an album for future revisits….

Well nothing on the album was bad, while at the same time I didn’t love any tracks either. Just some 90s hip hop without too much excitement. Knocking a mark off for tragic skits.

Bloody hell, that was absolute torture in double album format (the worst kind of torture). The first half of the album was just pissing around with stock spacey noises but unfortunately he’d forgotten to write any actual songs/melodies etc to accompany that. Then realising his mistake, he backtracks and pulls out some really basic piano based songs and adds some more spacey noises on top while whooping occasionally. That part was also really shit. I think it got heavier at the end but every song was, did I mention tortuous, so I lost the will to live. I’m not even sure what that was supposed to be if I’m honest. I generally like an experimental album but there was nothing original in here, it seemed proggy but it had none of the nuance or style one can sometimes associate. So it just felt like a half rate song writer given far too much studio time to try some proggy/psych things he’s heard other people do better and just end up murdering the whole thing in the process. 170 albums in and that’s on a par with the Ubu as the worst album so far.

Never heard of them and I rolled my eyes when the first alt/country song started, but it grew on me a lot. It’s has a nice brooding dark vibe. He’s a good vocalist and the guitar parts while simple had some nice builds and subtlety. I think the really interesting part is the fact it’s from 1988, yet sounds so 90s. Classic case of ‘it’s ahead of its time’, this and/or whatever scene was around at that time that I wasn’t aware of clearly had an influence.

Massive nostalgia trip. This was the first vinyl album I ever owned when I was 7 or 8. I think it was an Xmas present from my older cousins as they were trying to get me into music. I guess it kinda worked as I liked it at the time. Do I like it now, well yeah. I think as ‘new romanticism’ goes this is well up there as a peak in the genre. The singles are great pop tunes, and I think because it was early 80s the lyrics weren’t overly ridiculous. The bass stood out as well, so well played one of the Taylors. Added to that I thought ‘The Chauffeur’ is an accidental undiscovered psychedelic masterpiece so let’s give thisI a 4*. Sminkipink-nethethethethe-nuevoromantico-chrissywaddle.

While an OK enough album, other than ‘Mothers little helper’ and ‘Under my thumb’ there weren’t any consistent tracks. Yeah there was some interesting instrumentation dotted around which was somewhat original, but the Stones’ kinda default is that plodding old school blues which just doesn’t get me going and there is still a fair amount of on here. Also Mick Jaggers vocals get a bit irritating for my liking after a while, he definitely has his limits as a vocalist. So yeah, it’s OK, but wouldn’t revisit.

Rocking Rod, Soulman Rod and Folksy/Country Rod all for the price of one! It’s a Rodfest! First up, this exceeded my expectations, it’s a great album. The intriguing thing (to me at least) was that I didn’t realise he was releasing his own stuff alongside the Faces, but having most of the Faces play on this album as well. Those boys were busy in 71, given the Faces also released ‘Nods as good as a wink…’., and that’s a great album as well with ‘Miss Judy..’ and ‘Stay with me’ etc on that one (some good Rockin Rod ones). However, I think this effort is better as there’s a real variety of styles which really shows off Rod’s vocal abilities and vibe (which having listened to Jagger yesterday are far superior). And the songs themselves just have a real authenticity, and often with a rising tempo and fantastic finish. ‘(I know) I’m Losing you’ was the highlight for me, what a banging cover (albeit the most Faciest sounding track one on here, a Maclagan masterclass). Thinking I’ll check out some more of his stuff from around this time before crappy Crooner Soppy Ballad Rod turns up.

Ugh 70s chav sex/sax music of the worst kind again. This here is my musical kryptonite.

What with this list giving me a new found respect for Mr Dylan, I was looking forward to listening to this. It kinda delivered, there are some really good tracks on here, but also some which just felt a bit flat and long. No doubt he is a lyrical genius mind, I don’t naturally listen to lyrics much, he’s one of the few artists where I just find myself doing so.

Bob Marley and the Wailers team meeting Bob: Right lads, time for a new album, any ideas? Wailers drummer: Well I’ve bought some new kit and I’ve been experimenting with some jazz and rock styles. So rather than a short tinny drum roll to open a song or for all the fills, we could like mix it up a bit? The prog boys are all over it these days. Bob: [Sucks teeth] Anyone else? Wailers rhythm guitarist: You know the tch-tch tch-tch tch-tch rhythm thing we do on every single song ever. Well I’ve been playing around and I think we can do a tch-chugga-wah -tch type thing. Can I show you, I think it sounds great? Bob: Jeez boys, you need to lay off the weed a bit. Tell you what, let’s do the usual rhythm stuff on every song, but I will let you change the tempo occasionally. I’ll just mix the melodies up a bit. Our fans are too stoned to remember more than 2 songs at a time anyway. Winner winner jerk chicken dinner. Wailers: Yes boss [collective roll of eyes]

Jimi is such a legendary figure that you’ve heard all the big songs so you just expect his albums to be a massive riff and solo fest. Sadly, they aren’t. This is the second album we’ve had, and it’s a kinda rinse and repeat review. He’s a fantastic guitarist, and there are amazing parts to songs. Noel and Mitch are about as good a rhythm section as you can get. However, Jimi just ain’t the greatest song writer or vocalist. I find the slower bluesier stuff not massively exciting, so it is the better known numbers that stand out more. Tbh when it comes to Jimi, I’d rather listen to a live album or watch videos of him playing. That’s just seems to bring so much more of his personality through than the recorded album format.

As I recall, this sort of worked its niche as some kind of thinking man’s Brit pop at the time. But it all seemed rather like an in-joke of some kind that I didn’t really care for much. Nearly 30yrs later it still all feels a bit silly. Over the top Scott Walker affected vocals that just sound a bit Mike Flowers after a while (I wonder what is actual singing voice is like). The music I guess is well thought through, but how much 60s lounge music can you stand. The content is all a bit too Terry Thomas, even straying a bit metoo in one place, guess this does align with the 90s stylings of Brand somewhat. Or was it ironic, probably kinda meant to be, but not totally in reality. It wasn’t terrible as such, the first couple of songs (the singles I think) are OK, but it all just gets a bit tiresome and annoying after a while.

Poor Tina, she’s tried quite hard here, but even a lady of her talents can’t polish a turd. To repeat previous variations on the topic. WTF HAPPENED IN THE 80s!?!? It’s like in large swathes they gave up on musicianship. Shit synths, basic guitars and whatever drums happens to go along. This music is just incredibly generic and bland, and sounds like some random Weds night bog standard bar band are backing. Tina’s got a great voice, but even in these songs she seems a bit nasal and restrained compared to the stuff she used to really let rip on in earlier years. Other than ‘I can’t stand the rain’, there was nothing on here I vaguely enjoyed. Obviously the sales figures say the contrary, but the 80s can generally do one.

I was never a big fan when Pavement first hit the scene. I have revisited on occasion since, and Malkmus did quite a nice folky solo thing fairly recently. But ultimately while there is a certain charm to Pavement, I don’t fall head over heels in love with their sort of slacker sonic youth esque sound. Same applies for this album. Maybe 3 tracks grabbed me, Perfume-V was cool, but otherwise it’s not that interesting. It did make me want to wear a checked shirt though, so that’s something.

Bloody list strikes again. I was fully prepared to hate this, given a lifelong aversion to ‘Jump’. Albeit it’s the only Van Halen song I’ve consciously listened to. My first listen was sporadic across a day and wasn’t that impressed, however, I gave it a second chance as I had the weekend. Second time round, I found myself rather enjoying it. ‘Jump’ aside, which is still a synth rock nightmare (it’s just 80s pop). The rest of it was rather good really (albeit a bit crass in places). Some good riffs and what I now discover is Eddie’s signature solo stuff. But it is what 80s hair rock is, just dumb OTT fun, don’t look to deeply just go with it! Tbh having been on quite the run of 70s albums of late, this did feel a bit of a refreshing change, maybe I’m beginning to understand 80s music now, gulp.

I’ve tried this kinda genre many times before and I’ve never really got that into it. It’s all a bit too ‘soul funk’ for my tastes. However, this album seems to have more of a rock fusion than others I’ve heard. The star on the album is the guitarist, with great parts and solos on ‘Who says a funk..’ ‘Promentals….’ and ‘Maggot Brain’ (although I’m not sure of the latter counts as being on the original album). However, other than those tunes the rest is a bit meh. Somehow there’s loads happening in the other songs, but they drag without much grabbing the attention.

It’s a reasonably entertaining listen, with an impressive amount of variety, and it’s better than their first album (which we’ve already had in here). But did we really need two The Band albums on the list? Tbh I had to Google what the fuss is all about and still don’t really get it, other than loads of contemporaries loved them. Someone get me a fence, I’m getting back on it.

Ok, so the music sucks, but we already all knew that. However, I’ll add a bonus point for Hucknall having a decent voice and for his ability to punch well above his weight in the 90s.