522
Albums Rated
2.96
Average Rating
48%
Complete
567 albums remaining
Rating Distribution
Rating Timeline
Taste Profile
1990
Favorite Decade
Metal
Favorite Genre
UK
Top Origin
Wordsmith
Rater Style ?
37
5-Star Albums
45
1-Star Albums
Breakdown
By Genre
Top Styles
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Bummed
Happy Mondays
|
5 | 2.65 | +2.35 |
|
Space Ritual
Hawkwind
|
5 | 2.69 | +2.31 |
|
The Contino Sessions
Death In Vegas
|
5 | 2.9 | +2.1 |
|
Leftism
Leftfield
|
5 | 2.91 | +2.09 |
|
Lazer Guided Melodies
Spiritualized
|
5 | 2.92 | +2.08 |
|
No Sleep 'Til Hammersmith (Live)
Motörhead
|
5 | 3.07 | +1.93 |
|
The La's
The La's
|
5 | 3.14 | +1.86 |
|
Selected Ambient Works 85-92
Aphex Twin
|
5 | 3.21 | +1.79 |
|
In It For The Money
Supergrass
|
5 | 3.23 | +1.77 |
|
Goo
Sonic Youth
|
5 | 3.24 | +1.76 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Exodus
Bob Marley & The Wailers
|
1 | 3.94 | -2.94 |
|
Moondance
Van Morrison
|
1 | 3.7 | -2.7 |
|
Remain In Light
Talking Heads
|
1 | 3.67 | -2.67 |
|
Catch A Fire
Bob Marley & The Wailers
|
1 | 3.63 | -2.63 |
|
Born To Run
Bruce Springsteen
|
1 | 3.63 | -2.63 |
|
1999
Prince
|
1 | 3.6 | -2.6 |
|
Talking Heads 77
Talking Heads
|
1 | 3.56 | -2.56 |
|
Illinois
Sufjan Stevens
|
1 | 3.5 | -2.5 |
|
Sign 'O' The Times
Prince
|
1 | 3.45 | -2.45 |
|
Lost In The Dream
The War On Drugs
|
1 | 3.39 | -2.39 |
Artists
Favorites
| Artist | Albums | Average |
|---|---|---|
| Nirvana | 3 | 5 |
| Black Sabbath | 3 | 4.67 |
| Beastie Boys | 3 | 4.67 |
| Sonic Youth | 3 | 4.33 |
Least Favorites
| Artist | Albums | Average |
|---|---|---|
| Talking Heads | 3 | 1.33 |
| Bob Marley & The Wailers | 2 | 1 |
| Willie Nelson | 2 | 1 |
| Prince | 2 | 1 |
| Scott Walker | 2 | 1.5 |
| Kings of Leon | 2 | 1.5 |
| CHIC | 2 | 1.5 |
| Bruce Springsteen | 4 | 2.25 |
5-Star Albums (37)
View Album Wall
Popular Reviews
Motörhead · 19 likes
5/5
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.
Thelonious Monk · 11 likes
2/5
So, it turns out that Arsenal (23/24), West Brom (16/17) and Oldham (92/93) all scored 16 goals from brilliant corners in a season. A joint Premier League record. Which is just slightly more interesting to hear than this album.
Britney Spears · 5 likes
1/5
“Absolute scenes Jeff, they’ve made some middle aged men listen to Britney. It’s total carnage in here!”
Dennis Wilson · 3 likes
4/5
And the award for album I least expected to and still don’t understand why I really like it goes to….this cheeky little Wilson number. Never heard of it before, but the production, subtlety varied styles and sort of chilled funky melancholy vibe grabbed me.
Might be the fact it’s a miserable winter’s day effect again.
[PS. Who knew The Charlatans ‘Blind stagger’ so blatantly borrowed the melody off ‘Rainbows’]
The La's · 3 likes
5/5
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.
1-Star Albums (45)
All Ratings
Johnny Cash
4/5
Black Sabbath
5/5
Quite simply one of the best albums ever made. End of.
The Who
2/5
Public Enemy
3/5
The Band
2/5
Coldcut
3/5
Sufjan Stevens
1/5
Soundgarden
5/5
Buddy Holly & The Crickets
2/5
Pere Ubu
1/5
Gang Starr
3/5
Derek & The Dominos
2/5
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
Talking Heads
1/5
I’ve always found David Byrne’s voice/style annoying and Talking Heads music uninspiring. This has clarified matters, what a dull album.
Wu-Tang Clan
3/5
Never listened to them before. Was expecting something a bit more radical. Had some decent tunes though, s’ok.
Bob Marley & The Wailers
1/5
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.
The Velvet Underground
3/5
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.
Jerry Lee Lewis
4/5
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.
Herbie Hancock
2/5
Well it started OK, but descended into too much jazz wankery for my tastes.
Leonard Cohen
2/5
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.
Wire
2/5
Yay, post punk again. I guess this wasn’t awful so maybe as good as it gets?!
Carole King
2/5
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.
Simon & Garfunkel
2/5
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.
Snoop Dogg
2/5
Grating mysogyny and shit bants occasionally accompanied by some decent funk/beats. It ain’t all that let’s face it.
Kendrick Lamar
2/5
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.
Fishbone
1/5
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!)
James Brown
2/5
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.
Deep Purple
4/5
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…
George Michael
2/5
80s chav sex music, but I’ll give it an extra point as Faith is a decent tune.
Public Image Ltd.
1/5
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.
The Vines
4/5
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.
The Cars
3/5
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.
The Who
3/5
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).
PJ Harvey
4/5
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.
Nusrat Fateh Ali Khan
2/5
I like the percussion, but the relentless nature of the singing is rather overbearing after a while and rather drowns out the other instrumentation. It would be OK in small doses, but not for me as an album.
Abdullah Ibrahim
2/5
Easy listening jazz. Inoffensive, dull. Let’s move on…….
Amy Winehouse
3/5
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.
The Allman Brothers Band
2/5
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.
The Thrills
3/5
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!
Ozomatli
3/5
It’s got that nice Latino upbeat vibe which is hard to dislike, and the rap/hip-hop mash up was decent, albeit at times it was a bit too Ricky Martin musically speaking.
Paul Simon
3/5
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?)
Ray Charles
2/5
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.
Adele
2/5
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….:
The Black Keys
3/5
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.
Songhoy Blues
5/5
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.
The Dictators
3/5
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.
Dire Straits
2/5
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.
Dusty Springfield
3/5
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?
Jefferson Airplane
5/5
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!
Stan Getz
2/5
Chav sex after party music.
Ryan Adams
3/5
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:
The Smiths
3/5
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.
Portishead
5/5
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.
LL Cool J
2/5
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.
M.I.A.
2/5
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.
Elton John
4/5
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).
Jimi Hendrix
4/5
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.
Led Zeppelin
3/5
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?
The Notorious B.I.G.
1/5
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…..
Scritti Politti
1/5
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.
Frank Sinatra
3/5
Classic voice and tunes, but never going to be my go-to style.
Jurassic 5
4/5
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….
Yeah Yeah Yeahs
3/5
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.
A Tribe Called Quest
2/5
Is there such a genre as ‘dinner party hip-hop’?
Bruce Springsteen
3/5
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.
Stevie Wonder
3/5
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.
Nina Simone
4/5
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….
Pixies
5/5
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!).
Morrissey
2/5
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….
The La's
5/5
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.
Fun Lovin' Criminals
4/5
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.
De La Soul
3/5
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.
Hugh Masekela
2/5
Music to get anxious too. Which by some, I imagine, unintended irony ‘Inner Crisis’ was the most accessible tune on here.
Miles Davis
2/5
(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.
Germs
1/5
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.
Air
5/5
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.
Stan Getz
3/5
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.
David Bowie
3/5
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.
The Flaming Lips
2/5
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.
Aphex Twin
5/5
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!
Doves
3/5
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.
Crosby, Stills, Nash & Young
5/5
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).
Radiohead
2/5
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?!
Barry Adamson
2/5
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.
Manic Street Preachers
3/5
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.
Aerosmith
3/5
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…..
Creedence Clearwater Revival
3/5
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.
Fela Kuti
4/5
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!
Nanci Griffith
2/5
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?)
Motörhead
5/5
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.
Giant Sand
3/5
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.
Pink Floyd
3/5
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!
Red Hot Chili Peppers
4/5
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.
Nick Drake
3/5
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.
Mj Cole
1/5
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,…..
Sarah Vaughan
3/5
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.
The Rolling Stones
4/5
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.
Peter Gabriel
2/5
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*.
Madonna
2/5
🙄
Black Sabbath
4/5
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.
Bonnie Raitt
2/5
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.
3/5
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*.
Lou Reed
4/5
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….
Ali Farka Touré
3/5
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.
Gram Parsons
1/5
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?
Ramones
3/5
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.
Beck
4/5
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.
The Clash
2/5
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.
The Mothers Of Invention
2/5
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.
Pink Floyd
3/5
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.
Stevie Wonder
4/5
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.)
Michael Kiwanuka
4/5
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.
ABBA
3/5
[…..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!
Peter Tosh
1/5
Absolute tosh.
GZA
2/5
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.
Frank Sinatra
3/5
Another day, another Sinatra. Defines a genre, yes, classic tunes, yes, do I love it, no.
David Bowie
3/5
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.
Beatles
3/5
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.
The Zombies
3/5
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.
Cyndi Lauper
3/5
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.
Common
2/5
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.
Pearl Jam
3/5
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.
The Doors
4/5
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.
Faust
4/5
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.
The Teardrop Explodes
3/5
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……
Dusty Springfield
3/5
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.
Yeah Yeah Yeahs
3/5
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.
The Smiths
4/5
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.
Leftfield
5/5
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…..
Steve Winwood
2/5
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.
The Offspring
3/5
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.
Thin Lizzy
2/5
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.
Flamin' Groovies
4/5
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.
Traffic
3/5
The only remarkable thing about this album is the bloke in the hat’s eyebrows.
Def Leppard
4/5
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.
Kraftwerk
4/5
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!
Beastie Boys
5/5
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.
Pulp
2/5
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.
Nick Drake
4/5
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.
The War On Drugs
1/5
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.
Charles Mingus
5/5
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?
The Who
3/5
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.
Ali Farka Touré
4/5
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.
Throbbing Gristle
2/5
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.
The Roots
3/5
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!
The Temptations
3/5
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.
Marvin Gaye
3/5
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.
JAY Z
3/5
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.
Scott Walker
2/5
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.
Björk
1/5
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.
The Velvet Underground
3/5
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.
David Bowie
4/5
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.
Paul McCartney and Wings
2/5
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.
Frankie Goes To Hollywood
3/5
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.
Mylo
4/5
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.
Tracy Chapman
3/5
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.
Billy Joel
2/5
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.
Willie Nelson
1/5
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.
David Bowie
4/5
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.
Beatles
3/5
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.
Stevie Wonder
2/5
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.
Bob Dylan
4/5
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.
Stevie Wonder
3/5
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.
Brian Eno
4/5
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.
King Crimson
3/5
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.
Beatles
3/5
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.
Fela Kuti
4/5
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….
Fugees
2/5
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.
Todd Rundgren
1/5
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.
American Music Club
3/5
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.
Duran Duran
4/5
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.
The Rolling Stones
3/5
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.
Rod Stewart
4/5
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.
The Crusaders
1/5
Ugh 70s chav sex/sax music of the worst kind again. This here is my musical kryptonite.
Bob Dylan
3/5
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 & The Wailers
1/5
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 Hendrix
3/5
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.
The Divine Comedy
2/5
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.
Tina Turner
2/5
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.
Pavement
3/5
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.
Van Halen
4/5
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.
Funkadelic
3/5
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.
The Band
3/5
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.
Simply Red
2/5
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.
Arcade Fire
3/5
seem to remember there was a massive fuss about this lot when they came out which I didn’t join in. Ultimately the guitar and drums are just so basic, and most songs seems to revolve around them getting a bit faster and louder just playing the same basic thing, which I find pretty lame (and a lot of noughties flouncy indie pop bands seemed to rely on). Their trick seems to be the lyrical melodies, his voice is quite intriguing and string arrangements around that, which somewhat makes up for the former. All in all, it’s alright, if a bit repetitive.
Aretha Franklin
5/5
It’s just nice to break out of man rock sometimes innit. Classic, classy and timeless. Other than Nina Simone, so far no vocal performance touches this, and doubt will on this list. Some bangin tunes too. Fantastic album.
Jeff Buckley
2/5
Now I don’t mind a bit of maudlin rock, but I think this is ‘middling maudlin rock’. New genre, you heard it here first kids.
Talking Heads
2/5
On the upside it’s better than their first album (1*). But I still don’t get on with their sound, Byrne’s vocals can be grating, and I’m just not into the quick angular guitar style (sadly also in vogue with more contemporary indie bands). It all sounds so flat to me. ‘Cities’ and ‘Memories can’t wait’ were OK though.
Kings of Leon
2/5
It’s not often that this list makes me go off a band more than I did already. But hey presto.
Back in the day I was quite into their debut, but this album turned me off them (and the later poppy/Killersesque stuff even more so). This album still sucks, the lead’s voice is bloody annoying and often unintelligible (not sure how I missed this previously) and musically I really don’t know what there is to like, just garagey/bluesy/Strokesy trash. Only ‘Razz’ and ‘Four Kicks’ held any interest. This then made me revisit the debut album to work out what I liked in the first place. Turns out in hindsight, other than a couple of good singles, it’s also crap. You live and learn…
Coldplay
3/5
A feeling of terror entered my body getting this the day after being forced to listen to the Kings of Leon. So it was with some relief that this [and grits teeth] wasn’t at all bad. To give credit where it’s due, he’s a good song writer here, and all the tracks are decent (except Yellow, that is just annoying). I remember now they originally had this sort of post-shoegaze type sound (Snow Patrol had the same vibe at the time) on some songs which I like. However, as a vocalist I find him quite dreary, and the more piano driven soppy bollox isn’t so good. I suspect this is their peak for me, and I genuinely dread listening to their stadium eco rock phase……..it’s coming in here isn’t it………inevitable like dawn after a peaceful sleep [grits teeth again].
Radiohead
4/5
Definitely a ‘return to form’ after that Kid A experiment rubbish. Albeit this latter phase of their career carries some of the vibe of that. Anyway, there are some really great tracks in here, and some average ones (Thom does have a habit to overdo the wailing sometimes). But given I do listen to this and other latter Radiohead albums when I’m in the mood, that counts it for a 4* for me. I’m not sure what that mood is exactly, I guess a more quiet retrospective one, not one where you need music to cheer you up.
Bob Dylan
2/5
I feel like I’ve come a bit full circle on Mr Dylan. Having never listened to an album before this list and with a general assumption I didn’t like his music. I’ve been won over by ‘Bring it back…’ and ‘Blood in the tracks’ was OK. However, this one just sounds exactly like what I thought he sounded like before this whole exercise began, and I don’t care for it. Just all a bit slow (and some songs just too long) and samey, and with too many of my least favourite vocal inflection traits. I’m guessing there will be another one on the list. Guess that’s gonna decide my long-term view…..
Roni Size
3/5
Pretty sure I bought this back in the day, but didn’t really like it. And bloody hell it’s quite an unrelenting listen. Much like having to do the full Offspring or Germs albums in recent times on this list. Feel like you need a lie down halfway through.
Anyway, with time has brought me a much better appreciation of drum and bass. Tbh I’d rather dance to it than techno or trance, the rhythms are more interesting. So while this had a bit too much of a ‘garage’ tinge in term of some feel and lyrical style in some places. I really enjoyed some of the tunes (Mad Cat. Morse Cose and Destination in particular). And special note to Matter of Fact which sounded like an Ozric Tentacles song with drum and bass percussion, not sure it entirely worked but it amused me. Would listen again, but not entirely sure what would drive me to do so mind.
Violent Femmes
2/5
Mostly annoying, with the occasional good bit (vocals terrible, occasional interesting guitar parts), just sounds cheap and trashy. Gone Daddy Gone is the only track I liked the whole way through. Largely just made me think about living in Australia for a year in 2000, where every, and I mean every, pub/bar band played ‘blister in the sun’. I only knew it as the ‘oi song’ then, and to this day I don’t understand why it was such a big deal there.
Pet Shop Boys
2/5
I was intrigued to listen to this given that while 80s synth pop is not exactly my bag, I have a certain soft spot for the PSBs. This did rather disappoint though, the opening track and ‘the theatre’ aside it was far too bland camp pop for me, all just rather meh. I recall them as having more of an ‘edge’ to an extent. Maybe there are earlier albums on the list that will show that…..
3/5
Here we go again, another overrated Beatles album. Strong first 3 songs, followed by the usual collection of average songs, and a cracker to finish on. Unusually the Harrison song is the real bum note, and there’s of course the standard McCartney stupid tune (When I’m 64, I’m looking at you). To be honest, all their latter career albums feel so disjointed, it really does show that different members are writing different parts. Is this album really better than other psych/concept albums of around the same time, like S.F Sorrow or Ogden’s, no it isn’t. Now burn me for heresy you bastards……
Guns N' Roses
4/5
I don’t recall ever listening to the whole album before, albeit it felt like I knew more songs than the singles. Tbh I suspect that’s because a lot of the songs are to some extent quite similar. Is that a bad thing, I don’t think so in this case. I do now have a new found respect for the Slash/Stradlin combo, there are some great riffs and solos on this album. The song writing is pretty consistently good as well, albeit Axl’s lyrics can be a sit suspect and he can be annoying at times (basically the songs where he’s singing a lot, and not letting the band play). But all in all there are only a couple of weaker tracks, and it’s generally a very strong album, and one I’d be happy to listen to again, albeit not at my instigation I doubt.
My main side point, and I have no idea how true it is. But this album did rather feel liked it killed ‘hair rock’. It might have been dying out anyway to some extent, but these guys just massively upped the metal game, and the super silly stuff died a death. Fair play to that.
David Bowie
3/5
Obviously Heroes the track is fantastic, but the rest really isn’t that interesting. Having listened to ‘Low’, which is much better, did we really need this in the list as well?
Come on list, let’s just finish this up with Ziggy and Hunky Dory, we’ll all be happy, and we can let some other bands have a turn.
Ice Cube
4/5
Not familiar with this at all. But with the usual Gangsta rap excessive violence and mysogeny aside, I really liked it. There’s something about his delivery (similar to Chuck D) which is super direct and sort of authoritative, which just screams ‘you ARE gonna fuckin listen to what I’m saying’. Yeah some of it’s a bit too much, but the political anti-racism stuff is really powerful, and sadly still relevant. I really liked a lot of the beats and production as well (some real head nodders in there), there are defo some similarities to Cypress Hill of the same time. I can feel me listening to other albums, nice discovery this one.
Os Mutantes
3/5
I’ve listened to this before off the back of The Bee’s cover of ‘Minha..’. which is pretty true to the original. And that’s pretty much the only attraction of this album. It gets slightly more understandable after a couple of listens, but mostly it’s a big mess of ideas, of which some tracks have something interesting about them, but also nothing that’s really gonna draw you back in. Generous 3, just because it’s experimental and there should be more stuff like this on the list.
Bob Dylan
4/5
In fairly quick succession, this is the 4th album we’ve had from Dylan. This list has taught me that I prefer young Dylan. This is young Dylan. This is a good album. I have nothing left to say on Dylan.
Alanis Morissette
4/5
It may be period music (Andy, Jo says it’s OK to call it that!), and I was fully expecting to dislike it given it’s massive air play at the time and the fact I was ‘too cool’ to actually listen to it. However, you know what, the song writing is really good, the guitar parts are also way more interesting and quite meaty/heavy in parts than I recalled, and she can belt out some angst like a good’un (‘you oughta know’, is enjoyably punchy). So let’s go for a 4, I unexpectedly enjoyed it much more than some of the chaff on here.
Big Star
2/5
Ah, the supposed godfathers of melodic indie pop. I’ve listened to them plenty of times to see ‘if I get it yet’. While their first album is kind of OK when they do a sort of thing that sounds like a slowed down Status Quo (which has subsequently been done better e.g. Bandwagonesque). This album pretty much entirely
ditched that sound and let’s be honest, this album drags. Not a great vocalist singing some quite dull songs over some dull guitars, and adding a few strings does not shine the turd.
Sonic Youth
5/5
I never much cared for the Youth back in the day, but I’ve come to appreciate them more over time. The albums I have heard are always a mixed bag, I don’t think I’ve ever listened to this one, and what a corker it is. ‘Tunic’ is a great example of the lo-fi guitar and laid back Kim Gordon vocals. ‘Titanium Explodes’ just a fantastic riff shredding and feedback number only they can do like this. It’s kind of interesting that these guys and Pixies were being innovative and heavy without being metal or grunge. Like it or not, this album does really define a sun-genre and influenced a truck load of bands after it. Not sure if it should be a 5*, but it really got me today, so 5* it is.
Suede
3/5
I remain baffled by this list putting albums of artists in when they were halfway changing direction and which clearly isn’t their best material (Kid A, for example, I’m also looking at you). Here we go again.
Anyway, Suede’s debut album was and is stunning (must be in the list to come, surely). It was peak Butler guitar style (he’s never been the same since) and Anderson in fine fettle. This album just loses some of their edginess by slowing everything down in a variety of ways and the guitar lead often vanishes somewhat. There’s still a sniff of the old form in We are the Pigs and This Hollywood life (great tune), but all in all it’s a bit flat. I guess illustrated by Butler quitting before it was finished. Come on list, let’s skip some of these albums.
Bob Dylan
4/5
Ah, original folky Bob Dylan now. Yup, it’s good. I suppose the thing to strike me most is the confidence in the lyrics and the delivery at such an early stage in the career. Impressive or cocky? Probably both.
David Bowie
3/5
Rather chilled and unusually for Bowie isn’t very challenging to the listener. It’s just ‘OK’ isn’t it, nothing stands out particularly, and I have nothing of interest to say on the matter.
Iron Maiden
3/5
It’s somewhere between hard rock and hair rock, unsurprisingly given its release date. Did it influence the latter, who knows. Anyway, it’s got some good galloping riffs and solos, and while I don’t really know their work, it sounds quite ‘Maiden’y’. So I guess there’s some development of what is in my head ‘their sound’. However, they’re totally let down by the singer, just very bland, no wonder they got shot of him. All in all, there’s no good or bad songs as such. File under ‘interesting listen but unlikely again’.
Various Artists
4/5
Well, as Xmas albums go, it’s full of bangers. Makes a nice change to the usual rotation.
Curtis Mayfield
3/5
Not sure what to make of this one. My overriding feeling is that this isn’t really my bag, too slow and smooth, and that Prince (or the chap formerly know as) must have really really really liked this album. However, I don’t know how to explain it, but it was just really classy sounding, and as albums go it flowed really well. I have respect even though I didn’t like it as such. Must be a 3 then….
Louis Prima
3/5
There comes a point in time for everyone where certain styles of music just become ‘charming’ and you just can’t picture/visualise what this really felt like at the time. This is a case in point for me. There is a real energy to it, and it’s perfectly listenable, but I’m never gonna listen to it over anything more contemporary. It just feels so completely from another time, that it feels harsh to comment really.
Makes me wonder about future generations. I was playing/annoying my 13yr old niece with some ‘classic tunes’ on Boxing Day (we were taking turns I should clarify). Encouragingly she likes a few genres (Eminem, Queen, there’s some crumbs of hope), but I was amused/concerned that after I’d played ‘Freebird’ to no reaction from her other than a scowl, 2 mins later she sticks on Luke Combs (google him). She made no link between the styles. Disappointing, but I’m gonna play the long game on this, she is but starting on a journey. But are the 60s going to be a dead zone to those born beyond 2000?! Although on the flip side, I gave her Little Mix track short shrift, I mean, ffs!
Coldplay
3/5
It’s just ‘OK’ isn’t it, and dragged a bit towards the end. A couple of the singles are decent, but others are just soppy bollox crowd pleasers.
More generally speaking though I just don’t understand how they’ve achieved such global status. He’s an average singer (with some questionable falsetto), and musically it’s very limited. They make U2 seem like musical visionaries. So 5 stars to their marketing department, or perhaps just marrying a Hollywood A lister does the job alone.
Chicago
2/5
Thought I’d listened to this in the past, but clearly hadn’t as it wasn’t what I was expecting at all. My overriding thought was ‘ffs calm down a bit lads, and do you really need so much brass!?’.
Fair play to them for being balls out experimental. However, the earlier jazzier stuff is dull and not my bag, the funk ones were OK in places, and while the more jam style numbers were theoretically up my street (with an obviously talented guitarist and bassist) the songs were so all over the place it never really hit a groove you felt they had well within their locker. All in all a bit disappointing really, with no song standing out at all (other than making me think the more recent excellent Ty Segall cover of ‘I’m a man’ may owe more to this version than the original). C-, could do better.
The Replacements
3/5
I guess it’s OK in the ‘post-punk but still a bit punk while being a bit hard rock/pub rock sounding a bit springsteeny’ genre. I did really like ‘We’re coming out’ and was childishly amused by the boner song. Otherwise not particularly memorable.
Hanoi Rocks
4/5
What a cool/interesting/enjoyable album.
Firstly, how did I live and get wrecked countlesss times in Tooting Bec and Broadway for years, without knowing about that song!?
Secondly, I had never really twigged the progression between post-punk and glam/hair metal so much before. This definitely feels like a missing link album, and who knew that came out of Finland.
Thirdly, it’s just a cracking fun album, first 4 tracks absolutely bangers. Mental Beat is the best for me, and you can see its influence on more modern punk/garage bands, The Hives in particular (the Scando influence is strong). The album is less strong in the latter half but ends on a banger which is a belting homage to punk/Bowie etc.
Thanks list.
Television
2/5
I shall draw the line today as the last time I ever have to listen to this bloody album. This must be the 3rd or 4th time I’ve been told to listen to this because it’s ‘seminal’. I have duly obliged in the spirit that my tastes may have changed, and I’ve been duly bored off my tits. Just a dreary dull fest, I’ll file this in my head next to the equally atrocious Talking Heads and whatever this part scene of the new wave scene was in NY at the time. Never gonna be my bag.
As a side note, I spent half the album agonising over who the singer reminded me of. It was Loz Hardy of minor 90s indie band Kingmaker, of which I was once a fan. I duly put their debut album on. That hasn’t aged well either.
All in all a complete waste of an evening.
Alice In Chains
5/5
Very early in our courtship my now wife identified an Alice in Chains song off the radio after a couple of bars. It was then I had the first strong feeling she might be a keeper.
Anyway, this album is quite the self pitying whingefest, but it does a good job putting you off the skag. It really is peak misery grunge, but I love it. It seems odd now that this and other druggy downer bands/tunes came out and were successful in a decade that was fairly positive, whereas today’s depressing global behaviours and outlook are met with bloody happy Sheeran etc. Where is the rage/depression in music today? Maybe the answer is the fact I can only enjoy this album when I’m in a good mood; it’s a drag when I’m down. I guess today’s world doesn’t want the crap pushed back in their face, happy music is the escape. You’re welcome, discuss …
Iron Butterfly
2/5
They just sound like a pound shop Doors to me. The vocalist and the lyrics are truly painful, the organ not a patch on Manzarek (who he’s clearly mimicking in some places). The rest of the band have some moments, but one catchy riff and a heavy rock out on a painfully long song (with a naff untechnical drum solo) does not an album rescue. There’s so much better psych rock out there than this.
Primal Scream
4/5
It’s one of those albums that really defines a time and era. I’ve always thought it really quite unique in how much freedom the band gave the producers to remix and transform it into the classic indie/dance crossover it is. I can’t really think of another time that happened, or at least been this successful/rewarding. Anyway, there’s some absolute classics tracks in here, and with a nice range of dance styles, rave, house, dub. The whole thing has such a happy psych euphoric vibe, and while it has aged a bit in some ways, it’s just as cool today as it was originally. I do love this album, however, there are a couple of filler tracks here so I can’t give it a 5 sadly. So close!
(It wasn’t until years after this was released that I realised the 2nd track is a 13th Floor Elevators cover - pretty good one at that!)
Tom Waits
3/5
I don’t think I’ve ever listened to him before. This album had a nice consistent oddball vibe throughout, and a nice level of experimentation to keep you on your toes. Started strong and tailed off a bit. Defo open to hearing more of his stuff. I do question whether his missus would have been happy with the indiscriminate borrowing of kitchen based percussion items though.
4/5
All the classic upbeat whimsy of The Kinks, but somehow amplified more powerfully and in multitude of styles (often within songs) in the middle section. Lots of invention and style. For me this could have been a contender to Ogden’s in the UK 60s psych concept album stakes, but came up short.
Supergrass
4/5
I never really listened to them when this came out as I found ‘Alright’ really irritating (and still do). Their second (and better) album drew me back in.
This album’s a bit of a game of two halves, the power garage pop 1st half is excellent (and I can excuse sort of having the same song twice as it’s that good). The slower more psychedelic 2nd half (which they get better at later in the career) is not really that memorable.
What is undeniable is that they are a fun band not to be taken too seriously, and I think it’s physically impossible not to come out a bit happier having listened to them.
Gillian Welch
2/5
I think it’s quite remarkable how an album can be really quite pleasant and yet really quite dull at the same time. So hats off to them for pulling off that trick.
John Martyn
2/5
While technically it’s very accomplished and varied, it feels utterly utterly joyless. Somehow, and I suspect influenced by being a wife beater (yet another one on this list), he has managed to bring an air of miserableness, even when it’s attempting to be upbeat, which really makes you want the thing to end as quickly as possible. Also, he often sings like he’s got a mouthful of food on the go, needs to learn some manners. Joyless, and rude.
AC/DC
3/5
I genuinely think this is the first time I’ve listened to one of their albums. Largely as I’ve never been very excited by them (Thunderstruck intro aside). Same applies to this album. On paper it’s a slam dunk, they have some great riffs, a decent vocalist and bags of positive energy. Yeah they’re ‘heavy’, however, somehow it just always seems a bit lightweight to me. Maybe it’s the staccato nature of the guitar, or the fact the drums and bass always seems a bit basic and secondary to lead and vocals. It’s also one of those one paced albums, and Nightcrawler is quite a blessed relief of a slower song at the end. It’s just all feels simplistic and not meaty, yeah that’s it, it just lacks any great nuance and is decidedly unmeaty. Mystery solved, but I’m sure it’s better experience live and pissed up.
Deep Purple
4/5
Still seems weird I never listened to these guys before this list. In Rock, I really liked and have listened to a lot more since it came up. Gave it a 4 when in hindsight it should have been a 5 (and therein lies a bit of an issue with this list in that it’s really hard to rate an album you don’t know a 5 straight off the bat). Anyway, I do like this album but not quite as much in comparison. This one feels more measured, which isn’t a bad thing, it is more varied perhaps. But I just prefer the slightly more unhinged nature of In Rock. Yeah Smoke on the Water has a legendary intro, but nothing on this album has the same mental experimental brilliance of ‘Child in time’.
Electric Light Orchestra
3/5
There is the theory that dogs looks like their owners (or vice versa). I think ELO are by far the premium case of the lead singer (Jeff Lynne) looking more like what I imagine his fans to look like than what you imagine he does.
As for the music itself, I’ve always wanted to listen to an ELO album, so I got my wish. My overriding feeling is it’s feels ambitious and very well played and produced but just far too ‘nice’ to be anything other than a completely inoffensive listen, with the odd bit of excitement on the occasional song. It sort of manages to be orchestral, prog and pop but not, and the sum of the parts don’t elevate anything spectacularly. I’ll just stick to Mr Blue Sky in future, that sums the lot up without needing the album.
Steely Dan
2/5
Really struggling to compute (from reading about them) why this was considered in any way innovative and ground breaking. Just very very dull. Saved from a 1* by a couple of half decent tracks towards the end.
Blue Cheer
3/5
I do think it’s rather stretching it to say this had a major influence on heavy metal. Yeah they turned their amps up to 11, but it feels way more of a continuation of Cream/Hendrix style heavy blues rock, but just with more and louder unhinged feedback, than any particularly novel style. The song writing is really weak as well (covers aside). Generous 3 as it’s generally my sort of thing and sounds like they’re having a great time.
The Magnetic Fields
2/5
OK, so it wasn’t quite as bad as the write-up promised, and there’s something charming about it. But other than the odd witty lyric and occasional musical interest, his voice isn’t that strong and it’s just too long to be anything other than tortuous (and I only listened to maybe two thirds of it). Bonus point for high level albeit misguided ambition and putting the hours in.
4/5
For an album that has so many great individual songs (in fact are there many albums with as many), I can’t explain why, but I personally find listening to the album as a whole has a kind of mood killing vibe. For that reason I don’t revisit it like I do Hunky Dory which I find way more uplifting. Gonna have to be a 4* for that reason.
Radiohead
4/5
Ah Radiohead, always music for a dreary cold, wet and windy winters day/night. Fortunately, that’s exactly what today is, so I really enjoyed this!
I’ve always rather ignored this album, but it’s got a mega strong 1st half (excluding track 3 which should have been consigned to the Kid A doledrums). More laid back second half but a great ending track. Really works for me as an album, the mood is constant (although I’m not 100% sure what the mood is).
I just find it interesting they recorded this at the same time as Kid A. Clearly they just wanted to stick the experimental stuff out first to upset everyone, knowing they had this up their sleeve to readjust everyone to their future direction. Which makes no sense, but heyho, the lads have done alright for themselves .
Dennis Wilson
4/5
And the award for album I least expected to and still don’t understand why I really like it goes to….this cheeky little Wilson number. Never heard of it before, but the production, subtlety varied styles and sort of chilled funky melancholy vibe grabbed me.
Might be the fact it’s a miserable winter’s day effect again.
[PS. Who knew The Charlatans ‘Blind stagger’ so blatantly borrowed the melody off ‘Rainbows’]
Mike Oldfield
2/5
What a weird album for all the fuss made about it. Prog but not. Classical and folky but. Somewhat twee. Keeps you kind of interested because the songs never end, but without ever actually being interesting. And that’s just Pt I, Pt II is plain dreadful. The only positive thing coming from the album is the confirmation (albeit we all knew this deep inside) never to finish an album on a sailors jig.
Bonus point for making everyone think this was the future on release.
Metallica
2/5
This album is like when you fancy a burger, but you buy one that’s totally pimped up; say with a portabello mushroom, onion ring, 3 types of cheese (one of them most likely Monterrey Jack, which literally no one has ever eaten solo outside of a burger, wtf does it actually look/taste like? I digress) some kimchi and a bit of bacon. It’s kind of alright but it’s messy feels overindulgent, and the burger which is supposed to be the star of the dish was a bit lost in the whole thing.
Rage Against The Machine
5/5
I think it’d be hard to find a better album for a 17yr old me, totally hit my teenage angst like the proverbial bullet to the head. As a now nearly 50yr old I still love it. Morello I think is the best riffmeister since Iommi (there I’ve said it), totally fresh and unique sound and funky has hell. And the vibe and lyrics are so awesomely aggressive, it can’t fail to make you sit up and listen (similar to what Public Enemy did, but that mash up comes later..). Just all really sad that things haven’t got better at all, what with Trump 2.0, probably worse. Think you might be needed again Zack….
Al Green
4/5
List wins again, now I like a soul album, I did not see that coming! First 3 songs are really cool, then calms a bit and finishes on a great one. This guy has a fantastic voice and the arrangement is nice and upbeat (against the subject matter a bit) without feeling cliched and cheesy. Given the amount of long albums we’ve had of late, this is a top example of keeping it short and sweet. Makes you want to listen again, rather than feeling relieved the battle is over and needing a lie down. To repeat the very old adage, always leave them wanting more kids!
Black Flag
2/5
Defo an album that can only be really appreciated if you were in the scene when they were about. TV party is quite amusing )and feels like a massive influence on the Beastie Boys), the last song I quite liked, I think the riffs were slower. Otherwise, yeah it’s a massive influence etc etc, but I’m out.
The xx
1/5
Absolutely dreadful that. Contemporary dreary indie pop at its worst. Come on XX at least sound interested when you’re singing it, and/or do SOMETHING musically interesting! Sooooo boring.
Isaac Hayes
3/5
It’s interesting in terms of being a historical marker for what was quite an iconic type of sound from TV and Movies of the 60s/70s. But as a stand-alone piece of music you want to listen to for pleasure it gets dull pretty quick. It was heading for a 2* but rather unexpectedly ‘Do your thing’ and it’s highly entertaining 10 min guitar solo rescued the day somewhat.
Boston
3/5
I had a pretty low bar of expectation for this one. However, it was proggier than I imagined and had some fun OTT keyboard and guitar noodlings which saved it from being a standard MOR plod rocker. So, prog tendencies rescue the day, a sentence I never thought I’d hear myself utter.
Elliott Smith
3/5
One of those ‘aware of but never listened to’ artists. I like his voice, delivery, the melodies are strong, and the general cut of this albums jib, kinda poppy with a slight psyche vibe. It’s up my street, but other than the opening track the songs themselves don’t really grab me much. Tbh, if you like this vibe, go listen to Ultimate Painting (1st and 3rd albums) instead, much stronger.
While I’m not coming back to this, it’s got me intrigued to listen to some more, what sounds like darker earlier stuff…..
Fred Neil
2/5
I want to like this as it’s like some sort of weird hinterland inbetween 60s croon pop and a newer contemporary folk, and it feels a nice comfortable place to hang out. But apart from the charm, the hit and maybe a couple of others, the song writing isn’t that strong compared to some folky contemporaries of his time. Shame.
Genesis
1/5
This flatulent and bloated album gives you a lot of time to think about how to review it. In the end all it’s worth saying is that it’s ‘extremely boring’.
The Chemical Brothers
4/5
Love these guys, always got some absolute bangers up their sleeves. In these early albums it’s definitely quite a stripped back and raw sound, which actually makes it quite a harsh listen as a whole album. This album starts off like a train but for me then looses its way in the 2nd half, before recovering to end on a belter.
Bruce Springsteen
2/5
Dull. Next…
Neil Young
3/5
It’s a nice album, but for me doesn’t hit the heights of his albums which sandwich this one (both 5* albums for sure). Just a little too laid back and country to get my pulse really racing.
R.E.M.
3/5
It’s rare you find an album with such a marked difference in quality. The two famous songs are really strong and very catchy. Everything else is pretty uninspiring melody wise and musically. I’m guessing we have the next 2-3 albums coming, in my mind this theme continues but let’s see….
3/5
Never listened to anything quite like this before. If that were today someone would be calling for an intervention in her relationship. But hey, they were stoic, stick with it times, and she seemed quite baddass with it. So I rather enjoyed it in a fascinating snippet in history type of way.
The Triffids
2/5
Yay, middle of the road slightly gothy indie rock. Sounds like it should be on the soundtrack for The Lost Boys, but probably a B side version as none of these songs would make the cut. Uninspired.
Cat Stevens
3/5
I’ve never listened to the Cat before, other than a weird recollection of primary school assemblies. The hits for me are so wrapped in awful overplayed 80s/90s covers (FU Boyzone) that I can’t now tell if they are good songs or not. But other songs like Hard Headed Woman and Sad Lisa had quite unique sounding arrangements and guitar and piano parts. Shout out also to the weirdest and unexpected end to an album ever, yeah let’s just chuck in a random gospel crescendo. No standout track, but strong songwriting that creates a good album as a whole.
DJ Shadow
3/5
Haven’t heard this in ages and was expecting to enjoy it more than I did. It was a nice trip down memory lane, and it’s really nice to have some variety on this list. However, as an album it totally do it for me. It’s a pretty low key maudlin vibe, some highlights, but some elements that’s more technical skills than something to really vibe out on. I prefer my trip hop a bit sassier.
Sonic Youth
4/5
Once again Sonic Youth have won me over. Just great experimentation and unique style. I guess the added joy about realising that I now like them is there is a shit load of back catalogue to catch up on…..
Crosby, Stills & Nash
3/5
If someone said “write me a nice album, nothing more, nothing less, just nice” this would be it.
I think this is proof that too many close vocal harmonies rather diminishes the product. CSNY’s Deja Vu is a 5* album as the addition of Y brings some welcome variety and a bit of heft to proceedings. While I like what CSN do, this album gets pretty samey pretty quick. Other than Marakesh and Wooden Ships nothing really stands out, and it just becomes a nice if unmemorable listen.
Lambchop
2/5
It’s hard to believe you can make something so clearly well thought through and well produced that’s quite so utterly tedious. Seriously, who wants to listen to talk singing easy listening ripped off from slightly different 70s genres. Rescued from a 1* by the last 2 songs which really don’t fit on the album at all but we’re very welcome.
LCD Soundsystem
3/5
Some really nice layered rhythms and percussion, and some cool baselines. My personal issues is that they are very much on the New York vibe, and I don’t really appreciate Talking Heads or the Strokes, these guys clearly do. So while this is a nice improvement on them, I don’t think I’m every really got to get on board with the David Byrne vocal copying.
Sigur Rós
3/5
Elf sex music.
Feels very much of its time as it had me feeling vibes of some contemporaries like Air, Zero 7 and the Polyphonic Spree. It’s definitely at the more accessible end of post-rock, and I feel it has just as much in common with a euphoric pop/chill out record. Anyway, it’s pleasant with a consistent and atmospheric vibe, and a couple of highlights. Solid but not spectacular. I’ll add it to the music while working playlist.
I did see them once headlining at a festival but didn’t bother to watch much, gave up to go watch Dinosaur Jr instead.
Thelonious Monk
2/5
So, it turns out that Arsenal (23/24), West Brom (16/17) and Oldham (92/93) all scored 16 goals from brilliant corners in a season. A joint Premier League record. Which is just slightly more interesting to hear than this album.
The Damned
4/5
Not what I was expecting at all. That was a rather enjoyable romp through quite a few styles with a punk ethos rather than being pure punk. Some really good song writing and I like music with a more fun vibe, and this has it way more than your trad punk. Would happily listen again.
Also special mention for best drummer name ever.
Marty Robbins
3/5
I feel like a bit of an idiot now. There was I thinking the glamourising of gun violence was the fault of the late 80s gangsta rap crowd, but dear old Marty here had kicked it off 30 years earlier. It’s also got a similar but old fashioned sort of mysogeny insofar as shooting any man perceived to be trying to woo your ex, wife or somebody you’d just like to be your girl. Not so much bragging about how rich you are though, the vibe seems to be more about being lonesome and free (while crying a bit sometimes, which seems oddly mindful and open for those times).
All in all though, I enjoyed that. Some good old straight up story tellin’ from another world (albeit bleakly romanticised somewhat). Some nice subtle guitar work too.
Curtis Mayfield
4/5
Nice, what a super smooth album. I’m not generally into the soul/funk thing, but whatever happened here was a perfect musical balance to what is quite the melancholy lyrical vibe. Given the themes it could be quite angry but instead his voice just welcome you in to listen to the story. It just feels very unique to me. Love the ‘songs’ e.g. the opening 3 and the ending.
U2
2/5
I just don’t get on with U2 (I think it’s primarily Nobo’s lyrical style), albeit I think this period is about as tolerable as it gets for me. But the comparison is really that this album is like getting punched in the arm, whereas the remainder of the back catalogue is much more of a punch in the face.
Gorillaz
4/5
Haven’t listened to this in a long time probably as i was originally disappointed that not everything sounded like the excellent Clint Eastwood. On revisit I thought it was a really fun listen. Kinda reminded me of the vibe of a Beastie Boys album insofar as it had lots of styles (I particularly like the dub), experimentation and tongue firmly in cheek throughout. I didn’t find it too long given the variation, in fact the length probably helped spread out the bits where they’re maybe titting about too much. One to stick back on the rotation list.
Sugar
3/5
I have listened to this a fair bit in the past and I like it, but then I don’t. The star here is Bob Mould’s song writing and melodies, there’s some really quite catchy poppy stuff. Hoover Dam and The Slim are standouts for me. I’m perplexed by the Pixies rip-off ‘A good idea’, it’s so out of place in an otherwise very consistent album. And here comes the ‘but’. I just struggle to listen to the whole thing in one go without being desperate for it to end. The production of the guitars are pretty overwhelming in that it’s so heavy and blended in the mix, I just find it gets more samey and indiscernible as the album goes in and it’s all I can (and don’t want to) hear. So I’m all up for listening to the odd track, but as an album, I’m out.
Bonnie "Prince" Billy
3/5
Simple, intimate and dark. On a cold rainy morning, when the kids have annoyed you on the school run, I found this album quite comforting. By some irony I really loved the track ‘death to everyone’, but not from a literal sense (to clarify, I love my kids). High 3.
Joni Mitchell
2/5
She’s a really great lyricist (albeit I don’t think I’m the ideal audience for the subject matter), however, I’m just not into her songwriting as such.
Duke Ellington
3/5
A fun album that. To my mega naive ear in this genre that seemed to owe as much to big band style as to jazz. Quite a pleasant mix really. My favourite parts are the nifty funky bass lines which I’d love to hear more prominently, but for obvs reasons that isn’t possible in a live album. Would happily listen again.
Pink Floyd
3/5
Not listened to much Floyd ever, nor this one that I recall. As album writers I have to give credit where it’s due, this and Wish you were here are really well crafted in terms of variety and flow. However, the songs often have a similar quality and don’t really standout on their own. So the sum of its parts makes up somewhat for the lack of individual shining lights. Which is the opposite of most albums on the list. So it’s a nice listen, and it’s bordering a 4* for great craft; but at the same time it’s not something I’m really clamouring desperately to listen to again. So 3* it is for today.
Aimee Mann
2/5
About as uninspiring middle of the road pop/indie/rock as you can get. Not awful as such, but it seemed to take forever to get to the end.
Leonard Cohen
2/5
I really struggle with Leonard Cohen. Let’s be honest, his singling voice just isn’t good. The folky guitar had some moments but isn’t all that. And the songwriting struggles to shine through that. This album got sort of better as it went along, and the best one was the one he didn’t write. I won’t be back.
Pretenders
2/5
An album kind of like a microcosm of its time. Half a side of half arsed punk vibes moving into a second half of the beginning of turgid 80s rock. Nobody is a winner here.
The White Stripes
4/5
This is probably a generic White Stripes review as I don’t really remember any of their albums being particularly different. For me, they’re great for a short hit of riffed up blues rock. It’s fun and never fails to improve my mood. And the usual weirder oddball numbers always worth a listen. Is it groundbreaking, yes in a simplistic way, but not in a way that makes me pick up an album with any regularity and wonder at its invention. Glad they existed though.
And for those who gave up on Jack White’s solo career. Thoroughly recommend the recent ‘No name’ album; much more of a return to White Stripes vibe, and wonderfully meatier.
Yes
2/5
Really not feeling this one. Other than the last 3 mins of Starship Trooper that was all rather underwhelming and flat. If it’s gonna go prog, I’d prefer far more flair and stupidity. If it’s gonna go rock, well it needs to do something. All we got was some average rock tunes with some measured proggy flourishes. The vocals were pretty dull too, at best a weaker version of Crosby, Stills and Nash. Kinda. Disappointed really, I expected more from this given their prog reputation.
The B-52's
4/5
Well that was a turn up, let’s face it most of us only know the overplayed Love Shack, but I enjoyed this album a lot. The guitar parts had a great style (love the bit of surf influence) and the vocals are unique with the interplay between vocalists pretty cool. While the first half is undoubtedly stronger (52 girls a total banger), I just like the upbeat vibe of the whole thing. Strongly suspect I’ll revisit this….
Moby Grape
3/5
It’s right in a sweet spot of a time, place and genre I really like. It’s nice enough and technically great, but I just don’t love the songs that much. I just prefer other artists of the time, I’m never gonna listen to this over Jefferson for example.
The interesting wormhole here was reading about Skip Spence, who wrote the best tracks on this album, how he lost the plot not long after this after threatening to kill his band mates, then post sectioning popped out a really interesting solo album, Oar. Then that was his musical career done at 23. That’s a more interesting listen.
Isaac Hayes
5/5
I not a big of soul fan at all but this is an album with massive personality and style. I love a long song, and this is quite a masterclass of subtly building guitar, string and brass arrangements, and combing with some moody vocals. And the range of styles really grabbed me. Starts with a soul psych acid rock beauty and Hyperbolicsyllabicsesquedalymistic might be the most subtlest funky track I’ve ever heard. And the last track just makes it impossible not to get into the story, and slaps out with some great arrangements, particularly love that the Hammond is being flogged so much you can hear the keys being slammed. Fair to say this album was a very cool surprise.
Public Enemy
4/5
Never really listen to them, but I do like a bit of the Public Enemy. Chuck D is quite the charismatic character that makes you listen to him, plus has to be one of the most politically impactful narrators there’s been. The sampling and production is also top notch, not sure how they do it, but it keeps a really high pressing tempo while not becoming too samey. Just wish the bass for was prominent in the mix. Will be back to this.
The Black Crowes
3/5
It’s just OK boogie woohoo stadium rock innit. Yeah the song writing is good in places, but given their obvious southern rock heroes, they just don’t have the same oomph in comparison.
Baaba Maal
4/5
really do enjoy the African albums we’ve had on this list. Such a nice change from the predominantly white boy rock. The star here is the guitar playing, which is kind of bluesy in places. I’m a fan of the repetitive style of west African music, really gets in a groove. The vocals are the kind of marmite element here, took a while to get used to the style. There were a couple of songs where they were more dominant, but mostly balanced nicely with the music. Nice.
The Afghan Whigs
1/5
Didn’t like them at the time, and time has not tempered that view. Just dreadful misery indie rock. No melodies, guitars a mess, production tinny. Just a big fat no from me.
Beastie Boys
4/5
It’s pretty hard to dislike an album that comes straight in mashing up classic Zep and Sabbath samples. And it carries on in its older skool hip hop and rock mash up, with the Beastie Boys being playful and abrasive throughout. It’s a fun listen but it’s certainly not the first Beastie Boys album I would go to for a fix. I guess it’s on the list as their intro to the world and rap first hitting the mainstream. Let’s be honest though, they get way more inventive and impressive as their career progresses.
The Pogues
3/5
I was rather surprised by the number of tracks on this album, and the variety of styles incorporated. Doesn’t mean I particularly like it though. Just all feels a bit cliched Irish music down the pub schtick to me. Tips into a 3 for a classic Xmas tale.
Kings of Leon
1/5
Here we go, more dire 2000s indie rock. Another singer who sounds like they’re struggling with a tricky poo, and songs that are mostly turgid soppy bollox.
Santana
4/5
What a cool little album; perfectly hits that sweet spot you never knew you needed of Latin rhythms and 70s rock. Really nice variety throughout of more guitar, rhythm, or unexpectedly a bit of Hammond organ led songs. Loved the penultimate track, ‘Hope you’re feeling better’; indeed I am, thanks Carlos .
Dire Straits
3/5
Oh, so this is what Dire Straits sounded like before they evolved into the godawful Brothers in Arms, which we’ve already suffered on this list and which I was force fed as a child. Given this, I’m somewhat struggling to admit that this wasn’t awful at all. Knopfler does have a pretty distinctive, jolly and easy on the ear blues style. His vocals are pretty weak, but they’re admirably rationed sparingly here. Waterline and Sultans the clear highlights as they speed things up a bit, but you do wish as a rule it just got out of 2nd/3rd gear a bit. [Grits teeth] I’d be fine listening to this again.
The Rolling Stones
4/5
So yeah it’s Rolling Stones doing peak Rolling Stonsey things. What’s not to like.
Prince
1/5
Tbh I’m sick of hearing/reading about how talented a musician Prince apparently was. From the intelligence I’ve gathered over the years I understand he could play four, or maybe five, instruments at the same time while underwater, with one hand tied behind his massive ego and while simultaneously impaled on a unicorn. This may or may not be entirely true, but the fact is I can’t stand his vocals and I’ve never liked a single song I’ve ever heard of his. This is like some hellish extended 80s rip off of 70s funk. I’ve produced way funkier things than this album on my morning constitutional.
Jorge Ben Jor
5/5
Starts and ends with absolute bangers, with some really sweet samba grooves in-between. It’s a real exhibition of multiple layered musicianship, and in a certain way kicks trad white boy 4/5 piece rock bands asses. Tipped in to a 5* today as I’m listening to this while on holiday in Spain with some nice chorizo and Rioja on the go, perfect accompaniment.
TLC
2/5
Question: Do people actually get the horn from, or have sex to ‘sexy music’ like this? I’ve generally been of the feeling that getting it on while someone (male or female) not involved in said act is gently singing to you to get it on all night is somewhat of a turnoff. It’s a bit like when you’re playing football as a kid and your Dad’s watching on the sideline shouting ‘’Welly it Jimbo!’ Am I in a minority here?
Either way, it’s all pretty bland stuff, and it could do with getting out of sexy 2nd gear occasionally. Fair play though for the skit which is rather mocking male gansta rap shite.
Slipknot
3/5
I like them, riffs are good. The issue for me is the innovation is all about the intense percussion and vocals creating the ferocity of the songs, which is exactly the thing that I find rather tiring after a full album of it. I’d happily revisit any of the songs individually, but never gonna play it as an album again.
Iggy Pop
4/5
What Matt said, but with one less star.
Keith Jarrett
1/5
You plinky-plonky in, and you plinkly-plonky out, you do the plinky-plonky and you turnaround. (Quite literally) That’s what it’s all about.
Nobody wants to hear an hour long guitar solo, especially unaccompanied. Same applies to the piano. That was biblically tedious.
The Young Rascals
2/5
Just all feels a bit vanilla pop soul really. There was a vague outbreak of psyche on track 2, and a nice riff on ‘You Better Run’, but otherwise all very uninteresting.
Richard Thompson
4/5
I can’t really put my finger on exactly why I like early Fairport and this effort (which I’ve never heard before). Obvs Richard Thompson’s guitar playing is a massive part, but it’s more that I just find the style super chilled and comforting, rather than any particular standout songs. Maybe I was a fletcher in another life, but let’s just leave it at that, like a folky mystery.
Shivkumar Sharma
3/5
Enjoyable to listen to the unique instrumentation and style. It’s pretty chilled and you can appreciate the musicianship. Can’t say I’m gonna rush back though.
Van Halen
3/5
I like my hair metal fully ridiculous. This is not as ridiculous as their 1984 album which we’ve already had in here. Clearly they had yet to fully develop their egos, drug/alcohol/womanising addictions and couldn’t yet afford a full blown production team. Nice to meet you though baby hair rock.
R.E.M.
2/5
Come on list. I fail to see why you have to prove the point TWICE that early REM is pretty dreary indie albeit with small hints of where they’d end up. Let’s just move on to Out of Time and tick them as done.
The Specials
3/5
Really cool band for where they came from and what they stood for, real culture and genre defining stuff. There’s some really iconic songs on here, and I’d never before noticed some of the more trad rock and roll/surf guitar style on some tracks which worked well. However, I just don’t really love Ska. Even if this is ‘peak ska’ it’s nice to listen to in small doses, but as for an album it’s a bit much for me.
Sisters Of Mercy
4/5
Goth sex music!
Do you think if Andrew Eldritch farts it’s smells of patchouli oil, and if you cut him he bleeds snakebite and black, such are his goth credentials?
To be honest other than the fantastic Temple of Love single I’ve never really listened to them. To my surprise, I enjoyed it a lot. I’ll forgive the occasional naff 80s sounds as the overall mood was oddly comforting and unexpectedly upbeat in places, and the vocals to me are the absolute star of the show, really drive the mood and intensity of the songs. It’s all just very enjoyably flamboyant and theatrical, not musically speaking but similar in a way to the rather theatrical and OTT hair rock scene that really kicked off at a similar time. It’s weird what post-punk turned in to in the 80s, like some minor musical big bang moment.
Emerson, Lake & Palmer
3/5
If someone asked my head what prog sounded like, I think this album is pretty much what it would come up with. Too much pissing around on keyboards, obligatory spacey noises, some funky moments of clarity, and general other nonsense and theatrics. It’s fantastically mental, in both good and bad ways.
Nutrocker can do one though, what a stupid bit to stick on the end, ruined the general vibe of the rest of it.
Led Zeppelin
5/5
I was gonna do the old give it a 4* because it’s not quite as banging as II and IV, but actually it’s packed with top tunes(in the unique Zep style) I can forgive the couple of weaker ones. They deserved to be relatively more chill for an album.
Beck
2/5
I generally really like Beck, in fact I’ve been revisiting his back catalogue a bit since we had Odelay previously in here. However, all I’ve learnt here is not to go near his break up albums; it’s unsurprisingly slow and introspective. If I want melancholy/maudlin rock there are better artists to head to (Lanegan, Misty etc). This album was just sorely missing Beck’s usual upbeat and innovative spark. Disappointing.
Ramblin' Jack Elliott
2/5
I’m somewhat torn on this. It’s somewhere between a slightly interesting folky twist on some old blues songs, well the guitar style is interesting anyway (quite up tempo and the picking is cool), the vocals aren’t great. Which then happened to have something of an influence on the Dylan led late 60s folk movement. The flip side is that it’s quite the murdering of some old blues songs which in a couple of cases (Bol Weevil and Cocaine) I know were better sung by more original and authentic musicians, and which I assume applies across most of the other songs. I think the latter is probably swaying me here, and I hope some of the original blues musicians get a recording or two on the list (surely Leadbelly) rather than this being an unrepresentative representation of a time/style.
Elvis Costello & The Attractions
2/5
It’s kinda like the Tesco meal deal pasta salad of music, uninspiring and functional at best. Just too insipid to get exercised about really.
Elliott Smith
4/5
Intimate, catchy, vulnerable, chilled, stripped back; are some words I have randomly used to rather generically describe this album as I can’t think of anything better to say. There are of course many other words in the world which others may use at their will (and in hindsight I would have). Anyway, that’s actually just a really cool album (and better than ‘Figure 8’ we had previously in here). Will be revisiting this one for sure, feels like a possible 5* grower.
The Smiths
3/5
Felt kinda poppier and with more production arrangements than other albums. Guess they just got bolder as they got older. It just felt that it lacked a certain immediacy and spite that the some earlier albums had. Second half better than the first, but jury is out on Smiths with strings.
Linkin Park
3/5
It’s got some decent riffs and some of the tunes are pretty catchy. I also I didn’t realise I knew so many of their songs (albeit they’re all quite similar). That being said I’ve never really loved Linkin Park. There’s just something about them that all feels like it’s been done before, and they’re like a lightweight juvenile version of it. Rage Against the Machine are far superior on the anger/lyrical front; and musically dare I say Limp Bizket and System of a Down musically do this in more fun and interesting ways and got there first.
Fair play though for being the cornerstone of many teenage awakenings I’m sure.
Talking Heads
1/5
The relief I felt when this album ended can only be compared to the first confident fart achieved after a bad dose of the shits.
Sister Sledge
3/5
It’s more of an album to be respected than loved for me. The disco hits are the obvious stars, and while I don’t love the r&b and soul elements the melodies and production arrangements are really strong.
The Last Shadow Puppets
3/5
I’ve always felt a bit confused by this album. The title track is fantastic, there are some other strong tracks as well. However, unless you really love Bond music and general 60s/70s film soundtracks you’re gonna struggle. To be brutally honest, if one is trying to evoke the feeling of this style of music, then having a drab northerner singing it misses the mark somewhat. Shirley Bassey he ain’t. Perhaps it would be a stronger album with some different vocalists. Anyway, good idea and effort, but I just can’t love it.
Nirvana
5/5
One of my favourite albums of all time, and better than all their studio albums. There’s just something about the fact Kurt spent most of his time, especially live, kinda trying to trash and distort (albeit in an enjoyable way) his songs, that just makes this effort almost more shocking in a way. Here he is suddenly showing the simple, stripped back beauty of his songs, while also hugely improving and elevating quite a random bunch of covers. The feeling in his vocals in ‘Where did you sleep’ are like a prefect crescendo at the end. History suggests the opposite but I like to feel he seemed like he enjoyed himself doing this show.
The Temptations
3/5
Much like the other album of theirs on here. Starts off funky as hell and you think you’re onto a winner (loved Runnaway child, the drum recording was incredible), and then it descends into average soul and Motown standards about (delete as appropriate) losing/missing/regaining your girl.
More funk lads, that’s the good stuff!
Björk
3/5
Well compared to the more contemporary and all far too challenging Vulnicura album we’ve already had on the list, accessibility wise this is like listening to Right Said Fred.
Actually I quite like albums like this which are an artist trying a few styles which keeps you guessing what’s next. The more elec dance tracks are the winners for me. The more jazz based stuff, which I think is where she heads more in the future, certainly is not. Hit and miss but it’s OK, and definitely feels like a 90s nostalgia trip.
Serge Gainsbourg
4/5
I’ve always really liked this album, nothing else sounds quite like it. The bass lines are sweet and the guitar parts sweeping the songs along, while the vocal style and string arrangements keeping the vibe pretty moody. Cargo Culte is an epic crescendo, and a track I listen to a lot. It’s just a very effortlessly cool vibe, and Air clearly borrowed heavily from this musically, while Jarvis clearly loved the vocal style.
Fortunately the dubious nature of the subject matter is obscured somewhat by the language barrier. That, plus a couple of weaker tracks in the middle stop this from being a 5*.
The random fact is the guitarist on this album also played the original Bond Theme.
The Byrds
4/5
I’m not sure I’ve ever really listened to their albums, but it’s kind of impossible not to like The Byrds (or at least their early stuff). This album hits a nice spot between pop and psyche with a chilled air. No standouts as such (although the chord changes in ‘Have you seen her face’ are particularly sexy, and maybe the Crosby penned tracks are slightly weaker) but it’s just a really strong all rounder. I like.
The Stooges
4/5
Quite timely given I saw Iggy Pop at the weekend. That was a brilliant show; he has a great new band, now with a brass section (didn’t expect that) which has reinvented/reimagined his back catalogue somewhat.
So it’s with slightly rose tinted spectacles I listen to this album. My main thought is that the production is terrible as it just doesn’t convey what I imagine these guys sounded like live at all. That being said, it’s sharp and dark in places (I think Iggy is better dark), and it’s a good listen. ‘I need somebody’ the stand out to me. It’s probably a 3 or 3.5, but for a 78yr old to do such a cracking show, let’s bump this up a mark.
Beastie Boys
5/5
Uniquely dizzying in its variety of samples used and how they are sequenced, making for some standout backing tracks. Lyrically it’s funny and snappy. Just a fantastic record, and they only get better from here. All hail the Beasties.
The Boo Radleys
3/5
Album of youth alert! Psychedelic, dub, indie, shoegaze, a heady and seemingly intriguing mix. While it’s diverse, inventive and an interesting listen, with some good songs and moments, it always feels a bit disjointed and somewhat lightweight. While I’ve been drawn back on occasion over the years (usually because I want to hear Lazarus), I can’t ever remember doing so for more than one listen before ignoring it again for years. It just doesn’t grab you and shout ‘play me again’. It’s a good effort though, and I do recall seeing them at Glastonbury in the 90s, they were cracking live (I think, bit hazy on that).
Randy Newman
2/5
Nope, I just can’t get past the feeling that most songs on this album sound like a theme tune from a lighthearted US 70s/80s sitcom about working class people doing working class things.
Elvis Costello & The Attractions
2/5
Dear non-UK 1001 listers. Just to set the record straight, Elvis Costello really isn’t a big deal at all in the UK. His vocal sound is also annoying to us. We are as mystified as you as to why he deserves multiple albums on here. Amen.
Booker T. & The MG's
3/5
If there were one ever track to define ‘sauve cool’, it would be Green Onions. I adore it. It’s just a shame the rest of the album doesn’t quite stack up the same, but maybe that’s just an impossible task.
Radiohead
3/5
Ah, it’s decent enough in the contemporary Radiohead style. However, it really lacks some standout tracks for me (first track or Faust Arp maybe the best), and overall it just feels a bit meandering. I’ve never really felt a connection to it as a result, and would head to other albums if I need a fix.
Butthole Surfers
4/5
Surfers
It’s just a fun, tongue in cheek, two fingers up at everything, rollercoaster of a record. I like it. It’s harsher than their later efforts, where I joined the party in the 90s. This one is a huge influence on Heart Shaped Box I reckon, and Kuntz is never not gonna raise a smile. Not an album to ever go on rotation, and I don’t think any of theirs are, but a band to be revisited on occasion. Or at least, I do.
Grateful Dead
2/5
What a bloody let down! Supposed legends of the San Fran psych scene who I’ve never (for reasons unknown given I love that scene) got round to listening to are just a bunch of average country blues rockers. Not a single impressive song on this one. Did I say Bloody hell.
The Sonics
4/5
ENERGY!!! THIS HAS SOOOOO MUCH ENERGY!!! LOVE IT!!!
Fats Domino
2/5
I know it’s kind of classic stuff, but today it’s just one of those albums you didn’t even notice was on, and then it ended.
Frank Zappa
3/5
Shit jazz prog noodling vs great Zappa psych guitar solos. Fight!
It’s a fun album, but only half of it works for me. Willie the Pimp (which always sounds to me like Fairport Convention on acid) and The Gumbo Variations are the standout tracks. The jazzier stuff just ain’t my bag.
Mudhoney
4/5
Beautiful scuzzy garage grunge. I’ll fight anyone who doesn’t agree that ‘Touch me I’m sick’ and ‘In ‘n’ out of grace’, aren’t two of the finest songs of the era. That being said I will also concur that Mark Arm is one of the least blessed vocal wise of a generation. But then that’s kind of the point, none of this was meant to be polished. This is not serious stuff, just pure loud fun on tape.
As a side note, this is also the best name for an album there has ever been. It was my pub quiz team name for a while.
Peter Gabriel
3/5
Well it was much better than I thought it was going to be, which was a very very low bar. First couple of tracks I really liked and then it was a bit of a mixed bag. But is it sacrilegious to say that it sounded a lot like Bowie of the Berlin era? I doubt I’m ever going to love his work, but I’ve got some more respect now.
Brian Wilson
3/5
This album is like some ultra manicured stately home garden where everything is so perfectly in place, including the striped lawn. It’s impeccably written, recorded and produced. Packed with perfect harmonies, interesting fills, and bits of whimsy. It feels more like a piece of art than an album in the normal sense. But like that garden, it also seems very fragile and not quite real, touch something and it will break. So while it’s extremely nice and pleasant to listen to, it’s hard to feel that you belong to it; like a stranger visiting someone else’s dream.
ZZ Top
3/5
Insert standard 1001 review. ‘The singles are decent enough, but the rest of the album is just less good variations on the same theme’.
Personally I just found the blues rock just Ok. The main thing that got me about this album was the very basic drum track. It got more tedious as the album went on.
To replace your drummer with a drum machine for a whole album is a bit weird and insulting. I’m assuming the wads of money this album hauled in was the contributing factor to the drummer not quitting.
Michael Jackson
2/5
Big slice of bangers between 2 layers of cringe. Tbh, it was pretty much what I thought it would sound like (and the awful McCartney bit was in a way an added bonus, why, just why?).
Minus point for being a paedo rule applied.
808 State
4/5
I’ve always found Acid House and rave type stuff fairly stark and cold compared to the 90s house and techno it spawned. However, after a slow start (and once you got over the fact it does sound dated), track 3 onwards were really great. Nicely varied and a lot going on, with a lot of subtle sounds that later groups would expand on massively. It’s also nicely paced, nothing too extreme and keeps you engaged. Just very infectious. It had me going back on repeat today. Great fun, tick. Influential, tick. Will be back, tick.
The Go-Go's
3/5
It’s nice enough isn’t it. Pleasant post punk poppy rock stuff. Some nice harmonies and some decent songs, nothing to really blow your socks off mind. Tip of the hat to ‘skidmarks on my heart’ as a track name.
Merle Haggard
1/5
Christ this is lyrically miserable and depressing, and the music while sort of better isn’t really helping. Mercifully it’s short.
I’m trying to work out why I dislike this so much more than the Marty Robbins album we had in here. I think the latter was kinda more upbeat in a corny way. Old Merle here is just straight up mournful.
I’m pretty sure I’m not in the minority of people that listen to music to get joy, not to put you on a downer. Do people who like this get up in the morning, slam their todger in a closing door, shout ‘I’m alive!’ and get on with their merry day?
Ella Fitzgerald
2/5
The site linked me to some 40min version which is probably a blessing. Yeah her voice is amazing, and the music has a certain charm and class, however these songs just don’t excite me one bit. Zoned out after 3 or 4 songs.
Eminem
2/5
I hope Labi Siffee made some good money off of this, as I sure resent the purile, violent mysogeny being represented here being rewarded. Saved from a 1* by begrudgingly accepting that his delivery style is very good, and some of the beats are decent.
Megadeth
2/5
Nah, I struggled with this one. Thrash metal feels so one paced that the raw energy gets lost somewhat as it all blurs together as one long track with lots of different solos. This album is also let down by the weak vocals, he sounds a like bit of a lightweight Hetfield (who also isn’t a great vocalist). There were some fun unexpected chord progressions and occasional sort of pace changes, which I wish there were more of. All in all I can’t say there’s one track that stood out, and have no interest in listening again.
The White Stripes
4/5
Boss level Jack White not quite yet unleashed.
Given I haven’t listened to this in years it definitely feels a bit different from later affairs; understated, slower, less showy, more serious. Something like that. Either way it’s still a great listen, bit like the calm before the storm that was to come.
Little Richard
4/5
Pretty hard not to love the energy of this guy, and have maximum respect for his place in the creation of rock and roll. The songs may be old, but there is something about them that still feels fresh somehow. I think it’s just the unbridled joy and simplicity they have about them, and did I mention the energy.
Jack White
3/5
Starts off really well, distinctively Jack White and with more variation of styles and it all seems really well thought out and played. And then I just start losing interest halfway through, and to be honest I didn’t feel like I wanted listen to it again. Which I think is my experience with all his solo stuff, other than the excellent ‘No name’. I think the simplistic explanation is I just like his full rocking out stuff better.
Kendrick Lamar
2/5
I’m just gonna play the middle aged white British male card, and say this is totally lyrically impenetrable to me. I tried Kendrick, I really did, but I felt like a learned more from the last track than the whole album before that. The production didn’t do anything for me either, only ‘how much a dollar’ and ‘the blacker the berry’ grabbed my attention, and I think that’s because stylistically they were quite different from the overly smooth majority.
Jimmy Smith
2/5
There is no doubt Jimmy’s
organ has tremendous heft to its sound, but paired with lounge bar jazz it’s pretty limp.
His organ and vibe is much perkier on the live album Root Down, like the Beastie Boys I would recommend having a go on that instead.
Pathetic and pointless innuendo ends.
Peter Gabriel
2/5
Gabriel’s vocals are ok, but the music kills it for me, just sounds so dated and not my bag.
The Sugarcubes
1/5
has been discussed ad naseum on this site, Bjork requires decent backing to become tolerable/entertaining. This band have no redeeming features, tinny production and difficult to define song structures did not help. At best they sound like a really shit Teardrop Explodes. Mercifully it was a short album.
Simon & Garfunkel
4/5
It’s one of those ‘nice/pleasant’ albums isn’t it, but it’s hard not to really like its chilled nature. Enjoyed that.
David Bowie
5/5
Well it’s my favourite Bowie album so there’s only going to be one score for this. I just love the simplicity of it, it feels light and easy, not trying to hard, no arty characters, no over production, just great catchy songs. I come back to this album a lot.
The Associates
2/5
I am confused by this album, or more accurately my reaction to it. The first track has to be one of the worst opening tracks ever, just a ghastly 80s synth intro that wouldn’t end. All other instrumental tracks follow that tragic pattern. And the vocals, well, they are the star in all ways good and bad, albeit mostly bad. I think gloriously unhinged would be the kindest description, he had no intention to reign himself in. And oddly I kinda respected that, and found myself intrigued, in places it felt a bit proto-goth, in fact I even liked a couple of tracks, sort of. I really should hate it, but I don’t. Weird.
Orchestral Manoeuvres In The Dark
1/5
And there was me thinking I had a soft spot for OMD. This album is utter toss.
You’ve got a bloke with weak vocals and some of the most agonisingly basic synths and beats I’ve ever heard. Compared to what Eno was doing before and around the same time (which are on this list), this feels like some child has put it together. If simplicity is the supposed charm, for me they’ve just taken it to the extremes of minimalist tedium. Toss I say.
Sepultura
4/5
Vocals aside, which I’ll accept is somewhat of a leap, that’s a really cool album. Not being a massive fan of thrash metal which I was expecting, I was very pleasantly surprised by the volume of superb riffs, and variation in the songs. The dalliances with the Brazilian folk stuff added an extra layer of interest. Great first song (the title of which was pretty much what my wife was muttering this week when dying her hair), then wained for 2-3 songs and then really hit its stride. For an album of over an hour it solidly held my attention, which was also a massive surprise. Borderline 4*, but bumped up because it sounded great in comparison to the awful 80s synth stuff we’ve had to suffer the last 2 days!
The Clash
2/5
For me I think The Clash would come pretty high up in the 1001 overrated bands of all time. Vocals as annoying as Costello, and music on this album about as punk as the Bangles. ‘Lost in the Supermarket’ is about as cringe as you can get. Other than the opening track (which saves it from a 1*) it all sounds like tedious pub rock to me. I have never and will never like them it seems.
The Strokes
2/5
Never enjoyed these guys. Nothing other than I find their music incredibly dreary. Sorry, not sorry.
The Electric Prunes
3/5
Short, varied and a fun listen. I already knew the opening track was a good’un and the other straight psyche/garage rock numbers are also good value. Slightly too many stupid novelty tracks to carry it up to 4* though.
Sheryl Crow
3/5
She’s definitely very distinctive in her lyrical delivery, which in places really reminded my of minor 90s psyche pop act Jellyfish (bonus points for remembering them). Anyway, it’s hard to deny the big hit is a great song, I also really liked the Na-Na song. The remainder though is perfectly listenable but a bit bland. Feeling generous today, so 3* it is.
The United States Of America
3/5
Two quirky west coast 60s albums in a week, what’s not to like. Less ‘fun’ than the Prunes, but equally varied. As is always the way with more experimental albums, you only really remember the songs that are less so. But it’s entertaining to hear the electronic bits and random noises, even if for obvious reasons they are not slick in the mix. Decent singer as well. I have listened to this in the past, and it didn’t leave much in the memory. Doubt this listen will either, but would happily come back again.
Nirvana
5/5
Stone cold classic innit. Kinda fun listening and doing the old ‘ah this one’s my favourite’ and then repeating to yourself for every track until giving up the pointless exercise by Lithium. Just enjoy.
Rush
3/5
Other than a spacey noise at the start, calling a song ‘Overture’ and making it really long, and some slightly absurd lyrics, I’m really struggling to work out what’s remotely prog about this album. It’s just a hard rock album, nevertheless, a half decent one at that. The singers vocal are strong (in a post-Plant pre-Rose kinda way) and when they get rocking it’s got some decent heft, the last track the pick of the bunch. Decent effort, could be a grower.
Iron Maiden
3/5
The music is fine isn’t it, but Dickinson’s vocals style while entertaining, the subject matter is just a bit stupid (and the Acacia avenue one just wrong) and it’s not particularly tongue in cheek. It just means it all sounds a bit silly to me.
Black Sabbath
5/5
While for me nothing beats their first album, this runs it pretty close. But that’s probably splitting hairs really. It’s got all their famous tracks, but my favourites are Hand of Doom and Fairies wear boots. They show off the true mastery of their songwriting and musicianship, effortlessly changing pace and mood several times in a single song. Ozzy’s (RIP you legend) vocals complementing the song rather than trying to be the focus. They really were the perfect band for their first 4 albums at least.
Ryan Adams
2/5
Well that’s it, this album conclusively proves (from a sample of 2) that all songs called Sweet Carolina/Caroline can do one.
Oh and the rest of the album is kind of OK, in an inoffensive background noise kind of way, but just seems to lack any originality to deem worthiness for this list. Bob Dylan he ain’t.
Oasis
5/5
I’m really trying to think of a reason not to give this a 5*. They are a pair of massive bellends. Musically, vocally and lyrically it’s not all that and the production isn’t fantastic. However, this album just has too much swagger to ignore. Amazing how far a bit of attitude and strong songwriting can get you.
Still think Noel ‘learnt’ a lot being a roadie for The Real People. Listen to the guitars in ‘Wonderful’.
Massive Attack
3/5
Great album in terms of the influence on what it was ushering in…….the trip-hop boom to follow. As a stand-alone album it illustrates a transition point. The bassline in the first track was a great sound they and others explored further. 5 man army is a great dub track and Unfinished Symphony just has its own classy uniqueness. The album also has a few of late 80s dance/soul/hip hop style influenced tracks, which was never my bag really. So it’s a bit of a mixed affair, but we know they continue to improve. Which is nice.
Run-D.M.C.
3/5
Ah, the true masters of going ‘huh’ to end a chorus. Minimalistic beats and some rudimentary sampling. Actually it’s quite catchy.
Nirvana
5/5
[And desperately tries to think of something more original to say then the 100k other reviews on here]
Nevermind, this and Unplugged are like three different worlds, and all 5* albums. But this one always just leaves me feeling sad this was where it ended. Compared to all their contemporaries, their ability to evolve was marked. I would have loved to find out where the journey went next….
Cornershop
3/5
Rolled my eyes when I saw this come up. I’d filed it in my head under ‘comedy one hit wonder album’ at the time it was released. Actually it’s quite fun in a 90s lo-fi yet upbeat some times hip hoppy beat vibe. Starts strong and then fades somewhat until you hit the standout Candyman track. S’ok innit.
Radiohead
5/5
I get that Radiohead are a bit marmite, but I was quite surprised that this album still has a fair amount of hate in the reviews particularly given it’s clearly their best album (your pants are on fire if you say to the contrary). Let’s face it, if you aren’t even remotely aroused by the chord progressions and time changes on Paranoid Android then I fear you are dead inside.
A Tribe Called Quest
4/5
Ah [looks wistfully into the distance] the time when rappers were (kinda) wholesome and you could take them home to meet your Mum. I wasn’t into this sort of thing at the time, but the beats are impressive, real head nodding stuff. Generally it’s a nice allrounder album and I suspect real grower.
Beach House
1/5
This album is like when you get stuck talking to the dull person in the office or at a party. You can kind of tolerate it for a bit but after a while, and you realise no-one is coming to your aid, you’re just getting more and more anxious and desperate to get away.
2010s indie, I despair at your naffness.
Manu Chao
4/5
Nice album that. Musically upbeat and some really fantastic guitar parts. Lyrically it works, but given my linguistic limitations, he could have been singing about doing the big shop or torturing puppies, but it sounds wholesome. Either way it’s way better than any gangster rap shite.
Tim Buckley
3/5
Impassioned singing style somewhat overrides some pretty middle of the road bluesy rocking. Standard 3* album, and I haven’t and won’t write a letter home about it.
Patti Smith
3/5
She has a really distinct delivery and style which brings flashes of more contemporary artists to mind, PJ Harvey, and oddly, Julian Cope (Jehovahkill era) spring to mind immediately. Her influence in that regard is clearly strong. Musically it feels like the band is just fitting in around her delivery in a mix of styles, I prefer the more blues rocky numbers, but that’s not the focus really. I have listened to this before and while it’s interesting I’m never really drawn back in.
I did see her recently at a festival in 23. She’s still got the pipes.
Kate Bush
3/5
So I quite like it, but at the same time it’s got this kind of melancholy vibe which isn’t making me want to listen to it again. The plus sides are some of the experimentation in song structures and sounds (even if too 80s as a whole) are quite interesting, but at the same time the songs tend to drag for me, too much of the same tempo/mood. 2nd half of album was better, the witch song brought some welcome variety.
The Stooges
3/5
For an album with one of the greatest garage tracks ever performed (I wanna be your dog, obvs), it’s all a bit of a letdown really. But I guess that’s the point, garage band first albums are always going to be more vibe than substance, these guys just lucked out on a John Cale single note piano solo.
Fleetwood Mac
3/5
Big disappointment (given it’s high 1001 rating), it’s just all a bit hackneyed and plodding isn’t it. The harmonies seem straight out of the CSN playbook, and then most of it feels like middle of the road blues Clapton rock mixed with some Fairport’y style early 70s folk stylings. Not feeling much originality. Other than The Chain, there’s not anything to get the pulse racing. Think I liked the last minute or so of the album best as, a) it was a bit different mood wise and nice guitar work, and b) it was coming to an end and I could put something better on.
Scott Walker
1/5
Joy, pure unbridled joy, was my feeling when this pretentious over-affected baritone gobshite stopped singing.
Pulp
4/5
Jarvis must have had the massive horn when he wrote this. Anyway, didn’t much care for them at the time, but actually there’s a real performance, wit and energy about the album. And that’s despite the hits, I feckin hate the hits (Common People I’m especially looking at you).
CHIC
1/5
I didn’t realise there was such a thing as background incidental funk music. Now I do, and I don’t care for it one bit.
Sonic Youth
4/5
While there seems to be no such thing as a bad Sonic Youth album, there’s also the feeling that there’s no such thing as any massive variation between them. At least to the relatively untrained ear, given I’m a latecomer to their joys.
Eagles
4/5
have a hangover today. This album appears to have hit an exact sweetspot of upbeat melodies, bluesy country twang and occasional rocking that does not offend my head. In fact I think I quite like it, today that is.
Magazine
3/5
Yeah I’m somewhat lost with this one. I thought punk was supposed to be the antithesis of prog rock, and yet somehow this seems to bridge both and more. The experimentation and general doing its own thing’ness is enjoyable, but at the same time it’s really hard to love any of it. Shot by both sides, is the only song I fully liked. I feel I should listen some more, but for today it’s a sit on the fence 3*.
Miles Davis
4/5
Really liking this one. Any jazz that lets the backing drums and bass be properly heard and having leading role is a winner for me. The elec piano (which is quite mellotron like) is also really adding to these songs. Stick a bit of Miles on top and Fanny’s yer aunt, cracking stuff.
Parliament
4/5
Sometimes I like funk, sometimes I don’t. Generally I haven’t a funking clue what the difference is between the good and the bad. This one I like. It seems less showboaty than other funk efforts, more focussed on the groove and song than general musical funkery and self pleasure. Probably a 3.5*, but I’m gonna go high today as it suited my mood clearly (and the kids quite liked it).
The Birthday Party
3/5
I never have listened to much Nick Cave, and definitely not pre-90s, but when I have I’ve always find his style rather captivating. Obviously this is all pretty raw and unhinged, but there’s real lyrical and vocal skill and style here. Yes the music is pretty experimental, harsh and challenging, but that grew on me. The last eponymous track the highlight. I’m just amazed this is early 80s, just sounds so ahead of it’s time, albeit when it’s time is I’m not really sure, maybe it’s hasn’t come yet.
Hawkwind
5/5
Ah Hawkwind, the band that never ends. I last saw them at their 40th anniversary gig in London, which was still 20yrs ago! I think Bezos or Musk should give Dave Brock a free ticket to space, he’s been writing albums about it for 60yrs, I’m sure he’d appreciate a new angle on the matter.
Anyway, they are a band not to be taken too seriously, but definitely to get fecked up to, or just to zone out on the groove. I think we can all agree Lemmy’s
bass playing here is exceptional (any dissenters need to have a long hard think about their choices).
More generally they created their own space rock genre, which has spawned many many different directions. Ozric Tentacles a prime excellent example, and I think some dance music to an extent. In my head they are somewhat the quintessential background vibe of your traditional British festival; you know, the ones before festivals turned too commercial and where you’d happily buy suspiciously cheap scrumpy and some soapbar from a crusty sat in a puddle [and looks wistfully into the distance].
Anyway, back to the album, basically it’s Hawkwind, so it’s a 5*.
Rod Stewart
3/5
It’s just not as rocking as the album which followed, which we’ve already had on the list. Which makes me wonder why this one is included as well. All a bit too slow for me, Rod is best when letting it rip. Tbh this album is saved to a 3* by ‘Cut across shorty’ and ‘You’re my girl’. The bass line on the latter particularly good, and unsurprisingly played by one of the Small Faces mates whose musicianship often save a Rod song.
Metallica
4/5
I think I’m more in awe of pure thrash phase Metallica, than loving it as such. The riffs are so ridiculously fast (yet catchy), the drumming is just insane at times, which just makes it quite the spectacle really. Also, it’s just so smooth and clean, how can you do that playing at such speed, is that just in production or are they the tightest band ever, I never have seen them live? But it is also that cleanness and speed that stops me from loving them, it’s hard to take a breath and nod along, a moment is there and gone, then another one comes along before you’ve savoured the last. In conclusion 100% respect, 75% like, discuss…..
Janis Joplin
4/5
All about the voice and the vibes. Would be hard to not enjoy this.
New York Dolls
3/5
I generally avoid the ‘influence’ element, but bloody hell this album and their fashion is undoubtedly and impressively so. However, that doesn’t entirely remove the fact it’s pretty shit.
Dolly Parton
4/5
I have a soft spot for Dolly, purely because I love ‘Jolene’. So I thought something on here might be decent, but not the majority of thing as it turns out. Dolly you little ripper.
Willie Nelson
1/5
That’s two Willie albums we’ve had now and they’ve both bored me utterly shitless. I just can’t fathom what is remotely interesting about this plodding twee nothingness. Given we had Dolly Parton the day before the difference is stark. Which is a revelation, given I had zero opinion on the difference in country genres before doing this list. Just cheer up Willie, you’re a bloody misery, at least Dolly’s melancholy is upbeat!
The Prodigy
5/5
I very much doubt there is an album that sounds so big, energetic, and in your face as this on this list. Combines punk, rock and dance in a beautiful way no-one has bettered….yet.
Is it their best album, well it’s got the most hits, so maybe. Does it matter, not really. It’s not cerebral, it’s purely to get you pumped, feeling big, and dancing. And it delivers big time.
I get it’s kind of hard to understand this if you haven’t been exposed to it (or repetitive beats in general) in its live setting. Listening to this album I’m back in the Brixton Academy a few years ago, with them doing their first gigs after Keith’s death. I have NEVER experienced a vibe, the togetherness or energy like it (and I was sober). The whole place, and I mean everyone, front to back madly going for it for 90mins (would never happen for a rock band). Sweatier than a teenage boys forehead after viewing the Littlewoods catalogue lingerie section it was.
Run-D.M.C.
4/5
I think inventing rap/rock is pretty up high up in terms of claims to fame. And let’s face it, this version of Walk this Way is an absolute all-time banger (I’ve not changed my mind on that since my 11yr old self first heard it). As an album, it’s an all round entertaining listen.
As an aside, has anyone invented rap/folk yet? If not, come on, your moment is nigh….
The Beach Boys
3/5
Harmony porn.
PJ Harvey
4/5
3rd one of hers we’ve had so it doesn’t feel like there’s much more to say. I prefer her early albums, this is the earliest album, I therefore like this album. Job done.
The Gun Club
4/5
Not really what I was expecting but the really simple but effective rockabilly punk sounds were great. Vocals are kind of all over the place, but that’s what gives the songs more variation. The way it was recorded you definitely get the feeling these guys would have been a great live act.
Yes
2/5
This is just as pants as the other offering we’ve been served up. Pick a lane lads, too much noodling.
The Smashing Pumpkins
5/5
Quite a thing of beauty.
The 13th Floor Elevators
4/5
Interesting that this album can simultaneously massively influence the psychedelic rock scene, yet be a really good example of why the electric jug never took off in rock music.
Anyway, I love The Black Angels so clearly I’m a big fan of this one (aforementioned jug notwithstanding). Albeit their second album is better.
Dr. Dre
1/5
Faux alpha male bullshit.
Little Simz
3/5
Feel a bit mixed on this one. The music and vibe is good with decent variety, nice to hear some real instruments in rap. She’s also got a nice lyrical style, but to a point. I just find the London estates patois rather cringe, and generally it started strong but faded a bit. Scrapes a 3.
Girls Against Boys
3/5
Not feeling this today, and I know they have better albums. S’ok.
The Go-Betweens
3/5
I know Australia pre-90s struggled to make much a dent on the global musical stage, but seriously Brisbane, you named a bridge after these guys?! I can only feel that’s akin to Liverpool naming a bridge after Cast or Space.
Anyway, it’s perfectly listenable but struggles to really get the pulse racing. Tbh I assumed I was listening to a Scottish band from the same era until I googled them such is the similarity to other MOR stuff from the time.
Neil Young
4/5
Nice chilled affair, and for Neil Young it does feel quite happy. Although to be honest, if he’d farted into a microphone for 30mins in the early 70s, I’d probably still like it, he was on it then.
I do though struggle with the concept of Neil Young being a beachy kind of person. I see him more of a sit round the campfire in the wilderness kind of chap, guitar in one hand and rifle in the other to take potshots at some bastard corporate loggers. I could be wrong though.
Devendra Banhart
1/5
Now I like me a bit of alternative folk music, but 1001% not this. At best I’ll say that there is a decent guitar player in there, but it’s all a bit like that Eric Morecombe sketch e.g. I’m a brilliant musician, but I just struggle with putting the notes in the right order. And by christ, the voice, is he just trying out different versions of comedy voices for a laugh, it’s so so so grating. After 400 albums I think might be the one I’ve wanted to skip tracks the most, just awful. Come back Pere Ubu, all is forgiven.
Kelela
1/5
Dear list. I appreciate you bringing me some more contemporary fare to broaden my horizons, but will you please desist it with the chav sex music. Let’s just leave this shit to teenagers smoking weed in their Mum’s Fiesta in a car park.
Solange
2/5
Musically never gonna be my thing, but some powerful messaging on there.
The Verve
4/5
Don’t get me wrong, I like The Verve, but somehow their albums have a downbeat vibe which leaves me feeling a bit drained afterwards and not immediately wanting more. Given this I’ve always found the name of the band rather misleading. Perhaps it’s that Richard Ashcroft always seems a bit too far up his own arse and needing to cheer up a bit? Anyway, I prefer the Verve songs with big riffs and searing guitar parts (which I’ve always assumed are more McCabe’s doing) like ‘Rolling People’ and ‘Come On’. The issue is they maxed that style on the epic ‘This is Music’ on the previous album, so they sound like lesser versions thereof. Other than that, the singles are great, some of the more psych ones are alright. but I’m not as into the slower more acoustic stuff which makes the album drag a bit by the end. Low 4.
Soul II Soul
4/5
Wow, that was a weirdly cathartic experience. This album was the scene of my first childhood (14yrs) musical trauma of spending hard earned paper round money on an album, off the back of one single (Back to life), and absolutely hating it. The crushing disappointment was hard, leading to years of solid risk averse album purchases. Seeing this album today therefore gave me the fear somewhat. But hey, how musical tastes can change! While I still despise ‘Keep on movin’, and the vocal performance on ‘Holdin’ on’ is about as bad as anything on this list. It’s actually a really nice album, flavours of early house, funk, soul bringing a nice variety and flow. Some real bangers on here, obvs including the aforementioned Back to Life, and the flute on African Dance is sweet. It’s clearly an ‘influential’ album on a few future scenes.
So, well played my 14yr old self, you were actually a musical visionary but just 36yrs ahead of your own musical tastes. Trauma begone!
Eels
4/5
Eels albums never blow your socks off, but I find they are always consistently filled with endearing and charming song writing, with interesting subtle use of different instrumentation. This debut album is no different, and Mr E always leave me feeling chilled and happier having listened to him. Now go listen to ‘I like birds’.
Burning Spear
3/5
Well that was a rarity, a reggae album that didn’t repel me. I’m not 100% sure why, but the production and the wider diverse instrumentation including the brass definitely made it feel much a more complete sound compared to the awful Marley/Wailers stuff. The dub style bass was pretty also chill, and the more politicised messaging was more engaging (and Marcus Garvey, never read about him before, interesting chap).
Hole
2/5
I’ve not looked at others reviews yet, but I’m assuming others have pointed out that Courtney Love is by far the worst female vocalist we will encounter on this list, and I don’t think she stacks up well even against other more visceral Riot Grrrls from the same time. Alongside some pretty stodgy low grade grunge riffs, this album is entirely forgettable. Dare I say famous/infamous for association only.
Billy Bragg
2/5
What a strange concept for an album. Give a bunch of unrecorded song lyrics of a revered folk singer to professional whingebag Billy Bragg and dullsters Wilco to write some songs with. What do you get, hey presto, you get a middle of the road Country tinged Billy Bragg and Wilco album. The only song I liked was the Ingrid Bergman one, and that’s probably because it was delivered in a Woodie Guthrie style. Which I think is telling in itself. Do we think Woodie Guthrie fans are listening to this album thinking, wow, this is what he’d sound like if he were recording now. I very much doubt it. What a weird idea, they’d have been better off giving the lyrics to some older folk artists to honour his style.
Stereo MC's
2/5
Objectively this is a pretty upbeat and inoffensive hip-hop/dance (ish) album, perfectly listenable. Subjectively, the singer has always annoyed me, and ‘Step it up’ just winds me up. Not for any obvious logical reason, that’s just the way it is.
Christina Aguilera
3/5
Girl’s got pipes, and I guess if you stick at it for 20 tracks something is going to stick. But actually quite a lot sticks here, yeah it’s pop, but theres a fair variety of styles and I liked a few of the tunes, with no real duffers. Fair play, I preferred listening to this compared to Courtney Love’s dreadful howlings the other day, and I’m a grunge fan.
The Mars Volta
4/5
Move over 70s prog, this is how prog should be done! Haven’t listened to this for ages but I’ve always liked this album. I’ll accept its quite hard work to get into, took me a couple of listens to get my eye in. Loads of highlights, but as with any prog albeit garage/latin/prog or whatever you want to call this variant, it can always have slightly too much nonsense to give it a 5*.
As a side note, I never realised before that Flea was the bass player on most of it.
Marvin Gaye
1/5
Dull soppy bollox.
Prince
1/5
The only good thing about having a second Prince album on the list is that it offers another opportunity to say how unbelievably overrated he is. Being able to play a tonne of instruments may make him a great musician, but if you can’t write a decent song it’s all a bit irrelevant. To be fair this album didn’t annoy me as much as Purple Rain, but it still has zero redeeming features. It just feels like someone showing off they can play loads of different styles but just getting stuck on one idea in each song that ends up slowly repeating said idea, often sounding like a sex pest and/or reverting to a nasty 80s funk pop, until Prince got bored. I got very very bored, much quicker than Prince.
Kacey Musgraves
1/5
You are kidding me this is what counts as country music these days!? It’s just indie pop with an occasional slide guitar and sung in a mild southern accent innit? Either way it’s utterly utterly devoid of anything interesting, novel or particular unique musically. Given I gave Prince 1* yesterday, I’m afraid Kacey, your fate is sealed.
Christina Aguilera
2/5
Two Aguilera albums in two weeks is pushing the boundaries somewhat. The surprise was that I thought Stripped was OK. However, this one less so. The title gives some sort of clue about exploring older styles. Which is clearly what’s going on, but all the attempts at original soul, jazz, ballad and funk(ish) etc. styles just end up sounding like Aguilera singing over some very badly overproduced attempts at recreating classics. They sound utterly unauthentic. I mean, the one where they just play some vinyl crackle noise over a ballad is totally cringe, and does not suddenly recreate Ella Fitzgerald. This generally just gets worse as the album gets on. The best tracks were the poppier ones at the start. Fair play for trying to vary things, but maybe stick to what you’re good at Christina.
G. Love & Special Sauce
3/5
Now there’s ‘laid back’, but one surely has to draw a line at not being able to get words out of your mouth properly. His vocal delivery really grated me. Which is a shame as while it’s got a very familiar 90s slacker vibe, it definitely has its own more blusier style against the obvious comparitors. I really am no pedant but, elocution young man, elocution!
Dinosaur Jr.
3/5
Listening to Dinosaur Jr is rather like doom scrolling. You know there will be some good stuff if you keep going, but song structure is irrelevant, so you just have to tackle the whole album wading through the bad singing and unsettling low tempo random chord changes until you get a nice loud bit with an epic solo and enjoy your momentary dopamine release. Repeat album after album. Tbh I don’t massively enjoy their albums, they’re much better live, the ratio of loud bits and epic solos is much much higher.
Motörhead
4/5
Chin up, shout at the sky, it’s Lemmy! Relentlessly high octane as ever.
Circle Jerks
2/5
Bonus point for being very short. Otherwise that felt pretty pointless, or is the shortness the point. I don’t think I particularly care. Next….
Astrud Gilberto
3/5
Funny how some albums are so completely of their time, but in a good way perfectly encapsulating a style that just won’t ever be recreated. This one, while samba based is somewhat poppy and has cinematic soundtrack qualities (albeit occasionally nearly sounding like a 60s movie sex scene about to happen). The song with the child aside, this was a decent chilled listen. Last track probably the best.
The Stooges
4/5
What a great album, definitely the best of the three we’ve had of their’s on the list. I prefer the more repetitive nature of it, kind of garagey motorik in a way. It somehow raises you up on an infectious high and really keeps you there to the end.
Dexys Midnight Runners
3/5
Definitely better than I was expecting, and has a decent consistent vibe across the album. However, I’m not mad keen on his consistently odd vocal delivery, and there’s only so much brass I can personally stand. Low 3.
Mercury Rev
2/5
I’ve always wished Mercury Rev had changed their name after David Baker left. This version of the band is just such naff indie pop compared to the excellent and much darker, menacing and challenging first 2 Rev albums. Other than Goddess on a Highway this album is extremely vanilla, and I’m not convinced adding lots of theremin and a dose of harpsichord makes it particular edgy or psych or whatever they were trying to achieve.
On the upside, this made me read about them again, and I discovered an album ‘World’ David Baker recorded after he left under the moniker Shady. If you’re a fan of the Rev’s first 2 albums head there, it’s good. If you prefer this Rev album, more fool you and go and have some more bland time.
The KLF
3/5
For such a bonkers outfit, were they art? were they anarchists? were they just pop? in terms of their interaction with the media and the public. It’s actually quite a mainstream album. The hits are the outstanding songs I like the rave/house/techno elements, but they weren’t the innovators here other than packaging it in a more accessible way to the public. The rest of it is kind of OK mid house with souly/rappy/spoken bits. Now come on admit it, we’re all left just wanting to hear the Tammy Wynette song.
Happy Mondays
5/5
This is like the musical version of giving monkeys typewriters to recreate Shakespeare. If you give enough pills to a bunch of absolute wasters, one time they might just conjure up some musical gold dust.
While I like the Happy Mondays, I’ve always listened to the Pills/Thrills album, and ignored this. I now stand massively corrected, this is way superior as an album. They’ve always been better musicians than perhaps they get credit, the bass and drums really tight and get the funky/dance vibe going, the guitar perhaps more of its time but very fluid. It’s strangely hypnotic on this album. It’s the vocals that really enhance the vibe, utterly ludicrous and nonsensical at times (Fat lady wrestlers, Germans in trenches; Sleaford Mods anyone?) but with such a hook and rhythm it doesn’t matter. It just works, let’s not overthink it, this is loose, shambolic, fun music to smile and have a fun time to; after all they were totally off their tits recording it. Twisting my melon man, in a good way.
Elvis Costello
3/5
Well there was a surprise, a not so annoying EC album. He clearly hadn’t developed his full annoying vocal lilt, and was deploying a more trad rock style. Bearably short. This doesn’t however get you off the hook list. THIS MAN DID NOT DESERVE MORE THAN ONE ALBUM ON THIS LIST!
Jethro Tull
4/5
Without a shadow of a doubt they are by far the finest band ever to be named after a revolutionary in 17th century British agriculture.
Anyway, it’s got a really nice flow as an album, some great acoustic parts, some ripping guitar solos, the obligatory sweet flute solos. Loads of tempo and stylistic changes, including a couple of real funky tracks. Very classic of its time, and I think the vocal style, delivery and subject matter perhaps puts it at the twee end of proggy type rock. But all in all I’m a sucker for flute in rock. I’m in.
Belle & Sebastian
4/5
Catchy not complicated, simplicity done really well, and with their own unique vibe. Just something about it feels like a warm hug. This album has more of an upbeat vibe than some later stuff I’ve heard. So I’ll stick here and enjoy.
Saint Etienne
3/5
It’s just a bit boring isn’t it. On paper it’s always promised to be good, 60s pop pastiche, house, dub, trip hop etc. But nothing really hits home as remarkable in any way, other than ‘Only love…’. It somehow fails to sound particular unique. So yeah, pleasant but a bit boring.
Joni Mitchell
3/5
Really interesting lyrically, but the songs themselves and music aren’t my bag. It got nicely experimental with ‘Jungle Line’, but alas, the experiment was short. Harry’s House was a cool song as well.
XTC
2/5
I was struggling to find a way to describe how naff this is. But then I read that they came from Swindon and it all made sense. This is absolutely the Swindon of music.
Stephen Stills
4/5
Just a very impressive album from the perspective of musicianship, subtle varieties of blues/rock/country/r&b etc. and mostly just the sheer consistency of good songs throughout. As double albums go, they can be a struggle, this was far from it.
Given all this, it feels a bit wrong to criticise. However, as good as it is, it suffers from already being familiar, with obvious similarities to CSNY. Also, oddly there aren’t any immediate real standout tracks. Therefore it slightly lacks that ‘wow factor’ and just feels like a solid continuation of some fine form. High 4*.
Rocket From The Crypt
2/5
One of those albums you buy at the time (which I did) off the back of one single (On a rope), and immediately regret. My views haven’t changed in the passing years. It starts off like a train and is really good for 3-4 songs, but the more it goes on the more I want it to end. His voice is dreadful and brass/punk grates pretty quickly; basically, it runs out of ideas and staying power. A bit like Arsenal’s season every year post-Xmas.
James Taylor
2/5
This feels like what chat GPT would come up with if you asked it for some saccharine sweet country, blues, rock, easy listening Americana. There’s no denying he’s got a lovely voice and it all feels very chilled and wholesome, and no doubt you could take him home to meet your Mum. There’s also no denying that it’s just too lame for me.
Alice Cooper
3/5
It’s a theatrical and often slightly silly take on a few genres. Varied and entertaining enough, but sadly with just the odd shining light of musical novelty. Personally I thought the last instrumental track was the most novel/interesting. They clearly didn’t share this sentiment given their future direction.
Jeff Beck
3/5
I’m never sure what’s more interesting about the British R&B scene of this time. The music, or just the sheer incestuous nature of the musicians playing with each other driving so much innovation. Lo and behold, and I assume the only reason this album is on the list is for ‘Beck’s Bolero’ which in some peoples view is the birth of heavy metal. But come on, while admirable, one riff does not heavy metal make even if half of what was to be Led Zep played on it (or perhaps wrote it, the incest intrigue continues). Otherwise it’s really just a standard sounding mostly covers R&B album of the time. Perfectly listenable, but feels dated. Oh, and the cover of ‘Morning Dew’ isn’t a patch on the original.
Liz Phair
3/5
My main thought on this album was whether she had ever been marketed in the UK?! Never heard of her.
While the album is overly long and a bit too samey. The music is quite dark and broody and some of the guitar work I like. It’s generally likeable, but it’s not really drawing me back in for another listen.
SAULT
4/5
Nice little surprise this one. It just feels so refreshingly different from the prevalent rock vibe on this list. It flows really well as an album and just has a really dreamlike and warm quality to it that draws you in. Personally I preferred the more Afro-beat/electoronica/hip hop tracks over the R&B/soul stuff. Stop Dem and Monsters the highlights. Will have to check more, albeit slightly confused they seem to have released 6 albums in 2022!
Back to Elvis Costello it is tomorrow then [sighs].
My Bloody Valentine
1/5
I saw them live in 2008 in their much hyped return from a decade or so away,. Not because I particularly liked the ‘Loveless’ album, just because some mates were going and they were supposed to be very loud live. Everyone was duly handed free ear plugs on arrival at said gig, which was a novelty. And it was indeed spectacularly loud, at times like an airplane taking off in your face and so powerful your clothes were vibrating. Quite impressive really. Sadly, most people don’t have a stack of Marshalls in their front room so that trick doesn’t work in the album home listening format. Therefore you’re left with this pile of toss.
John Lee Hooker
3/5
Great voice, nice guitar. But it’s hard to get overly excited about the Blues (or this slightly oddly adulterated 80s version). It had its very important place in time and rock history.
Nick Drake
5/5
There are very few albums I think one could describe as ‘beautiful’. This should be top of the pile.
Side note: For those who in accordance with the above review, I’d thoroughly recommend reading ‘White Bicycles’ by Joe Boyd. It’s a really interesting take on Blues and Folk history in the late 60s/70s by someone who was in the midst of it. Includes Dylan, Fairport, other randoms you’ve never heard of, and Pink Floyd (work out that link!). Most relevantly he produced the Nick Drake albums, so there are some really interesting insights.
Morrissey
3/5
As Morrisey albums go, it’s ok.
King Crimson
2/5
Oof, that was unexpectedly dull. Starts off with a somewhat half decent more trad rock opener, and then just descended into unexciting jazzy proggy noodling. The Larks Tongue album had much more oomph and variety (even if hard to like it all). Guess they were finding their feet here.
Everything But The Girl
1/5
On the face of it there is absolutely nothing wrong with this, lovely voice, ok drum and bass/house etc. However, it just inexplicably makes me feel really sad and miserable, just the whole vibe of the thing. The end couldn’t come quick enough. No reason, I find doom metal uplifting for example, funny how different peoples brains are wired.
Echo And The Bunnymen
4/5
Another perception burst by the list. Turns out I like ‘em, or at least this album. I was quite fascinated, given my Julian Cope (not so much Teardrops) fanboy status, by the similarities between them. While completely unsurprising given they were in bands together. The bass lines are eerily similar in style, and the vocals while individual also have similar lilts and patterns. The big difference is the guitar style, which give it quite a unique dark style alongside the vocals. Enjoyed the album and interesting the different directions each artist took in time.
Eric Clapton
3/5
And hereth the list has decided to mark yet another sad step of Clapton turning from the great innovator to the great imitator.
Mind you, post Cream Clapton and reggae mix, both of which I have very low opinion, on paper should be way worse than it actually is. So in a weird way this was a pleasant surprise. Which is confusing.
Harry Nilsson
3/5
This album, while kind of enjoyably whimsical, still isn’t as interesting as the fact that both Mama Cass and Keith Moon died in the same bedroom in a London flat he owned.
Maxwell
1/5
Introducing you to a new genre, ‘Flunk’. Slow R&B funk for those seeking to add just that bit more blandness to the endless daily cycle of your life.
Big Black
4/5
I’ve never really cared for Steve Albini’s own tunes before. But either my tastes have changed or I haven’t listened to this before. While still abrasive, it’s much less harsh than I thought it would be. The bass in particular really sings and gives the songs a nice melody for the guitars to play around. And generally speaking there’s some good song writing here. Impressed.
Grizzly Bear
4/5
I don’t mind me a bit of 2000s psyindiefolkwankery; Midlake, Fleet Foxes and these guys etc. It’s just nice and chilled, good harmonies and with a bit of musical variation and subtleties thrown in. Doesn’t blow your socks off as such, but just nicely put together.
Van Morrison
1/5
This and his early body of work has undeniably had a big influence on many subsequent artists. For example, the worst honky tonk filler tracks on early 70s Rolling Stones albums, and the almighty decades long blight on pub band music that Brown Eyed Girl had (and makes me want to run a mile the moment I hear it). He has single handled created the most tedious kind of brassed up blues rock that saps your soul. Objectively it’s probably 2*, but subjectively given the longevity of its public exposure and therefore personal torture it’s a rock bottom mark from me.
Napalm Death
3/5
It’s funny that +400 albums in It’s very tiring listening to endless 3* middle of the road ‘ok’ albums (that I’m probably now being much harsher and scoring lower as I’m bored of them, Van Morrison yesterday a particularly dreadful example). So something on the extremes is exactly the thing I’m craving, I actively want to listen to the lowest rated albums. Thing is, if you had ‘1001 Albums that pushed the boundaries’ you’d get similarly bored. Where’s the middle ground?
Anyway, I’ve heard this before and it’s fun, largely terrible and gloriously short. The odd outbreak of a more traditional song structure like ‘siege of power’ and ‘war’ is nice to chuck in, and they are good. But given the original band all gave up pretty quick, you’re kind of left with the feeling this was just some kids who wondered what it was like to play as fast and loud as possible just for a laugh. Then accidentally created a genre. I think it deserves extra a star for that. Which kind of leads you back to 3* score! You can’t win.
Green Day
4/5
I’m not the biggest fan of garagey punky stuff from 90s/00s. But these chaps are certainly top of the pile. They seem to pull out melody hooks very easily, and this album has its decent chunk of banger singles.
Joan Armatrading
2/5
It’s another one of those albums which feels well set up, produced and with some good musicians (particularly the drums, and hey presto looking at the personnel there are two drumming greats). But here comes the but, the song writing just feels very flat, not one single song moved me an inch. We move on….
The Cure
4/5
The second best band to come out of Crawley. Obviously, Spitfire being the greatest. Although The Cure’s vibe probably captured the largely miserable nature of the place much more effectively!
Actually I never really cared for The Cure until very recently when I listened to the Songs of a lost World album, and loved it. Weird mid life crisis or something? Listening to this in light of that was therefore quite an interesting comparison. Mr Smith’s vocal style feels very consistent, and is their iconic selling point. Obviously this is musically very moody, and the drums are quite to the fore, kind of a slowed down Krautrock style. Not sure if I like them hugely. But all in all, fuck it, I’m a Cure fan now (except Friday I’m in Love - I bet he hates that it’s their biggest hit and worst song).
FKA twigs
2/5
It’s not terrible, in fact quite enjoyable to start, but the fragile voice thing and the quite repetitive cold and stark backing track tricks, while probably it’s USP, makes it very dull and uninviting very quickly for me.
Nick Cave & The Bad Seeds
2/5
Let’s just call this out for what it is. Pretty tortuous. Yeah he’s got credit in the bank for some good stuff in his time. But no-one needs this album of not always in tune talk singing, with limited backing to moderate the former (I bet the Bad Seeds were mightily unimpressed when he brought them this one “Don’t worry lads I’ve got this one covered, you all just sit quietly and behave there in the background”). And Black Hair, lyrical genius, come off it, sounds like a 6th former wrote it. File this one alongside all that Waits/Cohen claptrap.
Rush
2/5
Is this the second Rush album now? Feels like it, and I still remain very confused by them. They seem like talented musicians, kinda interestingly heavy and proggy, however, the vocals are so lightweight it sort of drags the whole thing down for me. It’s all just OK, but I’m most confused by who would actually be really into this.
PJ Harvey
4/5
I rather foolishly, it would seem, dismissed this at the time. It turns out once you get past the fact this is vocally and musically much more subtle than earlier affairs it’s really rather impressive. The subject matter is perhaps as dark and challenging as usual mind. Some really nice song writing and the musical styles and layers are extremely varied. Nice work.
CHVRCHES
1/5
Oh goody, another chance to slag off the 2000s. I’m no fan of 80s synth pop, but at least the best songs were catchy. What the bejesus this more contemporary version is supposed to bring to the world is beyond me. Are there any uplifting or good hooks in the lyrics and melodies? Nope. Any novel electronic sounds and beats or excitement whatsoever? Absolutely zero. I seem to recall these guys were considered ‘indie’ at the time. Seriously? What’s gone wrong with the kids in recent years, where’s the invention, so much ‘new’ music including pop is so effin ploddy and bland. Why do so many bands sound like something their parents would wholeheartedly approve of, that ain’t rock and roll is it?!?!
Milton Nascimento
2/5
All a bit disappointing really. I was hoping for something a bit lively, there’s been some good Brazilian stuff on the list, however this never really got above tepid. It has a dream like quality even through the subtlety different styles which has a certain appeal, and a couple of brief places it started to get a bit psychy with appropriate guitars attached, but alas, it was not to be in any lasting form.
Death In Vegas
5/5
Always loves these guys. Their rock/electronic crossover is pretty unique. In a way there’s a neat formula on this one, set the groove in the baseline add a pretty simple slow drum pattern, and the guitar, vocals and electonics provide the atmosphere (or is that just describing all
music, but you know what I mean!) This is definitely their darkest album, probably most suited to this who love a bit of drone/Kraut rock. It’s not a ‘blow you away’ album as such, but I still listen to this and their other stuff a fair amount. I just find it chilled but with a nice amount of edge.
The Cure
4/5
It’s interesting to compare this to Pornography given we only had that on here a couple of weeks ago. It doesn’t feel as dark, and has a more psychedelic and dream like feel to it. Also some of the songs are less complete, I guess the band were still finding themselves. Therefore I don’t think it’s as consistent in comparison as an album, however, ‘In your house’ and ‘A Forest’ are such monsters of songs (which Pornography didn’t have) it’s hard to give it a different mark.
Cypress Hill
4/5
So this hasn’t changed my pre-conception that these guys really really really love their weed, and they produce some of the best head nodding tunes out there.
Tbh i don’t recall ever listening to this album, so it’s a funny one to review given half the time you’re thinking you’ve heard it before, and then realising they clearly borrowed a lot for their excellent 2nd album. They’ve got a very similar vibe, albeit this one seems to sample more funk (a bit like Beastie Boys of the similar time). The beats and lyrical patterns are just great, and the lyrical content, well it is what it is. And my head nods on.
Nick Cave & The Bad Seeds
3/5
Kind of an entertaining listen lyrically. But I struggle to get fully onboard. While he’s got a strong voice, he’s not a great singer. And while the stories are interesting, they are rather creepy and seedy, not really much joy to be had. And the music is a just bit meh, strays into Celt rock influences a bit too much for me. Scrapes a 3.
R.E.M.
4/5
I think these must be up there as four of the best opening tracks on an album ever. But then, well, how do you follow Everybody Hurts. Turns out you stick a nothingy instrumental in, and then a good second half which just doesn’t quite stack up against the openers. Maybe there is a drop, or I couldn’t fully cope with the melancholy any longer, probably a bit of both. I’ve never thought of them as musically that strong, but the strings were used really help, but overall it’s definitely a Stipe masterclass. I can’t quite give it a 5 though.
U2
3/5
Well punch me in the face and call
me Geoffrey, a U2 album I don’t mostly dislike. Actually the first few songs are pretty good, but it tails off as it goes on. I think that’s partially a victim of generally I just dislike Nobo’s vocal style, and nothing is going to change that. Soz, not soz.
Siouxsie And The Banshees
4/5
What a nice surprise. I thought this would be some trashy punk, but no, the girl can sing and totally hold the album. It’s really quite intriguing that there’s a lot of deliberate, almost anti feminine tones, and then she’ll switch with ease and power. The guitar and drums have a nice pushing drive to the songs. You can see how this had a big goth influence as well, in the slightly theatrical nature of it. Shame about the Hong Kong song though, seemed an unnecessary gimmick and didn’t really fit. Anyway, I really enjoyed it.
Tortoise
2/5
Rather bittersweet this one. We wait patiently for 473 albums and FINALLY we get some (kind of) post-rock. Shame is, this is very dull, barely getting up above walking pace. Please let there be some ‘Mogwai’ and ‘Godspeed You! Black Emperor’ coming up to save the day and the genre ratings. We desperately need some proper quiet/loud/quiet/loud. Please list, I’m begging!!!
Pink Floyd
2/5
Aha, you had me briefly fooled, this is the real Floyd I remembered and hated before you tricked me with ‘Wish you were here’ sounding ‘ok’. This is a bunch of self aggrandising toss (as most concept albums generally are) with quite terrible vocals and quite samey dull guitar parts. To be honest, this has somehow lost some of their uniqueness and starts to sound in places like other 70s proggy acts. Only the singles save this from 1*. This sort of thing is of course why punk happened.
Miles Davis
3/5
Quite a frustrating album in a way. The first half made me feel oddly anxious, insofar as it felt like just one intro which occasionally seemed like it would let go, but never did. The second half was better when it finally got a bit of a groove on, but not exactly edge of the seat stuff. At least they got things going more in the follow up album.
David Holmes
3/5
Funnily enough I listened to this recently when looking for old 90s trip hop. I guess this is part that, part faster breakbeat stuff. And this I guess is the albums USP, live fast beats, and lots of them. Which is fine, to an extent, but unfortunately the song structures and other electronic or vocal melodies just aren’t there. So it feels fast paced but without the content to keep you very interested. The James Bond and Serge Gainsbourg ones add a bit of interest, but nothing other than novelty. All in all it’s OK, but it doesn’t stack up that favourably against its British EDM peers of the time.
Lightning Bolt
4/5
I like me a bit of noise rock, and this is that with a capital NOISE. Quite the opening barrage (which took me by surprise) which doesn’t relent, in what is an impressive album in its pure power and aggression. Much like thrash or speed metal in its intensity really. There were two or three tracks which went a bit extreme for my tastes, but there were also some great songs to feel pumped and get the head nodding. The last track in particular was ace; I love the distortion of the speakers left in just to give a feel of what this might feel like live.
Tbh it makes my usual noise rock faves like ‘It It Anita’ or ‘mclusky’ feel quite poppy! I still prefer the latter, but that album was a great ride, and way more fun than most fare on this list.
John Cale
3/5
Rather disappointing really; an artist famed for his leftfield approach to music, and which I’ve never got round to listening to. And we bloody get given his most accessible pop album. So err, yeah it’s fine, there you go. Onwards…..
The Monkees
3/5
There is just always something very endearing and fun about The Monkees. But that’s probably part of conditioning from their TV programme as an 80s kid (did BBC or ITV re-run their shows, can’t remember?). There’s not many real quality songs in there, but their Beatles meets Jefferson Airplane style is nice on my ear. Also, I’ve never thought about it before but Micky Dolenz is definitely the best singer of the gang. His Randy Scouse Git is also the pick of the bunch.
Mekons
2/5
I once bought a Mekons album in the early 90s, which was money wasted. 30yrs later this isn’t going to convince me to buy another one. I don’t mind the more spoken word stuff with melancholy folk backing, feels very proto post rock. The rest of the celtic/folk/country stuff really is never gonna my bag.
Bruce Springsteen
1/5
Dear Bruce. You seem like a very nice man, with an entertaining sideline in winding up the moronic orange bully. However, I’m afraid your brand of blues rock is like kryptonite to me. The longer the similar chorus vocal rises, plinky plonk piano and sax fills go on, the more my brain wants to explode. This album seems to be the absolute pinnacle of that style, so may I offer some congrats for that. Yours, Mr Hoping Theresnomorebruceonthelist
CHIC
2/5
Better than C’est Chic, but I’m never going to love this, and some of these songs really drag.
Method Man
3/5
It’s just ‘OK’ isn’t it.
David Crosby
3/5
In purely mysogenistic terms, this album flirts with you and shows a bit of leg in the first couple of songs. But that’s as much as you’re getting, and that realisation hits you the longer the album goes on, and leaves you a bit frustrated given the wares you thought might be on offer.
Barry Adamson
2/5
Well starting an album off with Jarvis Cocker ‘having it off’ is very brave, possibly foolhardy and definitely ‘ick’. And it’s all downhill in terms of music and interest from there. Why on earth have we got two pretend soundtracks from this chap on the list. Waste of my time. Next….
Talk Talk
3/5
It’s hard to go into these 80s pop bands without some trepidation. Fortunately it wasn’t too 80s or poppy, which is some sort of backhanded compliment. Kind of interesting in places like some nice strings and the choir bit on the last songs was well done. The hit is better than I remember. I quite liked the chilled vibe, but maybe overdoes the mood or substance at times.
Ice Cube
4/5
Don’t mind a bit of the Cube. His political stuff is really engaging, and there are some funny lines on here. Notwithstanding the crappy misogyny. The production was interesting, felt like it had an unexpected house music feel in there but with clever samples and beats over that. Perhaps not as strong as The Predator we’ve already had on the list but still a great listen and has that effect of making you feel pumped up. Turns out he’s maybe my favourite rapper, never knew I’d have one of those, get me!
Quicksilver Messenger Service
4/5
Love this sort of psych rock jam thing, so this is a nice surprise. Some great guitar leads and playing off each other. Drums quite Krautrock like, and a nice dancing/walking bass. What’s not too like, it’s nice to hear some musicians just enjoying themselves around the theme of songs and not feeling too restricted. Very jazz like.
Genuinely don’t understand the hate in a lot of the reviews of this. But to end on, while I respect another reviewers opinion that Henry from Neighbours did a superior version of Mona, I do disagree, but will concede it is a close call.
Michael Jackson
2/5
Much like the man himself, that hasn’t aged well. Never a fan in the first place, but the eeeeeee-heeeeee’s are pretty insufferable and some of the bass lines and backing are of the 80s sound that makes me cringe. That being said you can’t deny his pop class in some of the songs. That also being said, nonce tax must apply. Not sure quite where that leaves us, but a 1* feels a bit harsh.
Culture Club
2/5
It really doesn’t help my frame of mind getting this the day after Michael Jackson’s ‘Bad’. This is some bad 80s pop doldrums we find ourselves in.
And let’s not pretend I’m ever going to appreciate this. At its core is some 80s’d up soul/funk/reggae sounds which makes up the bulk of the non-hits, which is just plain naff. Karma is so overplayed it makes me want to run away from it. Church of the poison mind for some reason I like and saves it from a 1*.
Come on winds blow, get us out of this spot!
Sam Cooke
3/5
The energy is great from the artist and the crowd, which gives a real insight into the time and place. So it’s a lovely slice of history. Do I love the music, well it’s OK for a while but then I get a bit bored.
Also I question the song about coming home, waking up your wife and singing to her ‘it’s all OK’. Pretty sure most chaps would get short shrift and a couple of nights in the spare room. Come on Sam, you’re fooling no-one with your relationship advice there mate.
Bruce Springsteen
3/5
He must have been going through his Guthrie/Dylan phase at this point. And I approve, well, in comparison to his usual middle of the road rock guff.
The Jam
2/5
I have always really really struggled to understand the appeal of these guys. I’m not sure they were really the first ones to do the mod/punk/pop thing. So other than Weller’s attitude and some interesting lyrics, musically it’s basic (and heavily relies on hackneyed Townsendesque, chu-ching flourishes), and vocally it’s not strong or with great melodies. So it’s all rather forgetful for me, yet apparently not to many. I remain mystified.
Lucinda Williams
3/5
4 albums short of the big 500, and I think your brain starts doing funny things. Or maybe it’s simply that anything slightly different to standard variants of man rock sounds more appealing all the time. Either way, I thought I would hate this, but it was a nice pleasant interlude to the usual, and while it feels fairly standard alt country, there were enough twists with blues and bluegrass to keep it musically interesting, and there were some decent songs there.
Raekwon
3/5
A bit too stripped back for me to be particularly interesting. I prefer a bit more musicality/sampling etc to temper just a constant flow of words. At the same time, a few songs landed, so yeah it was OK.
White Denim
4/5
Saw these guys live before ever listening to an album. They were super impressive musicians, the bass player blew me away particularly. Kinda shows in album format that technicality and musicianship is to the forefront and better than the actual songwriting, and occasionally overwhelmingly so. That being said, psych rock jam stuff is my bag, so it’s a great listen (Back at the Farm can rival any 70s rock band).
Syd Barrett
3/5
Is what it is really; a bloke with some talent, struggling with himself and to get that talent out. Terrapin and Octopus are great and feel kind of fully formed. The there’s some where you can feel there’s a good song in there, but they’re not developed and it’s lost in the overly vocal focussed mix. Then there’s just some bang average/bad songs. But I’m a sucker for some eccentric British psyche whimsy, and I this is a decent exponent, albeit fairly extreme version thereof.
Daft Punk
4/5
We only bloody well went and did it, we got to 500 albums! Is that a celebration or just another mark on the wall of a prison
sentence that we’re not even halfway!?
Anyway, cracking album to bring up the milestone. House, funk, disco, techno all curated in that kind of effortless cool French artists often seem to manage. It all feels very sleek and clean. My personal faves are the dirty techno like ones like ‘Rollin and Scratchin’ and ‘Rock and Roll’. More than a nod to Laurent Garnier in those. Can’t fail to enjoy this (or not for all the effin miserable reviews on here, dance music is supposed to be repetitive kids, but so’s punk, just different instruments!)
Aerosmith
3/5
The more I’ve read/heard about Stephen Tyler over the years makes me feel rather ‘ick’ about him. So an album full of shagging songs doesn’t help matters. Trying to separate that out, it’s an OK album. It’s upbeat hair rock, and more of their obvious style compared to the earlier albums we’ve had here.
Jane Weaver
4/5
Well I certainly wasn’t expecting some Dream Electonica Krautrock. But hey, who is?! Nice surprise all the same. Took a couple of listens to get the hang of this, it’s quite the pleasant subtle genre bender.
Starts on a pure Krautrock banger, chills with some dreamy electonica and then heads of amongst some slightly more psych and dronier ones. Has a lovely consistent feel to the album. I will be back, and have a look at the size of her back catalogue, this could be fun….
The Byrds
4/5
This is a fantastic history piece of an album. They’ve tried to sound like Dylan and the Beatles, which doesn’t exactly work. The gritty lyrics against the ‘girls left me/girl stop crying’ songs just butt heads a bit painfully. But at the same time in doing so they’ve kind of invented what becomes the west coast psyche with the harmonies and jangly guitar (slow it down, add a bit of reverb and talk about drugs more and they’d have been there). So it somehow manages to be groundbreaking and a bit twee at the same time.
Additional scoring considerations:
- Their bowl haircuts are off the scale cool.
- ‘We’ll meet again’, is totally awful. For the Brits, you just can’t cover that song at all. It just doesn’t and would never have the same powerful message and poignancy as the original.
Grandmaster Flash & The Furious Five
3/5
An enjoyable if clearly dated album. Liked the robot voice song the most. Love the fact that Grandmaster Flash invented the slip mat, that’s weirdly cool.
Britney Spears
1/5
“Absolute scenes Jeff, they’ve made some middle aged men listen to Britney. It’s total carnage in here!”
Lloyd Cole And The Commotions
2/5
Just another one of those albums that drifts by in a blaze of middle of the road mediocrity, making you wish that this list drew more from wider genres and their extremes than the briefly popular. Makes you think that maybe, just maybe, I should listen to Pete Ubu again….
The Stranglers
3/5
I’ve always generally liked The Stranglers sound. The bass style and organ combo is pretty unique in the punk context. But you know what, an album worth gets a bit samey, and the almost slightly prog like songs towards the end got a bit silly, which seems somewhat anti-punk.
Brian Eno
3/5
Hard to know how to score this one really. Plus points for creating ambient music itself. However, that’s such a sweeping genre of music, it can and does also include hours/days/months of irritating nothing sounds. This album was about right for background music while working today, another day and time it could be quite frustrating as nothing really happens. Other future generations corrected that somewhat. Think that puts us square in 3* territory then….
T. Rex
4/5
Impossible not to like a bit of the Rex in full flow. The singles etc have that cool jittery funky glam swagger to them, they just draw you in and make you smile. The slower bluesier stuff, tbh, I find less appealing. Former outweighs the latter.
X-Ray Spex
4/5
Hard not to compare this with the (similarly appealing) Siouxsie and the Banshees album which was released within 3 days of this one. Guess it took everyone a year from the Sex Pistols release to get their tribute acts together. But that’s doing this a massive disservice. Punk wasn’t so much about musicality as the attitude, and there’s tonnes of energy to be had here. She has a great voice and one might say a bit more pop sensibility than your average punk. Musically it has a slightly rockier sound with the simple but effective sax giving their spin on things. Very entertaining (I am a Poseur the almost glam rock highlight), almost more so as this was their only ever offering. In your face, and done, that’s punk.
Bon Jovi
3/5
Is this peak hair metal? It’s definitely up there; the album starts strong but then it’s a little too naff and cheesy for me in the end. This is going to sound sexist, but I think there is a deliberate (and successful) attempt to woo the female market here. I think the Def Lepard and Van Halen albums we’ve already had on the list are just a bit better and sillier for my tastes.
Penguin Cafe Orchestra
3/5
It’s kind of pleasant, and rather like listening to the soundtrack to a Mackenzie Crook comedy series.
Nick Cave & The Bad Seeds
3/5
All went a bit Band Aid at the end there, what was that all about? Anyway, it really does turn out you can have too much murder on an album. It starts off ‘brightly’ and the duets are the real highlights of the album (and I thought murder ballads were traditionally a play off of male and female leads?). Which also helps prove a theory I have that Nick Cave albums would probably be better if there was a less Nick Cave singing on them. The theory is also proven by the album and the theme dragging as it went along, and quite honestly in O’Malleys bar you’re just wishing he would stop. And then back to the comedy ending.
The Verve
4/5
When they really get it going they are big sounding, with really bold soundscapes and some decent accompanying melodies. ‘This is music’ is one of my all time favourite songs. That being said, 60mins of this begins to drag, and Ashcroft’s vocals do grate somewhat over some often too extended periods of not much happening. For me, I prefer this album to the more famous younger sibling as it’s grittier and with more dense guitar parts (e.g less Ashcroft ballads).
Ms. Dynamite
2/5
That’s pretty shite-tee-hee
Creedence Clearwater Revival
4/5
I didn’t think the Cosmo album we’ve had in here was that great. This one, however, is much more what I was expecting. It’s a real victory of rhythm, swagger and groove over any overly complicated songsmithery or technical skills. Just a nice fun laid back listen, what’s not to like.
Elvis Presley
4/5
Corny, cheesy, over the top. Yup, all of the above. But it’s Elvis, and he was effin great. End of. TCB
Queen
3/5
It’s a curious yet entertaining listen. You’re first wondering where Freddie has gone on the first song, then baffled by the constant stylistic changes of May, then battered with thickly layered harmonies. Fair to say they were having fun in the studio and throwing everything at it. Standard song structure often went by the wayside, but that’s no bad thing, and they’ll improve that. Personally I’ve always been a bit bemused about the pop theatrical dynamics of Freddie working with the rock man May. It doesn’t always feel natural as such, but it does work. Personally I prefer it when May gets his riffs on, I’m less moved by the ooo-ooo, aaah harmonies and the more operatic style of Freddie. Always gonna respect them, but never love them.
3/5
Robin (Bob) Trevor Dylan was born in 1941 in Asbestos City, Michigan. His father, Alan, was a wooden spoon whittler, and his Mother, Karen, a homemaker and amateur magician. He had four (4) siblings none of whom liked him much. At the age of seven (7) his parents bought him a guitar as a bribe to try to stop his bedwetting. He took his first guitar lessons with Ms Nicespuds, a local eccentric operatic jazz folk visionary and cat lady. Bob was an enthusiastic musical student and loved to listen to the local radio stations, playing the old blues greats like Grits Magee, Ivor Biggun and Old ‘Deaf’ Tom Blackman. He played the local circuit where everyone said he had a bloody awful voice and sometimes smelt a bit musty. Unfazed, Bob became a professional misery and global megastar, famed for insightful political and cultural electric folk music, sung with a bloody awful voice.
Honestly list, after whatever it is now, 5-6 Dylan albums, I have nothing sensible left to say.
Tears For Fears
2/5
I was trying to think of some clever metaphor for this album, rose amongst thorns etc, but that’s too corny. Let’s call it out for what it is, a truly terribly typical peak 80s album, with all the synth wankery and sax and guitar solos lobbed in you could ever dream of. If you like that sort of thing that is. Personally I bloody hate it. ‘Shout’ is the only saving grace, awful fake tin pan banging rhythm aside, it is a bangin tune.
The Undertones
2/5
I love the wiki page that says this is noted for being musically more sophisticated than their debut. FFS what were they playing, a toy xylophone and triangle on that one?! This is by far the least sophisticated music we’ve had in 500 albums. Only saved by Feargal having a decent voice. It is what it is, a bang average 6th form band.
Supergrass
5/5
Some albums just take you to a time and place. This one very distinctly is me travelling around SE Asia in 99. In particular (and I don’t know how I remember so distinctly), riding a moped round Angkor Wat and its surrounds with this album (moody cassette version from the Khao San Road) on my Walkman. The memory of happiness and freedom is strong in this one.
As for the album, well it’s defo Supergrass’s strongest effort, and is pretty much their ‘psychedelic’ album. The addition of the keys really adds to the vibe, compared to the pop punk of their debut. Just a bunch of great songs done in Supergrass’s happy vibe. Combined with my memories, it’s fairly clear the score this is getting….
Taylor Swift
2/5
She certainly has got a poetic talent for lyrics. However, for me I just cannot fathom why she’s quite so big; the songwriting itself and the music is just so bland. Nothing jumps out to me as hits, and that includes the hits. I clearly am just not wired for this sort of thing.
Spiritualized
5/5
It’s like a dear old friend this album. Not a friend you see that often, but every year or so you say Hi and instantly feel very at home and relaxed in their company.
So yeah Spiritualized went on to bigger and bolder things (musically/technically speaking with strings, gospel backing etc). But ultimately this is the simple essence of them, a reverby repetitive slow groove. I personally think ‘200 bars’ has the best telegraphed albeit subtle ‘drop’ ever (not that I can think of much competition, but that’s not the point). And relax….