this album epitomises the emergence of post-punk, made unique with its instantly recognisable basslines of peter hook and the melancholic baritone vocals of ian curtis. curtis’s lyrics are one of the biggest contributing factors to my rating of the album, and are profound and poetic, and allow the listener to glimpse into his psyche.
some of my favourite tracks included disorder, new dawn fades, interzone and shadowplay, for their ingenious riffs, bass lines and lyrics. for me, there were some slower areas, such as day of the lords, which pushed this album down from a 5.
the influence and impact of this album must also be considered, and the fact that it is so well renowned corroborates my rating. even today, 45 years after its release, the album is still influential, notably i thought in the band fontaines dc, who have magpied those strong basslines and bleak lyricism.
sonically, for me, this album is amazing. it embodies southern rock, with van zant’s incredible, growling vocals, and rhythms that instantly make you want get to up and dance, such as “gimme three steps”.
when considering this album, it is impossible to ignore the iconic guitar riffs and solos it contains. every song has well-crafted licks that are the making of the album, most obviously in “free bird”, which presents over 4 minutes of solo.
for me, i preferred the first half of the album, which felt better structured. both “things going on” and “mississippi man” felt a bit slow personally, and didn’t flow as well.
many reviewers, when writing about this album, are reflective of the band’s personal views. whilst i do not endorse any racist behaviour the band may have displayed, it is important to place them into the context of 70s southern america, and understand the social norms at the time. instead of just condemning this, we can understand and learn from it.
this was, for me, my first introduction to 90s hip-hop, and i don’t think there could have been a better album. the lyrics, which provide a social commentary, without being too harsh, are set against a backdrop of dance-inducing beats, creating the perfect balance between perfecting the album sonically, and getting their points across
this album and the group as a whole has also had a vast impact on similar artists, with influences still evident today in hip-hop, rap and r&b. their legacy is immense, and defined the 90s hip hop scene.
a rarity in this album is that i believe it has no skips - something that cannot be said for many. therefore, i rate it five stars
i found this album bang-average. the guitar riffs were not particularly exciting, and the vocals seemed to not change for the whole 39 minutes.
some songs redeemed the album, such as sympathy for the devil and jig-saw puzzle, which felt mor developed and thought through, although sympathy for the devil went on for about 3 minutes too long.
personally, i feel that the rolling stones have considerably better work than this, and that this album is not their strongest
listening to this, i tried my best to appreciate how this would have sounded 41 years ago in 80s discos, but even this couldn’t compensate for how dull this record was. when listening to music, i try to find meaning in the lyrics, and if being honest, pauper’s lyrics felt uninspiring and often non-sensical. the use of synths was mildly interesting, but was so similar on each track that i switched off easily
i gave this album 2 stars solely for how iconic ‘girls just wanna have fun’ has become, the only song with any real character on the album.
despite this, i can imagine that if you are an 80s pop fan, this would be a great album.
my first beatles record! containing 8 original songs and 6 covers, “with the beatles” is a brilliant display of the talent of the early beatles, showcasing the beautiful vocals of paul, george and john. notably, the vocal harmonies on this album were very prominent, helping to define their sound as a band.
i particularly enjoyed “till there was you” and “please mister postman” - both covers which were done brilliantly by the band.
when considering this album, i was also aware of how young the band actually were - george harrison was only 20. to produce a record of such quality at that age is deserving of 4/5 stars.
i was slightly disappointed by the first half of this album, finding it to be all very similar and a little bit boring - not to mention some questionable lyrics. however, around the “help me rhonda” mark, things started to change for the better, the tracks becoming more diverse, but still retaining those characteristic beach boys motifs - notably their iconic harmonies. personally, this first half felt as though they were only writing the songs to succeed commercially, not from a place of real interest.
in contrast, the second half of the album, more reflective and introspective, appealed much more to me, saving this album from falling below 3 stars. i enjoyed “in the back of my mind” especially.
i believe this isn’t the best showcase of the beach boys’ talent, and other albums - eg pet sounds - give a much better idea of their ability. i can see why people get bored of this album - the repetitiveness can become dull.
ever wondered what would happen if blur, bowie and supergrass had a musical baby? it was answered for me in this album
the amalgamation of britpop with 70s influence was a bit incoherent, but kept the album refreshing. the more gripping first half of the album appeared more typically “britpop-py”, with a range of albarn-esque harmonies and simple yet effective guitar riffs. the second half for me didn’t click in the same way, yet each song still had its own redeeming qualities. overall, i really enjoyed this fusion of sounds, from a band i had never previously listened too, and i would definitely listen again.
with this album, my rating comes as an average of many different factors i tried to consider to make this as fair as possible - technical difficulty, context, how likely i would be to re-listen. being such a different record that anything i have listened to before doing this, i found it hard to rate.
from a musical perspective, this album is incredible. in each song, jarrett takes the listener on a musical journey, allowing their emotions to rise and fall with the music. his use of dynamic range and a variety of rhythms helps to do this effectively. the story behind this album is also fraught with adversity, and yet the fact that he was still able to record something like this is astounding.
whilst jarrett’s talent is evident, i can’t honestly say i would re-listen to this album, unless in very specific circumstances - a dinner party in some stately home perhaps. i appreciate the difficulty of this composition, but it is also 1hr of purely piano playing.
i didn’t have particularly high expectations going into this album, having skimmed through the wikipedia page, but i was pleasantly surprised. it’s psychedelic sound, with prominent vocals, and simple yet effective riffs appealed to me, with each track being quite different from the one before.
this early happy mondays work is, to me, quite different than any other britpop band releasing music at the time, something which i find quite refreshing. although i personally enjoy this sound a lot, i can imagine it’s possibly a “love or hate” situation, and only works for some people
classic, prime springsteen. some areas i found a bit slower than other (ie working on the higher) - in general i preferred the b-side of the album. no surrender, dancing in the dark and glory days are examples of the highlights of this album, with the boss’s roaring vocals, and the immense talent of the e street band. you can also hear the 80s pop influence in this album, which intertwines itself nicely with springsteen’s rock sound. overall a classic album.
i very much enjoyed the sound of this album, a mix of hip-hop with soul-like features, which blended nicely. i also appreciated the - if somewhat facetious - lyricism of jay-z, and i am often in awe of rappers for crafting such long, intricate verses.
to be honest, i rated this album a three due to its length. after about 40 minutes i was getting bored of the sound, and each song sounded like the last. if this was a half hour album, it would have kept my attention better.
what a truly beautiful piece of work. this album is so deeply reflective, it forces its listener into cash’s position at the end of his life. cash’s humble yet moving vocals are what really make this album, for me. the covers picked out for this album seem so perfect for what cash was trying to achieve, and he does them justice. nothing else to comment on asides it’s beauty.
whilst working my way through these 1001 albums, i try my best to look at each one from the perspective of a fan of the album, and try as best i can to remove to bias of preference. despite this, i found “stripped” uninspiring, and quite frankly about half an hour too long. in saying that, i do also want to recognise aguilera’s vocal talent which is evident throughout this album, and at certain times, she really does show it. i think i just don’t get on with the sound - hence my overall rating.
as my introduction to the jesus and mary chain, this album certainly did them justice. i absolutely love the sound, with no one song being overly complicated, yet still achieving a near-perfect shoegaze sound. the ability to compose songs that are not intricate as such, but still work beautifully on an album requires a lot of talent, and they managed it brilliantly. songs that stood out - darklands, cherry came to and on the wall. possibly there were some slower parts - nine million rainy days - but that hardly affected the overall excellence of the record.
there’s something present in the vocals on this album - which seems to be present in many records of this style - that somewhat irritates and bores me. the style of singing is so unoriginal that it marrs many of the songs on this record. despite this, there were some moments that i really enjoyed - namely when john forgery was not present. the talent of the guitar solos, for one, astounded me, demonstrated well in “good golly miss molly” and “penthouse pauper”. the band behind the voice are evidently skilful, yet the vocals leave an indelible mark on this album, personally.
and quite frankly, tina turner does “proud mary” much better
listening to this record feels almost as though you are listening to one long sound, that modulates and changes slightly as it flows smoothly into the next track. this creates an ethereal, gentle sound, which appeals greatly to me, characterised by seemingly-eternal harmonies , that pervade every single track.
as is often the case with many albums recorded in this time, its production was rife with interpersonal challenges. to then create a record such as this, which, in contrast, often seems happy and hopeful, is quite a feat in my eyes.
i was pleasantly impressed by this album, having started it with minimal expectations. the pop albums i have previously rated have gone no higher than 2/5, but madonna managed to break that mould. in some respects, this album felt like listening to one long song, that changed and modulated gradually. the album’s mix of techno-pop, psychedelia, ambience, and any number of other genres flowed really nicely. her vocals on this album are first-class, and are a refreshing move away from her traditional pop style. it’s a great background album, creating its own relaxing, gentle atmosphere. one of her greatest works.
can’t go wrong with some classic 60s rock! a nice easy listen with some great tunes, and simple yet effective riffs. this album is by no means groundbreaking, but it fits its genre nicely, and isn’t trying to be anything different. nothing much more to say. solid album!
having had to listen to “bayou country” only 4 days ago, getting “green river” made me audibly sigh. however, creedence managed to redeem themselves slightly with this album. the songs were better paced, with the vocals not being too offensive, and leaving enough room for the rest of the band to show off. the guitar solos were notable on this album, often not being particularly complex or technically difficult, but still fitting into the songs nicely. i quite enjoyed the final two instrumental songs, giving a break from the vocals, and showing the talent of the band behind the voice. overall, this was a pretty good album, with a couple of songs i really enjoyed, and a significant improvement on their previous album.
it was bound to happen at some point!
in all honesty, this was my first time fully listening to this album. it took me a couple of tries to get into it. first time round, i was tired, hungry and cynical, and i didn’t pay enough attention, which left me wondering how this could possibly be considered a classic album. i was severely underwhelmed.
on my second listen, later in the day and feeling a lot more positive, i was determined to understand this album. it was on this listen where i understood the hysteria around this record; the innovative studio techniques, the unique solos, the calm vocals. just goes to show how great an affect your mood can have on listening to an album.
despite all this, i don’t believe it is fully a perfect album; if there was a 4.5/5 i would choose that. but it’s close enough, so i’ll round up for the sake of its legacy.
absolutely brilliant album, beautiful harmonies, iconic riffs, simple songs, yet never purporting to be anything more. bruce foxton delivers some killer bass lines on this album, such as in “start!”, which are the making of this record. in addition to the music, the cover is iconic, playing on the BBC’s ‘Sound Effects’.
paul weller was my first proper concert, at bedford park in 2022, where he played a few tracks from this album, mixed with other jam stuff, style council, and his extensive solo music. screaming “that’s entertainment” with thousands of others adds to how special this album is.
i wasn’t really sure what to make of this record. it doesn’t really seem to fit into any one genre, instead taking elements of many and combining them. there were songs i enjoyed more than others - ie rikki don’t lose that number - but for the most part, the sound didn’t hugely appeal. having said that, i would re listen to this album, because it’s interesting technically, and has some cool instrumentation.
i’m a bit baffled by this record if truth be told. it doesn’t seem to know what it wants to be, whether that’s rock, pop or post-punk. the songs felt over-produced, and were too repetitive. the lyricism was frankly boring. i did quite enjoy his vocals, but i’m not sure they fit whatever style this record is. honestly, i can’t say i feel strongly either way about this album - purely mediocre
a beautiful example of the powerful and controlled vocals of sarah vaughan, and the talent of the trio behind her. i’m not personally a fan of live albums traditionally, but i thought this record demonstrates all the great parts of a live album, removing the perfection of the studio, and making it feel altogether more human. very little else to say, and i would definitely listen again.
musically, this album is poor. the songs were too repetitive, had non-sensual lyrics, and were often boring. sonically, the album was boring, bar one or two songs that i enjoyed slightly more, due to the fact that they had little/no vocals. i wouldn’t listen again.
i expected this album to be a direct repeat of “beggars banquet”, but i was pleasantly surprised upon hearing it. i really enjoyed this album, an eclectic mix of slower songs and more upbeat ones, creating a fine balance. i also found jagger’s vocals more agreeable on this album, and much less forced than previous ones. i think their return to their original, more bluesy sound was a good choice, resulting in a more interesting album than what they had previously released. overall, i enjoyed it immensely.
whilst i can appreciate the appeal of this album, for me, the ceaseless guitar and never changing vocals were a bit tireless. i often could tell one song from the one that had come before it, and after nearly an hour of this, it became too repetitive. not much else to say about this, and i doubt i would re listen
i really love the style of music the dexys make, so distinctive and upbeat. this album particularly displays that well, with its pop and rock influences, catchy mantras and harmonies. every track on this record felt at home in the album, and as a collective it flowed nicely. it goes without saying that “jackie wilson said” and “come on eileen” are 2 incredible songs, and ending the album on “come on eileen” solidifies this records greatness. will certainly listen again.
this is a beautiful record, showcasing the incredible vocals of solomon burke, a pioneering artist in the creation of the r&b/soul sound. i thought each track complimented each other nicely, allowing the album to flow smoothly, and giving an ambience to a room.
being a bit of a philistine when it comes to this genre, i had not heard of solomon burke prior to listening to this album, but i am glad to have been enlightened to his art, and will definitely delve further into his back catalogue. for me, this album defines perfectly my reasons for participating in the 1001 albums generator, as it opens my eyes to so many artists i had yet to discover.
whilst i can appreciate this album musically, and understand its prominence, i don’t think the sound is really for me. specifically the first half of the album i found quite slow, with quite generic songs, whilst the second half had more variety, and i could get myself stuck into the songs more. if you are a fan of this style, then i can see the appeal of the record, but it just doesn’t fully click with me.
what a classic jam album. “english rose” is one of my all time favourite songs, with its tranquil, shy persona outstanding from the rest of the jam’s back catalogue. some other notable tracks to mention are “mr clean”, “david watts” and “down in the tube station at midnight”, 3 examples of classic jam and prime weller. not much else to say, except that i will be coming back to this album again and again.
i enjoyed this album a lot more than i thought i would. it creates a certain ambience, and works nicely as background music. whilst i can’t say it’s an album i’d return to often, i appreciated it whilst it lasted, and got stuck in to a few of the tracks. i couldn’t tell you one song from the other having listened to it, but that doesn’t particularly matter - it’s intrigue comes when you hear it.
this record gave me pretty much what i expected, with cool pop influences and some unshakeably catchy riffs. i enjoyed curt smith’s vocals as well. you can hear an almost “mod” like influence in this record, under the layers of 80s pop, that i also appreciated. whilst i do like the album, i did find it a bit repetitive, but if i listened to it more often, im sure i would come around to it more.
this epitomises why i am listening to these 1001 albums - to be enlightened to albums i would never otherwise have listened to. each track flowed beautifully, and the vocals complimented the music perfectly. it’s an album where you don’t need to know the songs to enjoy it, you can just let the rhythms wash over you. i will have to do more research into common, and i will definitely be revisiting this record
if this type of 60s americana appeals to you then i can see that is would be a 4 or 5/5 album. however, the sound isn’t personally for me, which heavily restricted my enjoyment of the album. some tracks i found quite generic and a bit dull, whereas some others i found more interesting and redeeming, such as “the night they drove old dixie down”. maybe it’s just because i’ve had so many albums so far of such a similar genre that im getting bored, but overall, i didn’t feel strongly about this album one way or the other.
what a beautiful album. harvey’s voice is stunning, complimented nicely by thom yorke on two outstanding tracks. each song had its own defining features, giving some variety to the album whilst letting it flow gently through your ears. i absolutely adore the sound of this record, and it served as a brilliant introduction to harvey - for my sins. i will be sure to listen to more of her stuff, and i hope that this isn’t the last i see of her throughout these 1001 albums.
i went into this album with such low expectations that i was actually surprised by what i heard. ‘music’ is a strong word in some cases, but the incoherent cacophony of sounds was quite interesting in places. i think it’s quite a reflective album, and does make you think. by the last 5 songs though i was willing it to be over, and i feel it just went on for too long. overall, not half as bad as the reviews lead me to believe.
this record had the potential to be really brilliant. i was impressed by the first 4 tracks, and excited to see what direction the rest of the album would go in. however, i thought it began to slow down after “drunkship of lanterns”, with the final few songs all merging into one. for the most part, i really enjoy the sound, and the story the album tells, but i think this record could have gone in a different, and better direction than it did.
i found this record quite boring if i’m honest, and the sound didn’t appeal to me. it’s probably an acquired taste, and one that i don’t have. even now writing this the day after it feels unmemorable, and i have little else to say on it.
arguably, this is the most classic and well-renowned reggae record of all time. it’s relaxing, laid-back beats allow its listener to settle comfortably into the songs, with bob marley’s soothing vocals topping it all off. the emphasis on every other beat, omnipresent throughout this record, make it flow nicely, but with enough variation in each track as not to make it become boring.
with albums like this, i think it’s also important to consider its legacy and impact when rating it. asides the music on the record, this album was amongst the first to showcase proper punk, taking inspiration from british punk bands and channelling it into the us. its impact on modern day music is likely pretty big, so i have to bear that in mind when considering this record. as for the music, i enjoyed it. the short songs make the album very fast-paced, and just as you get into a rhythm, or a certain guitar riff, its whisked away from you as they push on into the next track. for me, that keeps the album fresh. it’s very in your face and very aggressive, and i’m all about that. a great record.
i’m so unsure about this album. in some ways i like its creativity, and it opens your imagination to a whole new world - often one you’d rather not be in. other times i found too obviously vulgar, as if it was trying too hard. i’m honestly completely confused - at times this was a 1, at other times it was a 4.
undoubtedly an absolute classic. though i had never fully listened to the album before, i knew a fair few of the tracks, and it made me realise how influential the band were, notably in the creation of the mod scene. the music itself is well-produced, and sticks in your head for days after. probably one of the best who albums.
following dsotm, i had very high expectations for this album, failing to realise that it came much before. i can appreciate that this was floyd’s first record, and probably a record where they weren’t trying to be too out there with the sound so as to gain a following, but i found it quite bland after dsotm. there were some high points, and i enjoyed the final 3 or 4 tracks more than the start, but for me, this isn’t prime pink floyd. im looking forward to getting more floyd albums to come…
my issue with ‘21’ and more widely with adele is that it fails to evoke any emotion in me. i don’t find the songs particularly inspiring, and the lyrics a bit boring. having said this, i can appreciate a good vocalist, and it is undeniable that adele has an incredible voice and can really belt when she wants to. i can see that if you like this type of song, the album would be perfect for you, but it’s just not fully my bag.
“modern sounds in country and western music” has a weirdly nostalgic sound to it, despite me never hearing it before. the ornate backing vocalist and string section give this record an almost christmassy feel, one that warms the listener. charles’ voice is instantly soothing, and makes this album a very easy listen. i should like to here more of his work along this challenge, and hope to revisit this record.
i’ve thinking for years that i needed to listen to more rem, and not just rely on the hits, and this album did not disappoint. ‘document’ showcases the band at one of their many peaks. michael stipe’s vocals are so satisfying to me, and they complement the band extremely well. i particularly enjoyed “it’s the end of the world as we know it” and “the one i love”. i feel inspired to listen to their entire back catalogue now, and am excited to see more of them.
whoever approved 73 minutes of the rhcp needs to be fired. predictably, this album was incredibly dull, interspersed with some vague moments of interest - under the bridge acts as their saving grace. in all honesty, i was willing it to end by the half an hour mark, knowing i was not even half way through. that tends to happen when you make an album where each song is as unmemorable as the last. what’s odd is i always considered myself a fan of the rhcp, but maybe i haven’t delved far enough into their back catalogue. let’s hope the rest of their albums can redeem them.
i don’t think i’ve ever listened to an elvis album prior to this, especially not a later one like this. i mainly enjoyed “from elvis in memphis”, and it has some memorable tracks - ‘in the ghetto’ being one of them. his vocals are soothing, although not the best they ever were. i can’t think of much else to say if im honest; the album is just as much as i expected it to be. overall, not bad.
what a cool album. “fever to tell” epitomises the image the band were attempting to portray, with its bratty style of singing, and songs packed full of noise. it’s so refreshing and different to be given an album by a band of this nature fronted by a woman. i understand people’s criticisms of this album, and i think that if the sound isn’t for you, it is probably very difficult to get into. however, if like myself the sound is appealing, this album will captivate you. moreover, i felt it was the perfect length, sitting at just over 30 minutes, and didn’t drag itself out to the point of boredom. really interesting listen.
this was a much better record that i initially thought it would be - the lyricism was interesting, and the beats were hypnotic and almost relaxing at times. even though hip-hop isn’t massively my thing, i can always appreciate an artist, and i think, for the most part, ladd deserves the credit for this album.
meh. this record felt like they discovered one sound, and decided to milk it for all it was worth. as my introduction to new order, i thought - incorrectly - that it would be a bit more joy division-esque. the odd mix of 80s pop, with ibizan club music didn’t really work in my opinion. there were a couple of more redeeming tracks - both ‘all the way’ and ‘love less’ were more along the lines of what i was expecting from this album. i can’t honestly say i would want to listen to this again, but i hope there are other new order albums on this list that can help redeem their image.
a soothing, sometime interesting, sometimes boring record. the mix of blues and hip-hop was quite cool, but nothing too groundbreaking. it feels like a filler album, and probably not one that will stick with me for long.
as amy’s debut, i admire this album. her vocals, even at this stage in her career, are very established, and in my opinion, her voice works perfectly with the style. i don’t believe this record is as strong as back to black - and i think the majority of people would agree with me there. some of the songs on this album seemed a bit out of place, whereas back to black flows better.
i can’t begin to work out what this album is trying to be. at times it’s a spooky, halloweeny type, then it’s a melancholy, introspective story - such as the track “time”, the only one i really enjoyed - and i can’t figure out what i initially aimed to be. none of the tracks are particularly memorable, writing this the day after, and for the most part i was either bored or confused.
a tribe called quest deliver once again. they absolutely perfected this genre. they are lyrical masters, and the beats flow through you with ease. whilst this record is brilliant, it doesn’t quite top the low end theory for me - that is their masterpiece.
this album was pretty cool. the beastie boys are one of those bands that i have always been aware of but never actually taken the time to listen to them. they weren’t what i expected for some reason. i enjoyed the tracks for the most part, including the hits - “fight for your right”, “no sleep til brooklyn” etc. i did find it got slightly repetitive towards the last few songs, but other than that, a pretty solid record.
i feel as though i probably could’ve died without hearing this one. i appreciate it as a political and social message, but i found the music pretty dire. asides a couple of redeeming songs - kerosene for one - it was a weird jumble of sounds. if that kind of experimentative music appeals to you, then this is perfect, but this was a bit too far for me.
i’ve got lots of respect for fiona apple, and this record only reinforces it. her voice is beautiful, and the songs often go in directions you wouldn’t think they would, keeping the music nice and refreshing. i always think of apple as an autumnal album, so this was very apt, given the cold weather. looking forward to hearing more fiona.
i enjoyed this more than i thought i would. i had a slight prejudice against dire straits for no particular reason, so i didn’t have very high expectations for this, but ended up quite getting into it. it’s an easy listen - works as nice background music, complementing knopfler’s voice. if i could, i would give this a 3.5, but will have to round down for the sake of this website.
pretty standard elvis. undeniable that he has a great voice, but i do find the sound a little bit boring if im being honest. having said that, i really enjoyed “blue moon”, that one really resonated with me.
no one does it quite like joy division. i have a lot of time for ian curtis, and i find that he’s a very interesting guy. this is often reflected in his bleak lyricism, which i would argue is possibly even more prominent on this album than unknown pleasures. closer is often overlooked when considering joy division, simply due to the fact that unknown pleasures is one of those timeless classics. despite that, this album is just as good, if not better.
in all honesty, i can’t remember a single track from this record. i don’t want to sound too harsh given to backstory to this album, but the sound really was not for me. there’s probably some artistic interpretation in there somewhere, but it’s not one for me to find
