1001 Albums Summary

I get the attraction, and there were some decent RnB based sections, but ... nah. Just not for me.

Excellent album. There are a couple of stand-out tracks (you know which) and the others ... not exactly filler, but fairly unmemorable.

How do you grade an album where you recognise its importance, but basically didn't massively enjoy it? OK, in the Rap category, it's definitely legendary for a reason, but... doesn't do much for me.

I listened to the band way back when they were first famous and I wanted to recapture my youth as a 50 something. The album content is a spread of the styles that made them memorable in their part of the production of a social documentary of British Life. Nostalgic rather that brilliant.

These guys are very good, no doubt about it. The songs are constantly teetering on the brink of chaos, and it's stunning how well the music is controlled. The lyrics do the same, obscure to the point of inscrutability.. Unfortunately, there are times when even the formidable chops of the band can't keep it together and the whole thing takes a nosedive from genius to mediocre noodling. None of the album is genuinely bad, but some of it is less than stellar.

I've liked Van Morrison and have listened to a great deal of his music through the years. I wanted to love this recording because it's been so highly rated over the years. It's OK, but it never held my interest the way Moondance does.

Somehow, I've managed to go 30 years without actually listening to In Utero, so there was some pent-up anticipation when I started this LP. After two full listens... I have to express some disappointment, It's OK. Heart Shaped Box is fine, but the rest just lacks any real craft. It'll probably be another 30 years before I repeat.

Alas, Spotify UK only allowed me access to track #1 of the album, so...not able to fully assess the whole thing. But, I "Believe" that I'll be tracking down some other access method, it's sounds damned interesting. A twist of Quantic, a slurp of Yerba Buena and a slug of Tinariwen. An exotic mix.

Managed to avoid this for 24 years, so with some trepidation, I leapt in. They're nothing special. Most of the 10 tracks are indeed pleasant enough, often consisting of standard dad-pop fare with the occasional folksy ballad. They're innocent and inoffensive in general, but in turn, they're also exceedingly generic and immediately forgettable. Impossible to hate, but impossible to generate any emotion for. Blandness personified.

I admire Bruce Springsteen and this album, the most famous of his whole career. I'm happy that he arrived to so many people with Born In The USA, but this record it's not my favourite because of the musical simplicity. I love the guitar driven albums of the E Street Band, and this one sounds so eighties-ish. (Not surprising, but not up to Born To Run etc) So many folks misunderstand anthems like Born In The USA, but he still scores with No Surrender or My Hometown.

To be totally honest, i haven't actually heard any of this album apart from The Golden Age, as a Flaming Lips cover. The album is good, maybe Very Good, but many of the tracks are just a bit same-y, in a navel-gazing, post-break-up way. I'll listen again, but I'm just not "grabbed" by this.

As a teenager, I never really bought into the cult of The Smiths, even tho' the music press lauded them to the skies. Listening to this album, it's difficult to separate Morrisey the musician from Morrisey the annoying pretentious prat who deserves a swift punch in the face. On the plus side, it is a decent album...some tracks are very good, maybe Excellent. On the negative side, his whiny voice makes every parody of him seem accurate.

Good Lord! Fifty Four years old and It still has the barely focused anger of a n adolescent. Fun House captures the spirit of the times perfectly - not the Hippy Summer Of Love mellowness, but the anger and activism of Vietnam draft dodging - with all the menace and savagery that was going on in the background of the world brought to the front. It’s a brutal listen, but one you won’t be able to get its claws out of you for a long time after the needle has lifted. It bridges the gap between the first (garage band ahoy) and second (nihilistic no wave) punk phases.

The late eighties and early nineties say a lot of sheer wankery in Rock Music, but The Black Crowes announced their arrival with this album, an album birthed from seventies back-to-basics southern boogie. So, it's not very flashy, just good solid rockin'. Alas, it does mean it's more competent than inspired, and after a couple of listens through, nothing really had stuck in my brain. Good, but not outstanding..

Hello old friend. I remember buying this LP back in 1980, enjoying it immensely, but not ever getting a CD or listening on Spotty. So, it great to revisit and appreciate the mix of raw New Wave punch, effective slower songs, and Chrissie's lovely voice. Well worth a listen. The cover of Private Life is better than Grace Jones' IMHO.

Full of classic Stevie Wonder songs , its the final album in the run of great Stevie albums. Having said that , what struck me listening to this now is that there was an element of self indulgence here that a few fades on the long tracks would have cured .. there a few tracks that just go on too long after the song itself has long finished leaving S.W. and the band to jam on relentlessly or just repeat the same line ad-nauseam. The peril of deciding on a double album, and having to pad it out?

I bought this CD is 1997 when it was THE thing to own. It would celebrate your diverse musical tastes and rejection of modern pop culture. And I listened to to it expectantly...but Meh. Pleasant enough, and I appreciate the journey into Spanish Language folk music...but it ended up on the back of the cupboard. Listening to it in 2024.... still the same. Pleasant, but doesn't make me want to track down more. Maybe I'm the heathen.

Well, that was .... insipid. Maria does have a pretty good voice, but the never ending warbling, and so-so songs really grates after a while. Two listens are enough for my lifetime.

Good God. This is dire. Hate it. The audio version of The Emperor's New Clothes

Simply astonishing. It was so different from anything else that was around, and aided by THAT video, this was really the cult album of the time. Listening back now, not everything works, but in terms of imagination, creativity and boldness, it's just awesome.

You've gotta admire these guys. John L had been at the peak of Sex Pistol notoriety, and could just have continued as the crown prince of punk. But no. Joining up with Wobble and Levene, they struck out in an entirely new direction., creating one version of Post-Punk. OK, not everything worked. Like Capt Beefheart, there is much kudos in trying something new, and looking back and seeing how much of later music followed in their footsteps. Metal box is like that... it's now difficult to see just how jarring it was to the music establishment. Good on you guys.

This one escaped me until today, and a fine album it is too. Carefully crafted, personal songs from the tragic Mr Smith, who promised much, but flew too near to the sun. His songs have a melodic simplicity, purity and honesty that recall the folk-pop classics of the 60's and 70's

An absolute guaranteed all-time classic, worthy of a full five stars. There's a reason that this album keeps appearing in Top Ten Albums Ever lists. The eleven tracks encompass the bright, poppy, hippy vibe of West Coast America, but also hint at something darker, just beneath the surface. If I could only have one record for the rest of my life, this would probably be it. If you've never heard it before, please, go and listen now.

Live albums are usually tricky. What may sound joyous and magical on the day can sound a bit garbled when on vinyl. That's the issue here - while there are great sections, with the band in a groove and jamming away, there's also a lot of discordant fluff, where I can imagine the band members all deciding to play what they wanted, and to heck with everyone else. Listening was a bit of a chore.

As a child of the seventies, I grew up with The Jam, enjoying their energy. The Style Council was a bit of a shock to the system, and seemed rather bland. This album hasn't changed that opinion.

One of the few themed / rock opera albums that works. People forget just how good The Who were, and this is a great introduction for the newbies. Yes, Pinball Wizard gets the prior recognition plaudits,but the whole suite of songs / experiences just work.

Pretty good stuff, and a gentle introduction to african funk for seventies music enthusiasts. Ginger is good, obviously, and most of the track boogie along at a decent pace. Enjoyable.

Somehow, I missed this when it came out, and for the subsequent 25 years. So, that you 1001 Albums for bring it to my attention. It defies easy categorisation, but I can see similarities with many other bands in the alternative , drone, electronic, shoegazing communities. Dirge, for me, is the stand-out track, but I've a feeling that the whole album will be back on my normal playlist soon.

Listening to this, is like revisiting an old friend. The family resemblance to Steely Dan is unmistakable, but The Nightfly is a bit smoother, lacking in any bite. Great background music, tho' that seems to be damning it with faint praise.

It's curious. An album that I've not previously listened to...yet it sounds so familiar. Tracks that I've heard in various places, and on various movies. Others where the riffs, structure melodies all seem familiar. It's a damned fine album, and for me, Born on the Bayou is the stand-out track.

What can I say about this iconic album that hasn't been said before. It is fantastic - inventive, enjoyable, memorable and beyond criticism. However, I would urge the listener to try Dub Side Of The Moon, by the Easy Star All-Stars for a surprisingly excellent reinterpretation.

Clicked on this album link, and in 30 seconds I was thinking "this sounds like one of those Hollywood-esque big band cuban swing bands from the fifties." That seemed like a strangely retro for a Year 2000 album. But, Spotty lied. It is a competent fifties big band album, rather lacking in real African influences, but .... probably OK for your retro tiki bar.

I've admired Isaac Hayes for years, and "Joy" is in my Top Ten.,.. but this album Yeuch. The two singles...great. Five stars each. The extended version add nothing but filler or rambling rubbish. One or two stars at best One of those rare occasions where I'd advise sticking with a Greatest Hits compilation

Top Stuff, Yes, you've probably heard Sultans of Swing ten thousand times, but the whole album is well worth a listen. For a debut album, it's astonishing just how polished and finished the sound is. Even tho' it was released in the midst of the New Wave / Punk era, it was recognised as distinctive and awesome at the time. And SoS is awesomely good...no-one can seriously refute that.

Time hasn't really been kind to The Beau Brummels, and there's few reasons for them to crop in in discussions on classic pop music. Alas, this LP doesn't really much hope of a revival; it's OK, but doesn't really offer much that's unique from other mid sixties American corporate pop.

Good Lod. Forty Years. It's difficult to imagine how groundbreaking this was back in '84. Wasn't really a fan back then, but like your gran's baking, there a certain nostalgia for things. It's still impressive in '24, and certainly deserves it's place in the 1001.

Like an old sweater, this album provides a warm hug of familiarity. The songs will be recognisable to almost everyone, and Ella's voice is always wonderful. However, it's just too smooth. There's no real bite to any of it, so it just washes over you...almost like elevator muzak. It's better than that... but I'm unlikely to feel the need to relisten.

This must have seemed strange when it was released. Brian would have been known to the Glam Rock / Arthouse Rock audiences, and he'd yet to connect with Devo, Talking Heads etc....and out comes this oddly dream-like album. It's a classic now, tho' still unknown to the masses. It hints at so much that would come later. Well worth a listen.

Slickly produced jazz-funk-fusion album, with THAT track (with Randy Crawford's vocals.) All very smooth, but just has an air of being a soundtrack album for some Blaxploitation movie. Nothing special, but not at all objectionable.

hardly need to listen to this one ... but I did anyway. It's one of Nick's finest albums, and chock full of excellence. Nature Boy might be my favourite NC track ever, but both the up-beat and down-beat tracks are well worth a listen. Five Stars every day of the week.

Big Star have been referenced by many cult bands over the past few decades, and this album helps show why. Excellent songwriting and performance, with just a bit of a sharp edge to their smooth West Coast sound. In a way, an evolution from Arthur Lee / Love. Highly recommended.

Robert is a fascinating character, underappreciated by most. What we have here is an individual vision of such intelligence it's practically in a class of it's own. It's hard to pigeon hole Wyatt's music, sometimes folk, sometimes jazz, sometimes progressive rock, it is impossible to pick a genre without him exploring it, turning it inside out, and making it purely his own. OK, some of the inventions and explorations are less successful, coming over as random overdubbing (hello "The Duchess") but I'm glad that some is trying to push the boundaries.

The last studio album by The Smiths. You can hear the break down of the band in the music and lyrics. Every musician is playing at their best. Strong drums, Great Bass, Amazing Guitar and melancholic lyrics and vocals are all clearly apparent. It has amazing singles, hidden gems and a birthday song for anyone you don't like.

A success of Hype over Content. OK, it's a decent album, distilling a thousand hair-metal albums into one pastiche, with an OTT vocal performance... but I couldn't wait for the album to end. Once was enough.

Arguably Prince's best album great songs ,a variety of styles, interesting, this encapsulates what made Prince great. Lack of quality control is certainly a criticism that can be levelled at Prince, and a culling of this double album to be a single album would have been wise. If an alien landed on earth and said I want to hear some Prince I would hand him Sign of the Times!

An awesomely good album. BB King was definitely trying to edge towards James Brown style showmanship and orchestration, but there's plenty blues and blues guitar in there as well. Very enjoyable.

Slight disappointment when I put this on, and realised that it's wasn't Wilco Johnson of Dr Feelgood. Still, might as well listen. Some pleasant melodies and heartfelt lyrics make Being There an rather good 'alt-country' album. The songs here are accessible and will probably stand repeated listening. Any fans of Neil Young, Bob Dylan, The Byrds , Big Star etc will find satisfaction. The main down point being that some judicious pruning down to a single disc would have improved things. Disc two feelslike a "collector's edition Bonus Disc ".

You sort of know what to expect with Leonard Cohen. Breathy, spoke vocals, and lyrics om morality and religion. Well, this delivers...and obviously, darker. Close to death, they're sparser than usual, and nothing really suitable for that summer barbecue event you're planning. (That said, there is a Paul Kalkbrenner Remix if you fancy a dancier-Cohen !) Very good album.

Very French Canadian, singer songwriter, heartfelt lyric, tuneful background -ish. That's not meant as a criticism, but ... there is so much similar stuff on this 1001 listing. Enjoyable, but ... it sort of merges in with other singer/songwriters' output

I was going to say that this hasn't aged well, but ... It's OK. It's just that it is rather "of its time". I remember The Shamen from the 80's 90's, and the re-listening reminded me of .... good times. But, stripping away that nostalgia, how would some fresh ears react to it? Meh. some good bits, but too many sections of "We need to pad this out to over an hour....let's just leave the backing rhythm track playing for a while."

Broadly, I don't listen to Muse enough. When I randomly select this album, or when prompted by things like 1001..., I think "Yeah. I should listen to this guitar-driven nutter more often." But ... then I just forget about them. It's a good, no great album, but it's rather OTT and riff-tastic for regular consumption.

I remember the massive hype about this at the time of release, and instinctively avoided it. Listening now.... I was right. Hype over content. It's an OK album, but nothing special.

It's not you, it's me. Honest. I've just seemed to get such a stream of "acclaimed album by singer/songwriter...just him and a guitar" album. They just seems to merge into one - very similar songs, very similar instrumentation, very similar intonation. Sigh. I grow weary. This isn't a bad album, and a couple of tracks to seem to try new features, but ... nothing is memorable now.

Ah Nostalgia. Probably the first album played on millions of brand new CDs. I never owned it, but so much of it is so damned familiar. And it is a damned good album. Varied in styles, but always featuring the impeccable plank-spanking of Mark the K. Yes, I rate it.

Ladytron and Virginia Plain are classics but the rest age less well and I lose interest after a while. Clearly, this was a band finding it's feet, and in the "chuck anything in there and see what works" phase. Interesting, but not the classic album I thought I remembered I am afraid.

A bone fide five star classic album. From the most distinctive opening, to the swagger of The Passenger, it's just... Sheer Power. Do your ears a favour, and have a listen.

Umm Yeah? A bit Power Pop, a bit American Brit Pop, a bit Stoner-Lite. It passes the time in a pleasant enough way, but never really engaged my interest. I couldn't hate it, but I wasn't enthused.

I started listening with a quizzical sense on anticipation - Jane Weaver isn't a name I recognise, I was half expecting another singer/songwriter on an acoustic guitar sort of thing. Well, I was half-right. Yes on the singer/songwriter, but more downbeat Goldfrapp would be my summary. It's OK, but just didn't engage my endorphin glands at all. Once was enough.

Can I say anything about this album which hasn't been said dozens of times before? Yes, This album is infinitely more enjoyable than Donald Trump performing Nessum Dorma on his armpit.. OK. It's an awesome album. Familiarity might have dulled the enjoyment slightly, but there's a reason that this is so revered after 40+ years. The writing, playing, vocals and production are exemplary. An easy five stars.

Again, one of those bands that I remember from the nineties, but never really got into. This time round.... hmm. "Full of sound and fury.... but signifying nothing." An hour after listening to the whole album, my only recollections were "guitars, 1960's flashbacks and feedback". I'm guessing it made it onto the 1001 list as they knew the organiser.

Elsewhere, I've mentioned my disdain for singer/songwriter/guitarist/healtfelt songs.... but this is Neil Young's classic, goddammit. It' one of those albums that just stays with you for (checks year) yep, 50 years. A certified classic.

1977, and my school buddies were aligning themselves with either punk or heavy metal. Not me... I was getting into punk....and Yes. And Close To The Edge was the album that grabbed me. OK, it was everything that Punk was rebelling against, but....man... the masterly musicianship, the fourth dimensional lyrics, the sprawling expanse of music. Can't they both co-exist? Like Sweet and Sour? Listening to it again in 2024...it's still activating those thoughts...but, bygod, it's overly pretentious. Thoroughly enjoyable, but like a Sticky Toffee Pudding, there's just too much in there.

The soundtrack for numerous Quiet Nights In for couples and prospective couples, Diamond Life never really rises above its inoffensive, non-confrontation smooth-Soul-Jazz inspirations. Impossible to dislike, but never likely to inspire. Music of music haters, perhaps

I challenge anyone to name a more iconic opening to an album than "Sympathy..." The rest of the album, however, will surprise many with just how basic Rhythm n Blues it is. OK, it's white boys black black man's music.... but it's done so well. And the English accents at an interesting wrinkle. Highly recommended.

Identi-kit Pop Rock. Indistinguishable from dozens of other late 90's bands.

Excellent Psychedelic Funk from the masters. Insanely funky, to be honest.

1988, and there was so much new sorts of music - Rap, Garage, House, Nu-Metal. So, a Celtic-Rocky-Folky album wasn't really going to do much. Except it did. The Waterboys created one of the best albums of the year. Fisherman's Blues so much more that the other Irish juggernaut- U2's Rattle and Hum just seemed so phoney in comparison. In hindsight, the album (particularly the Collector's Edition) would benefit from some editing, but it's well worth a listen.

It doesn't live up to the hype. I remember the hype for early Bruce Springsteen - Born To Run, Asbury Park etc, and recall the success of Born in the USA. The Nebraska came along, and the music press went doo-lally for it. But me? It always seemed like the "I'm a serious musician, yes I am" project. Worthy, serious, but just not particularly enjoyable. If it didn't have Bruce's name attached, it would have sold 10,000 albums, max.

Very classy disco and soul. The nostalgia kicked in quickly, and I was grinning the whole way through.

Oh, the memories come flooding back. Good old Brit-Reggae, before the schmaltzy cover versions arrived. Well worth a listen.

It is usually refreshing to hear music which so strongly reflects the personality of one person - it can be so in-sync and coherent. The down side is that once that person's voice becomes tiresome, the whole output can be tainted. And that's the risk with Jethro Tull and Aqualung. It0 reminded me of Ian Anderson's genius - the intriguing lyrics, the curious orchestration and idiosyncratic instrumentation. Aqualung is like that, definitely one of the best of the seventies "Prog Rock" classics. But, I only need to hear it occasionally, or it can become infuriating.

I hardly need to listen to this. It's a particular favourite of mine, and rarely far from my playlist. Over fifty years old, and it still sounds fresh. There's a fine mix of song styles, and the music and lyrics are basically top quality. The band is awesome, wit Mick's guitar playing an obvious highlight. A very easy Five Star rating. Incidentally, the Easy Star All Stars have a reggae/dub version of this album which doesn't disgrace the original. Check it out ("Ziggy Stardub")

The Bees seem to be trying to bring back the wonderful sound of 60's Brazilian Tropicália and, really, if any style is to be revived why not start with the best of them. Being the work of a couple of producers it's also no surprise the arrangements are detailed to a fault and filled with cutting edge sound effects. Alas, the whole album just doesn't gel, in my honest opinion. Sounds like a show-off Spotify Randomised Playlist. Enjoyable, but not essential.

I don't get it. Fiona Apple seems to have a good reputation, and this album IS in the 1001 Best Album listing, but I only hear a fairly average, over-produced album of OK songs. Nothing special, really. Sorry Fiona.

A fine album. Doesn't live up to the hype, and the background ambient discussions don't really add much, but a solid good listening album.

Once again, it's one of those "classic" albums from my teens that I just never got round to trying. Yes, I'd enjoyed Harvest and After The Goldrush, but RNS passed me by. And it's flipping awesome. Obviously Hey Hey, My My (both versions) are the stand out tracks, but the whole album reeks of awesomeness. Nice to hear a man continuing to explore and experiment.

Yeah, it's a classic of noise rock. OK, it's been very influential. It's just not that enjoyable.

This is why I'm on 1001... . Albums and artists that I've not encountered before. David is a new name to me, but he has an impressive set of celebrity fans. Alas, I can't really see the attraction. American Gothic is full of very theatrical songs, and not in a Alice Cooper theatricality sense. I can imagine a Las Vegas crooner wandering around a nightclub, emoting to the max. "I'm here all season.... try the fish." Not for me.

I'm far from being in Taylor Swift's target demographic, but I'm happy to give this a listen, and it's fine. Nice production and a set of fairly intimate little songs. But, I'm not hearing anything that really makes me understand her appeal. An hour after a first listen, and I can't recall any lyrics, hooks or track titles. A safe choice for background music at a dinner party. if I ever had such a thing.

It's one of those albums where any attempt at criticism will be met by serious alt-music enthusiasts tutting like crazy. But, it shouldn't be above critical appraisal. Yes, it's a serious artistic work, but ... it needs some pruning, and some of the lyrics are a tad high-school-ish. Musically, and production-wise...no complaints, but.... not the unmitigated genius that many blindly call it.

This cannot be simply described as psychedelic rock - blues - there are too many other factors at work here. An early pre-cursor to Tom Waits, with his croaking vocals, experimental blues, witch doctor twitchy, funky slide and curious vocals, flutes, whistling, and chants this is a varied and fun album which stands the test of time. It doesn't always work, but... that's not a surprise when you stray far from the well-trod path.

I remember my first car - I was always revving it, and zooming around, showing off to friend, family and random passers-by. In hindsight, it was a clunky and noisy pile of trash. Alas, nostalgia also gets a kick in the teeth from this album. I'm sure that some folk thought it punky and edgy, despite being years after the true punk era. Listening to it today... yikes. It has not aged well. The shortness of the songs almost hides the lack of ideas, but ... not quite.

A solid album with a couple of Jack at his best not up to White Stripes standards but his solo stuff is more Bluesy and it definitely grows on you the more you listen to it. The title track and the cover of Little Willie John's Shakin are really good.

On their third album, the London trio finally sheds the excessively hushed and incredibly influential electronica of their 2009 debut. Instead, they turn to the kind of vintage samples producer Jamie xx has long used in his solo work, setting richer, more uptempo backdrops against mournful dialogues about romantic disappointment and isolation.

It's curious. Put this album on, and tidal waves of nostalgia hit me. Yeah Gods...it's 34 years old! The music does feel a little "basic hip-hippity", but that's a measure of how much music was affected by this album / era of black music. Musically, it's still a banger of an album, but it's doesn't feel as earth-shattering as it once did.

Very Good,

There are dozens of Media Study degree papers written of Bowie, and his chameleonic growth, and the myriad of albums. However, it is fascinating to compare this album with Ziggy Stardust of five years previous. This album comparatively lacks the brash immediacy of Ziggy, but instead he's grown, and confident in his numerous character growths. It's easy to see his influences, and who this influenced in turn. A fantastic album.

Admission time - I've always had an unwarranted bee-in-my-bonnet about The Clash. Johnny Come Lately who grabbed the sales while more interesting bands languished in obscurity. A fresh listen to London Calling slightly changes that. While not a New Wave as others, the is originality and a particular voice to the whole thing. Obviously, the title track has been overplayed whenever there's a Remember The Seventies feature, but that are some damned good tracks here. Spanish Bombs is one of my preferred songs... but definitely an album that's worth a listen.

Ah. Ray Charles and some of the classics. This oughta be good. Alas, it's at the very start of his career, and he was added to the mainstream big-band and vocalist swing formula. While you can tell it's Ray's voice, it's just not the distinctive Ray that we know and love. It could be almost anyone. Disappointing.

The album's wacky storytelling and light-hearted playfulness provides an alternative to the pessimistic, hardcore hip hop that had ruled the scene at the time. Alas, it does seem unfocussed and "let's see what this button does" at times.

"I can swing my megaphone." Good Lord. 36 years. Seems like only yesterday that I tried a modest little album by a obscure band from Athens Ga. And what an album. With an ability that matched their confidence, Green was the REM album that really announced that they were The Deal. It still holds up as a fantastic album, and "World Leader Pretend" is an underappreciated classic. Excellent stuff.

Quote "Ctrl is primarily an alternative R&B and neo soul album, with elements of hip hop, pop, soul, electronic, and indie. " To be honest, that's broadly "a bit of a mess ... with too much AutoTuned vocals." The album tries to a wide range of genre's, and isn't really outstanding at any of them. (Actually, I didn't detect any Death-Polka, so maybe that'll be on the follow-up album.

A fair album, but not that different from dozens of other Americana-Rock flavoured albums. Pleasant, but...

Nope, this isn't for me. I'm aware of Keith, and the problems behind this recording...and I'm sure true Jazz enthusiasts will find a lot more enjoyment that me in this. Alas, I am a heathen, and this sounded like "You've got an hour to fill... get out there are do some random piano noodlings." Rating is for my personal enjoyment of the piece.

I know I've been a bit critical of "acclaimed album but singer/songwriter with guitar" items on this 1001 listing, but what's not to like about this album? It's a five star classic. It still sounds fresh, vibrant and inspiring after ... good lord ... 49 years. Tip Top stuff.

Back in '79, half of my chums were really unto AC-DC, Motorhead, etc. Lemmy and co...OK, but AC-DC just left me cold. So, appreciate the prompt to head off and see whether I was misguided. Alas... I see the attraction, but it just does very little for me personally. Seems very calculated and crowd-pleasing to me, rather than a labour of love. I doubt I'll relisten to it.

Well....yeah. It's Damon Albarn, so the critics love it. To me, there's a whiff o Emperor New Clothes about this. I'm nit saying I dislike it, but it does fill me with inertia.

Such an astonishing, influential album. Raw Power is the link between the 1960s MC5 era of music and the 1970s punk era. There's such belief, such anger, such energy baked into this album. Very recommended.

Full-on 10/10 classic album. The first side is a masterpiece of ethnic-inspired funk, and side two is as good, with a more traditional (?) alt-rock viewpoint. Every music lover should listen to this album , at least once and at high volume.

A very good album. The Jam had clearly evolved from their early New Wave days, but still sounded good. Great power pop songs, and a wry way with words. Good Stuff.

Sonic Youth’s Sister sees the no-wave band take the careful steps towards a more traditional song structure, and the result was possible a ending to the original post-punk era. Alas, I just never got Sonic Youth, and this album just leaves me cold.

It was a pioneering album, that helped user in the electro-pop revolution of the early eights. However, a critical listen showed its Kraftwerk inspiration **, and just how safe some of the album was. Still, it introduced the masses to the possibilities of synths, so it deserves some credit. ** Compare Airlane with Kommettenmeoldie...it's informative.

DANG. It didn't save the review. Classic Album. Over-familiar, but it IS excellent.

It's a good album. Actually, it's a VERY good album. I'd not listened to this in 20+ years, so there was a lot of nostalgia floating abound my brain. I didn't really miss the EP part of the title track. Just needed a little trimming and focusing to make this an Excellent album.

Outstanding. One of the best albums ever.

Ah. This again. I remember encountering this album when I assembled a "Best 50 LPs of 1968" for a birthday boy. At the time, I listened to them all, and this one stood out as being...well.... Tokenism. There were FAR better albums than this, but I guess the critics felt better including some Brazilian Folky-Psychedelia. Listening again, I have the same view. Meandering and unfocussed.

Chicago's Lupe Fiasco boasts beats from Kanye West and the Neptunes, so hip hop buzz is assured. And the deserving part of Food & Liquor is a set of themes from the politicised end of Afro-American ghetto life. The downside is that his orchestral Kanye-meets-Nas muse lacks originality, and that his lists of ghetto hardships on the likes of 'Hurt Me Soul' sound more like piss-take than protest. The closing 'Outro' is 12 minutes of Fiasco thanking everyone who might help his career. Hmmmmm

Good Stuff. Enjoyed it more that I expected.

What makes Larks’ Tongues In Aspic such an enduring and rewarding experience is that this particular line-up – mainstay Robert Fripp, drummer Bill Bruford, bassist and vocalist John Wetton, violinist David Cross and percussionist Jamie Muir – have a discipline approach that was lacking on the later albums . Here, the improvisational runs are characterised by a lean focus that serves and refreshes the songs, so while this is music that’s definitely ‘out there,’ it first and foremost blasts off from the ground up.

An excellent album, but one that I'm not fond of. Sorry.

It is a measure of just how influential this album is that listening to it now makes it sound like a parody or pisstake rip-off. The rhythms, the attitude, the production, the themes...oh god, the constant gangster lyrics.... it's seems almost comedy. (I kept thinking of Chris Morris playing as "Far-Q" on The Day Today.) And how many F'ing MFer does one album need? An important album, but I didn't enjoy it this time.

I'd not heard this album before, but even on a first listen, it feels like an old familiar friend. Seems like every movie from the sixties had a brief interlude with some Jazz Samba, Saxophone and Marimba soundtrack. And that's the problem. The music here is great, but it's been spoiled slightly by too much cheesy over-use. I can seem like just elevator mood music, but it's actually so much more.

The problem with Damon's experiment with Gorrillaz is that it's .... experimental. So, some experiments work (eg Clint Eastwood) and others...well. Do rather outlive the welcome. Overall, well worth listening to, but for my taste, some tracks are skippable. (YMMV.)

I remember this LP coming out, and (being a bit of a Ry Cooder nut) I was looking forward to it. So, I bought it, and listened and ... well....I was underwhelmed. It's just wasn't what I expected...or wanted. Now, with the maturity of age, I gave it another try, and I'm captivated by it. Seems like two friends riffing off each other, but not in a cock-rock swaggering way. They each try and complement one-another. Good Stuff.

Again, I've been aware of this album for several years, and always meant to give it a listen. And now I have. It was nothing like I expected. Whimsical, playful and a wide variety of styles. An uncommon delight.

One of those unique albums which arrived and really made an impact. It seemed like the culmination of years of crafting and building up to a bands crowning moment...and yet it was a debut release. Astonishing.

Personal viewpoint - I hated this. Shouty cock-rock.

Franks voice is so distinctive, and has been around for so long that it rather fades into the audio deja vue. This was a quite revolutionary record of its time, but alas, age has dulled it effect. It's almost background shopping muzak now. That's a pity, it is clearly a work of an important artiste.

Was a fan of the Bunnymen from their early (Zoo) days, but drifted away once they became popular. Yes, I know. So, I'd not really listened to this album before, tho The Cutter was a hit single that I recognized. Listening now... yeah. A good early 80's "Alternative" album, but falls inti the usual mope-y shoegaze-y tropes as others. Good, but not exceptional.

I'm old enough to remember "Another Girl, Another Planet" when it came out, and remember it as a better than average bit of Power Pop. So, seeing the debut album here in the pantheon of greats was a bit of a surprise. here goes.... OK. So "Another Girl, Another Planet" is the standout track of the album, but the rest... distinctly average. I can't understand why this LP is here in the 1001, but superior albums like "Can't Stand The Rezillos" isn't. Ah, sweet mystery of life.

Now I know that this is one of the all-time metal classic albums, and inspired hundred of bands to pick up guitars and try something similar. It leaves me stone cold. OK, there's a good variety, with Metallica trying power ballads, instrumentals as well as straight up heavy rock. But, it just seems too Spinal Tap-py for me.

The album that brought Eminem crashing into the Zeitgeist. Again, not my usual fare, but I enjoyed it more that most Rap albums. MM is a talented dude, and it shows.

Cut to the chase - Definitely one of the best ever British Hippity-Hop albums...ever. Several tracks will be familiar to many, but the whole album sparkles with an enjoyable groove.

I have previously mentioned my slight disdain for highly-praised singer/songwriter/guitarist albums, but this album of that ilk may make me to hold my hands up and say "Ok. This is awesome." By turns intimate, hushed, folksy, personal, english, rural and inventive. It's one of the few cult favourites that actually deserved it's reputation. Excellent stuff.

Sigh. Another classic Leonard grumbles over a music score album. Yes, they're perfect for when the mood strikes, but...

After punk hit new wave opened the door to a myriad of young enthusiastic bands, eager to show their own truths in 4 minutes. Most...were rubbish and were rightly ignored. Some captured lightning in a bottle, and The Undertones were amongst the best. This was the true sound on the streets in 1979. Jimmy Jimmy is still one of my favourites, and The Undertones were destined to never reach heights again. (Tho' My Perfect Cousin came close.)

Of course, you know the title track. It's always featured whenever there's a flash back to 1972 / Glam Rock. It's a great single, and above criticism. The rest of the album.... well. It pales in comparison. I hear no reason to listen to the album again.

A fantastic album. An artefact of its time, but still thoroughly enjoyable. An easy five stars.

Could any band have equalled the excellent of The Doors' debut (self-titled) LP. Strange days almost did, but other LPs struggle. That doesn't make Morrison Hotel a poor album, but it does suffer by comparison. Side One is great, but half-way though side two, I was already thinking about what I'd listen to next. T'is a pity I can't rate it as 3.5/5

Couldn't finish this. It may be a classic rap album, but I hated it.

An anti-militarization anthem, “Zombie” grabbed the African continent’s collective imagination with its lyrical urgency and relentless rhythm. Perhaps Fela’s most effective fusion of funk and politics, it confronted Nigeria’s increasingly corrupt, detached government head-on. REBELLION RARELY SOUNDS THIS FUNKY.

One of a wave of new UK Guitar Power Pop bands of the early 2000s. Entirely acceptable, but not particularly distinctive.

Probably my favourite album of 1980. (Aw, Heck. Remain In Light an Wild Planet were also 1980.) OK, one of the best of... Julian Cope an the guys really did burst upon the scene in the late seventies, channelling new wave and power pop into their own version of The Mersey Sound 2. This album is chock full of wonderfulness. Treason is the classic track that we knew it was from the Zoo single, and Poppies continues to delight the ear. The extra tracks on the rereleases are mixed - Some are awesome (Reward, Kilimanjaro) some.... are best skipped. Do your ears a favour and give it a spin

Not a band who's name I recall being mentioned before, so I came into this with no preconditions. Other that it should be an awesome album, seeing as it's here. So...was it? Well, it's wasn't bad, and a fairly enjoyable post-rock platter. It certainly made a change from grunge, rap and acclaimed singer-songwriters appearing in my "to Listen" pile, but I doubt I'll need o relisten or a while. A 3.5 star LP.

Whilst of its time in regard to song length (2 1/2 to 3 mins) and conception (no overall thematic arch) the album whizzes by most enjoyably. Glimpses of the original thinking and nascent guitar genius of Jeff Beck are particularly evident on "Over, Under, Sideways, Down" and "Jeff's Boogie" Well worth a listen

Brings back the memories. While Norm's most famous tracks are elsewhere, this is an excellent introduction to FBS's art. Cohesive yet varied, Better Living is well worth a listen.

I've previously mentioned my exasperation at the number of "Critically Acclaiming but Introverted albums of singer-songwriters which I just don't get" on this listing, and Figure 8 should really belong in that category. But, I liked this one. Yes, it's sometime a little close to whiney, but overall, it's a pleasant, nay.... enjoyable...album. Worth a listen.

I thought I hadn't had much Hip Hop in my ToPlay list, so I dived into this when it came up. Enjoying it and after liking some tracks on first play (Buggin out) the other tracks might become just as enjoyable. The drum beats and bass are hypnotic on some tracks. It probably won’t stay on my regular player for long but at the moment it’s passing the time acceptably.

I have to admit it - "I was a Teenage Human League fan." However, that was the Being Boiled / Reproduction-era Human League, and I bailed when they "went pop". Listening to Dare now, sure there are some catchy and very good pop tunes on the album, and they deserved their success....but, there's no real cohesion to the album. No theme, story or flow to it. Nostalgia, and I might bop around teh bedroom singing into a hairbrush...but alas, I'm folically challenged, and have no brush.

Good Lord. Sixty years ago. I'd not listened to this album before, so was slightly surprised by the number of cover versions on it....and James Flippin Brown? Covered by these English White Boys.... How Rare. But overall ... damned good. Yes, it is "of its era" but timeless. I know that's a bit of a cop-out, but ... Just go listen to it.

Fascinating little album. Restrained performance by alt-country / alt-folk band, round a single microphone, in a single (unedited) session. The inclusions of some cover tunes is a wise move, giving an easy measure of a delta from the norm. Worth a listen.

Well, this is easy. Five Stars. While musical styles have changed a lot over the last 45 years, Soul Mining has been regularly been on my Walkman / turntable / CDPlayer / Streaming list. It was a stunning debut and still feels fresh. Fave Track? Uncertain Smi ... GIAN .... Waitin' For Tomo... Damn. It's all good, man.

Just didn't do anything. Half of it seemed like back-street Parisian Bistro background, and half seemed like aimless noodling.

The first of the manufactured boy-bands, and there was definitely something of interest in the concept back then. The tv series was fun, the movie was barking mad and the songwriters were genuinely well-crafted by some of the best. But this album is basically just meh!

Ok, so I'm not really the target market for this. I'm not a toker, a smoker or even a midnight joker., tho' I do like to chill with a mug o coffee. The album... yeah. It's OK. A couple of good grooves to it, but a load of filler too. Probably won't listen to it again.

This is difficult. Jimi, and his main-series albums are beyond criticism. Not that I with to trash the albums or his skills, but... There's so much wonderful stuff on here that you already know, and even the lesser known tracks are inventive and distinctive, but there is a whiff of "He's a genius, so I'm pre-conditioned to see it as wonderful." A solid 4.9997 star album

Hmmmmm. I remember when the Kins of Leon were the Flavour Of The Day, tho' I didn't specifically track down anything of their to listen to. Listening now..... I dodged a bullet there. This LP seems pretty dire. Like a local high school group aping some minor early eighties New Wave albums. Sub-par, IMHO

Another Rap Album? Another "Classic" I have absolutely no memories of?? Tick, Tick. But... I like it. Very much Old Skool rap, but it grooves away in an enjoyable manner, and the subject matter is wacky. Makes a change from the usual deprivation, drugs, crime, urban decay stuff. I wonder if Dr Octagonecogyst is an associate of Dr Benway? Already on it's second play. Extra kudos for any song with lyrics "carrying a dead walrus"

OK. It's a classic album. The removal of Yellow Submarine would improve it, but .... it's a five star.

Damned good album. Stupid Girl is clearly the stand-out track, but it's all good. A good 3.5 star album.

Yeah, fine. Doesn't really Float My Boat, but ... I can see the attraction.

Another of those albums that is above any sort of criticism. Awesome.

Mix a little swedish electronica with some proto-Bjork vocals, and some Yellow Magic Orchestra orchestration and ....this is the result. It's will not appeal to everyone (what can) and many will be irritated by it, but it's OK. A pleasant change from the usua; Alternative/AOR stuff, but I'm probably not give it a second listen.

This could almost be a gothic pastiche if it wasn’t so brilliantly done, the lyrics so authentically creepy that you could almost be forgiven for thinking that Siouxsie grew up in the bowels of hell, rather than the Kent suburbs. The album’s masterstroke, though, is in allaying such gloomy, suspense-filled material with the best melodies of their career, and music with so much adventure it seems to fire off in a new direction from one minute to the next. Spellbound – the single that opens the album – is typical, cascading from jangling, psychedelic guitars to galloping tribal drumming, via a headrush of sound, voice, danger and exhilaration.

Is there a more iconic opening to an album than "Gimmee Shelter". A classic album from the Stones' best era. So much good stuff on it, and mpossible to fault it.

I love Bjork, and I loved he music - Post, Debut, Homogenic, .... but then the love faded. Sure the albums were intriguing, unique and fascinating....but the enjoyment was lacking. With Vulnicura, the feeling remains. It's still Bjork being Bjork, and the innovation is still there, but .... Yeah...whatever.

It's OK, but doesn't do much for me

Fair background music, but nothing to really grab the interest of this listener.

THirty-one years ago... I dislikes this band and album. Now... well... it's OK. Echos of Power Pop and some Glam Rock - hints of Mott The Hoople. But, one listen is enough.

Another great Stevie Wonder album. Familiar tracks and fresh sounds. I wonder if Jamiriquai has ever listened to this...

Well, that was .... average. Pleasant enough, but once it finished playing, I couldn't remember any realfeatures of it. Mid.

It's a classic metal album, but it did nowt for me.

An excellent album, and one of the best debut's ever. While Psycho Killer is obviously a stand-out, I gotta admit that Don't Worry About The Government is my favourite track. From that excellent start, oh how Talking Heads developed. A great start.

Great stuff.

"Bryter Layter" was Nick Drake's second album in 1970 – and with it the track "Fly," one of the most beautiful songs of all time. The entire record is emanating the naiveté of the late sixties. But because everyone knows how Nick Drake's story ends (four years after the release of this album, in a bed with an overdose of antidepressants), there is also a sense of transience in every note. The piano in "Poor Boy," the guitar in "At The Chime Of A City Clock," Drake's voice in "Northern Sky"—in these moments, life flashes before your eyes. "I never felt magic crazy as this." Wonderful

Well, that was a struggle. A plodding, stumbling dinosaur of an ElPee. At his best, the Phil Spector Wall of Sound approach creates monumental songs. Here, it just seems to be an effort to smother the album, creating a stodgy MOR mess. (No, I'm not a fan.)

Well, that was interesting. Deep Purple are one of the pioneers of the Heavy Metal sound that has given life to so many sub-genres. So it's fascinating to go back to the source and re-evaluate it. Much of it is excellent (Smoke... and Black Night are as good as their reputation, and the live sound / on-stage craft is excellent.) However, the indulgent solos and posturing does wear thin. Damned good stuff.

It's not me, it's you too. I get that it's an iconic album, and I understand the attraction....but it is just too showy for my liking. Bono and the guys clearly want to be teh centres of attention, and produce flashy, shouty.over-dramatic albums. Reminds me of Glam Rock in it's heyday. I know I'm in the minority here, but The Joshua Tree just isn't that good.

Now here's another artist / album that jave never heard of. This could be fun... And, .... it was so-so. Pretty generic soft Soul-Funk-Jazz-Easy Listening. Not offensive, not memorable, not really anything. One listen and done.

No. Not for me. Random cyber-goth meanderings.

I do enjoy a good reggae album, and this IS a good reggae album. Not an outstandingly great one, but good. A solud 3.5 star one.

Oh, another Rap and Hippity-Hop album. Yeah, it's iconic. Yeah, it has Walk This Way No, it doesn't thrill or entertain me.

I'm disappointed by the amount of hate that this album gets from some reviewers. Sure, it's a recreation of a live show in a smoky bar, by a gruff voiced dude, but I find it an excellent change from the usual overproduced glossy carp. Tom seems to love the banter and slipping into song, and the support band are on-point. "Better Off Without a Wife" always raises a wry smile from me.

Oh joy. ANOTHER Rock n Rap hybrid album. And this one has the unique selling point of featuring .... checks album ... a white dude of questionable politics and a fascination with jail-bait. Sounds like a cheap knock-off of Run DMC. No, I was not a fan.

A marvellousm album. It's a measure of its excellence that it still sounds like the future, fifty years after its release. I understand the hate that some give it, it can seem mechanical and repetitive on first listen, but I hear the gentle melodies along with the insistent rhythm. The trach Trans Europe Express is clearly a stand-out, but Europe Endless is its equal, and shown Kraftwek in a slightly playful mood.

An influential album, but spurred a load of soundalikes. And asa result, this album no longers sticks out as anything special. I won't be listening again, but it was OK.

There are Harmonies, and there are Mama's and Papa's Harmonies. Luscious. The two big bits are there, and they obviously grab the attention, but the oh tracks are darned good too.

Got an evening barbeque event? This is the album for you. Cool as a fresh mojito, but interesting enough to avoid the Muzak accusation. The whole album is great, tho' "Ipanema" suffers slightly from over-familiarity.

Yeah. Muddy knows his traditional blues.

Oh dear. Another "Classic Metal" album. Not really different from hundreds of other heavy guitar rock LPs from soundalike. Uninspired, turgid, poorly produced. I was counting the minutes until it ended.

My heart dropped at another classic Rap / Hip-Hop album. Not my thing really. However, I was pleasantly surprised by PE FoaBP. OK, some tracks just don't work for me, but ... I like it. Nice ! (Probably sounds like Damning With Faint Preaise, but ... I will return to this LP.)

A flippin' great album. Inventive and catchy. "Breath" has been over-played so has become tedious background music by now, and "Mother" is basically rubbish, but can be skipped. The rest - excellent.

Siouxsie and The Banshees were one of the freshest voices to emerge during the Punk and New Wave explosion of the late Seventies. The Scream, their debut, is an excellent opening platter, but they would go on to even higher peaks in subsequent LPs. The Scream does suffer from the "let's try to be different" syndrom that affected many new artists, and other than Hong Kong Garden (and Staircase Mystery), the tracks are just OK. Together, the whole album is clearly a band finding their feet.

1977, and Punk was grabbing the music world's attention, Disco was in its death throws, New Wave was finding its feet and NWOBHM was realising that success was in it's grasp. And Brian Eno was over there doing his own thing. A little world music, some Krautrock, a pinch od DaDa poetry and some almost-pop. It doesn't all work, but it's a fascinately artist's sketchpad of ideas.

This is a difficult one to rate. Musically great, Lyrically excellent. Vocally...meh, but Morrissey is such a complete arse. The title track is a low effort polemic, and should be skipped. Overall 3.5-to-4.

Of its genre (bombastic 1980's pop) it's undoubtedly one of the best. Popular in the extreme, so many tracks that sound familiar and a unique performer. But as an album I looks forward to listening to again....not so much. And that's without discussing MJ the person...

This is going to sound strange, but this a great album to not listen to. There are times when I need background music: not attention grabbing or distracting me with OTT drama, not silence or twee pastoral noodlings. And the this album fits that role. Taking a momentary break (between surgical procedures, or writing the next novel, orwhatever) this album has enough texture and craft to entertain me but never enough to break my concentration.

Great start to the album with Immigrant Song. Rest of album in very good, and shows their versatility.

Great Stuff. You can't go wrong with Steely Dan.

Excellent album, and it does hang together as a whole cohesive album and not just a collection of banging tunes. OK, there is nothing as iconic as "Move On Up", but considering the subject of the album, it's not a surprise. Well worth listening to.

It's a terrible admission. Creedence Clearwater Revival was a band name that I recognised, but despite my enjoyment of late sixties / early seventies music, I had never knowingly listen to anything of their's. Cosmo's Factory was the fix to that and ... It's damned good. A decent mix of rockabilly, folk, and R&B, and the inclusion of a couple of cover versions gives aframe of reference for their influences and overall sound. A solid four stars

One of the minor irritant of musical culture in UK is that it's predominantly English Language based, so I do like to force myself to try other cultures. And France rarely crops up. So, it was with enthusiasm I tried this LP. Alas, it just seemed so insipid. Rather whimsical, twee and ... lukewarm. Nowt offensive, but no reason to click on the repeat button.

The name Herby Hancock will be familiar to many thru' his pop production work, which followed his Jazz-Funk era. This may be one of his most Jazzy-Funky work, and ... it annoys me. Sure, they does get in the groove a lot. But, to me, it seems to be "get the backing musicians in a full on groove, and then lay some random noodlings on top. Within the same song, some of it works, some of it justs seems to be aimless.

It's a terrible admissions, I suppose. 60-years on Planet Earth, and i'd never knowingly listened to this album. First listen, I secretly smiled and chuckled. "So this is what Destroy All Monsters" got up to next." Second listen, I thoughly enjoyed the sound, and the evolution from previous Post-Punk bands. However. Mildred Pierce just doesn't work for me....and that knocks Goo down to a four star for me.

Fleet Foxes arrived like a breath of fresh air in 2008, making folk-alt music cool and trendy again. Listening again...it's still a gorgeous album of music for a sunny weekend evening spent chilling in the garden. Recommended.

Bland and unmemorable

It's a damned good album, and "Resurrection" is a killer track....but it's just not as wonderful as it's fans pretend.

Again, I was unaware of this band and this album. I was aware of Husker Du, but not actually heard much. So, with anticipation.... Oh. I couldn't wait for it to end. Bland, repetitive, uninspired, derivative. Nope from me.

Good Stuff. Folksy-pop-rocky mishmash. I remember finding a single of Light Flighting in a random bunch of singles years ago, and enjoying it. The rest of teh tracks don't live up to it....but nothing to complain about.

A pioneering album, and any album that opens with War Pigs and Paranoid can't be that bad. And yet, the rest of the abum fades in comparison, I'm afraid. Maybe it's the hordes of sound-a-likes that followed this who have poisoned the well, but the rest of the album seems rather derivative really. NB : For a smile, listen to The Dickies version of Paranoid.

A damned good album...full of the raw power of punk, but with definite hints of other styles (dub and reggae, for example.) It's obvious that this is where The Clash proved that they had the chops in the studio, as well as on stage. Recommended.

I've always Curtis Mayfield more reliable than Isaac Hayes, and this soundtrack supports that. While Isaac;'s Shaft is awesome, the rest of thatsoundtrack / album really does pale in comparison. Superfly, however is consistently very good or excellent. A true Blacksploitation classic.

Stones-like swagger and Zepp-like riffing, with an Amercan accent. Good stuff, but not my first choice of US rock albums for 1975. Or even of that month...Tees Hombres also came out them . Obviously Walk This Way catches the attention, but it's all good.

This is why I joined this. An album and artist that I've never heard of...and it's going to be on heavy rotation on my headphones for a while. In the mix, there's african themes (obvs) and proper Deep South blues. Great stuff

It's an important album, laying the foundations for Heavy Metal AND Punk, and emerged as part of the late sixties counter-culture. There's no denying that. But, it just is not as good an album as its original reputation. As a live recording, it does make MC5 seem a bit amateur-ish and shouty. While their next album, Back In The USA, might have been a bit over-produced, it is much more listenable. Kick Out The Jams does some good parts (Jams, and Rambling Road), but it's a Cultural Five Star, but not a Musical Five Star.

The album has a great reptation, as have Nine Inch Nals....but. When I actually got down to listening to it....it's just Mid. Compared to Depeche Mod, Throbbing Gristle, and suchlike...its all posture and show, No real substance or threat. 3.5 stars from me.

A classic album. There are times it steers close to being Easy Listening, but there is pure class in both the writing and performing. There's a reason it's been in Top 100 Albums lists for 50-ish years.

Ummm....No. Only got a few tracks in, and I recognise the attraction of brevity....but .... God No.

Quality Pop, but not anything more important than that.

British Indie Rock band Doves ... Nah. Indie MOR bland. Like Coldplay's less exciting brother. Nothing on the CD stuck me as remotely inteesting.

As a teenager, Rush had such a mystique about them. A nuch talked about Canadian, who deftly straddle the line between Rock and Prog Rock. Alas, when I took the plunge and bought a couple of LPs (Yes, I;m that old) I found them disappointing. This was one of those LPs andit's been unplayed in the 40 years since. Listening again today... same basic conclusion. Over-rated.

I used to profess a strong hatred for Country and Western music, but as age has crept up, I am appreciate more and more of it. This album may be a bunch over cover versions, and Emmylou's voice can sometimes fit the stereotypical 'standing by my wayward husband' trope, but this LP was quite acceptable. A cautious thumbs up.

There's some jazz which satisfies the soul, and improves your day. There's some jazz which is someone trying to create noises that haven't been heard before, while bandmates just noodle around, completely independently. Unfortunately, this album veers towards the latter.

Very much of its era - synths drum machines, pounding beat, MASSIVE over-production, but yet, it still works. The big hits are obviously the high points, but the rest of the tracks work well. Even the inclusions of the cover versions are fine - they give an easy reference to what Frankie is trying to do differently.

There is literally nothing I can say about this album that hasn't already been said.

It a very important album, and a very good album. It difficult to understand what a big deal James Brown was in the early sixties. He was popular in the black theatres, and his masterstroke was making this album a live recording....one of the first live, in concert, albums. It's the perfect way to capture the energy, Nowadays, it sounds a bit hokey... but By God, James is the consumate performer. And imagine how much of modern music is based upon the JB sound. Massively influential, massively enjoyable.

Um...yeah. Distinctly average pop songs. Might get a bonus 0.1 stars for being partially in French, but it's still Mid.

As a lad, I was well into Yes. This was around the time of GFTO, and Rush seemed to be the flavour of the day for the other guys at school. I never saw the attraction, but view do change with time, so I looked forward to reevaluating my opinions. Nope. Still a rock band with delusions of Progressive-ity.

An excellent album. Yes, another singer songwriter from Seventies America, but leaving that prejudice aside, wonderful craftsmanship, musicianship and lyrics. Most Enjoyable.

Another album and band that I was unaware of, and I made the mistake of looking at the other reviews. Oh dear. I was expecting the worst. Actually listen to it .... It wasn't that bad. Some high pitched vocals (reminded me of Geneva (the band, not the city) and the album creaked with pretension, but .... generally midling. At a friends BBQ, if this came on, I'm just carry on drinking and eating. and quietly judge the friend for his pretentiousness,

Good album, but not a great album.

Another classic Britpop album. Another so-so listening experience.

Another album from my late teens, tho' I was more of a weird music fan at the time. Simple Minds always seemded more slick and pop-orientated than I liked, Forty plus years later, I think the same. Miracle is still the stand out track, and the whole album reeks of Eighties optimism, but still is slightly lacking in substance. A good 3.5 stars.

Excellent. Yes, it does sound very "Seventies", but there's a reason for that. So much better than modern RnB rubbish

Fantastic Album. Easy five stars. "Sweet Dreams" obviously get's the attention, but the whole album reeks of excellence, craft and invention.

Very Good. Not my usual listening, but do hear the evolutionary trail leading back to The Kinks.

Julian Cope - Sometimes a genius, sometimes a charlatan. Peggy Suicide finds Julian straying into the pompous charlatan side of the divide. There's nothing awful here, but it just needed editing and more attention.

Morrisay - Horrible Person, very good performer and lyricist Marr - Expert musician Album, excellent

Definitely a mixed bag. The title track is awesone, and deserves it's plaudits. The rest - OK, but filler. (Also, a lot of the album has been removed from Spotify.)

So much good stuff. Listen and understand the genius status of Bob.

A great pop album. A couple of classic singles, and some solid filler tracks.

I've never been much of a fan of Country and Western music, but when I first heard this album, I was blown away. It's fantastic, and even it's flaws and oddities add to the experience. The man knew how to entertain an audience, going from light-hearted fun to reflective songs. Do yourself a favour, and have a listen to the whole things.

Aha. Late Sixties, British Band headed by a guitar genius. Rhythm and Blues and Rock n Roll inspired. Good tunes, excellent musicianship. There's a lot of it about to be honest, Today it's Traffic by Traffic, but (alas) not featuring a track called Traffic. It's good, it ticks all the boxes, but .... there's nothing that really marked it it as special. Solid 3.5 on the Biggie scale.

Well, I would have listened to it ... but unavailable on Spotty

Quite a contrast between sides A and B. First side is more clean, focus and "Germanic". Second side - spiky and punky. Worth a listen.

A surprisingly mellow album as I mainly recall the Pet Shop Boys being a lot more “disco” so this was a fine album just to chill and listen to.

I had high hopes for this, but it just didn't work for me. Formulaic and not very engaging,

"Fulfillingness' First Finale" features Stevie Wonder's masterful musicianship and includes standout tracks like "You Haven't Done Nothin'". However, compared to his other classic 70s albums, it feels less cohesive, resulting in a somewhat fragmented listening experience.

I remember buying this LP in 1978, as it had such a great reputation amounts the popular music press at the time. I did not rate it. Eventually swapped it for "Can't Stand The Rezillos." Listening to it 47 years later, I still think I got the good end of the deal. It's still low quality, pretentious drivel.

Yeah. It's OK. Brought on a brief Nostalgia interlude, but no desire to listen again.

A very good album, and one of the first Live Rock albums to make an impact. The Deluxe version adds volume, but the basic LP version is shorter and more impactful. Well worth a listen.

OK, so the good think about 1001Album is it gets me to listen to albums I wouldn't normally listen to...and that's led me to some refreshing new artists. And it made me listen to Randy Newman for the time (knowingly.) Very quickly, I saw the usual formula in his compositions....and it just bores me. It was struggle to get to the end. Bland and trite.

A great singer and some great tracks here.

Such a distinctly Seventies albums, and one of the best Pop-Prog albums. Alas, Supertramp have been largely forgotten nowadays, but this is a fine introduction to them. (And a great album cover.)

Thanks. I hate it. It was probably not cutting edge "hip" in 1994, but 41 years on... basic novelty beats with random noises added. And uninspired potty-mouth rap over it. Nope. Take this CD outside and shoot it.

Mid Seventies Studio Magic Steely Dan seem to have been slightly ignored by modern aficionados, but this album shows why there was so much more to the 70's that Glam, Rock and Punk. Sublime.

From what I've read, this was one of the pioneering albums that gave "Classic Country and Western" its sound, so props to it for shaping a whole genre. However, listening in 2025, it's just another collection hee-haw, good old buys, stetson and a backing band Country & Western stuff, that serves little purpose but to annoy me. Personal rating - 3 star.

Another album and artist that completely passed me by. I've listened to it twice now, the first time ...nothing stuck in my brain from it. No emotion, no high points, no low points just bland generic electronic nothingness. The second time was to see if was as bland as I (sort of ) remembered. Yes. it's just featureless.

I remember buying this when it came out. Enjoyed it then, enjoyed it now, but not a five star album. Sure, there are some catchy riffs, but...needed some pruning of filler.

Listening to this, I can imagine Don Draper and the execs from SCDP heading down to a Manhattan club, for some socialising and drinking. Very evocative of its era. It's a shame that it's now almost background music. Enjoyable, but not challenging.

Another singer/songwriter/guitarist...sigh. However this was a fairly bright n breezy, folksy, country-ish album, and didn't set off my anti-Country-&-Western prejudices. A pleasant album, but not one I'll listen to too often.

Sublime. I hardly need to listen to this again...but I did. After Out Of Time, REM knew what the public wanted, and knew what they enjoyed doing, so this album is broadly More-Of-The-Same. And it still works. Man on the Moon and Sidewinder still bring me feelings of Joy, and there's not a duff track on the CD.

Dear God. Make it stop. Please. In the end, I made it thru' to the end, but BeeJeezus it sucks. It may loosely resemble "punk", but it is a loose connection. Back in the seventies, I saw quite a few punk bands, some musically less adept than The Offspring, but none of them had the cynical moneygrabbing disdain as this heap of crap.. I shall not be relistening.

Pleasingly inoffensive, with a mid-seventies smooth-jazz-funk groove. Not much variety or uniqueness here.

I've always had mixed feelings about Belle and Sebastian, but this album fell into the "Enjoyable, but not earth-shattering" side o he divide.

I suppose that this is the archetypal "Difficult Second Album". After their original went thermonuclear, the four guys we bundled back into the studio to capitalise on their success. And, a not so great collection of original tunes, and some quick, by-the-books, cover versions were rushed out. It's still enjoyable, but ... it pales in comparison. "Don't Bother Me" is the stand-out track, IMHO, but album cover aside, there's nothing truly great here.

Oh great. Another highly acclaimed edgy Hippity-Hop Rap album. It passes the time in an acceptable way, but there's little to really mark out as different from dozens of others of its ilk. Samples, harmonies, outrage, swearing, "edge", ...yeah, all the usual elements are here. Sigh

Too Much Noodling Thirty years on, this album still has a reputation, and bits of it do justify that kudos. But, a lot doesn't. Noodling around, snatches of conversations, yadda yadda. The hit tracks do shine through, but it just does nothing for me.

Nothing to really distinguish it from hordes of other shoe-gazer albums.

This is one of those albums that is sometimes a two-star, sometimes a four star, depending upon my state of mind. Sometimes, an exploration of other cultures within mainstream music. Sometimes an over-indulgence of ethnic noodling. And with a vague nuclear weapon theme. On average - 3-star.

Sorry. I'm sure this album was very important to Skip Spence and his recovery but... it just seemed to be unfiltered late sixties burbling to me. After 40 minutes, I gave up.

A very good album. Very strong Country n Western style to it, but with a few other influences creeping in.

A good introduction to the early Stones. The large number of covers of RnB classics makes it easy to see their influences, and where they could strike off into slightly different directions. Alas, while Mick's voice is noticeably different, the whole band do just sound like a very good pub covers band.

After the break-up of The Beatles, John clearly had a bunch of things he needed to say, but without bandmates to sift out the weaker ideas, the result was an unfocussed set of rough draft songs. He'd go on to better things, but this... not great.

"Darklands" doesn't have the fame or impact of Psychocandy but still a very good album.

A great, distinctive album. Makes an impressive about of sound for a duo. Not an album I listen to very often, but easily seem to be an important, very good album

Misleading Titling. The album should be "Cee-Lo Green ... Is A Fairly Average Singer. It's pleasant enough, might make good background music in a suburban family diner. Bland.

It's not that I dislike the album, it's not that I don't get that it's an icon of late sixties, west coast cool, it's just that I don't particularly enjoy it. Far too indulgent and meandering.

Another album / band that I have a very vague recollection of at the time, so appreciate the prompt to listen to it. And... it's bland. So bland. Two discs of forgettable MOR soft-rock. thing likely to offend or inspire. Elevator music,

An iconic album, and it maintains your interest, like a ride on a speeding motorbike. But, overhyped and overpraised.

Good album. Strangely, the idiotic part of Iggy's psyche has been hald in check on this album, and it's to the benefit of all.

I had a few issues with The Fall when I was younger, "Slates" was a particular annoyance, but .... Holy Shoot. This works. Admittedly, it sounds like the backing band (tight a flick) and vocalist met only at the mixing desk, but that odd "Chalk and Cheese" mixture actually works. This is definitely going on my Favourites List.

Good album. The Beach Boys sound like they're trying to move on from the Surfin' USA sound that they were known for. Not entirely successful, but it's fine

Such strong feelings of nostalgia with this one, but with my now-well-honed ear, it's musically just decent pop music.

Damn good music. 55 years old, but still sounds fresh. Recommended.

An undeniable classic. I still remember the thrill of lying in bed, listening to John Peel's radio show, and first hearing California Uber Alles. A real life changing moment. The whole album bristles with that post-punk energy, but there's a definite world-weary sensibility in the lyrics. Holiday in Cambodia is still the standout track. It's also the source of the urban legend that Jello voiced Barney The Dinosaur...the voices are that similar.

Luckily, I'm able to separate my mind between: Kanye (the person) - Horrible person. Kanye (the musician) - Meh. Using this this album as a touchstone - It's OK. Deliberately flashy rap, full of debut album theatrics, but overall, I found nothing that I actually enjoyed. Once it finished, there was no temptation to press "Repeat."

Well, that was an experience not to be repeated. Another band name that was new to me, and perhaps I'd been ignorant of an all time classic experi... Oh God. This really didn't improve my day in any way. It was a relief to get to the end and (metaphorically) sling the album into the trash can. Derivative of some third rate derivative crap. Avoids a one-star review on the basis that I could detect some music, but otherwise detestable.

A very good album, but it does suffer from The Curse of The Critics. Made when Nirvana were at the height of their fame, and Kurt could have made armpit noises, and the music papers would have praised it to the sky. But Nirvana put together a very good album, and the praise made it sound like The Rapture. The Bowie cover is the highlight.

Enjoyable, and groundbreaking at the time. Nowadays, yes...it's good, but we've all use to Krautrock/

Not my normal taste, but it was fine.

One of the best pop albums of the era....but it's so damned glossy. Duran Duran were definitely one of the best New Romantic bands of the time, and Rio captured the spirit of the time. Glossy, highly produced, catchy and pleasing on the eye. Perfect pop material. But, very vapid and lacking substance. Enjoyable, but...

I remember buying this on second hand vinyl, back in the eighties. I viewed myself as a musical maverick, and this seemed like an obvious left field like. The band names, the album title, the cover, the psychedelic folk pop... it seemed like I'd obviously like it. But I didn't. I'd presumed that it'd be part of the west coast American hippy free-for-all, but it turned out it was Scottish nutters, trying to make new music from obscure influences from history. It worked for Capt Beefheart, but these guys... Nah. So relistening now, 30 years on, ... yeah. Still a case of trying and failing. I appreciate the intent and effort, but the results make it a dubious listen.

I admire the passion, determination and message behind "Dry", but it didn't really make me want to explore further. Sorry Polly.

This was the Bjork album where I rather lost interest. It's an album of her usual explorations, experiments, whimsy and inventions. However, there needed to be some controlling hand. What we get is an album devoted to what Bjork enjoys, with no real interest in relating it to other folks. OK, there are many who buy into her interests, but me (and others I know) zoned out. Sad, but c'est la vie.

Very Good album. Having been a fan of they guys since "The Pictures On My Wall", I recall buying this album and thinking it was a bit Mainstream. Listing in 2025, it's definitely the transitional album - still with the soul of a bunch of scallies from 'pool...but with an eye on what was selling and what would be popular. Recommended.

An album full of ideas, ideals and hippie philosophy. Some might say " a radical psychedelic critique of American society that builds to a finale which synthesizes everything that came before", but could also be described as a fascinating mess.

Well, that was a bit of a surprise. Obviously, I remember "The Message", but the rest of the album was a surprise. Some Kraftwerk-adjacent stuff (Scorpio), some soul (Dreamin') and some repurposed Genius of Love (It's Nasty.) Well worth a listen.

Tricky beast this "Deja Vu". The highs are VERY high. Carry On, 4+20 and Deja Vu rank amongst the best tracks of 1970. The lows.... oh gawd. The mawkishness of Our House makes me consider rubbing scotch bonnet peppers in my eyes, and Helpless makes me want to punch some kittens. Four star, but could have been higher with some editing.

From the days when Creation Records was a powerhouse in the Indie world. This album...yeah, it's OK., but there are better Creation output from that era.

Derivative and annoying

I appreciate albums with a relaxed, laid-back vibe, and this fits the bill. Not listened to it for years, but have again and ....it's OK. I still enjoyed bits, still tempted to skip some bits, and this album was never destined to set the music world alight. But, a solid 3.5 star album.

Fugazi's Repeater is an enjoyable snapshot of early '90s post-hardcore, but its sound shows its age. The raw energy and political intent remain potent. However, the production feels a little dated, lacking the sonic depth of later works. Still, "Merchandise" and the title track are timeless punk anthems that sound good today.

"So Much For The City" is a solid, albeit slightly derivative, three-star listen. The Thrills showcase a knack for sun-drenched harmonies and West Coast nostalgia, but much of the album leans heavily on well-worn influences. While their sound is more classic pop, the ambitious, sweeping sonic landscape occasionally hints at the layered, atmospheric production one might associate with bands like The Flaming Lips. It’s an enjoyable, if not groundbreaking, debut.

Not bad at all. I was familiar with "Sunshine Superman" before, but there other tracks are so evocative of the late sixties.

Fantastic Album. Obviously, there are a couple of earth-crushingly famous tracks, but the other "filler" is still better than 95% or current music industry output.

The sound of Paul McCartney growing up. Partly. A break-out album for Paul, and Jet & BOTR are both excellent tracks, but ...there's a lot of filler and "noodling".

Excellent album. Downbeat (in the best possible sense) and chilled, this may be my favourite Sunday Morning relaxing CD. Loses a point for the underwhelming Light My Fire cover.

You know those house sales websites (RightMove, Zoople, Zillow, etc), and a majority of houses are in greige? That weird mix of grey and beige that is totally not offensive, but tried to avoid scare the buyers with the possibility of a colour that a viewer might hate. In everyone of those greige houses, Travis' "The Man Who" is playing. Same reason. Indifference and inoffensiveness turned up to up to 12.

1979? It sounds like the early days of punk, when everything and anything was getting released. How did this manage to avoid evolving? I struggle to think of a single redeeming feature to this. I was elated when it finally ended.

Damned good album

I really want to like the music of PJ Harvey ... but, alas, it's just too much caterwauling for me.

I love this album. Yes, it's a bit self indulgent, yes, the lyrics are sometimes a bit twee, but John Grant seems to genuinely thrilled top finally give voice to his ups and downs in his life.

I'm going to get a lot of flak for this, but Led Zeppelin, and this album in particular, are over rated. This is a fantastic album, and there is loads to enjoy, but ... Led Zep stole so much from others and pretended they invented it. This did it well, true, but their efforts to deny the genius of Willie Dixon, Howlin' Wolf and others sticks in the craw. If you can get over that, this is a superb album.

Air's "The Virgin Suicides" is a dreamy soundscape, but it occasionally drifts into the background. The album excels in its restraint, creating a delicate atmosphere that perfectly complements the film. It's a collection of **12** tracks. However, the music sometimes lacks a strong emotional punch, leaving the listener wanting more. A solid **3.5** stars for its evocative quality.

Enjoyable, but not transcendent. Very good mid 80's jangle-pop, and GG has a great voice .... but not an outstanding album

Good pop album, but nothing more

Ground-breaking in 1994, so-so in 2025.

It's a risky (?!) strategy to open and album with an all-time banger of a track - the rest of the album is good quality jazz-funk-soul, but .... it does pale.

Excellent

Afro-Pop Lite. Definite African elements, but it's so damned bland.

Yeah, it's OK. Doesn't really stretch the envelope, but .... it's OK

First time listening to GMV, and .... Sounds like aa bunch of kids find an unlocked recording studio, and recorded whatever snippets of other folks music they could remember, then scarpered. Amateurish.

Class. The Police deserve some appreciation for albums like this.

Sounds like ai-generated NWOBM, taking samples from many so-so artists and aiming for "generic, teen-pleasing noise"

Great Stuff

Classy album from a classy lady.

One for the connoisseurs. By that I mean, I recognise the virtuosity of those involved, I know little about the genre, I hear little more than random noodlings, I felt zero emotion over the music, and I'm in no rush to listen to it again.

Sly Stone trades exuberant funk for a murky, claustrophobic masterpiece. Its brilliance lies in its radical restraint; the minimalist arrangements and hushed vocals create an eerie, hypnotic tension. While it lacks the polish of earlier hits, this stripped-back vulnerability captures a haunting, beautiful disillusionment. A brave, essential experiment.

I was aware of there being a story behind the album, but deliberately didn't read up on it, so as to judge the album musically. Though not always the most comfortable listening, the soul in symphonies of anguish like When Did You Stop Loving Me, When Did I Stop Loving You is palpable and weirdly purifying. Similar funky licks to those that heralded his Let's Get It On sex opus now accompany lyrics of devastating candour, whether in the form of admissions of failings and drug problems, vicious digs or near-tearful protestations of love and the pain of betrayal.

I tried to approach this album with an open mind, I really did try. But, by Christ, I hated it. Sounded like a teenage boy let loose in a fully equipped music studio. "What does that button do?...Ooooh. Yeah". Gave up before the end., before I lost faith in modern music completely.

War’s 1972 masterpiece blends funk, jazz, and Latin rhythms into a soulful exploration of social reality. From the infectious "The Cisco Kid" to the sprawling, psychedelic title track, the musicianship remains peerless. While some instrumental passages meander, its grooves and poignant message remain timeless. A definitive 1970s classic.

Good, but no songs that really had an impact.(Except for inspiring nostalgia for Rosalita-era stuff.)

Fine, I suppose

Deerhunter aren't just revivalists, though: in the main this is timeless music, seemingly made with the conviction that loveliness will always be lovely. And on the seven-minute closer, He Would Have Laughed, the combination of effects, melody, harmonies and instrumentation results in a song that manages to look forwards and backwards simultaneously.

If I was in the mood for an hour and a quarter of musician noodling, this would be an ideal album. However, I rarely am, and this seems like a waste of my ears. Nope.

Well... That was ...okay. Rather merged into the background, like at a trendy bistro. Won't be listening again.

Hell. I remember this being released. ELO have been virtually forgotten about, but "Out Of The Blue" is a cracking good album.

OK. I see, Scandi-Spinal-Tap. I'm getting echoes of Cheap Trick, The Ramones, Hair Metal and Enya. OK, not Enya. It's alright, but I'm not itching to relisten.

Curious. I recently downvoted The Grateful Dead for an excess of guitar noodling. However, this William Orbit album has a lot of electronic noodling - and I'm enjoying it. It's a fairly downbeat sort of vibe to it, no lyrics, and the tracks rather slide into one another, but...just was I nee for New Years Day.

What's endearing about the Klaxons is their lack of cool and their confusion. You get the sense they don't know exactly what they're aiming for, and the resulting mish-mash of crude energy and unfocused ambition leaves the listener gloriously befuddled. There's a queasy but enjoyable not-quite-rightness to songs like 'Atlantis To Interzone' and 'Gravity's Rainbow' that comes from the band using the wrong tools for the job - trying to build a non-rock music using bog-standard rock instrumentation, struggling to make their shaky indie voices soar and ache like mysterious house divas. Bonus star for the literary references. WSB for the win!

The album is as expected: Top Quality. Obviously a vintage live recording and the sound accordingly but being present at a great moment in time is very special. What an artist, I can't imagine anyone disliking this.

Tiresome and hateful. It was a struggle to finish it. Not actively horrible, but cliched, lazy and pandering to spotty, lonely teenage boys who thought that Baywatch was "art", and that swearing was "cool"

Someone's been listening to too much 1977's punk, but didn't understand the basic concept. Annoying.

It's punk, but it's not your cliched Green Day shyte. The Slits announced their arrival with an odd reggae / dub inspired slice of individuality. What the lacked in musical expertise, they made up for in naïve charm, attitude and enthusiasm. This, along with "In the Beginning There Was Rhythm" was their finest hour.

I remember this being one of the Cult Albums of the 1970s, so it was interested to to revisit in 50 years later, and ... It's OK. Well crafted songs, great musicianship, none of the bluster of later albums, but just doesn't inspire me.

A surprisingly straight country and western album (pun intended). musically and vocally, it could be almost any female C&W artist of the era. The lyrics and KD's personality may be slightly askew, but overall, this album was disappointingly normal.

A very good pop album, but nothing more.

The Blue Nile’s 1984 debut, A Walk Across the Rooftops, is a masterclass in atmospheric minimalism. OK, maybe a little over-produced. Bypassing 80s synth-pop trends, the band created a cinematic "sophisti-pop" landscape defined by Paul Buchanan’s fragile vocals and sparse, deliberate instrumentation. From the rhythmic soul of "Tinseltown in the Rain" to the hushed beauty of "Easter Parade," the album transforms urban mundanity into something sublime. While its seven-track brevity and skeletal arrangements require a contemplative mood, it remains a beautiful experience. It is late-night listening for those seeking music that feels like a shared, rain-slicked secret.

Oh great. Another hippity-hop, gangsta rap classic from the turn of the millenium. This one, however, is unique, in features a trouble youth survivor obsessed with money, violence, misogyny and penguins. And surprise surprise, apparently saying "fuck" a lot makes you edgy and famous. Sigh. An album than makes me despair.

Having heard this on and off for 50 years I think it is rather over hyped. George Harrison at his best and a collection of music hall tunes and parodies of American popular music. Some very fine songs indeed but the demos album left me a bit cold. The hippy fascination for art nouveau and the 19th century (music hall) was charming but always a bit of a puzzle to me.

An excellent album. Not as iconic as Hunky, Ziggy etc, but showcases David's adoption of soul and Krautrock themes.

Like most folk, I went into this album rather blink, and expecting some of the usual critically-lauded, but TOO alien to enjoy niche music. But, I was entranced. OK, it's very different from "western" music, after a few songs I was enjoying it. Well worth a listen.

Another "new to me" album, and rather enjoyable. 3.5/5

My expectations for this were high. My overall experience was underwhelming. Not actively hated, but.... nope. Quite happy when the LP was over and done with. 2.5/5 stars

Nope.

Machine Gun Etiquette may bethe definitive masterpiece of The Damned’s second act, capturing a band evolving from raw punk into a sophisticated, experimental powerhouse. This album crackles with frantic energy, blending high-speed riffs with melodic craftsmanship. From the blistering title track to the gothic undertones of "Plan 9 Channel 7," the musicianship is unparalleled, specifically Captain Sensible’s innovative guitar work. A standout moment is their explosive cover of the MC5 classic "Looking at You." By reimagining this anthem, The Damned pay homage to the Detroit roots of Punk and Heavy Metal while injecting it with their signature chaotic polish, effectively bridging the gap between 60s garage rock and the future of new wave. It is a brilliant collection that remains essential listening for anyone who appreciates rebellion played with genuine skill and wit. An under-rated classic.

Common tries rapping over anything from Afrobeat to funky disco to gospel-tinged R&B, and is moderately successfully. Musically, it's better than average, but lyrically it's the same tired old shoot.

A very good album. Derided by some, but an excellent mix of classic indie pop and nostalgic influences.

A classic of the proto grunge genre ... influential, but it didn't do much for me. (It's probably a "me" thing, not a Djr thing.)

I've always appreciated Frank Zappa as an ideas man. He was always able to articulate his feelings and views is a manner that would interest and intrigue others, using humour to make serious points. Basically, a right-on and intelligent bloke. However, musically I just don't get it. Random snippets of noodling and indulgence. And "We're only in it.." confirms that. The Emperor's New Clothes of modern music.

I recognised the name of Bert Jansch, but hadn't heard any of his solo stuff before. (Actually, I knew Needle of Death via the Yo La Tengo cover version.) So, this was a new experience, and rather enjoyable. Basically, one man, acoustic guitar, some vocals...a lovely stuff. I may not listen to it again, but you never know.)

For the first few minutes, yappy frontwoman Karen O sounds like an imperious 12-year-old. But then comes the chorus with its glacial 70s synths, and she suddenly bursts into life. "Off, off, off with your head!/ Dance, dance, dance till you're dead!" she booms, and it justifies her indie-icon status like nothing else she's ever done. No other track on It's Blitz! surpasses that 10 seconds, but the band's glittery new disco sound suits them very well. 3.5 stars

Dramatic, different, unique, astonishing...but not entirely enjoyable. I listen to the CD every couple of years, and realise the power of "Hype".

Rightly acknowledged as a classic album

As well as capturing the emotional chaos of her marriage, Madonna delved into her Catholic girlhood and family dynamics with some Freudian pop song-writing. Producer Pat Leonard was the yang to Madonna’s yin, his deeply melodic music providing the ballast for her vivid lyrics. The standout song here is the iconic title track, with its fiery gospel choir, arunaway bass line and the lyrical celebration of the sacred and profane. Top Quality Pop.

A friend described this album as "like U2, if they'd been raised in Tennessee by the Allman Brothers." A bit of a stretch, but I get it. Very good album.

A stone cold classic album. But ... sometimes it seems a little Preach-y

Van Halen burst onto the scene this pop-influenced Heavy Metal-Lite. Success was inevitable, when the disaffected youth of America saw it as rebellion, rather than a very calculated grab at their money. Efficient, but not for me.

The Byrds clearly heard what The Beatles were doing in England, and decided that they could also start experimenting. And this is album is one of the results. Some hits, some misses and overall, not bad. 3.5/5 stars

We have all had days of feeling puny, mere specks in a mystifying universe. The trick Wayne Coyne perfects on the Flaming Lips' 10th album is to fuse that sense of futility with an element of euphoria. Lyrics such as "Do you realise that everyone you know someday will die?" could be depressing, but are sung so serenely that the heart swells with joy. The tenderness and beguiling vulnerability of his voice seems to make the songs swell, too: each one radiates a rapturous array of sounds. Squelchy robot voices and electric sparkles dance across the title track, weaving in and out of Michael Ivins's luminous guitar and Steven Drozd's mellow beats. Ego Tripping at the Gates of Hell, a sage denunciation of unrequited love, drifts on muted strings and mysterious whirrs, steered by a plump bassline to a place of shooting stars and celestial voices. A goddam five star classic, yet it's not quite as good as The Soft Bulletin.

1978, and Punk Rock was just past its peak, New Wave was in control, electronic pop was beginning to find its feet, and NWOBHM was starting to become a monster. And The Cars released this album of corporate pop sludge. I've now listened to it twice, and while it's not offensive it still seems so darn mid.

Alas, very few tracks available on Spotify to adequately judge this album.

The drugs must have worked back in the sixties. However, in 2026 and without chemical enhancement, this album really does strike me as an unholy mess. Difficult to reconcile the creators of this pile of hooey with the creators of DSOTM. I was so glad when the last track finished.

Clapton turns out a mix of California soft rock and manicured blues, which was popular with the masses of middle aged Americans who didn't get the Glam Rock of their kids. Even a toothless version of "I shot the sherrif" didn't really get the emotions going. Tepid.

Started listening, and thinking...this could possibly be a four star album. As it progresses, it descended into three star territory, before closing with some two-star stinkers. Seems like that have an over-inflated opinion of their talents. One listen was enough.

Yeah, it was OK. Not as "pop" as I expected, but undistinguished really.

An exceptionally good album, and the one that hinted at the awesomeness that would be Remain In Light. The album almost runs out of steam in the end, but ...phew. What a trip.

A polished mix of folk, jazz and dance-inflected astral tweaks that won Beth Orton a Brit award and solidified her a role of the queen of post-club wind-down playlists. Enjoyable, but a quick second listen was less engaging.

I'm no expert of Cowboy-Folk-Proto-Country music, but this seems like an ancestor of today's over-slick Country n Western formulaic crud. Interesting, but seem got on my nerves. Personal rating - 2.5 stars, but fully understand that it could be a brilliant example of its genre.

Good, but over-rated. 3.5 stars.

Good, distinctive, genre-defining but over-rated.

An above-average pop album, Very good, tho' I can't see myself listening again.

It's good. I'm not sure what I was expecting (OK, I expected a more psychedelic, hippy guitar-noodling blast) but this seemed surprisingly straight country rock. Doesn't outstay its welcome.

Definitely a transitional album, sloughing off the gloom and heading off to the disco.

Great Album.

Nope. I don't get the attraction, nor the praise. An OK low-fi, post-punk album, but quite amateurish

Ok. Right. So that was ... The Zutons. A slightly retro sound, even for 2004, and perfectly acceptable. Just Mid.

I really can't see the exceptionality of this album. Very standard post-punk power pop.

the Nutty Boys were famous for crafting catchy, clever pop singles. This album, is a bit of a mini concept album, and allows them to try something slightly different. Not vey different, but it's OK. No great desire to listen again. 3.5 stars.

It's OK, but it'll never set the world alight with excitement.

I enjoyed it a lot more that I expected. 4.5 stars

A damned good album. I was reminded of Steely Dan in some ways - at the height of Punk and New Wave, an album of impeccable craft and excellent songwriting. It'll definitely get a few more plays.

I guess that I'm not the true target audience for this (White, Scottish, able to express myself without multiple "muddaflubber"s), but some Rap n Hippity-Hop does appear on my radar. This album, however, is a big nope. It might have been cutting edge and lauded in the mid 90's, but.... sigh.... nah. The music is fine, but Tupac lyrics and delivery just don't interest me.

Nowadays, it's one of their lesser-known albums, but it still packs a fair punch. And rockier than their blockbusters.

OK. Mingus : one of the greats. Jazz: ok, I'll give some time to Sun Ra and the Free Jazz world. The Black Saint... : Highly regarded. Let's launch in. OK, that's a Nope from me.

I'm all for musical visionaries who strike on their own path, but there comes a time when the music can seem like introspective noodling. Even when it's as noisy and intense as David Tomas and Pere Ubu. The Modern Dance will always have a place in my heart, but Dub Housing....Meh. Listened to it today, and it just didn't inspire me.

Heaven 17 produced two absolute bangers of tunes : Fascist Grove Thang (on this album) and Temptation (not on this).The rest is.... middling.

The gals cover a wide range of genres on this album. Country, to Country and Wester, to Country Pop, to Country Folk, to Country Waltzes. If you like Country music performed by a trio of dames, where one voice dominates...this is an album for you. Alas, I don't. After a couple of tracks, it became a chore to continue.

Seriously? One of the top 1000 albums I need to listen to? Nope. Poppy Trash.

OK poppy BritPop.

See-sawing between folk-rock and jazz experimentation, with a pop sensibility that soars, there is a driving power and momentum to Mitchell’s double platinum offering that sets it apart from her previous work. It is a confident and celebratory break-out.

One of those albums that no-one speak poorly about. Or that people are scared to say anything about. It's an icon of modern serious guitar post-rock. And I just don't get it. I don't actively hate it, I just find it it unfocused and rushed. There, I said it. Oh, the taste-police are now hammering on my door.

David Crosby’s If I Could Only Remember My Name emerges from an era flooded with polite, uninspired singer-songwriter records. It sounds rich, intimate, and carefully crafted, yet rarely lifts into awesomeness. Admirable musicianship and atmosphere keep it engaging, but the songs seldom truly soar beyond their mellow ambitions or reach.

This album was The Big News when it came out, and I was intrigued...so, dear reader, I bought it. Wondrously crafted, impeccably smooth, slightly country-ish and perfect for late night conversations with your beloved. But, like an over-retouched photograph of a past-it film actress, it's more about the craft of the musicians, engineers, producers, knob-twiddlers and sound-tweakers than the craft of Nora herself. TwentyFour years on...yup. Still think the same.

It's like a parody of itself. I have no wish to suffer this album again.

This morning, I slipped on some gooey dog shit, falling ass-first into it, and then knocking my head on the stairs, chipping a tooth. But that wasn't the low point of my day. Today, I listened to Slipknot's "All Hope Is Gone". There's something entertaining about their attitude and image, but By God, the music is pure dogshit. Never again.

Disappointing

I was aware of Belle and Sebastian, tho' hadn't dug far into their archives ...until today. What an excellent album. Well crafted, and so much better than the majority of BritPop crap that came out in this era. 4 to 4.5 stars for me, and added to my repeat list.

An excellent album, and a great mixture of country, rock, blues, pop and west coast Americana.

Music needs to evolve, and move into new and interesting areas. It can them evolve to a blend of old and new, achieving wider popularity and acceptance. So, God Bless the explorers and innovators. We need the Beefhearts, the Stockhausens, the MC5s, the Miles Davises, the Sun Ras, The Residents. But, these new forms are not always comfortable. The Europeans landing in Australia may have thought "It's just baking sand and weird animals that can kill you." So it is with this album. I appreciate the invention, the exploration, the uniqueness. But I personally did not enjoy it. Sure, I'm glad it exists, and I'm sure Taylor Swift wouldn't exist without this album (?!) but I'm unlikely to listen to it again. Scoring it - Difficult, so rated it as "banana max".

Yes, but no. Influential, but I just didn't enjoy it.

Well, that was forgettable. While listening to it, I thought it sounded like AI / HugeCorporation pretending to be indie. After it finished, I couldn't remember a single detail about it. It's the Zenith of Meh.

3.5 stars. Better than most, but I have Hippity-Hop Fatigue.

Umm...OK. Musically more interesting than I expected, and it does mark a change in the zeitgeist from the tail-end of Britpop, but I struggle to maintain any real enthusiasm. 3.5 stars

In some ways, this seems like a bit of a cash-in - a past his prime artist is paired with more famous youngsters, with some good, but not outstanding tracks. On the other hand, it's John Lee Frikkin' Hooker. Who better? And if the album finally gave him some cash to ease his later life, then ... Good!