No

Franz Ferdinand eschewed the traditional formula and released their greatest hits album as their first record. Instant classic. Every one of these could have been a single.

It's De La Soul's 3 Feet High and Rising.

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No

I think all music artists should recreate this album cover for one of their own albums

Records like this are why I gave up on my initial attempt to listen to all of the albums in this list in chronological order when I reached the mid-70s

Don't Give Up is a proper classic (with such an interesting use of percussion and rhythm for such a popular ballad). The rest is more palatable than I anticipated, with some nice melodies and a couple of interesting experimental pieces (hooray for nine-song albums too!). Still a bit put off by how earnest it all is though. Not at all keen on that bombastic 80s overproduction too (especially evident on both Sledgehammer and Big Time, which are nearly unlistenable for me). And no way can I give more than three stars to an album that has a song with these lyrics: "Show me round your fruit cakes 'Cause I will be your honey bee Open up your fruit cakes Where the fruit is as sweet as can be"

Did not expect this to be on here. Loved listening to it in 2002/03 while I played Gran Turismo 3 and Max Payne on the PS2. And I still love Get Free and Highly Evolved. But there's a reason I've not thought about this album in 20 years.

Why did Mike Oldfield see the urologist? He had tubular balls. A lot I really liked. A lot I really didn't. All in the same song. I'm glad it exists even though I'll probably never listen to it again. And also amazed to learn he did this all when he was 19.

1989 - what a year for albums. This Woman's Work is easily the best song from any album we've listened to so far.

Never really listened to this at the time as it was released in my new music wilderness years (2009-2012) and I was always a bit put off by the cool posh kid vibe. Reflections now: Intro, VCR and Crystalised are among the best songs of the past 20 years. Not sure my interest is held over an entire album though, especially when it's this front-loaded. Still, most songs are great additions to any 'quiet times' playlist.

Everyone's second least favourite Radiohead album? Definitely too long. Glad I tried Thom Yorke's alternative track list, which is a superior version and would definitely up its star rating by one.

Four of these stars are for Idioteque, which is up there with Blue Monday when it comes to drum machine magic. Admire this album more than I love it as it lacks a genuine emotional connection for me (I think mainly due to the lack of sense of fun/humour). Still bloody amazing production and imagination though. Especially when you think how shit and slow computers were in 1999/2000. Very patient guys.

Completely new to me. Only managed three listens. First three songs were not promising (especially the awful No Other). Strength of Strings is proper standout though and everything after that is very cool in a Glenn Campbell/Neil Young on LSD sort of way. Feels like a proper attempt to try something new.

Second worst thing Pete Townshend ever did Automatic one star for any album that I can't get the whole way through. The Who have done some great stuff. This isn't it.

Some great pop choruses, but really put off by all that ugly sounding electric piano/organ, all those noodly guitar solos and quite basic lyrics that just don't connect for me. Brooklyn (Owes the Charmer Under Me) seems to be the most toned down and subtle song, and is definitely the highlight for me. Very glad to be introduced to it. Just wish it would stop at 3.39 before that brief solo comes in. In fact, just recut this album with all those show-off solos removed and I'd happily add on another star or two.

One of the best albums of the 90s. So inventive, so melodic, so fun, so different to other popular albums at the time. And just so good.

I feel like Moira Rose has all of these wigs

Pretty much a perfect album, with each song completely distinct but also part of a very cohesive whole. So much more melodic, personal and interesting than any of their big-haired, classic rock counterparts (probably not a coincidence they're one of the few bands of that era to feature women). An album with subtle hints of great talent, rather than being bogged down in unnecessary guitar/keyboard theatrics. The focus here is the song, not any individual. Radcliffe and Maconie have ruined The Chain for me though.

This list's bias towards UK/US, male classic rock from 60s/70s really starting to show. Feel like this is taking the place of a much more interesting album from the past 25 years. Eagles get a lot of criticism for being bland/middle-of-the road. I don't think that's entirely fair - sometimes they can be truly awful too. Case in point... "I believe we could chug all night I believe we could hug all night The band is loose and the groove is right You're so much woman I believe we could chug all night"

Prefer this more folksy approach to the pop of Graceland in lots of ways. Not as strong as the strongest S&G, but contains some timeless classics (Mother and Child, Me and Julio).

An impressive debut with some great songs (including some stone cold classics like Alison and Watching the Detectives). I think he went on to do better things though.

Maybe the algorithm Gods knew we needed a bit of 90s feminist disco punk to shake things up and remind us how varied and interesting music can be. Proper breath of fresh air. Deceptacon overshadows things maybe (and must be a top 10 indie disco classic) but the whole thing is an exciting, unpredictable listen. Who else is writing songs like What's Yr Take on Cassavetes?

Can see Niles and Frasier getting tickets for the Seattle leg of any early-90s tour. Not familiar enough with this style of music to judge whether I'm into specific albums or not, especially after just one day. Nice to have it on in the background while working. And good to see something like this is on the list. Can't say I'm tempted to explore the genre further, however.

Not my favourite Cave (that would be Wookey Hole). Some absolute bangers though, mainly involving someone called Lee.

Is it bonfire night again? Cos it is banger after banger Can't be many better three songs runs than Last Nite, Hard to Explain, NY City Cops.

We've now had as many Radiohead albums as we have had albums by female solo/majority artists. And one more than albums by non-white artists. Still, it's The Bends.

One day I'll work out the difference between Orbital and The Orb. Today is not that day. Feels like a great version of bleep bloop music in any case.

Brhgghghg

One of those bands where I've enjoyed every single but never listened to a whole album. Glad to rectify that. Need a few more listens to gauge how much I like it. Feels like a grower.

I like Supergrass, but to go from 'In It For the Money' to 'Wild is the Wind' is quite the shift. Like going from a battered, old manual Vauxhall Corsa with only FM radio to a slick, automatic 2014 reg Skoda Roomster with an aux socket. Proper all-timer this. Magnificent. 5/5, 10/10, 100/100. Just found out that this is the only Nina Simone album on this list. Aerosmith have three.

Did not need that bonus track. And not enough of a drum nut to appreciate Ginger's contribution (especially that solo in track three). The wider instrumentation is great though (Love. Those. Horns). And those first two tracks are fantastic in particular.

Tough one to rate. Such an influential and genuinely exciting artist, with some timeless singles they broke new ground and helped pop music become a thing. His genius deserves to be recognised in projects like this, although I'm not sure it translates to any specific album of his. And this record does get a bit repetitive with most songs following a similar formula (and one that so many artists have copied). I'd love to know what it felt like to listen to in 1957. Only thing I can really compare it to is listening to Oxide and Neutrino's 'Bound 4 Da Reload' in 2000 and realising the undeniable, raw power of the Casualty theme tune.

Franz Ferdinand eschewed the traditional formula and released their greatest hits album as their first record. Instant classic. Every one of these could have been a single.

A little too schmaltzy at times, but then there's Superstition.

Being exposed to albums like this is complete validation of a project like this. Great stuff.

Another act where I've enjoyed the singles but never done a deep dive. A (very busy) day probably isn't enough to get a decent impression of this. Maybe a bit too gloomy and downbeat for me though, with pretty uninteresting lyrics. I prefer the power of synths to get me on the dancefloor.

Now this is good rock and roll, uh, music

Randy Newman is the opposite of how I feel after eight months of fatherhood.

A lot of Prince's stuff is too sexy for me. This album is where it connects best though; there's a darkness that makes it more intriguing. Proper classic.

Can't believe I've never listened to a whole Chic album before. The hits are HITS and absolutely revolutionary in the history of pop music. Not sure about the slower numbers though.

So much more than (the quite annoying) Love Shack. Great look. Great stuff. One star off for the unnecessary apostrophe in their name.

Two minutes into the first track... "Maybe a better use of my time would be to listen to Jon Ronson's new series on BBC Sounds."

Remember downloading this form Limewire and listening to it so much at uni. Still love it. Melodies and messages and a sense of humour.

Not my favourite Bruce. That would be Forsyth

Love a lot of the music. Really put off by the vocals though. And isn't this guy an abuser?

Love those vibes

Two out the three most recent artists have been accused of emotional abuse by women. Maybe a good idea to replace this one with Punisher by Phoebe Bridgers.

Jimi Hendrix's version of Little Wing is 2 minutes 25 seconds. Clapton's is 5 minutes 33. I feel like that says a lot about the difference between the two. Jimi knew to leave people wanting more. Clapton gives them it until they're sick of it, then adds another solo on top. Like smoking a whole pack of fags at once then being told to smoke a cigar.

Tried so many times to get into Elliott over the years. Some lovely melodies. But I'm really not into that kind of soft, whiny male vocal.

Not my vibe. Not my tribe. That cover is well too scary as well. Gonna give me nightmares, man.

I probably prefer Can's more immediate, rhythmic, dancey stuff (Tago Mago and Ege Bamyasi are amazing). But for proggy, indulgent 70s rock (probably my least favourite genre), this is still pretty awesome and interesting. Yes we Can.

Do we need each mediocre solo project from every 60s/70s western blues rock band?

Gonna try dynamic reviewing. If the majority consider it a five star classic, inspiring an overlooked generation failed by 15 years of Tory policies, I'll give it three stars for balance and wang on about how Pulp are far superior. If the majority consider it an uncreative rock plodder for basic lads, I'll give it five stars and hail the charisma of the Gallaghers and their ability to connect with so many people in a meaningful way.

It's Blondie's Parallel Lines, for God's sake. Instant five for the cover alone.