1001 Albums Summary

Dolly Parton is skilled. I don't just mean in writing songs and singing, but she's also skilled in sincerity. Despite having her own theme park (which has some worrying-sounding stories) and being extremely rich, she seems incapable of sounding insincere. It's a skill, even though it's pretty clear that a lot of that sincerity is genuine. Of course, this album was recorded back before Dollywood was even a twinkle in her eye, when she was just breaking out of being in a pretty popular duo. Whether she's singing about the mystery of the mystery or a dylanesque rant about how her mum ran off with a 'Travelling Man', it radiates charm. The band keeps up too, and isn't afraid to be as stereotypically southern country as possible. I can't really think of anything more to say than that. It misses out on being ranked higher because ultimately I'm just not much of a country guy, and I prefer it when she blends the genres more Fave: Early Morning Breeze Least Fave: My Blue Tears Strong Bad Demerit Counter: 3

I usually try and have an opening statement here, but I honestly can't this time. So I'll cut to the chase. This is a perfectly serviceable album, but it feels amazingly hollow. I think it's fairly evident that Willie likes the songs, and is putting his effort it, and it does have a comforting feel to it. But it doesn't fit the material; standards are for expressing emotion and passion and I just don't feel it here. Add to that the fake harmonicas and turning All of Me into the equivalent of a pub singalong and I just don't know anything anymore. Who am I, even? Is this real life? Fave: Stardust Least Fave: All of Me. Strong Bad Demerit Counter: 0

The psychedelic stuff is interesting but not really developed enough to withstand scrutiny, and some of it is annoying to listen to. And yet ironically most of the songs are too short to develop into anything. The big hit is ok, clearly they were already getting fed up with the music industry and being famous but it comes off as weirdly toothless. The guitar lines are interesting, but the 'Free Jazz'-inspired interplay seems to be a bit beyond their capacity at this point. The album is carried mostly by being one of the first to do it (even if George Harrison did it first), the harmony vocals, and especially the bassist working his backside off. But it's not enough. Tangent: I really wish they'd stopped covering Dylan. They strip away all the meaning and nuance from his stuff, and that's the entire reason I listen to that guy's music. Fave: Renaissance Fair Least Fave: Mind Gardens Strong Bad Demerit Counter: 1

Sometimes, a sound just springs into the world. I don't think The Cure were the first New Wave band, but they were certainly the first to really contribute to the sound and feel of Gothic rock. Of course, this can be a mixed blessing in retrospect because sometimes these albums are more famous for starting a trend than being the first fully realised version of it. Thankfully, The Cure hit the ground running. Mostly. The jangly guitars and prominent bass are here, and Smith's plaintive wails and angsty tone give it the grit it needs. (Even if he sounds like he's recording about 500ft away from the rest of the band.) It's more experimental than I thought it would be too. The main downside is that they haven't worked out track lengths yet; a couple of songs end too quick and a couple more are a bit too long. (The opening instrumental being about twice as long as it needed to be). Still, a solid achievement. And this was before they really got into the swing of things. Tangent: This sort of new wave is so much nicer without Morrisey in it, isn't it. Fave: A Forest Least Fave: A Reflection Strong Bad Demerit Counter: 0

An ethos can be hard to define sometimes, especially when there's multiple different ways to interpret it. Punk is no exception. The Clash's debut album shows that it was more of a political and artistic statement than an attitude. Sure, the album was recorded quickly and lacks overdubs, but the band members clearly care about sounding as good as possible. And, most importantly, they come out of the gate with a lot to say, and an unwillingness to pull their punches. That being said, it's a debut album. It punches above its weight, but the album lacks the general scope, precision or ambition of later Clash albums. It's still eclectic, but less so. Still, an amazingly solid start. Tangent: I much prefer the UK version to the US one. But that tends to be how it is; the only time I've encountered a US version of an album that was better than the UK release was Magical Mystery Tour. Fave: Police & Thieves Least Fave: Deny Strong Bad Demerit Count: 0

There's three things you can do if you have a decently selling but not well loved album (well, five, but breaking up generally isn't anyone's first choice, and being dropped is less of a decision and more of something that happens TO you.). You can refine the style you've already got, you can try something new, or you can try to do both at the same time. The last one is the riskiest, but also possibly the most rewarding, and I think that's what happened with The Bends. The album isn't a million miles from Pablo Honey in its construction, though everything is more polished and with more thought put in And yet the vibe is very different. Thom's clearly in a melancholy mood, and while the biting sarcasm is still there it's much more balanced. If Creep is bare-bones angst, this one has some meat to it. If you love guitar, then you'll have a buffet-load to consume (Just has a ridiculous riff, and I mean that as a compliment) and the rhythm section is on point. There's also clearly an effort to make the songs distinct. It's almost sad then that The Bends struggles to get out of the shadows of the band's later albums. It would be unfair to call it monotonous when they do it so well, but it's distinctly lacking in lyrical and emotional variety and arguably about 10 minutes longer than it needed to be. It is a good next step, and I'd listen to a lot of these songs in isolation but I'm not sure it'd make my 1001 list. Probably shouldn't play it while you're depressed either (unless you're the sort of person who it helps) Tangent: My Iron Lung would be a better version of a 'complain about how famous we are' song than The Byrds managed, if the chorus wasn't near unlistenable. Fave: Just Least Fave: My Iron Lung (good lyrics though) Strong Bad Demerit Score: 1

ALL THE PEOPLE. SO MANY PEOPLE!!! Ok, now that I've got your attention, it's time for Blur. This album isn't massively different in style from the wonderful 'Modern Life Is Rubbish', but it doesn't need to be, since there's still enough creative juice in them to make it work. (Another example would be Queen's Night at the Opera and Day at the Races) Parklife's concept seems to hang together a bit better compared to its predecessor, and the band experiments more with studio trickery and different styles. (I couldn't imagine Girls & Boys or To The End on the previous one, for example. That's the difficult thing when you have two really great albums in a row from the same band in the same style that you love equally, you either go into detail about the differences between the two or you just shrug and say 'It's good, innit.' Tangent: It's good, innit. Fave: This is a Low Least Fave: Lot 105

A swirling kaleidoscope of off-kilter beats, obscure samples and fuzzy synths, with rapping over the top. I preferred the first half, since it generally felt more like an art piece than an album; the second half is slightly more conventional and I wasn't too keen on the guest appearance from Company Flow. Politically, I'm not sure where Mike Ladd is, but I can guess it's both leftist and disappointed. (If disappointed can be a political position; personally I think it can be.) The future is now, it isn't bright, and it isn't orange. And his name isn't... CHRIS! I can't say I didn't like it, but it's not the sort of thing I'd put on very often. Maybe that just means I'm boring. Tangent: If there's an afterfuture, is there a prepast? Fave: The Animist. Least Fave: Red Eye to Jupiter Strong Bad Demerit Counter: 0 (I think)

Queen clearly had big plans. Their debut was pretty impressive, but the Regal Four probably didn't appreciate being compared to Led Zeppelin. So, they couldn't just turn up all the knobs to 11; they needed to tweak some things. Both Brian and Freddie had different ideas, so we get a side of each. Not that the sound is massively different for either side; Queen were united in that. It was in the lyrics. Freddie would be Fantastical on Side Black, whereas Brian would use the fantasy imagery to talk about more down-to-earth stuff like family and relationships on Side White. Well, from the lyrical content of later Queen albums you can tell who won that debate. Still, it all works brilliantly here. The guitar work is more intricate without sacrificing the emotional power (Brian even shows off his lovely singing voice for the first time as a lead vocalist) , Freddie is singing and playing his guts out and Roger and John are on top form too. My head wants to give it 5, since I enjoy all the songs and love many of them, and because of how well it flows, but it ultimately doesn't hit me the way that Sheer Heart Attack or Night at the Opera does. I think I need my Queen songs to feel personal. Tangent: Roger really didn't try to make his song fit lyrically with the others, though the subject matter does fit with Brian's songs, so it gets a pass. Fave: White Queen (As It Began) Least Fave: The Loser In The End Strong Bad Demerit Counter: 2

It's been said that Billy Corgan could pick a fight with an empty room, and that's arguably true. Still, if we're talking about conveying relatable angst, there's few better. For those who may be readying their throwing tomatoes for me rating this higher than The Bends, it's because I feel that despite it being very stylistically monotonous, the mood and feel of the album is not. It's a mix of manic, sad, contemplative and angry - all with a self-deprecating edge. Speaking as someone who both has lived with, and is, a depressed person, the album really gets across that feeling. Ultimately, it's the front-loading of the album that prevents it getting a 5. But, as someone who was an angsty 20-year-old (and is an angsty 34-year-old), I wish I'd listened to it when I was younger. Tangent: I didn't gel with Spaceboy, despite its usage of Mellotrons. I guess even I have a limit for my love of that instrument. Fave: Cherub Rock (yeah, I know) Least Fave: Spaceboy Strong Bad Demerit Counter: 0

Normally I'd try to start with an introductory statement, but the life of Fela Kuti is too big, too diverse and too difficult for me to even attempt to do. What I do feel comfortable saying is that he was extremely important to the history and development of music, and this early live album demonstrates why. However, like many early albums, it's rough around the edges. The horn lines immediately grab the attention, and the bass and drums hold you in the groove for as long as they can, but the soloing is just a bit too meandering. The potential is there, which Fela didn't take long to fully grow into, but the balance off. If anything, it feels a bit too tied to the Standard Jazz Template™, the lead melody section and vocal sections rigidly separated from the noodling. Still, Fela's energy carries it, and the title of the first song is an apt summation of the record itself: 'Lets Start Doing What We Have Come Into the Room to Do'. They certainly did! Tangent: Wikipedia had gotten the instrument wrong that Fela is playing in this album. It's not a Hammond Organ, its an Electra e-piano! They sound very different! Fave: Ye Ye De Smell Least Fave: Black Man's Cry (the solo went on too long) Strong Bad Demerit Count: 0

Self titled albums are usually statements. This one's no different. I don't feel qualified to talk about the long and interesting history of Beyoncé, so I'll skip that. But at this time she's on top of the world, releasing an album that's also a music video showcase. The issue with reviewing this album now is that the context stands in contrast to what Queen B is portraying, so I can't help but feel weird when she sings the lines 'I'm not Jealous', as the shadow of 'Becky with the Good Hair' looms over it. She levels 'are you happy with yourself?' at beauty pageants, but it almost feels like the sort of question she might have been asking herself. Still, it's a very well produced and artistically stretching album. Beyoncé raps, and her emotion runs clear through everything. It didn't feel overlong or too short. It was, ultimately, a great foundation to build this current phase of her career on. Tangent: what exactly DID Jay-Z contribute to the song 'Drunk In Love'? I couldn't hear him at all. Fave: Pretty Hurts Least Fave: Mine Strong Bad Demerit Score: 0

I love that Two-Tone exists. Ska and Punk together, as a tasty combo. We even get some of their great early hits, right off the bat. However, there is a downside. The lyrical content on this album is downright sexist at times. Yeah, I'm not sugarcoating it. It feels very laddish, which I'm sure was part of the point, but it doesn't really hold up now. And it's sad because on other tracks Terry Hall gets across that frustration of urban chaos and boredom that lyricist Jerry Dammers was trying to convey. They didn't need to go there. But they did. It's also cover-heavy, but that's not a problem for me. Tangent: Elvis Costello did a good job producing. Not bad for the son of a secret lemonade drinker. Fave: A Message To You Rudy Least Fave: Too Much, Too Young Strong Bad Demerit Count: 1

I was flabbergasted when I found out this album was made out of tracks recorded but left over from Nina's previous four albums. It doesn't feel like it is. It may mostly be covers but that doesnt matter; she makes the songs hers. There isn't a bad song in the bunch, with every note packed with clarity, passion and emotional heft. Four Women was a huge hit, but most of them could've been if they'd been picked instead. Lilac Wine made me cry. What else can I add? Tangent: The app needs to stop closing itself when I tab out to check things. I've lost an entire review to it several times. Fave: Lilac Wine Least Fave: Can't pick one, they're all to such good consistent standard. Strong Bad Demerit Count: 0

What a weird story Steely Dan had. A band that eventually just became a duo, with a boatload of session musicians. After a lot of painstaking work, they ended up with this, thus subjecting the world (and especially jam night musicians) to Deacon Blues. Ok, I'm being purposefully mean there. There is a lot to like. It reminds me a lot of Toto's debut album, but with an infusion of jazz. I don't think anything sounded like this at the time, and if you are a keys player I think you'll glean something from it. The latter two tracks on the album drag though, and while I tend to get what they're going for with the lyrics, there's a feeling of forced esotericism that could've been avoided with a bit more heart. That's what's weird about it. I can't say it has no heart, because it's right there in the music. But just the music. Tangent: I don't think anyone could've made the line 'Drink your big black cow and get out of here' work, but especially not Steely Dan. Fave: Peg Least Fave: I Got the News Strong Bad Demerit Rating: 0

Sly and the Family Stone are integral to the history of Funk, and this album cooks. (I think I'm using the term right). The back-line is amazing, and honestly I'd find it hard to not bop along to anything they'd come up with. The lyrics are great too, hopeful but not too preachy. That being said, the overuse of talk box gets a bit silly. I think it works on 'Don't call me...'; it's arguably the key element of the song along with the groove. But it's EVERYWHERE. Also, while it doesn't drag for me, the balance of length is a bit off. Snipping off a minute off most of the songs wouldn't have hurt, and could've given us another one. Even so, this is a really good album and a good barometer for whether you'll like funk. Tangent: I'm not even going to go into the politics of 'Don't Call Me...'. Nor should I, being a white dude. Go ask someone in the correct lane! Strong Bad Demerit Count 4 (At least, some of them are borderline).

I've said before that it's a risk to follow up your first album with 'the same, but more and better', but sometimes it works. This is one of those times. The band has musically grown through the process of making their debut, and their time gigging at CBGB and doing radio broadcasts. The scope is bigger, and the sound is too, adding synths to Jerry Harrison's whilst still keeping the guitar interplay and the anxious lyrics. Tina and Chris' bass and drum skills have ramped up too. Everyone's on good form. The only downside is that, while the sound may have evolved, the mood really hasn't. It's a small quibble, but it's why I can't put it at the level of Remain in Light. Tangent: That all being said, the best renditions of these songs are on The Name of This Band is Talking Heads, their compilation of live album tracks. If you like this one, pick up that. Fave Song: Warning Sign Least Fave: With Our Love (but it's still good though) Strong Bad Demerit Score: 0

This was as far as the Beatles could go with their original vibe and sound. Beatlemania firing on all cylinders, Lennon and McCartney seemingly unable to put a foot wrong at this point in their songwriting, with Harrison and Starr bringing their A game too. You forget how many great songs the Beatles did until you listen to an album and remember all the ones that don't get played on the radio or spotify mixes. They could honestly write hooks and melodies in their sleep, and George's 12 string riffs inspired so many other bands, it's ridiculous. Ultimately I can't personally give it a 5 because it doesn't have a George Harrison song. That probably sounds weird, but it's a band of 4 people, not a band of 2 and 2. Also, it gets a bit samey in mood. But still, treat the rating like an honorary 5. I'm just being arbitrary (and just happy to dance with you). Tangent: The film's pretty great too, with the guy who played Albert Steptoe stealing the show as Paul's grandfather. Favourite Song: If I fell Least Favourite: I'll Cry Instead

How does one even begin to tackle 'Roger Waters and the Terrible, Horrible, No Good, Very Bad Day?' I'll keep it succinct. Pink Floyd was in a weird place; now under the control of Roger but with enough space to contribute enough to be a band (Unlike the Final Cut). Animals (my favourite PF album) had done well, and the tour did too, but also clearly had done a number on everyone. Oh, and they were being embezzled from and owed the tax man a lot of money. So to come out with such a big album as The Wall, and continue to be popular (with an unexpected disco christmas number one) was a surprise. It's also pretty divisive, given its status as a double-length concept album. Me? It's a game of two halves. The first disc is great: everything builds up in the story in a comprehensible way, and the music itself fits. It still feels like Floyd, especially when Dave and Rick get to do their thing. And I like the overall concept of the dangers of getting disaffected with and isolated from the world. The second half though? It's just... weird. Synthy Fragments, one of Dave's best songs, then a few songs that were meant to be satirically anti-fascist but a lot of people didn't get it, topped off with a bit of musical theatre and an ambiguous ending. It's getting the 4 because I still think it just about sticks the landing, but feel free to dock it 1 to 2 stars if it doesn't for you. Tangent: Roger once joked that he'd wanted to end the album (and the live show)after the Wall had gone up, and while that's not borne out by the demos it may have been better if he had.

Honestly, it feels like Phil 'Wall of Sound' Spector got together some of his musical groups and contractually obligated them to do a Christmas album. Some of the tracks are well known; the Ronettes versions of Frosty and Sleigh Ride are seemingly everywhere. But it's decently made Christmas music, made by a person who definitely wasn't decent, and doesn't even really bother to put much polish on it. You know, the actual thing you'd get Phil Spector for? Tangent: I wrote the first line of this review before seeing the cover art, and that's amusing because the stars REALLY seem to not want to be there. No Phil either, interestingly... Strong Bad Demerit Count: I don't care enough to bother.

One of the most interesting things for me in music is when an album that did ok when it came out suddenly rockets up the charts when the artist makes it big. This is one of those cases. Bowie had been made a star through Ziggy, but this album is better. And even if you don't think it's better, I think it's more representative of who David Bowie was. Honest (if more than slightly detached) and never staying in the same style or genre for very long. This was also sadly where he flirted with some weird and problematic ideas and imagery, which bit him in the arse when The Thin White Duke arrived (though I'm not sure Bowie actually believed in any of the stuff the Duke did). Tangent: The story about Bowie playing 'Andy Warhol' for Andy Warhol, them both sitting in awkward silence for a minute since it was clear that Andy didn't like it, and then Andy saying he liked Bowie's shoes to break the tension may be one of my favourite musical anecdotes ever. Favourite Song: Life on Mars Least Favourite: Quicksand (on a song level. It's interesting for lyrical analysis) Strong Bad Demerit Count: 1

The Sound of Silence becoming a surprise hit was a mixed blessing for Simon & Garfunkel. On the one hand, it brought them back together. On the other, they'd never asked for the remix and it tied their second album to sounding like early Electric Dylan. Well, that wasn't going to happen this time. Paul and Art (along with Roy Halee) were in the producers seat, and they could make the album they wanted to. And what they wanted was atmosphere. Whether it's the more serious material (the haze of the opening Scarborough Fair/Canticle, the earnestness of Homeward Bound or Poem on the Underground Wall) or the more fun stuff (the Dylan-spoofing A Simple Desultory Philippic, the satirical 'Big Bright Green Pleasure Machine' you can see the care and hard work put into it. The two halves fit together well. Of course, the songwriting had been there ever since Paul had gone off to write his Songbook material in England but now everything was in place to cement their legacy. It was only up from here. Tangent: Speaking of the Paul Simon Songbook, it's interesting to see how differently the material from it was used in both the previous album, and this one. It's like night and day, despite the songs being written at the same time. Fave: Flowers Never Bend With The Rainfall Least Fave: A Simple Desultory Phillippic Strong Bad Demerit Count: 0

It would be glib to say that everything was in its right place. But also, accurate. Radiohead's genre shift ended up in hindsight to be not as jarring as it first appeared, since a lot of the elements in Kid A were also in OK Computer. The main difference was the emphasis, with synths and loops doing more of the heavy lifting. Honestly, you could compare it with what U2 did with 'Actung Baby' a decade earlier, though even that isn't a very strong comparison given that Ed O'Brien was already making his guitar do ambient sounds, and Johnny Greenwood went for fuzz instead of reverb and delay. Maybe I should just say that Radiohead remained as Radiohead-y as ever, except the songs in this specific batch hit me harder than the previous ones and I think that the synths were a brilliant addition to their sonic palette. So it's my favourite album of theirs. Tangent: "Faster, Johnny" Fave: How To Disappear Completely Least Fave: Untitled (ok, this is cheating a little, but in my defence, it's hard to pick) Strong Bad Demerit Count: 2

The Joshua Tree is one of the most front-loaded albums of all time, which both gave it the success it did but also bit it in the arse when U2 stopped being hitmakers. Unlike the Grand Old Duke of York, there was no chance of U2 being neither up nor down. Which is a shame, because the quality floor of this album is really high. There are no songs that I dislike, and some that I love. But what kind of chance do Exit or One Tree Hill have when half your audience has tuned out? This may sound like a weirdly negative review for an album I like, but it's only because it could've been a 5 had it been sequenced differently, and that 'so close and yet so far'-ness bugs me. That, and pretty much everyone has already said everything else that could be said. Tangent: I tend to find that I like Brian Eno contributions to production best when they're numerous and substantial, but also blend into the background. This album fits that criteria. Fave: Running to Stand Still Least Fave: God's Own Country Strong Bad Demerit Count: 1

David Bowie was a mess. A highly successful mess. So what do you do if you're a highly successful mess? Well, many would keep going, but Bowie decided he needed to sort himself out. But would he just go off into a corner while he did it? What do you think? Low really fits as an album title, because this is Bowie at his lowest ebb. The spark is not there, and if the spark is what you want from Bowie you may not end up enjoying this. But it is frank, emotional, and weirdly... chill. The point where you get so fed up about your situation that you stop moaning about doing something, grit your teeth and actually do it. That it remains funky and melodically rewarding really helps too, though the instrumentals lean a bit too much towards expression over memorability for me. (Killer Sax, though) Tangent: I love the irony of Bowie singing 'You're such a wonderful person... but you've got problems' to someone else, given what he was going through. I refuse to believe that he didn't do it on purpose. Fave: Always Crashing in the Same Car Least Fave: What in the World Strong Bad Demerit Count: 0 (I am not counting the instrumentals with vocals; there's a big difference between a song going 'na na na' because you couldn't think of something better and wordless ethereal chanting)

I was going to make a pun on Genesis doing what ninten-don't, but that didn't really fit. So I don't have an intro, sorry. This is one of the consensus picks from the fandom for best album from Peter Gabriel's time with the band, and I have to agree. I love 'Supper's Ready' as a side-length song, and there are some really good tracks in 'The Lamb Lies Down on Broadway', but aside from some dodgy lyrics to 'Firth of Fifth' and the lyrics to 'The Battle of Epping Forest' not fitting 100% with the music, it's all solidly great. The opening and closing tracks bookend it perfectly, Firth of Fifth has some of the best keyboard and guitar riffing that the band ever did (and the flute work is great too) and it just feels a lot more... fun. Genesis never took themselves too seriously, but they accidentally projected a po-faced attitude to people who hadn't listened to them (Because honestly, one look at the ridiculous album cover to Nursery Cryme would've clued you in). Most importantly, the band is completely balanced here. In both earlier and later albums the organ, piano and synths were the centerpiece of the band's sound. Here, it shares they spotlight with the guitars, along with the best production work from this era, and that just gives it that extra special oomph. Oh, and they actually made a single that could've been a hit, had it been marketed properly. I'm not sure this is where I'd start people off with listening to Prog!Genesis, but if you like it then you really need to get this one. Tangent: I feel like Pokemon ripped off the instrumental section of Dancing with the Moonlit Knight for their intro theme. (Not the anime, the 'dan-dan daaan, dan-dan daaan' one from the games) Fave Song: I Know What I Like (In Your Wardrobe) Least Fave: The Battle of Epping Forest Strong Bad Demerit Rating: 2

Zappa had had a falling out of sorts with his band, and he wanted a new direction for his solo work. Jazz fusion was an interesting choice as any, and it ended up working out well for him. However, this is still an atypical album for him, because he mostly plays it 'normal'. Normal for Zappa is, of course, still pretty out there. Long guitar solos, weird song structures, use of unexpected instrumentation... he even had to make his own 16-track recording desk. But aside from some vocals from Captain Beefheart on Willie The Pimp, it's lacking both the satirical lyrics and the music concrète elements that Zappa is known for. The songs are also too darn long. Tangent: Beefheart is both in character and strangely subdued. I know that sounds impossible, but it's true. Favourite Song: Peaches en Regalia Least Favourite: The Gumbo Variations Strong Bad Demerit Count: 0 (No, Beefheart's weird noises don't count)

Metallica react to the loss of their beloved bassist by hiring a new one, and getting really upset about the justice system. Without Cliff though, they needed to find a direction and they leant into being prog thrash before the genre even really existed. The problem with that was, simply, that Metallica works best when they have a wider range of moods to aim for, and subjects to write on. Master of Puppets knew it, but this one forgets at times. They also forgot to tell Jason Newstead where to place his bass lines, and (by his own admission) ended up cluttering up the mix enough that they felt they had to almost mix him out. That being said, some of Metallica's best songs are here, and none of them are bad. You just wish they'd end a minute or so earlier than they do. Tangent: People who care about Metallica 'selling out' don't have anything interesting to say. Favourite Song: And Justice for All Least Favourite: Harvester of Sorrow

'People say I'm crazy, I've got diamonds on the soles of my shoes' Well, actually they say that because I actually rank this album lower than Hearts and Bones, or Rhythm of the Saints. The fact that I'm still giving it a 5 speaks to how great a run Paul Simon was on at the time (musically, at least. Hearts and Bones flopped commercially). There's still the political and moral question of whether Paul was right to technically flout the boycott (I lean towards it not being so), but the fact that he bypassed the criminal government and went directly to the musicians living there is a mitigating factor. And what music. Riffs! Percussion! Paired with Paul Simons lyrics, everything pops, and the production is also top notch. There is no bad song on the album, and it's no wonder it got this big. Tangent: All Around the World's not only the most dated sounding of the songs, but the plagiarism accusations also detracts from my enjoyment, even if I don't fully think it was Paul Simons' fault. (Bringing a new song you've made to a jam session with a fellow musician and then not telling him that it's your song is not a very smart idea) Favourite Song: Crazy Love Vol. II Least Favourite: All Around The World Strong Bad Demerit Count: 2

Peter Gabriel had left Genesis to try something new, and results had been mixed. Generally positive, but mixed. So it was time to try something else, and an accident that created Gated Reverb helped spark a masterpiece. Not that it was all about the reverb, or even mostly about it. It was that Peter and his friends took some risks that really paid off. For being sonically experimental, it's also surprisingly accessible, and I don't think we'd have had Remain in Light or other works without it. Kate Bush's backing vocals fit the mood well too. And what a MOOD. It touches on anxiety-inducing topics without getting too heavy, and the lyrics are emotive. I can get why people put So, or Peter Gabriel 4 as their favourite. But for me, it's this. Tangent: The line 'I don't know how to stop' from No Self Control is both apt (he's still going) and ironic (because of the huge gaps lately between releases). I like that. Favourite Song: Biko Least Favourite: Not One of Us Strong Bad Demerit Score: 0 (I don't count wordless backing vocals, unless they're la's, na's, hey's or do's)

In some ways, Smile doesn't exist. That is to say, the Smile that Brian Wilson originally intended to make. This is, instead, Brian's attempt to construct an album out of what he'd already got. Ultimately, it doesn't matter, because it's great. The Wondermints do a great job in being The Beach Boys without being them, and Brian's voice keeps up decently. (And in some ways, his weakened voice actually adds to it). Not everything fits perfectly (the first suite is uneven, and the third suite doesn't actually seem to have a through-line, but I'm just happy it's here, and the second suite is easily the best bit. Tangent: the moment in Heroes and Villains where Brian sings by himself always makes the hairs on my arms stand up. I'm glad he was able to find peace. Favourite Section: Surfs Up Least Favourite: Roll Plymouth Rock Strong Bad Demerit Count: 5

Sometimes people use Right Place at the Right Times to suggest that the level of effort and skill put into something doesn't matter. For some things, that may be true. But for music, often you have to have made the Right Thing at the Right Place at the Right Time. As you can probably guess, I think this is true of DSotM. So much has been said about this album that I struggle to add much. So I will say that I am always surprised how natural the album sounds. All four members of Floyd worked their butts off (including Nick Mason's underrated experiments with sound effects and sequences) yet the album has a relaxed vibe. They made a 7/8 song sound relaxed and natural. That's hard to pull off. It's not my favourite Floyd album, but it's still worth a 5. Tangent: Apparently this album is really good to put on when making love. I wouldn't know. What I find interesting is that people readily admit to trying it. What must it feel like to be someone who it didn't work for? Favourite Song: Time Least Favourite: One the Run (Speak to Me is too easy) Strong Bad Demerit Count: 1 (No, I don't count Great Gig in the Sky)

I think I made my brother dislike this album. Well, contributed to it anyway, through overplay when we were younger (what can I say, autism can have a big effect on a person). Anyway, after More Songs about Buildings and Food, Talking Heads found two things: Disco and depression. Having a theme helps give the album shape, but also risks being like marmite if the theme is divisive enough. Personally, I think it works well. Synths have been added even more to the sound palate but don't overwhelm the guitars, and the general slowing down of pace helps differentiate them from the classic new wave sound. (Though songs like Life During Warfare and Cities still bring the speed on occasion) Still, songs like Animals, Paper and Electric Guitar were always going to be a harder sell for the general populace than Take Me To the River, and I can't say I love it quite as much as I used to. Still great though. Tangent: I'm not sure if the Fripp and Eno partnership began here, but this was definitely where it began to really take shape. Favourite Song: Life During Wartime Least Favourite: Animals Strong Bad Demerit Count: 0

The press has a lot to answer for. That's a very ambiguous statement, but in this case, I mean that they have a habit of overemphasing the newness of something they like. To be fair on them, U2 had a famously po-faced image (especially after Rattle and Hum, a.k.a. the album where they 'took back' Helter Skelter from Charles Manson), and finding out that Bono had the capacity for sarcasm and irony must've blown their minds. That all being said, the main musical differences are the bass becoming more prominent (and more co-writing credits for Adam), more synths and more pedals for The Edge. They continue to wear their hearts on their sleeves, despite also having fun. It's just a solidly good album which also just happened to spawn one of the greatest tours of all time. It's no secret at all. Tangent: That aforementioned tour gave the world Mr. MacPhisto. You've all made him very famous and he thanks you. Favourite Song: Acrobat/Even Better Than the Real Thing Least Favourite: Tryin to Throw Your Arms Around the World

The heat goes on. Talking Heads and Brian Eno had scored a decently big hit with Fear of Music, and they decided to try something new. I Zimbra had given them a taste of African-inspired looping legato guitar and bass licks, so why not an album of it? Well, roughly two thirds of the album. The last three tracks go for a sombre moodiness similar to their previous album, but it still works. The musicianship is spectacular, the lyrics are somehow profound despite being based on chopped-up fragments, and Brian Eno and Adrian Belew do their things without overshadowing the band. (Though, it seems Tina and Chris disagreed, given that Eno was gone by the time they got round to starting the next one) It didn't do spectacularly in the charts at the time, but come on... when your most popular song from the album is covered by Kermit the Frog, you know you have something special. Tangent: No thanks. I'm a government man. Favourite Song: The Great Curve Least Favourite: Seen and Not Seen Strong Bad Demerit Count: 0

Metallica did such a good job with Ride The Lightning that going for the 'same vibe, but better' was obviously the right choice. The production is wonderful, it hits harder and it's more melodically varied too. You don't even have to put up with a song like Escape (which is ok on a technical level but clearly mandated by the studio). To put it another way, my least favourite track is Leper Messiah and I can't really think of any actual criticism I could give it aside from personal taste. Well, the lyrics I guess. But they're still uniformly good too. Tangent: The album really highlights how important Cliff was to the band and while I like later records by them, it's not the same. Favourite Track: Welcome Home (Sanitarium) Least Favourite: Leper Messiah Strong Bad Demerit Count: 0

I had a review all lined up for this one based on how I remembered it, and it was only when listening when I realised that I may actually have never listened to it. So I scrapped it. Still, the Police were outlaws of love once, and topping that album would be hard, especially since they were out of ideas. What to do? Well, they'd had the bright idea to record in the same studio as last time, using the money they'd got from the previous album, so the label had no way to influence them. They could do what they want, and honestly it shows. I don't necessarily mean that in a bad way; Sting, Andy and Stuart's willingness to write goofy lyrics completely earnestly and step outside the confines of the reggae sound they cultivated is endearing. But, aside from the stellar singles, it just doesn't hold together like their better albums do. Tangent: More bands need to sing about accidentally kicking someone in the shins. Favourite Song: Message in A Bottle Least Favourite: ... No Time This Time Strong Bad Demerit Count: 2

If Low was Bowie was in the middle of sorting himself out, this album feels like him after turning a metaphorical corner. He's having fun again, and it shows. The title track threatens, and ultimately succeeds in overshadowing the rest of the album, but the instrumentals are better than on Low, the guitars on songs like Blackout shred (in a good way) and I can't help myself singing along to the DARRLLLINNNGGs on Beauty and the Beast. Turns out, I can't say no to it. There's still that distance I feel from Bowie that makes it hard for me to love his albums, but I think it does enough to get the top score. Tangent: I never understood the dislike some people have for The Secret Life of Arabia. Maybe they just hate fun. (Secret Secret) Favourite Song: Heroes (or, if that's verboten, Blackout) Least Favourite: Sons of the Silent Age (only the first disorienting, dissonant 20 seconds. I love the rest of it)

This is, I'm slightly ashamed to admit, my second ever Supertramp album I've listened to despite buying and enjoying Breakfast in America decades ago. I have a hype aversion problem. Anyway, it turns out Supertramp's breakthrough album really is that good. Better than Breakfast in America? Not sure. It's more varied, but none of the big hits hit as hard. Which is fine, because the other songs make up for it, and you still get that distinct melage of e-piano, synths, guitars, sax and orchestra. It's also really nice to hear Roger and Rick working together on songs, unlike later down the road. I feel like it's on the cusp of 4 and 5, so if you zig where I zag, full power to you. Tangent: if you'd played me an instrumental version of School, I would be tempted to think it was Genesis... until the sax solo. Favourite Song: Crime of the Century (or School, on a different day) Least Favourite: Hide in Your Shell Strong Bad Demerit Count: 0? I think?

The album that became mythologised as upsetting the entire folk community, despite selling and reviewing well. As it turned out, adding rock to folk was a popular move (and possibly why some gatekeepers ended up trashing it). As an album, it's messy, but I don't necessarily consider that a demerit; especially if you were one of the first people to do it. (It would be unfair otherwise). The real thing that brings it down a level is actually its indecisiveness. Its half-electric, half-acoustic nature ends up diminishing some of the lesser material. That being said, most of the songs are great, and not just the hits. Love Minus 0/No Limit is moving and On The Road again makes me laugh. If you like Dylan, you'll like this. Tangent: This original version of Tambourine Man made me dislike the Byrds version for years, and while I've gotten over it, I still think it's the better one. Favourite Song: Love Minus 0 / No Limit Least Favourite: Outlaws Blues Strong Bad Demerit Count: 0