1001 Albums Summary

Won me over

A bona fide Classic, and even better than I remember. I'm still rating it slightly below the funkier 1999 and Sign Of The Times, despite their slight double album gloat, but together with Parade and Around the World in a Day makes a 5 album Run '82-87 hasn't been bettered since in my opinion -combining artistic impression, technical merit, commercial appeal .

Big beefy production

Extra star for the 3 McCabe/Mrs Miller songs. They work great in that film, but less so for general listening.

Ouch, that production, those covers..

Zombie on Halloween!!!

Maverick genius

One of my fav breakup albums AND one my fav girl-pop albums

This album slaps in a great way

First and foremost, great tits on the cover. Was a little too heavy for me as an 18 year old, but not now. Definitely one of my fav album productions, the drum sound is incredible.

Very MTV era vibes

Surprised this one made the Cut - but I like it. Not quite Blackstar levels - that one can hang with the best of his 70s albums while this one falls a little short -but together they definitely form a late career Renaissance.

Really not into the 1970s California sound and production - and this Band is probably the epitome of that era...

80s hip hop is a bit like rock n roll 55-64ish - neccessary, but dated

Love this. Musically very strong, lyrically brilliant in places (Missing Pieces, Blunderbuss, On and On and On)..

Musically very good, thematically ahead of it's time. However I never did and still can't connect with Yorke's vocals/singing style which is why I think I never quite connected with this band. Gave it a few listens, and it get's stronger towards the end for me, last 3 songs are very good.

Love Kim's backing vocals on this one, and all the Spanglish..

Fantastic production. Dre is definately a better producer than rapper, but Snoog more than makes up for it on this one!

Having really enjoyed the earlier Deep Purple selectiom, was Wondering if I was really a closet heavy Metal fan. However, I engaged with this one much less...

Edges a 4 as this hits many of my reference points, but it isn't anything LCD weren't doing bigger better and bolder at the same time.

Incredible album, given the context - and one that can hang with his 70s works. I think this is the only album that's made me cry.

I don't *quite* hold this in the same gilded esteem as 25 years ago - it's a little over produced and some of the sentiment is a little cloying..however it still has enough quality for 5 stars as a bona fide Classic of its genre..

1st half I thought the arrangements were terrible..all those horns going to 11..ouch my ears. 2nd half was..slightly..better

Enjoyable! Their later stuff sounds even better but this eases to a 4

Surprised this was imcluded, think they have a big drop off after 1st 2 albums. I did attend a listening Party for this though, back in the day. A couple of bangers, but overall a little too mid, too plodding..

Not a huge fan of Glam Rock - but more than enough quality here to transcend the genre and ease to 5*

Nice mini diversion into Blaxploitation by Curtis. Used to play Pusherman on repeat back in the day. Crisp, clear production throughout. May be my favorite original soundtrack album, but will ponder this one further...

Liked this one much more than I was expecting. I thought it's surprising more exotic influences were it's strong points. Good to get a festive song in there also - there probably aren't *too* many albums in this list with Xmas songs on..

Bjorks work post Vespertine has been largely off my radar. Gave this a couple of listens. Musically I am rating this a 3 but an extra star for the raw emotion on display here....

Blistering debut. Caught a moment in time. A Certain Romance one of the all time great closers.

I remember running home with the CD with excitement when this came out but being left underwhelmed by it. Really I should be loving this - Moog-y and Space-y - but I still feel the same about it - I don't think the Autotune-y treatment of the Vocals helps...

Wasn't into the earlier (later) album from LV but I thought this was top drawer

Top-tier production, really works with these songs

Love how this sounds

Amazing 4 song Run from North American Scum through Us vs. Them (that bassline!) with All My Friends the highlight - although the rest of the album is also more than strong enough to ease this to a 5...

Something of a tough listen but grew on me a little towards the end...even liked one of the songs (Ubu dance party) in "almost* it's entirety..

Was expecting something a little different, and maybe a little more. Sounds surprisingly Soundgarden-esque stoner rock with only flashes of the Desert Rock sound I was really looking for...

Can be a difficult listen at times, but always loved the way the guitar and especially bass sound - very unique - Jah Wobbles dub sound and Lydon's force of personality makes this stand out amongt the post-punk pile for me.

Good stuff and seminal title track. Although after almost 10 years across two Bands I think the P-Funk sound was starting to Run out of a little bit of steam by this point.

Relentless, but also monotonous.

Very Zeit-geistys (Thatcher's London). At the time of this release I think the PSBs were my favs. Still holds up well with 3 or 4 absolute bangers.

Really enjoyed this, against all the odds this just works for me - another surprisingly effective combination of punk and dub...

Great listen, and a huge surprise given my infamous antipathy towards 70s West Coast sound. But the production, especially the handling of the backing vocals is top drawer here, and the psychedelic tinges and even gospel vibes means this one soars for me.

Beautiful arrangements and creamy vocals. However mainly covers and short Run length means this falls a little short of 5*...

Pretty good stuff, although I do find it a little over produced and sheened - definately prefer his slightly rawer, jazzier albums such as Like Water for Chocolate..

Ahhh Joni...I always thought Emma Thompson was so ungrateful in Love Actually when your husband bought you one of your CDs for Christmas and your husband's secretary only ended up with just a meagre necklace.

Love how this sounds...both raw and raucous

Re-listened to Forever Changes before this - that's good, albeit maybe slightly overrated. But this..much less so. Was heading for 1* but somehow, someway, I connected a little with the side-long last song that I had been dreading..

Not sure I had ever heard a White Stripes song other than Seven Nation before! Huge fan of solo Blunderbuss though, and off the back off that was maybe expecting to like this perhaps a little more - but seems a little more Lep-Zep-y-derivative. Still pretty strong, but doesn't have me plunging and plundering the rest of their catalogue like I half expected it would..

Slightly better than expected for a double album rock opera. Riff-tastic in parts.

I liked the cover. Thought the music was OK. 30 albums in 25 years! Prolific if nothing else.

Enjoyed this quite a bit more than the previous Cohen selection - Leonard must be growing on me..

Liked this, hearing the Monk influence. Am I giving an extra star because I discovered he is Jean Grae's dad, and he raised her at the NY Chelsea Hotel? Probably...

Enjoyed this a little more than expected, found my head bobbing along at times. Defy anyone to not sing along with the More Than a Feeling chorus when more than two beers deep...

Enjoyed this more than the earlier Black Sabbath which probably to be expected since I think this is their most well known? Loved the title track but I prefer Cardigans cover of IronMan to the original.

Almost the very definition of mid. Not sure about including 4 SD albums on this list although the snippets I heard from other albums suggests something a little better May lie ahead. Expecting more from a Band named after a Dildo in a Burroughs book, though...

1st time listener! Would have bet my house this was Albini produced but apparantly not.. Not my genre but obviously extremely strong, with a Behemoth side 1 Was also a huge cultural juggernaut..think I went back to Uni for my 2nd year about a week or two after this, or at least Teen Spirit had been released, and it felt like a different World, and not one I entirely recognized...

Loved their 1st album - that had an almost goofiness that I loved that this lacks - and their 3rd is very good too. I don't this one quite hits those heights - despite having a couple of their bigger hits - but like some of the reference points - especially the Secret Machines esque drumming. Not one I am likely to return to, but did get me returning to their 1st/discovering their 3rd so I think worthy of 4*...

Surprisingly charming in parts, maybe reflecting the one man nature of this album, and the circumstances in which he made it.

Album I owned, but rarely played and even less so all the way through. Listening now though, it holds up pretty well. Took a belated deep dive into the 'Head after OKC was an earlier choice here. Following that, I find myself avoiding the whole Bends/OKC vs. KidA/Amnesia debate by zeroing in on what I consider the later, superior, In Rainbows/Moon Shaped Pool. This is good though - but I consider Talk Show Host the best of their 90s work which probably points heavily to their later stuff.

Great surprise! I was expecting a crawl through sludge similar to Metallica/Megadeath but I found this much more sonically varied and lyrically interesting. Highpoint was the Santana-Jingo riff giving way to Lydon era PiL crooning in Know. Artsakh Armenia!

Grew on me somewhat, but still way to muso-noodly for my tastes. Not even *that* much of a fan of Layla tbh..except the piano segment, which apparently was at least part Rita Coolidge anyway...

The last of Beck's top tier albums for me -although instead of swinging wildly and succesfully between genres until this point, it comes across as Odelay's more mature older brother. Love the Mexican/Baja California feel and sound of this, also some of the songs reminds me a little of Cooder's Chicken Skin Music.

Was a 3* album from the opening bars, and held it throughout. Which isn't meant as a compliment. Inoffensive, instantly forgettable.

Not heard most of this before. Wow, really beautiful throughout. Usurps Bjork as my fav MTV Unplugged.

I thought this was pretty ambitious and experimental sonically. Thought about a 3 but I tend to reserve that Rating for albums I am indifferent about, which this definately wasn't. So, 2 or 4..given this had me checking out her later (superior imho) albums it has to be the latter. Also, I am no identity-politiker but after a ridiculous Run of 10+ albums by I think exclusively white rockers, this was a refreshing change...

Still holds up really well, unlike many of my 90s favs at the.time. Love Topley-Bird's vocals throughout, the the beats and production are great. Good to get a Cheltenham/Bristol double header the last two days...

Sublime keyboards and synths. Comes across as a very LA album, all shine and surface sheen. RnB isnt my genre but this transcends the boundaries.

Iconic title track but the rest is far from essential

This was quite the beguiling slice of neo-Tropicalia which despite my love for the genre had previously passed my radar. Also love some of the references, nods to de Andrade's Manifesto Antropófago in particular....

Nice trip down memory lane..this is the 1st album I can remember liking due to my older brothers *then* good taste in music. Still holds up pretty well.

Pretty tough listen! If Vulva from Spaced recorded an album I'd imagine it sounding a little like this .. That said, there were one or two more ambient, Krautrock-y songs around the middle I actually enjoyed, in particular AB/7A which sounds like it may have been an influence on Manuel Gottsching's E2:E4.

Scintillating stuff, one of my fav albums from the last 15(!) years and probably my no.1 concept double album...Metropolis meets Afrofuturism with nice nods to Philip K. Dick throughout .

Dylan's Blonde on Blonde was my 1st album here and it did spark a major re-appraisal of him by myself. I don't think this is *quite* top tier throughout but there are more than enough glimpses - Girl from the North Country is a fav even though I prefer the Secret Machines version of it...! It's pretty great for a 21 year old - as far as the 60s song writing goes I think he pretty much catapulted himself to the top of the pile with this and would stay there for another 2-3 years. Iconic cover, too...

Musically probably only a 3 for me - but hard to overstate its cultural impact as the figureheard of punk - so probably a 5 from that angkè. So splittimg the difference with a 4 here..

Prog rock not really my genre, particularly when as uninspiring as from Messrs. Gabriel, Collins, Rutherford. I did like *some* moments. That said, why stop at a 90 minute double? I felt that with just a few longer/additional songs there was a potential triple album lurking here....;)

No comment

I didn't listen to the 3hr 15mins Ella sings the Gershwin songbook. Instead I listened to the earlier, 25 minute Ella sings Gershwin. Love the way Ella sings a song, but less keen on the Gershwin songs (more of a Cole Porter man) so settling on 3 stars here..

3rd REM album but I am still not really buying what they are throwing down. I actually like a couple of their apparantly post peak albums - Monster and Up - but just not engaging with this earlier folky Rock sound..

The last Bjork album that I really engaged with - beautiful instrumentation, this is almost chamber music - and feels a little like Music to Hibernate To. Amazed the earlier Homogenic didn't appear make the cut though - that is one of the albums of the 90s for me.

Was this the Dylan goes electric moment of our Generation :) I actually like parts of this album, it hits some of my reference points, although compared to much other electronica (yesterdays Bjork album for example, or Radiohead own later Moon Shaped Pool) this sounds a little cold, austere, glacial for my tastes. Although glancing at the cover, I do understand this was probably intentional ;)

5 Byrds albums on this list apparently which seems a little...de trop. Probably too many covers on this one, and naming your album after someone else's song does seem to be taking liberties..great version though! The rest is OK I s'pose but giving an extra star or two here as out of all 1,001 albums this is probably the only one to name-drop my home town.

Love the way Frank sings a song.

Love the atmosphere on this one - big, heavy, almost Industrial slabs of synth - but other great little moments too - the strings midway through Sweetest Perfection, the Meddle-esque bass on Clean - and don't get me started on Personal Jesus..

I'd like to say heavily dated, but surely this was never good? Doesn't even have the banger that is Temptation to salvage a second star from this shipwreck of an album...

Love an album with a great opening riff and Rock n Roll Star more than delivers. Overall, enjoyed it more than their debut. I boosted that one to 4 stars because of the song about Merthyr - this one gets there without any artificial stimulus.

Classic, straight down yer pipe, Southern Rock. Which, I am finding, I enjoy more than its West Coast California equivalent.

Decent but Dionne sings the Bacharach songs better

To misquote Godard, it turns out "All you need to make an album is a quiff and a quill" - and now realizing I enjoy Moz's music much more without the accompaniment of Marr's jingle jangles...

Some good piano ballads, unsurprisingly, but didn't really grab or move me beyond the first song or two..

Blistering new-wave post-punk rock-pop-disco

A 70s Prog Rock album inspired by Ayn Rand sci-fi..what could go wrong? I suppose it was somewhat interesting to hear the influence of Zeb and Deep Purple from their albums I had heard earlier in the list - although I wasn't really into where they went with them.

Pretty good in parts, definately leant more into the parts of 70s Prog I find more palatable, particularly Floyd.

Good stuff - but I have definately gone volte-face on the Mondays over the years and of their first 3 albums this is the one I return to by far the least - preferring the almost post-funk of their earlier work. Something about the Oakie production is a little too well polished and clean for me. A great run on songs at the start of both "sides" however even though the Kongos Step On version remains superior.

Apparantly this was released a week before I left the UK. There exists a parallel universe where I hear this album the day before my flight, fall in love with it's Ballard n Burroughs reference points and instead decide to stay and become the No.1 fan of their self-monikored "New Rave" scene, having it large at the NME New Rave Revolution Tour with the Klaxons, SHITDISCO and Datarock. Except..it's terrible....this feels and sounds like the last stand for Indie Rock Bands, a mix of all the worst parts of all those that went before - how the f*ck it won the Mercury that year (vs. Back to Black amongst others!) will remains a mystery, they must have had serious Kompromat on the judges!!

This page has been handing out alot of positive Band names this week...Yes, Yeah Yeah Yeahs, even the Happy Mondays. I'm still not really buying what these mid-late-00ies Indie Bands are throwing down, though...

Still sounds good, likely harder in parts than almost anything else around at the time. Good production, the drums in particular sound fantastic.

I really liked the title track on re-listening - I think it's greater length vs. The other songs gave it an almost Fela-like groove. The rest didn't really move me in the same way, but was above average so handing out 4* here..

The Reverse of the Marley album - failed to engage with the two longer tracks but loved the shorter ones - Can You Get To That is an absolute beast of a song..

This shimmers and soars. 1st half or so in particular is amazing. A couple of things that listening to all these albums has cemented - psychedelic soul may be my favo(u)rite (sub?) genre - and I am somewhat belatedly reappraising the 2010s as a monster of a music decade...

Pretty interesting, sample heavy...obviously.... Absolutely loved What Does Your Soul Look Like, 4. Much of the rest was cinematic, atmospheric. Been a bit of a vintage week in 1001 World. I suspect this one will have me diving into the 90 SF/Bay Area underground hip hop albums/scene this weekend, instead of playing the next up Neil Young..

More enjoyable than I was anticipating..obvious and interesting influence on Grunge in some songs, despite that not happening much later, plus some other things like Flaming Lips. Still somewhat on the fence re 3 or 4 stars but the incredible retrofuturist ont for "Neil Young and Crazy Horse" on the cover pushed me over the edge for the latter...

Some nice little dittys but not that interesting overall. Mad that there was only 2 years between this and Rubber Soul. The cover of a Money is good but the Secret Machines version is better (sponsored post). Overall, and unlike almost all their other 33s, lacks a big single or two.

I used to think this the weakest of Spacemen 3s 3 latter albums but completely changes my mind - although Perfect Prescription may be conceptually more interesting I think the mix here of melodic, almost tender songs and a couple of longer heavier ones gives this the edge. Always had a preference for Sonic Booms songs over Jasons and I think that still holds true for me.

Definately a little over blown, produced and wrought.. More than a little reminiscent of Diamond Dogs (starting instead of ending on a chant...) but lacking the songs. Undeniably has some moments though..

Completely bizarre album! Part post punk avant garde but then mixed together with a huge country influence. End result isn't really something I am into although I thought it did pick up towards the end..

Pretty formulaic, but a pretty good formula. Good drums throughout, liked the album intro via the Baba keys. Prefer the slightly less bombastic Quadrophenia overall but I think this still stands up as a good straightforward 70s Rock Record.

Interesting album overall - some clear Eno-ish "World Music" and Bowie-esque Art Rock influences although I thought they were a little muted underneath the 80s production. Sledgehammer full length here is amazing - probably one of the most defining songs of the 80s.. Suspect I will appreciate his earlier solo stuff even more, but probably not *quite* intrigued enough to check them out and will wait their arrival in this list in due course...

An average soundtrack to a much superior film. The title track is iconic, but somehow overplayed despite me not heading it for at least 20 years.

Satirical, pastiche-y and almost completely sui generis. When it's good - the middle section, particularly Trouble Every Day - it is brilliant. Probably dragged down a little by the less listenable end - but even there the influence this section had is obvious - Damo Suzuki's Can era vocals on I Think I'm a Rock, Supergrass I Should Coco on the last songs sped up vocals..

Determined to stop liberally tossing 5s to albums I listened to extensively in my youth... Except...I can't start here - this still sounds so good, so crisp. I don't think I would have guessed at a Spring '91 release - I don't think really this came onto my radar until at least 2 years later - although it was very formative in developing my changing tastes once it did.

Nicely played, I liked how the lyrics on several of the songs weren't quite what you would expect from the sunny psychedelic music - a trick the Cardigans would also employ much later on their 2nd album. Interesting to compare with Zappa - there the subversion of theme felt a little like being whacked with a sledgehammer at times, while this was much more subtle.

Decent stuff, wistful but a little twee - like, I am finding, many of this eras singer-songwriters. Lacks a couple of killer songs that the S&G era albums would have.

I am definitely a "Jimmy Miller produced era" Stones man - and although I don't think this quite hits the heights of the two albums that would follow, there are still a number of bona fide bangers on here - Gimme Shelter and Monkey Man ("the Charlatans based their whole career off this song" - Glen Hyde c.1994) to name but two...

Not completely unlistenable, a couple of interesting elements due to them putting the nu into nu-metal. Preferable to the earlier thrash metal albums on this list - also amazing how many subgenres there are - I am curious about melodic death metal in particular...

Love the pacing on this one - just the right amount of psychedelia though it increases towards the end as the album noticeably slows from its earlier frantic, frenetic pace - in that sense it's a little reminiscent of SFAs Radiator - with the Sofa of My Lethargy outro the highlight.

Still having problems getting into the sound/production of indie bands formed in the mid-late 00s .. Did see these live at a psych rock festival few years back..thought they sounded a little like an 80s Scottish Band (Deacon Blue, Texas) and largely sticking with that..more neo-Aberdeenshire than neo-psychedelia.

Liked this more than I thought - interesting metal/grunge hybrid - some good harmonizing, original guitar sounds, visceral lyrics. A Mood! Did think the 2nd half dropped off but some bangers on the 1st half.

Ha, kinda mid but added a star for completely injudicicious use of the Voice Box!

Like I said for my recent review of Blue Lines, I am Determined to stop liberally tossing 5s to albums I listened to extensively in my youth... Except, like I said for my recent review of Blue Lines..I can't start here - this still sounds so good... Finding the dub influences both more prominent and enjoyable than before, I think Renegade Soundwaves debut may have been an influence. Somehow brings back memories of post-club and Wipeout PS1 days (was this on the soundtrack?).

Definitely deserving on the list although for some reason I don't quite gel with the LA/So-Cal rap thrash/metal/punk sound - RHCP/RATM and all that.. In some ways this sounds a little bit like as if The Beastie Boys got up on the wrong side of bed - which isn't necessarily a bad thing. And no slight on this album but was surprised to see the Global score right on the money at 4....that's just outside the Top 20 - interesting given how unsurprising/more mainstream the other albums getting 4+ overall ratings are...

Some similarities with the Cooke album..a raucous live album - although I don't think the songs are quite as strong as this one. Also, 3 songs called "Instrumental Bridge" but Brown failed to give us a "Take it to the Bridge" on any of them, which was a missed opportunity.

Admittedly above average for noughties North American indie-rock fare but this album tries so hard to be grandiose I think it should be diagnosed with BPD.

Nicely atmospheric in parts though overall too proggy for my electronic tastes - but that is the inevitable outcome of inviting a musician named Emerson to join your band...

I invoked Emerson's name in my review yesterday and am Wondering if I summoned him as a Prog-Rock Spirit... Also wondering if ELP were drawn to this piece on account of the Proggy titles..The Gnome, The Old Castle, The Hut of Baba Yoga, The Great Gates of Kiev. Part of the middle rocked but overall as an interpretation of Mussorgsky I think I prefer SNFs Night on Disco Mountain.

I don't consider myself an *out and out* Beefhead but I think his more accessible albums - particularly this one and Clear Spot -are genius slices of avant-garde Delta blues psychedelia. Abba Zaba is one of the songs of the 60s for me and as a whole album I don't think this is far behind.

I liked how the keyboards/organ sounded. 3 stars all the way though, not even rounded from 2.9 or 3.1 - a solid 3.00000

I recognized the title song from the Logan end credits, amazing song. At that point I thought this might turn into an Ur-Blackstar for me, although ultimately there are probably too many covers for that to happen. Some are great though - Hurt, Personal Jesus, the MacColl one...

Raw but also primitive, almost antediluvian. Some great moments - the riff in Wanna Be a Dog, the uh-huhs in Little Doll - but not enough for me overall.

One of the 1001 album unicorns - 1st time listen, 5 star review. At times a post-Tropicalia sound but often giving way to a more Fela like groove.

Very Zeitgeisty 1992 LA gangsta rap. Some nice touches throughout, loved the piano outro to Dirty Mack .

Fats rounds off a good week! I enjoyed this quite a bit more than most 50s rock and roll, I think because of the NOLA Boogie-Woogie jazz influences this had

My favo(u)rite album! That said, I am copying a review I found on Song Meaning site some years ago as even though I don't agree with all of it I do agree with most of it. Will say that I think this is a rare album with not a wasted second on it. Also On The Run is way ahead.of it's time as an electronic tune, almost dance music. "To understand Eclipse you must interprete the album: the album reflects life as it is. Breathe: First your heartbeat begins/grows, you start to breathe and you are born. You get exposed external sounds and influences (like adult's voices saying things you cannot yet understand) but you get also exposed to your mother's cares and worries ('smiles you'll give, and tears you'll cry') and good advices ('balance on the biggest wave, you race towards an early grave'). Time: You grow up and enter into the ratrace of society, you realize passing of time and experience first disappointments ('no-one told you when to run..') and what it means to get older ('every year is getting shorter, never seem to find the time'). Money: The materialistic phase of your life, working and earning money, not thinking much of the greater things in life. Us and them: The elderly phase of life: you have seen it all, and you feel you have done your part. You become narrowminded and start talking about 'us' and 'them'. Like many elderly people do, you retract socially in a more inner circle of close family and friends. Society as a whole becomes less important, because you realize you will not be part of it for a long time anymore. Brain damage: In the next phase your brain degenerates, you become detached from the outside world and 'real' people do not see anymore what you think. You loose touch with reality, your mind starts doing its own ways, but it feels to you like the rest of the world is doing strange things ('when the band you're in starts playing different tunes'). You get locked up in an institution or an elderly home, but more importantly, you get locked up in your head, sometimes even purposely by 'making the cut' (lobotomy). Eclipse: The end. Finally, all actions and apparent contradictions and conflicts in life are resolved and disappear at the point of death (=the sun is eclipsed by the moon: the night falls for your brain). Even time itself disappears ('all that is now, all that is gone, all that's to come'). At this point everything melts together and you find/realize/experience that 'everything under the sun is in tune' and that all struggles were constructs of your conscious brain). Then the heartbeat stops. You're gone... I see no messages or judgements, or philosophies about darkness, just a tale about the phases of life. It helps me to realize what lies ahead for all of us. The Dark Side of the Moon is one of those rare works of Art where message, form and performance have come together in a perfect marriage."

Decent fare but nothing more. Like One to Another, thought it was an earlier song of theirs. Am I deducting a point for having the temerity to follow DSOTM? Probably...

Not really my genre - perhaps less so than the earlier Young - but definitely pretty good - this grew on me and worked its way from a 3 to 4 over its duration.

Incredible album. Old influences - rockabilly, Velvets, Spector girl pop but given such a new treatment that it was hugely influential. Shoegaze (particularly Loveless) but also stuff like Spacemen 3. With it's mid decade release could make an argument this was the pivotal release of the decade. Had a frustrating day yesterday, this was perfect antidote - lie down, headphones on and let the noise wash over you - there is definitely a nihilistic quality to some of these songs.

Really liked the opener but the rest didn't do too much for me. If anything I slightly prefer his stuff from the late 80s album that I remember having a modicum of UK Hit Parade success.

Definitely too abrasive for me to consider for general listening - I can't deny it's power as an emotional statement though - and Closer and Hurt are remarkable songs.

The songs from this I really liked back in the day - Don't Look Back, Supernova - still holds up, the rest doesn't do much for me and sounds closer to Be Here Now than Def Maybe.

I was curious about the Temptations move to psychedelic soul, but ended up being a little underwhelmed. I don't think the Band wrote any/many of the songs so it doesn't really come across as a natural progression, more like a Whitfield producer project. Also the mix of older Motown and the newer material as they transitioned on this album was a bit odd.

One of the Great mystical, mythical, magical albums. Celestial and kosmic. Only Moon Pix for me has come.even close to catching its evocative spirit.

Ersatz Musak. At its best, hotel lobby music, at its worst, hotel elevator music.

Feels very much like this was the coffee table CD of 1984 - for those early adopters who already owned a CD player - which, I'm assuming, any self respecting Sade fan would have done.

Was hoping to like this one a little more given some of my recent noise based reappraisals. That said, this week I am mainly listening to albums on really poor quality laptop speakers so it's probably hard for anything to sound good - will bookmark and give this another listen when I am back around higher fidelity...

Liked this - obvious Zepp influence but updated with a more Alternative Rock sound - this was, indeed, a Lollapalooza of an album.

Some great synths and nice moments - loved the almost Glass Onion tone changes in Inferno - but not really consistent enough for me overall. Will contemplate another listen, could be a good addition to my Sunday afternoon nap playlist.

Did nada pour moi. I feel nothing..

It's been a difficult 7 albums or so in 1001 World and against the odds the only ones I enjoyed were US but very much Zepp influenced Rock albums - this and Janes Addiction. This one is a lot less fun than JA but getting to the same score - rounding up vs. rounding down.

I always liked XTCs 60s side, even if Oranges and Lemons reminds me of my A-Levels. I think this is even better produced and arranged though, and given it's clear, even blatant, Brian Wilson BB vibes, has to get the full score nod on the day he passed.

Not overly familiar with Waits, not sure I'd heard a full album before. I like it though - he even managed to out Beefheart the Captain on Til The Money Runs Out - and I think I know now where the Future Islands growls come from on that for some reason viral Letterman clip.

Perhaps not the greatest album ever made but production and thematically wise one of the most interesting. Its opening line "Wouldn't it be nice if we were older" is pure anti-rock n roll sentiment, and sets the tone for something very different. For some reason it's not one I have played much down the years - I tend to go to go for of the "lo-fi" trilogy that followed this, and more recently Sunflower - but listening again to it's beauty I'm not sure why - maybe my 20 year old self simply overplayed it.

Whoa really liked this..good timing given my recent nu-goth phase. Thought the 1st 3 songs were good, but the run from Halloween through Head Cut was epic - the drums (from The Slits!) crashed harder, the guitar slashing around like Death's scythe. Monitor (especially) and Head Cut the pick of the bunch, musically and lyrically. Had me throwing shapes in my living room a la Jenny Ortega's Wednesday Adams, so have to go full marks here...

Probably my fav Prince...banging title track and the 1-2-3-4 whammy of Delirious through Automatic is one I often jump to for a fix. Drops off a little after that, but on top of his game here overall with 80s synths that haven't aged a bit.

I like how they retitled this from Dare to Dare! for the US - I suppose you really do have to be louder to get heard there. I owned this CD, above average synth Pop but find it all a little too clinically surgical maybe.

Definately better than I expected - with BritPop in its death knells at this point and British Rock painted into a corner things were much more interesting across the pond at this point. The memorable main single is post-grunge fo sho but much of the rest probably more reminiscent of Beck Odelay era and its trip/hip hop/sampledelica.

The algo works in mysterious ways. Earlier this week I mentioned the ! in the US version of Dare and now an album with 6 !s in the full title appears, which is surely too much even by US standards? Looking at the song writers for this energetic but mainly cover album - Berry Gordy, Chuck Berry, Richard Berry - something like Assorted Berries or Berry Medley would have been a better title?

Feels a little calculated - in parts grunge, goth, industrial, trip-hop - and ends up being a little -lite in all of these. Even the US Band-British singer seems designed to appeal to both sides of the UK v. US thing that had re-appeared around this time - comparing to the recent Banshees, I don't think Shirley is qualified to apply Siouxsie's eyeliner.

Great talent, 18 at the time of this album! Precocious percussion throughout, and the outré outro to Criminal sneaks this into 5* territory

Took a couples of listens but this grew on me - although I still prefer their later Balearic/having it large in Ibiza moment.

Was hoping to get into this...it hits some of my reference points. But... Too noodly...too academic..too...stars.

Standard heavy metal review - relentless but monotonous. Maybe rounding up for The Prisoner dialogue. Not sure why I enjoyed Deep Purple/Zepp so much more even though it was parents to much of this stuff -maybe because the blues element was driven out?

Nicely done, great Voice and production. Every artist should record at least one album in either Memphis or Berlin in their career as I don't think a bad record has ever been made on either of those cities.

1st 70s album in over a month! And happens to be my favourite artist's favourite album.. Decadent, almost debauched sound and production, germane to what was going on in Bowie's life at this time - still sounds incredible. 👨‍🎤👨‍🎤👨‍🎤👨‍🎤👨‍🎤👨‍🎤👨‍🎤👨‍🎤👨‍🎤👨‍🎤👨‍🎤👨‍🎤

Found this a tough listen...lots of sentiment, yet also strangely devoid of emotion.

Got into it a little bit but found it too abrasive overall. Edges a 3 based on 50ft Queenie which is fastastic. Prefer the musicality of, say, a Fiona Apple overall.

I've never been a big Eno-stan, and always thought he took away more than he added to Bowie and Talking Heads. That says, gave this a few listens and it has its moments - some great sounds on In Dark Trees and the proto-Berlin trilogy Sky Saw and a couple of the vocal tracks had some of the wistfulness of Pink Floyd's elegies for lost summers. Overall though, probably at turns a little overly academic and too twee so perhaps fitting I recognized a song or two from late night BBC2.

Love the 1-2-3-4-5 whammy through Mr.Brownstone, one that I occasionally hit up for a hard rock fix ,- which, I'm finding, I prefer to heavy metal - just as relentless but less monotonous and portentous.

Easily the most overtated album in the Floyd canon. Often thrown in as part of their "imperial phase" from DSOTM but I think it falls some way short. The weakest song on that run is probably Welcome to the Machines which is very Wall like in Mood - oppresive and not particularly enjoyable - much like most of this album...arguably the worst of their 70s works.

Back to back Rock operas..unlike The Wall/Tommy they had the common decency to keep it down to a single album but still a tough listen, the production didn't help here.

This still sounds great to me. There may be 1 or 2 Beatles albums I prefer to this, but they were never quite this gear before or after.

Very low-mid early 80s

3 + 3 = 3 I am definately seeing a pattern with my 70s soul - I dig the big solo artists of the era and those Bands with a clear figurehead - Sly, Clinton et al (Green). However I have similar feelings to the recent Temptations record to this soul group/collective - some nice grooves but also lacking a little overall direction/identity.

This one grew on me a bit even though I'm not really into Bohemian Rhapsody. You're My Best Friend is a banger though, and kudos for the diss track.

Good album! Musically I still find Newman a little showtimey twee, though his lyrics/themes are more interesting than this musical approach might suggest.

I'm not into when 60s stuff gets overly baroque and this was so ornate it was the musical equivalent of wandering round the Palace of Versailles. That said I somehow enjoyed a chunk of it, especially what I am guessing was sure 2 of 4. Obviously very Beatles (and others) pastichy in places but it then also sounded like a huge influence on Bowie's album later that year especially You'll Never See My Face Again.

Great instrumentation throughout. Stopped just short of a 5 as maybe liked a bit of variety although I appreciated the consistent mood and atmosphere - could imagine this as the musical accompaniment for a ferry ride with Charon..

It's a little wild to me that this is many Beatles-heads fav - although it is the one which my relationship to has changed the most over time - I like Side 1 less than my younger days and Side 2 quite a bit more - I think the six song run from Mother's Nature through Revolution 1 is more consistent than any on S1 and Long, Long, Long has been the sleeper of my Beatles life - together with Dear Prudence pushing for inclusion in a top 10. Anyway..my pared down album would be - S1 - keep a generous 11 of 17 S2 - keep 9 of 13 Probably still a double bit will have to check the revised running length...

Definately a seminal 90s album packed full of ideas - I probably prefer it's more mature older brother Guero on the whole - I think he would perfect the sound he was looking for here on Que Onda/Hell Yes. That said there is a Beck standard - the lazy midday Tex/Mex heat song - that he nails here with JackAss and Ramshackle.

Very unexciting. It doesn't sound like any of the musicians on this album have *really* had the blues, which doesn't help.

Quite liked the opener, Black Sabbath by Black Sabbath from the album Black Sabbath. 3 Sabbath albums deep now though, and the only song I really like is the atypical spacerocky one from Paranoid. Obviously influential but ultimately not my Band/genre.

My Bowie gateway drug. I owned Ziggy n Aladdin prior to this but after this one I was buying his stuff thick n fast, often more than 1 at a time... Great production and sound on this one, sublime piano from Wakeman. Fantastic touches throughout, right through to the overdubbed vocals at the end of Bewlay. Also love that as on many of his albums there is a hint to future direction towards the end, with the more overtly Glam Queen Bitch. 👨‍🎤👨‍🎤👨‍🎤👨‍🎤👨‍🎤

I like the Doors - compared to the earlier Claptom/Mayall paint it by numbers Blues rendition I appreciate their Dionysian interpretation. Any Doors album on here is likely to have a four star floor with me - however this falls a little short of the extra star - I probably prefer their later albums - the organ can be a little too Wurlitzer-y Circus/carnivalesque here at times, and The End is a little too overblown/long.

Good stuff but I prefer the more bebop stuff that was co-existing around this time also. And with the short run time of most of the compositions I am definately more drawn to Miles later more expansive modal/early fusion era.

Good enough soul music but not sure where the niche is for me to play this. In the bedroom would surely be too much of a statement and throw unwanted pressure on my performance..but also unlikely to play it with friends and I'm not *quite* narcissistic enough to play when alone. So...🤷‍♀️

Pretty dated - I could be more generous given that I think it would be a couple more years before dance electronica found any consistency but the Mr.C(?) rapping keeps this below a 3.

They would arguably realise the sound of what they looking for more on Eden but given how narrow the Musical Overton Window was in 1985 this was pretty ambitious - some of the effects and influences are, as usual for the time, a little muted under the mid-80s production but this definately rewards multiple listens.

Very 1967 coded and definately more eclectic than I was expecting - maybe a little less guitar virtuosity orientated than the other Hendrix I have heard - looser, perhaps a little jazzier and a bit more...far out.

Didn't think I liked Fleetwood Mac so was't looking forward to this..but enjoyed it. Despite them apparantly wanting it to sound more like post-punk, to me it had more of the weirdness of Beatles White Album, or Beach Boys/early McCartney solo lo-fi - enough variety and surprises that it never felt like it was running out of ideas despite its length

I'm slowly but surely getting into Jazz but still not particularly into the Big Band stuff - I find it a little manic, especially the trumpets towards the end of the 1st and last tracks. The last one was enjoyable overall though.

Definately a companion piece to the earlier Dre album we had. I enjoyed this, thought didn't *quite* make the same impression as the Chronic, so knocking a star off despite Snoop and coming out of the womb at basically the same time.

Difficult listen but I got into it a bit from Kiss Me Black on...kind of a rockabilly Beefheart

I like the Heads and their angular, abstract, arty approach but other than Speaking In Tongues I usually just dip into their earlier albums for their better known originals. This doesn't really have any of those songs/singles though, so it largely passed me by, but reappraised here. Seems to get stronger as it goes on, from the B-52s ish Artists Only through a couple of LCD moulds and templates then veers off in another direction for the Al Green and Big Country closers.

My favorite Dylan. Ballad of a thin Man is worthy of 5* alone.

Powerful stuff, it almost feels/sounds like that with this album Zepp brought an end to the 60s and ushered in the 70s a year early.

This one is a headscratcher..of the 200+ albuns so far I am wondering why this made it onto the list more than any other. It's not actually *that* bad, but was I think released fairly late on in it's genre's history so presumably wasn't influential in any way - it's a little M-People cocktail house/garage but 6 years or so late...

This one rubs me up a lot of the wrong ways... Scottish 80s band *check* (but not JAMC) *check* Jangle pop "check* (but not Stone Roses) *check* Pseud-y English student lyrics *check* I think 2 Hitchcockian blondes are name dropped in the lyrics, which is probably 2 too many...and I like Hitchcock blondes...

Love this, one I often return to when I want to feel like I am sinking into eiderdown, albeit usually for a 3 or 4 song fix. That said I think more than half the album is very strong, the vocal performances on Pitch The Baby and Frou Frou Foxes are incredible, sounds almost like she is singing in tongues

Great bit of disco. Nile Rodgers knows a thing or three about production.

I never listened to White Stripes back in the day and my belated plays since Blunderbuss have left me underwhelmed. This was heading the same way but Union Forever won me over and after that I was into it Was good to hear them being both influence (Fell in Love with a Girl - Arctic Monkeys) and influenced (Aluminum - Sabbath).

To use a Kelvinism these may be one of my most obvious Bands I should like but don't. I did own Goo back in the day but never got into it either. Just find too much discord and cacophony whenever things start getting interesting. Shadow of a Doubt was great but actively disliked much of the rest.

Saw Mylo while at Benicassim one year and he caught the same flight back as us. Was expecting him to launch into "Mfers Gonna drop the pressure" during descent but alas not. This is very plodding but still think Pressure holds up and I liked the couple of religious monologues mixed in. This was a period in my life where I would still occasionally have it large on the dancefloor but my heart wasn't as into it and much of the soul use left the music, as demonstrated here.

Incredible stuff, way to show up all the other albums this week. No poseuring or pretension, just raw talent. I have a personal preference for Frank-Jazz-era Amy but have to accept this is probably objectively better..am album of Decade contender?

Really good stuff, great songwriting, together with his Chrimbo album probably my fav Spector production. I kinda consider the obviously weaker 3rd album a "bonus" disc rather than officially part of the album which gets me off the hook from listening to it as well as probably securing an extra star.

Too rooted in techno for me to really enjoy. I did like the Philosophy vs Technology bantz in one of the songs. Interesting to hear Alison Goldfrapp.pop up on a couple of numbers too.

As track 1 side 1 of debuts go, Frightened may be one of my favs, a unique statement and together with the "We Are The Fall" opener to the next song, reads as something of an anti-manifesto. Always thought that the claustrophobic, paranoid Mood for the opener was the template for the atmosphere for Kasabian's debut. In my pre-stream days I probably listened to nothing but The Fall on 2018, become a little obsessed with MES's contradictory working class intellectual cynicism and his supernatural psychic outlook. I rareiy played this one however, due to it's rawness and uneveness but listening now the Drums and especially keyboards sound fantastic, so edging into the 4 Zone.

Beautiful stuff, all Rama no drama! Apparently about a day in the life of a Shepherd so also one of the earliest concept albums? Not that it would be obvious from the music..

Very strong musically although my favorite type of Van is longform, freeform which he obviously makes a decision to move away from here post Astral. He returns to that at least partly on a couple of later albums and as good as this is, those and Weeks are the ones I tend to hit up if I want a Van fix.

Over the past decade or so, Green in particular his Classic trilogy starting with this album, has replaced Curtis as my go 70s Soul fix. Green is a complex, contradictory figure. Without even getting to his domestic issues, it's interesting that he was the one to go full Reverend - even though his music contains little of the spiritual outlook and/or social Consciousness that Curtis, Stevie, Marvin and Donnie would show. That said, there *is* an other worldiness to these creamy vocals and the production - Willie Mitchell is to Green what Jimmy Miller is to the Stones - send these songs into the stratosphere.

Big up for the Bruegel the Elder cover. I channelled this to try to imagine the album as a concept album for a day in the life of a 16th Century Dutch peasant, in the spirit of the recent Call of The Valley. It fitted much of it pastoralism but this still didn't do much for me - file under typical late 00s twee US Indie stuff.

Kind of the truest kind of break up album in that I think the Band was going through a breakup during it's making. In that sense, a little like Spacemen 3's Recurring. However, I prefer the way S3 did it, a side for each songwriter vs. the alternating tracks here. Feels like more of an out and out, pick your side, dogfight. Too much trudging through the sludge, wallowing in the quagmire here.

3 stars for the 2 Ronnies plus one Rod

Still holds up well although maybe dips a little too much into novelty/knees up for me. This Is A Low fantastic although I tend to look elsewhere for my Blur fixes these days, mainly chunks of MLIR or dips into their two later more experimental released.

I wasn't that into the earlier Miles album but it did get me into a deep dive and it was his fusion era I was most into. I held back on this one as I knew it was on the list and even though it"s denser than the classic albums either side of this I think I was prepsred for it and I was into it more than I thought. One of those albums where it all comes together, cover, title and music - definately taking from Sun Ra's Afrotuturism but adding Sly Stone/Hendrix funk/Rock influences. Undoubtedly sprawling and not without some dips but managed to squeeze in a couple of late night listens where it's syncopated Rhythms and twistscsnd turns left me wanting more each time.

This was kind of baroque garage music, with some good ideas, a few funny songs titles. Don't think it had aged too well by 1969, let alone 2025.

Police n Thieves edges this into 4:territory

1991? I'd have guessed later like 96/97 probably based on Don't Dream It's Over which looks as though it was a re-release of an 80s song? Had a debate for some reason with someone on way back from soccer who said they were Aussie, I said NZ. Turns out we were both right, and wrong The result? Palatable Antipodean jangle-pop.

Bombastic Proggy Noughties Indie-Rock - so definately faced an uphill battle to win me over.

Enjoyed this to the earlier (later) Maiden. Had good debut album energy, and thought Strange World was fantastic.

There seems to be an unlimited supply of these late 60s US psychedelic,/garage/hard Rock Bands that are new to me - but none have grabbed me. Raucous and raw - possibly influential but better stuff existed shortly before and after this.

Pristine stuff! The singles from this, mainstays at high street nighclubs and student discos, are also clinics in how to put together/produce a song.

Really enjoyed this, I think it contains much of what made the 90s a good decade musically - eclectic, irreverent... Older me may even prefer this OG Brimful version. Last track Norwegian Wood a genius touch - taking the 1st modern Western song to include Indian instrumentation, and throw it back updated with Punjabi lyrics (sounds a little like Portuguese to my tin ear!) - the cyclical nature of culture and the benefits of multiculturalism.

An album of Miles Davis jazz fusion? Niiiiiiice. With only two side long tracks? Grrrreat. 5 stars. Naturally.

1st time listen, I think, left me a little underwhelmed, I know.

Like many albums that were a little heavier, took me a few songs to get into but once I locked in it wasn't bad at all. However, I was listening on pretty bad audio quality, and my mother wasn't really a fan of Skins vocals, so I didn't get to have a good listen - the result - a qualified 3.

Easily my favo(u)rite of the batch of obscure US 67/68 albums so far..great humo(u)r and nice sound experimentation/collages, some of which reminded me a little of UK kids TV shows - Magic roundabout and I think Ivor (or was it Thomas)....

Had a great Donovan moment in about '08, on a roadtrip playing his Best Of with Colo(u)rs up on deck, stopped for a tea and the coffee shop was playing the same song...shows his Magic. Anyway.. So many great.Donovan moments on this one - The lyrics to the title track which Fatboy used on a mixtape.to secure the bag with Ball, the "Beatniks out to make it rich" like on Season of The Witch, The Trip - guess it was de jure to have a song called this on any 66/67 album, the melody on "Fat Angel" gloriously "iterated" on BJMs Donovan Said..

Started better than I thought bit did drift off Don't think many.of the songs justified their 5minute+ song length

Probably my least fav of his epic run..find it a little one-paced and not that keen on the synths on this one. Superstition still bangs tho

Great surprise! Especially as this album seems to be considered something of an act of self sabotage. I only really knew Geno, Eileen and Jocky. Obvious (longform) Van influence - Reminisce also sounds like it may have been the template for Pulp's David's Last Summer.

Not bad at all, although not *quite* my thing sound/production wise...

I was sure this was my 1st listen to a Coldplay album yet a couple of the non single seemed familiar to me. This may have been something of a sweet spot for Coldplay - arena rock status unlocked yet not at the point in their career where they felt the need to bring out the kiss cam.

Not really into this one even though it is oft-considered their masterpiece. I just find the afro/world/polyrhythmic influenceds too muted under Eno's 80s production, particularly on the last few songs, to the point of impotence. Freed from Eno:s shackles, I think they would hit their peak on the following Speaking In Tongues - funkier, bouncier, more danceable even. Once In A Lifetime is amazing though, one of the songs of the decade.

I was surprised how much I enjoyed some of the earlier grunge-adjacent offerings (Pearl Jam and Alice in Chains) so had some optimism, but found this one a real trudge in the sludge.

K, along with System Of A Down my fav so far of this genre. Disparate enough influences as to make it interesting, particularly the percussion.

Even taking off my hip-hop hat (baseball cap, worn sideways) I think it's fair to say the genre is "Chronic"-ally under-repped here, maybe 5 or 6 albums so far? That does mean that those that make it tend to be bona fide classics, or close, and I think that is true of this one - Passing Me By a clinic in sampling and Officer a great nod to Public Enemy.

Noe Valley neighbo(u)r in da house. This album caught lightning in a bottle when it came out, and it still holds up well Enjoyed the last song the most.

One-dimensional, one-directional Send this band to class 1D.

As a fan of the breakup album, this is along with Midnite Vultures my fav Beck album, despite - or perhaps because of - them being polar opposites. Exquisite string arrangements by his da' throughout, this is an album that richly rewards repeated - and close - listens. The Beatles influences that I had largely previously missed had me swooning this time around, the Glass Onion to Day In The Life strings on Lonesome Tears, the harmonies and Helter Skelterish rising cacophony on Sunday Sun. Also loved the switch away from the Grounge revivalist style towards the end of Little One and the pacing of Round The Bend, so achingly slow it almost comes to a standstill..

I have been musing on British folk in recent times and been thinking that it is more centred on the village green, the church steeple as opposed to more,say the Prairie and open Land of US Folk. So I was delighted to see both these British institutions repped on the cover. Exhibit A, your hono(u)r. I really enjoyed the Sailor Song. Although not quite, say, Floyd's Grantchester Meadow, it showed that the 60s did, indeed happen to Fairport Convention as well. Autopsy was good too. I was colder on the rest of it, too many Dylan covers didn't help.

Was looking forward to this given my foray into Miles-fusion but ouch Doc, my ears... Sounds a little like if Steely Dan expanded further into the genre, Yacht Jazz ensuing.

Gave it a couple listens, didn't mind it but I don't think St.Peter will be allowing her entry to my girl-pop pantheon any time soon.

Undoubtedly deserving its Classic status - very much of its time and place, arguably peak California boomer. May have only heard it twice before, but one evokes strong memories from that day. However, I am definately in the camp that finds the orchestra on a couple of the songs very overblown - though often a fan of these effects I.don't think they work with these songs. That said, I do hear the influence of later stuff like Flaming Lips here - through bringing in The London Symphony to declare you need a maid does seem a little de trop.

I thought I was pretty over saturated in late 60s/early 70s Soul and the albums new to me that this list threw up didnt do too much for me, however Isaac has Shafted much of the competition here. Really appreciated the long songs which I dont think any of his contemporaries experimented with to the same extent. Recognized the Walk On By intro from the Wu Tang sample and that sucked me in right away, 2nd song was arguably even better. Dropped off 2nd half so 5/3 for the 2 halved, averaging out...

I don't think I had heard of this band..not sure if they have slipped from my consciousness or if they never entered it in the 90s. Wasn't really into it, but it did grow on me a little.Quintessentially British but like alot of Brit albums from the period maybe suffers from trying to hard to be clever vs. displaying real emotions. Haines does have a couple of later albums (Concept album on the Baader Meinhoff gang! Psychedelic rock album based on 70s&80s wrestling!) that pique my interest but not sure if there is enough musically to drag me in to check them out..

Will inevitably suffer by comparison to No Other, but had it's moments of beauty - Because of You and especially the guitar on the incredible Where My Love Lies Asleep - as obvious an influence on Beck's Sea Change as any I have heard.

Probably my fav Bowie album relative to general recognition - I don't think this is widely considered top tier but it probably edges into my top 5 of his. The 4 song run from Win through Somebody up There likely my most dipped into Bowie album section, for the intricate song structure and backing vocal arrangements. Right is particularly unique - the almost call-and- response backing vocals kick in, giving way to a song where they gradually take over as Bowie's vocals gradually fade into the background and disappear for the last minute of the song entirely.

Bit of a mix, some of it points to more rounded solo efforts by Dre n Ice, but a good chunk of it sounds not just unpolished but unfinished.

Still holds up well though probably more interesting lyrically than musically. Common People and Sorted for Tea and Viz were very much the '95 Zeitgeist. Havent dipped much into Pulp over the years, my Britpop revisits tend to be Blur, Supergrass even Elastica so I guess I am a Southern artskool softie.

In 1987, when Queen were my Favourite band, Seven Seas of Rhye was probably my least liked of their Greatest Hits album, appearing just before the Stadium Rock/Live Aid friendly We WillRockYou/AretheChampions. Seven Seas was the only song I knew from this album, was probably the one I liked best from it while still remaining bottom of their Greatest Hits album for me. Queen albums: I think 2 down, 1 to go.

Thought the first couple tracks were fairly rudimentary funk but from the fusion of City, Country, City onwards I was hooked, lined, sinkered. Another good find from this era following last weeks Isaac.

Interesting album, vocals obviously technically compromised yet instead there is a World weary, fragile beauty to them. In that sense not unlike Doors LA Woman - it screams "I have lived" but with hindsight, a sad subtext that "I may not live much longer". Production a little sugary on the whole but edging a 4 given it's juncture.

Loved the opener - their trademark driving heavy Rock bluesy styie which I think they do better than anyone - and the slightly more psychedelic song following it. The rest of side 1 was more perfunctory but I thought the folkier side two was excellent, it's Wild just how much Jack White channelled this vocally and thematically. Thats the Way had nice almost Pink Floyd touches and twangs.

Clearly hugely influential but not really my thing - feels very overblown perhaps reflecting the long studio time and I am not really into sax on Rock records - of which this has more than its fair share..

Album.I owned but rarely played from start to finish, replaying it I can see why, I found it a bit of a slog. However, the denouement from Burning onwards rewarded the staying powsr. That said, for my Daft Punk fixes, I am still likely to just head to One More Time -my soundtrack to Cape Town '01 - or the near perfect Get Luciy.

I wasn't overly excited about the number of Costello albums on here but Spotify did tell me Pump It Up was my most played song of '23 so this was the one I was most looking forward to..and...it's good...especially.enjoyed the keyboards. It looks as though he recently released a Spanish language version of this too, so will be checking this out too.

When the opening lyric namedrops a concentration camp this is only going to go one way. Bonus star for keeping it under 30mins

Very adept and adroit lyrically although probably a little too horrorcore adjacent for me to really get into.

From my dives into Siouxsie and Fiona Apple I've realised I have become a bit of a percussion nerd........and this has great percussion! Inpressed throughout with mamy beautiful moments, it managed to be understated, yet ambitious and deserving of its apparant top tier status. In reality probably a borderline 4/5 but given it's been a while since I handed out a 5 to an artist new to me - and the cover features one of my Favourite buildings - edging to a 5 here. Your (sic) welcome, Wilco!

From experience Emmy is watchable at a free Bluegrass festival on a late Indian aummer afternoon but the this album didnt do a whole amount for me. She aint no Kacey Musgrove, dat to sho!

Rescued from its warbly over production a little towards the end - the Prince cover passes muster and I thought the Morales mix of Butterfly/Fly Away was great.

Still sounding great, I am a sucker for key/tempo changes and this has them in spades. Appreciated a couple of the slower songs a little more than my younger self did. Shangri-La still great but think the extended outro to Australia means it has been toppled as my creme de la creme here. Very British class consciousness, even the track listing can be seen as a comment on the class system, Victoria at the top, Arthur at the bottom.

Fleetingly interesting, was perhaps expecting a little more. Not grunge but had some of the same vibes, very 90s Pacific NorthWest I suppose..

Great vocals, I wasn't into the arrangements too much though.

The earlier Blue didn't do much for me, but I preferred this jazzier, looser, sprawling and meandering Joni. Some of it does veer a little close to soft/yacht jazz, but her quirkiness and charisma keeps this from ever becoming middle of the Road, and instead she stays on the right side of Laurel Canyon Boulevard.

I prefer this and the final ATCQ album to that groups more heralded earlier albums - I think they took full advantage of the superior production technology available to create a much fuller and more varied sound. Undoubtedly this means heading into over production territory at times here - but this album touches on so much - effortlessly veering into Soul, dance/house, and doing it well. Probably a borderline 4/5 but it also wins the intangibles for me - great album cover and samping/crediting an obscure Can song on ManWomanBoogie, so rounding up.

Raw can be a good quality but I also think it's important for Music to be well done. This isn't really either and instead just sounds undercooked.

I don't like any of these songs as much as Planet Earth. Or even Girls On Film.

Killer Queen yeah but there are overall too many operatic/theatric touches in their Music for me to really get into Even back when they were my Favourite band I only owned Greatest Hits. OK, I had The Works too. But then right at the end, tbf. Stormtroopers in Stilettos strumming sounds like about 20 BJM songs so have to respect that...+1!

Not sure I had ever played a live album before this Odyssey that wasn't playing to convicts or umm not plugged in. Starting to think a good live album is one that makes you wish that you were in the audience, so success here.

I was always more of a Carboot Soul man back in the day..just played them back to back and still came to that conclusion. This one seems to fade into the background a little more.

Superior to the earlier Beatlemania era album although not as influential as the mockumentary.

I still have a soft spot for the straightforward, often simplistic chord structure and lyrics of the 60s mod groups, though this probably needed the inclusion of the contemporaneous I Can't Explain and Substitute to earn another star.

Just not my era, or genre. Wild just how few albums I like between 2004-2012ish. Really not into the a cappella singing styie here

I liked it, naturalistic sounding. Laurel Canyon vibes although overall probably not as interesting as Joni.

Got into it a little as it dragged on, but overall well intentioned but poorly executed.

On revisiting feels a little slight..only one song Hits the 3 minute Mark here, and as a stand alone song the title track is the only one I ever revisits. However, they clearly grasp the concept of a concept album, and much like they would do on Arthur, they get the feel of it just right.

Never got into Elvis in any way, shape, form, era.Listening to this, I just don't think it going to happen although I do quite like some rockabilly stuff.

This one feels like a bit of a Rorschach Test. I am hearing LCD Soundsystem, Spacemen 3, Krautrock and particularly Stereolab, though it does lack the latters Gallic shruggery and Marxist Dialectics. Good enough to get me checking out their earlier leas polished but arguably superior albums.

Long version of Street Life a Banger, the rest a damp squib. As much as I like most Miles Davis jazz fusion he also really has alot to answer for...

Stunning piece of work, and one that my relationship to has changed alot over the years, culminating as my soundtrack to my bittersweet Chicago trip in '23 - I can't imagine another album ever being so evocative to me for a specific time and place as this one.

A bit more of a mixed bag than its superior predecessor Sunflower, however there are enough flashes of Wilson's simplistic genius to ease this to well above average status. Has something of the feel of a musical equivalent of Kerouac's Big Sur - the end of era, the world weariness, the comedown.

Played and no doubt overplayed this back in the day, I was really starved of interesting new Music then.... Now, particularly having listened to much more of the originals source material, it feels more like an ex who you wonder why you spent so much time with than a blood tied Brother(s).

Fell asleep to the 1st time, I guess thats why they call it Dream pop. As something of a dreamer, I approve. Beautiful effects throughout. Especially on Norway.

Mad percussion and distinct Beefheart vibes..good enough for me!

Iconic title track and on the whole enjoyed it More than most 80s rap albums. Fo sho, the Stevie inspired songs arent great, but probably no worse than what Wonder was putting out himself in this decade.

Bought this a while ago, only played it twice or thrice, I can see why. Feels very over harmonised and twee in places.

Realistically, at 2+ hours too sprawling to get a 5, although made a good shot at it! Arguably more a two album package rather than a traditional.double - the 2nd half at times gloriously takes the baton from Prince, and runs with it. Wasn't really a bit fan of Hey Ya and other singles back in the day - which somehow stalled my digging into them in my hip hop dive. Had them next at bat when this project hit, so was waiting for one of their albums to pop up. It didint disappoint..eclectic, irreverent, innovative and a great alternative to the coastal stuff.

Primal Scream, by John Lennon Did always like the raw sound of this one, though probably only limit myself to the occasional hit of God these days.

Not as enjoyable as the prior Costello, Classic 3 star album.

Still sounds fantastic, haunting. Almost certainly my Favourite of the soundtrack to a film that was never made genre.

Dire Straits were British? Not sure I knew that. Money For Nothing a seminal song of the Decade but the rest does Less Than Nothing for me.

I like a bit of early Kanye but this is probably my least Favourite of his Education trilogy - not really into the chipmunk Soul styie while this one leans most heavily on.

All the Young Dudes is great but not on this album. They dont appear the most creative band, album title wise. I see a self titled "Mott the Hoople"' a "Mott" and a "The Hoople".

The first ever new release album I can remember listening too. Still think it holds up fairly well, pretty unique look/sound.

Ok, some great samples. But always found their treatment here very uninspiring, plodding, a little didactic.

Compare and contrast with Moby's Play - fantastic, innovative use of samples, superior production throughout.

Was feeling Neil Young ennui heading into this one but really enjoyed the longer jammy tracks, not sure the other albums so far had this. The Clear influence on Wilco was interesting. Ended up going 4 for 4 for 4 stars so far, but this May be the one I will return too most again.

Above average Wire-y angular post-punk

Really like Disintegration era Cure, but my listens beyond that have left me cold and, even after a couple of listens here, that still remains. Just think they lack the artistic side that Siouxsie in particular brings to the Goth table and this feels/sounds a little monotone/monolithic as a result.

Another 90s Classic, breaking both new ground and tradition of much of what had gone before. Complete genre bender, just the 7 listed on Wiki, although listing both Madchester and Baggy may be an exercise in tautology.. 4 or so huge songs on here obviously, but enjoyed the rest of it at least as much as in its heyday, if not more.

With the advent of Sufjan, Cat isn't even my Favourite religious mystic singer with the surname Stevens, so can't really go above a 3 here.

Very innovative and fresh on its release, still holds up well. One I occasionally return to, albeit only for the Del Funky Homosapien numbers.

Sweet Emotion a Banger, liked 1 or 2 others rest didnt do much for me. I must be maturing slightly, as found it a little juven/infantile overall...

Killer 1-2 opening with a great transition. Doesnt quite hit the same heights following that but remains a good slice of Southern Blues Rock throughout.

Didnt get into this one as much as the earlier Randy. There are a couple of songs on here that I think Nilsson crooned better, so I cannae really go above a 3 here.

My first Velvets love although probably the one I return to least now out of the pure Lou albums. Not really into Nicos baroque style, prefer the dissonance as employed on WLWH and it doesnt have the almost religious purity of the 3rd album. That said, some undeniable Classic songs on here.

Great cover, but you cant judge an album by that. Good concept too, but I remember listening to this in the 90s and being a little underwhelmed by it, and largely feel the same today. Enjoyable in parts but doesn't really have me mantong to take a deeper dive into Cuban Music.

🪘🪘🪘🪘

Pretty similar to how I felt a out the last Temptations, so CTRL+C/CTRL+V.. I was curious about the Temptations move to psychedelic soul, but ended up being a little underwhelmed. I don't think the Band wrote any/many of the songs so it doesn't really come across as a natural progression, more like a Whitfield producer project

Strong album, great horns, violins, backing vocals (sublime on Liars A to E). Come on Eileen a great discovery at the end too ;-) Seems like over their first 3 albums they transitioned to longer looser songs - although wont know for certain until I complete my Dexys Education, Benjamin Button style, with Soul Rebels.

Obvious influence on In Pain, but apart from Enter Sandman riff and Nothing Else Matters, a hard pass on the rest.

Much prefer longer songs these days, so an album new to me where only one song hits 3 mins (and that a combo song!) was going to be a tough sell - and so it proved, although the Dylan pastiche probably earned this another star.

Plenty of nice ideas on this album, usually executed well although my personal antipathy towards this eras Indie rears it's ugly head again and I did find the production a little insipid. For some reason this album sounds like it could only have been made by two early Millenials with memories solely rooted in post-Wall Pax Americana.

Preferred this to The earlier The The, maybe The backing vocals. Heartland excellent.

This doesn't perfect the noisy but ethereal paradox in the way that Loveless would, but lays down a good Marker.

Definately a post-punk feel to this one, impressive given Never Mind the Bollocks wouldn't be released for another month or so. Perhaps as a result, lacking a little of the variety that subsequent releases would have, but still a very good listen.

Not really into PJs 90s stuff but this is very different - the fantastic cover suggests a more mature Harvey, backed up by the music, lyrics, instrumentation, production. Big Patti Smith vibes overall. This Is Love still a highlight but the keyboard/vibraphone combo at the end of One Line is brilliant.

Prefer this to the more Kanye-centric Common album, it's looser and jazzier. The MC Lyte a definate High Lyte.

Definately a "Lets Get It On" Problem here, and this isn't even close to being as good as that album. I did like some of Wah Wah Watsons guitar work, but nothing else really.

I didn't like too much of their earlier album, but they took what I did like and ran with it here. Really enjoyed the trad.arr's - great argot, almost pagan-y feel and wouldn't be out of place on Wicker Man soundtrack - huge compliment! Though not strictly on the original release, Quiet Joys of Brotherhood together with Sailors Life from Unhalfbricking are almost drone folk - excellent, as are Denny's vocals throughout.

Overall not as enjoyable as Kid A (like the White Album, a great single album exists for these two, albeit likely widly different for everyone..) My highlights were Dollar n Cents where they manage to out Can Can but then inexplicably stop short of 5mins instead of jammimg for another 10-15; and the last jazz track - when the trumpet kicks in - man, that cat can really blow!!

I discovered this post B2B but ended up playing it quite a bit more - it's jazzier sound is closer to my heart and allows Amy's vocals to soar a little more. One I still return to, particularly for You Send Me Flying and Amyx3.

Another one I dip into from time to time..Passenger and L4L duh...but also Success (song du jour for car rides after securing Another Over 40s title...) and Fall In Love With Me (footstomper!)

Great headline singles from this album. The rest, like this review, are a little perfunctory.

Liked this quite a bit more than expected - great arrangements and I enjoyed her Lang-ourous vocal style. She more than branched out from her Country roots here, but kept the twang.

Too much of that baroque 60s Grace Slick shtick going on for me to get into. Similar to Nico in that respect but at least the underlying VU music is very good. Much prefer the more naturalistic vocals of their contemporary Sandy Denny.

Some good-great singles from this, wasn't too much into the rest . Not generally into sax on pop/Rock stuff and thought this had great examples of how to sax - I Believe - and how not to sax - The Working Hour.

Strangely beautiful, Quintessentially English. Very hard to pin.down, picking up some influences from Pink Floyds neglected More soundtrack, Eno solo albums but with better direction and Joni's jazz period, where you don't know where the song will take you but enjoy the Ride. Duchess sounds like if the Grand Old Duke of York took a trip and ended up on Blue Jay Way; the refrain at the end of Maryan and trombone on Out of Season are inspired and is that a Roger Casement reference at the start of the Dylan pastiche?

I was into some of the distortion and rockabilly but not quite enough to get above a 2. Closer to a 4 than a 3 tho if yanno what I mean.

Found this easier to get into than when I first tried four or five years ago. That said, it's post-bop era isn't one of my favourites, and I am probably more of an Alice-stan. That said, the way Resolution explodes into life is incredible, and love the epic sound of Psalm.

Appeciated the R Crumb cover having just taken a deep dive into him and documentaries on him. A little less into this Music, together with the recent Jefferson Airplane think I find Crumb a More interesting figure of the SF counter culture than either of those two bands.

My least Favourite, and played, of the peak Jimmy Miller period. Does crawl to a 4, largely saved because of the gospel kicking in right at the end.

Straight down yer pipe blues and in many ways preferable to the 60s later "iterations" that just popped up from Janis and the Stones. But for a live album Newport crowd be a bit like the prawn sandwich brigade, the rattling their jewelry crew compared to some of the earlier albums from Apollo/Regal/Mister Kelleys.

I think I like my synth pop with a touch of sleaze, and this delivers, although also relieved Sex Dwarf didn't come with a video.. Does lack a bit of the incomparable Cundy Ecstacy though, who I think only appeared on the spin off Ecstatic Dancing.

Perversely the deeper I get into this listen-athon, the more I seem to appreciate double albums. Another good 'un, especially liked the dub influences.

Surprisingly Queen coded in parts. Not great, not terrible.

Very well paced double album, really finds its groove for me towards the end from when the gospel kicks in on I Just Want to See His Face Me and reappears on at least two other songs among some blistering bluesy Rock bangers - 6 songs easily one of my favorite runs on any album and one I dip back into from time to time. That said, this time out I also have a much bigger appreciation for the side 2 Sweet Virginia through Loving Cup, bookended by the more straightforward Tumbling Dice/Happy.

30 years too late getting to this, would have loved it in my Loungecore days, much less so now....

Think I owned this, liked the singles but didnt play the album too much. I like it on re-listening, though probably a different genre has some of the atmospheric K&D vibes. Good female vocals. Full disclosure only got through Disc 1 currently, but that may have been the release I has anyway.

A mix of many genres none of which I am likely into - they certainly threw the kitsch-in-sink for this one.

Finally an album my 'rents owned has made it onto this list! Big into Bennie n The Jets, the rest of it not too much

Like Under the Bridge quite a bit but the rest is just, like not really my thing man.

First Band of the Moon? Maybe but also I think the Last Cassette Tape I ever bought. Something of a personal fav, love the contrast between the often sweet Music and darker, sometimes obsessive lyrics. Lennon-esque at times, particularly the "close your eyes, told your ears" refrain on Losers.

Not bad at all but I don't think I am suddenly going to become a huge reggae man overnight at age 55. Compared to the earlier Bob thought it lacked an Exodus length monster groove so not scoring quite as high on judges scorecard.

More than half way through so probably sufficient to rate it.. I like it, overall, something of the multi instrumentation of Sufjan (love all the ukelele) but without quite hitting his heights of musicality. Fav so far,: The Things We Did and Didnt Do - see, I did make it to at least the end of Disc 1...

Looks as though Radiohead have a 6 album run on here, from Bends thru In Rainbows, seems a little excessive, drop this one and/or Amnesiac and add Moon Shaped Pool insteaf!!

Always thought Stand is to Theres a Riot what Sticky Fingers is to Exile..it's More rifftastic precursor and a (Sly) Stone Cold Classic.

I am far from an *out and out* noise merchant but for whatever intangible reason this is definately my kind of noise. Could see the aforementioned Fall influence on the lyrics, as well as it's own influence on some of the British banda around the same time - Blur, Elastica..

Some great slide guitar work on this, but all a bit hitnmiss.

Couldn't quite pull the 4 trigger despite enjoying the Weighted Down song and the Barretty-Floyd era one that followed it. Didnt really get into the longer 9 minute one which pretty much sealed its fate, condemned to the tree-zone.

Back to Bsck tortured folk souls... This one definately has the edge though, maybe close to the apex of British folk, just enough whimsy. For some reason never gave his other albums More than a cursory listen, so looking forward to those coming up.

Banging album from towards the end of my golden age of hip hop..particuarly enjoyed A Day at the Races and the one with the Les Fleurs sample.

I was into the PSBs through the 80s and as my musical tastes changes appeciated their maturing sound on Behaviour, so ended up buying this one back in the day - never really got into it, and still the case. Although as it very much reminds me of moving to Stevenage and starting work, there may be some PTSD attached to this rating as well...

Probably prefer her more overtly freak-tastic albums that would follow but still think this pretty good.

Weak sauce

Born To Run In The U.S.A. Still not really my thing, although did really enjoy My Hometown right at the end (the 7th of 7 singles from the album!)

Given how much I ended up getting into their Speakerbox/Love Below and then ATL/Aqu was feeling.a little let down by this one. Maybe for me the different directions they were heading in away from more their earlier (somewhat) more traditional hiphop would work better in the 2x solo album format. Struggling to hit a 4 but that was my Speakerbox rating which ultimately ended up being very much a round-down so evening out by rounding up here..

Somewhere between Didgeridoo and Didgeridon't

Definitely realizing I much prefer the muddier, murkier Delta Blues to its Chicago rival(?). This is great, sounds like a more accessible version of Beefhearts more accessible couple of albums...

As a Can-Stan (my No.1 German/Japanese Axis Band) would love to go 5 here but it does drop off a bit of a cliff after Halleluhwah. However that and Oh Yeah are one of my fav 25 min stints of any album and one I often hit up. Jaki's kinetic, motorik beats on these two are incredible as are Damo's vocals. Love that Oh Yeah has verses with back maskin vocals as well as English and Japanese but due to his often incomprehensible lyrics it's really hard to tell which is which sometimes. For some reason the delivery often reminds me of Del Toros "hand me the keys you f*cking cocksucker" in Usual Suspects. And then Halleluhwah - the way he saunters back to the mic to deliver the "Oh", Fela like in it's timing, 7.50 in is brilliant. Not only did Shaun William Ryder base his whole career off this song he then had the temerity to name one of his main EPs after it, minus the esoteric spelling. But, full credit to Ryder for spending his no doubt ill gotten gains in obscure vinyl record stores in the basement and forgotten corners of the Arndale shopping center.

I don't play much hip-hop from pre 92/93 ish for whatever reason...this is absolute top drawer though, the production, the sampling, the uncompromising message, the relentless sound..probably the best album of that earlier period I've heard so far.

One of the indie albums that I did get into a bit in the 00s, still holds up pretty well, Take Me Out one of my karaoke standards.

Has it's fair share of misses but some great songs/moments - loved the almost dreampoppy Expecting to Fly, the Sufjan-esque banjo on Bluebird. Edges a 4.

That's going to be a no from me, dawg

Probably missed out on these by about a year as I switched from loungecore to house core between 95 and 96. Obvious comparisons to the Scott Walker album but I preferred this, thematically tighter and a bit more restrained in a good way, the horns in particular were great.

A really good rock record! Drums sound fantastic. a little reminiscent of Albino's Surfer Rosa production. Wot a closer All Apologies is.

Really dislike the lyrics/imagery of Prog - Yes. Genesis, Rush. ELP..all will be culled in my upcoming Progrom.

From a '75 Koln concert I was maybe hoping for a seminal Krautrock live concert, turned out being pretty much it's opposite. Not bad, but Monk is probably the only musician for who I would have the desire to listen to a solo piano concert.

Lots I really like on this - the theremin on Richard III, incredible organ sound on Going Out - the latter and Tonight are the ones I still hit up from time to time and often get sucked into listening to more.

Really enjoyed Hejira, Blue not so much. Looks like this comes right in the middle of those two, chronologically, musically and how much I enjoyed it. Really liked the electric piano on a couple of the songs, the opener and I think Down To You. Album has so much charm running throughout it. Starting to think how much I like a Joni album comes down to how close to Hejira it is in her discography - gave that a 4, should have been a 5, this is probably a 3 generous 4 so rounding up here to attone for my earlier error..

The last and My favourite of the 6 'Head albums on this list, though possibly topped by Moon Shaped Pool overall. Deserving of its classic status. Has some of the experimentation of Kid A/Amnesiac although better integrated here and warmer, less glacial. Drumming in particular superb, Krautrocky in places, as name-dropped on Faust Arp. House of Cards probably my highlight.

This has a density and intensity few other hip-hop albums can come close to. One of the Holy Trinity of early Tang solo albums. Lyrically brilliant, touching on religion "Herbal vapors and biblical papers Smoking Exodus, every square yard is plush", History (4th Chamber) and personal philosophy (Swordsman). Beats often repetitive, but hypnotic.

Based on cover and release date this got a meh from me, but ended up really liking it. Bit of slow core which I'm realizing I'm something of a fan of. Also maybe some influence on Wilco - the alt country thing which is growing on me..

Based on the 2 albums to date, like Hendrix quite a bit more than I would have expected, maybe a little less guitar solo virtuosity and a little more...far out, man. Enjoy that the "slight" return to Voodoo Chile is still 5 mins+. Including the Stone Roses (received later, reviewed earlier) on an epic run of 7 4/5 star albums - I like a wide variety of music/I have no critical faculties (delete where appropriate...)

Not giving this 5 stars would be akin to me denying my own youth, zits and all, Peter denying Jesus.. Highlights - Waterfall, the almost Hawaiian Shoot You Down (would often nap-out to this one) and the outro to Resurrection - a band confident that in that moment they are the Zeitgeist. Love the (again Hawaiian-esque) closing strums to this one, always thought there was another 5-10mins in that closer going off on another tangent.

Didn't quite hold me all the way through but did like some elements - the disco opening and it,'s PanAmerican theme, the West Side Story nods of Pedro Navaja..

Hard not to like Richman's enthusiasm, the keyboard/organ sounds fantastic (Jerry Harrison!) and Roadrunner is a great paean to Massachusetts - however it can get more than a little over the top at times, like. feels a little like being hit over the head repeatedly, most likely by old Velvets 33s.

Despite ( or maybe because haha..) being a Krautrock fan, never really got into Kraftwerk. This reminds me of Kelvinos trip to SF pretty much 11 years to the month, where I played this and Trans-Europa endlessly. I ended up not being really into it though, and that's still the case. Enjoyed Kometenmelodie 2 the most - could really hear the influence on Sterolab on those MiniMoogs(?)

Thought we had gone through all the Queen albums on this list.

Have never been so indifferent to discover a hidden track. That said, have to admit this is an above average album for its genre and over it's full length did just enough to edge a 4

Big fan of the Memphis treatment (horns, backing vocals) and although both were laid on a little thick at times here it made this my most enjoyable Elvis listen to date and kept my theory that there was never a bad album recorded in the cities of Memphis and Berlin alive.

Overly jammy but has a certain something

Definitely rounding up here but in retrospect I was a little harsh on Bone Machine, and recognizing the whole sui generis nature of this...

Enjoyed this, arguable as much Industrial as Goth. Atmospheric, suitably lugubrious.

(1 + √9) / (8 / 4) =

Blistering album! Definitely like my post punk dubby, and this delivers on that front. Probably more than a little influenced on the dance/funk-punk side of things by the slightly earlier Talking Heads Buildings & Food, although in turn can detect the influence on so many others (LCD, duh..) so all fair in love and war. Joining Ed and Kelv in the Gang of Four Stars here, but closer to a 5 than a 3...

The 2nd album so far my 'rents owned! Albeit an Oxygene/Equinox 2 for 1 cassette. Surprisingly I preferred this to, and thought it aged better than Kraftwerks Autobahn, so an extra star. Although since it seems to be Eurovision week, Germany nul points, France douze points. Influence of Wish You Were Here on this?

And now, back to our regularly scheduled prog-jamming

Apple has definitely been among my top handful of finds from this, another absolute banger of an album. So much to admire here, the percussion (little reminiscent of The Creatures debut) and double bass throughout, Simone vibes (especially Shaneika), idiosyncratic vocalization (those elongated You's on the opener...)... Uncompromising vision, so not always an easy listen, but overall a masterpiece. April 2020? Always assumed everyone was clapping on their doorstep around this time for the emergency workers, but now wondering if it may have been for this album??

Not too into the production

Meh..also I am way too much of a Biggie-stan to even consider going above 3 starts here...

Peak Millennial?

Bit of a Sonic Youth - could/would/should like but on the whole, can't/won't/don't Conduit for Sale = New Face in Hell

A rare point off from me for Bowie - just think this is the only time in his imperial period that he even slightly repeated himself - easily the album of his I have played the least from Hunky thru Scary. Still has its moments, though, natch...

Just my $0.02 but not really too into $0.50's delivery and production here.

I went back and forth on this one..technically and theoretically it's a 5 for me, although, like many albums that have an icy, glacial sangfroid, I tend to play them a little less and have gravitated much more towards Black Cherry and Seventh Tree. That said, having given it a few listens today, thematically this is eeringly ahead of its time and it's topics of trans/post humanism, particularly on Humans and Utopia are perfect for today's tech"Utopia". Even the cover seems to hint at cloning. Released exactly one year before 9/11 but looking much further ahead. Although get Oompah Radar onto the Elephant Man soundtrack already!!

Took a few false starts to get through this, despite its truncated length..

Rifftastic throughout but the last 3 songs - particularly Sister Morphine and Moonlight Mile...push this into 5 star territory for me.

Got into this a little more than expected given it's pretty much out and out country..liked the Emmy vocals and dug the vibraphones on 2nd track. Calling this "Cosmic American Music" might be overplaying the hand a little, though...

Following my relative reappraisal of Country from this list this definitely felt like something of a test..one I failed with flying colours.

The soundscapes to this are brilliant...Krautrock-y in places, although the vocals tip it too much towards performance art for my tastes (like Throbbing Gristle, kept imagining it as a soundtrack for a Vulva performance in Spaced...). I tend to keep 3s for "meh" albums so this is one of those 4s that on another day could have been a 2 but the 2nd half won me over. Weight Lifting Lulu is *almost* 50s Rockabilly, Hello Skinny is *almost* 50s exotica and both steer just the right side of genius/madness.

It's not quite the 3 EPs, but there are enough glimpses of it (Wonderful, Simple..) to push this into 4* territory for me.

Strong album. Bowie adjacent, maybe a *little" Bowie lite, but could also detect how they were influencing each other around this time Well produced, couple of misses but more hits - look forward to hearing their other albums from this period on this list - my earlier impression of them seems to be unfairly mired in the 80s stuff.

Another good Moz album - it may not be the view of the bien pensant but wondering if I prefer his solo stuff to The Smiths - I largely appreciated his anomie on display here.."'I've been dreaming of a time when The English are sick to death of Labor and Tories"!!

Can see the merits - the Godfather of Grunge releasing a Grunge-y album in '90 - but I don't think this is as strong as his 70s stuff.

Wilco been one of my bigger find/dives from this thing - they reign in some of their more creative talents here, but this is a pretty unique and charming record and I think just about worthy of a 4....

Enjoyed much more than the NWA album but perhaps not as much as the later more G-funk Predator that we already had. Rounding up towards the latter here since the Bomb Squad - one month after Fear of Black Planet release - are at the top of their game here.

Quite liked this - generally prefer folk from this period to the more earnest type stuff from a decade later - more irreverent and I think was more the source for the weird/anti/alt folk stuff that was pretty much my entry point...

Scritti-Polliti Sophisti-Pop...Sub-Par!!

Really enjoyed the opener (those distorted vocals way ahead of their time) and closer (so powerful, one of my top soundtrack moments in Children of Men). Rest was decent, excellent drumming throughout. You could detect the influence to and from Floyd running throughout, so definably the more palatable side of the prog genre for me.

Always liked Freak Show, can add Let It Ride from this listen. The rest not really my thing, a little too sludgy, although he is obviously a really good guitarist!

Something of a QUAFGH (QUasi Aretha Franklin Greatest Hits) as contains so many of her big songs - and in some ways preferable to it - Southern Soul so has that Gospel feel running all the way through it.

Not really into the new dance opener. B52s Dance This Mess Around has 16 dances, names 8 of them and all of them sound more fun than the Strand. Rest was a little too saxy, a little too glam-y but grew on me enough as it got a little more experimental to edge a 4.

K, ended up liking a little more than I expected, even made me get up in my feels once or twice.