I've always been a fan of They Might Be Giants so the idea of lots of genre-hopping, short, silly and sometimes dark songs doesn't deter me. However, the sheer length of this thing makes it almost impossible to absorb in one sitting and review coherently. I liked a lot of the songs on here and the often wry observation of different foibles of love and you have to admire the sheer ambition of it, but I also do wish it was somehow trimmed down. None of the 69 songs are quite as good as God Wants Us To Wait from the album they brought out about a decade later.

What is the algorithm playing at? Yesterday I got Sonic Youth and today The Fall. Two Peel-beloved bands with sprawling discographies that I like but who are perhaps both best consumed in small doses. I own more Fall albums so would lean more towards them of the two though. This was their debut album so there's a sense the sound is still forming while Goo yesterday was the sound of SY hitting their stride. But you don't go to the Fall for maturity or musical complexity, the main draw is Mark E Smith's mad lyrical non-sequiters and I was surprised at just how profane he is on this. My favourite Fall song of this era Repetition is not actually on this, it was on the preceding EP but was pleased to hear it among the bonus tracks. The Fall often has great opening tracks and Frightened fits into that category.

Influential, radical, and Flav shows respect for good time-keeping.

Familiar with Q-Tip from some of his guest spots with other artists and a bit of Tribe and although this started out great it did flag a little in the second half

This album was better than I expected, she does a few quirky things with her voice that elevate this above iits dated 80s production. Favourite track was When You Were Mine.

What a way to start this project

Beautiful but too one paced for me personally. Your Protector was particularly good but overall I just couldn't get into it.

This is what Fleet Foxes wanted to be

I bought this on cassette tape on holiday in Canada as a teenager, along with Murmur. They are to this day my two favourite R.E.M. albums but this one probably just edges it.

First new artist to me. I liked this particularly the track Boxcars.

I'm with the Dude on the merits of The Eagles but this was better than I expected and I enjoyed the banjo on some of the tracks.

Paul Weller was 25 when he started The Style Council... and frankly, he was old enough to know better.

Loved this at the time of release, never really connected with them at other points in their discography. A strong four from me.

I was bored about two minutes into this album and remained so throughout. Real Love redeemed this towards the end but overall just forgetable.

This album reminds me of my Dad. It feels like Bruce is putting a reassuring arm around you and telling you everything is going to be alright. It's a bit flawed and not very nuanced but has some great highs (Empty Sky, Further on up the Road, Paradise).

Amazed they got Donald Duck to appear on one of the tracks..

first hip hop LP of this project, pleased it's an old school classic

I knew Girlfriend already but that's far from the best track here. I liked both the English and French versions: 80s pop recreated with quality with existential lyrics.

It must be the Mandela effect but I thought you could hear Bob say "Play in fuckin' loud" before the band launches in to Like A Rolling Stone but I didn't hear this seminal moment or the 'Judas' shout that prompted it on the streaming service I used to listen.

Life's What You Make It may be the greatest piece of pop music of the 80s but the rest of the album doesn't quite reach the same heights. I love Spirit of Eden and wasn't sure how much this album would be a transition between their earlier more mainstream style and the sound collage style they adopted. This was beautiful and unique too but I think you need more than one listen to fully appreciate it so I'd give it a high four.

First track is 20 minutes and some of it just sounded like they were tuning up. It had already lost me by this point

Musically it's aged well but the misogyny and glsmourisation of crime I had a problem with.

I was familiar with some of Earle's work from later in his career (early 2000s) but hadn't listened to this album before. I think I'll give Copperhead Road a try as generally enjoy when he rocks out q bit more than on this debut.

I'm not bumpin' too much Biggie Smalls. Great album, could live without all the skits but otherwise a high score for this one.

A bit too Bestival-core for my tastes. Nice vibe but not much that really stuck with me either.

I listened to this interspersed with some of their poppier material from earlier in their career and generally enjoyed those tracks more. I liked the raw emotional honesty of Your Dictionary but much of the rest was either too long or lacking in the melody department.

Van was the first gig I ever saw, I don't remember much other than the singalong of Gloria. He seemed like an old man to the 10-year old me, he was the same age as I am now. I don't know his music that well but everything on this album was great.

The irony of such a self-involved and low quality human being as Clapton having a track called Keep on Growing... Layla is a banger though.

I had to listen to two Eric Clapton albums in two days. Never mind shooting a sheriff, that is truly criminal.

Surprised this isn't ranked higher, it's a 5 all the way.

Very of its time, a bit new age-y, and too long but better than the other Madge album (Music) which came up a few weeks ago.

Wonderful voice, unique talent. Production and song-wise Back To Black was a step forward but as a debut, this is fantastic.

Familiar with Q-Tip from some of his guest spots with other artists and a bit of Tribe and although this started out great it did flag a little in the second half

Great debut album, only knew the singles but they don't really reflect how punky and confrontational Hynde and the band were here.

I'd heard Sin City before but overall this album didn't really do much for me and was more straight-up country than rock which is more in my wheelhouse.. I'll give it a three reluctantly but hope either Gram's work with The Byrds or his solo stuff is better than this.

four stars

Loved Beth's voice, the innovative production choices and the atmosphere

This must have been a revelation when it first dropped. There is some amazing music and guitar playing on Are You Experienced but also some filler so I'll have to go with a four.

I had this on cassette back in the day along with Parklife and some US rock stuff like R.E.M. and Nirvana. Oasis peaked with this and I had lost interest by Be Here Now, but as a first record encapsulating the 90s, this still stands up. Took off a mark for the novelty song about lasagne though.

There is no way that Julian Barrett and Noel Fielding are not familiar with this album.

I've been meaning to get round to listening to this for years, now I finally have but was a bit underwhelmed. Probably takes a few listens to really get why it's so acclaimed but on first listen not much stood out for me.

I want to be your Hedgeslammer!

Going into this I knew and liked the single E-Pro and I know that with Beck you are going to get an eclectic mix of sounds. I also had heard the song Girl before, although given the fairly generic title I didn't realise it was on this album. Also not sure why Send A Message to Her which is a bonus track isn't on the original album as it's very catchy and somewhat reminiscent of his Odelay sound. I'll give it a four.

They were cool but they weren't very good. This would get 2.5 stars fif I could award it

I had a faint memory of several of the songs on this record, which gave it an added wistfulness.

This was enjoyable. Many of the reviewers said it sounded dated, but the meshing of hip hop and house music on some of the tracks here reminded me of Beyonce's Renaissance album so it's still clearly remained culturally relevant.

Liked this one a lot, but like many other early 70s albums it does meander a bit in the middle.

I like the more minimalist style of Pink Moon more but this is still very good.

I like a lot of stuff that's in the Siouxsie orbit (The Cure, Smiths, Joy Division, Ministry) but have never really connected with them before. Looking at their albums, they seem to be one of those acts that put their accessible single as the first track, as they do here with Spellbound. I liked a couple of other tracks but it still wasn't really clicking with me until we got to Monitor and Night Shift, which were eerie and dystopian and more of what I wanted from an album called 'Juju'.

Sixty years old but not quite ready for its bus pass. Five stars.

Jamaica Jerk-Off enters the chat...

I like a bit of Polly Jean, (SFTCSFTS and To Bring You My Love) but only knew a couple of tracks from this project going into this. I found it easier to admire than love or want to put on repeat.

Every band needs it's own special chemistry. And Bez was a very good chemist" - Anthony H Wilson

Best track N.I.B.

I saw Hooky live the other night, he played Disorder, Shadowplay, New Dawn Fades and She's Lost Control, it was bloody ace and despite the many immitators I don't think anyone will capture the same magic that Hannett and Joy Division did here.

I'm not particularly an industrial guy but like a bit of Ministry sometimes. I lean more towards the slower, sludgier direction they took on Filth Pig and also have plenty of time for the In Case You Didn't Feel Like Showing Up love album which feels like a great live experience. Somehow this record between the two didn't do much for me, aside from the few rather gimmicky tracks I already knew and Scare Crow which was the most likely what they went on to do next.

Wasn't looking forward to this, have never cared for Queen. As a 90s kid, music was about authenticity and raw emotion and Queen always seemed too silly and pleased with themselves to take seriously I was all set to give this a 2, because it's not objectively bad musically, but then I quite liked the last couple of tracks so it's somehow been bumped up to a generous 3.

Electricity is the only song from this album I really knew properly though I think I have listened to Safe as Milk before. It's a great blues rock sound and a much better entry point to the strange world of Beefheart than Trout Mask Replica.

This did not slay, Queens

I had this on cassette back in the 90s and it was one of the soundtracks to my A-levels. Haven't listened to it much since but it's very nostalgic for me. Listening this time, from the first note it struck me how this is basically a more accessible Nine Inch Nails facsiimile which could fit on American rock radio formats. I don't see that as a bad thing, I think NIN are a bit grubby and atonal so I like a more polished version. Also props to Shirley Manson for being a great frontwoman, take her out of the equation and it's basically three studio guys doing a grunge with trip-hop elements record. She makes this better than it has any right to be.

According to the Amazon bio, Herbie is a controversial artist, of which I don't have any on this project. I don't see there as being much controversy surrounding this at all, it's 5 stars and anything else is ridiculous.

Nurse, I think we are going to have to increase the dose.

My favourite Gabriel era is self-titled III and IV, and while I give this credit for ambition and restlessness, it's very patchy in terms of quality.

100 down, four stars

Getting this in the week Pulp announce their first new album in 20+ years. Can't wait to hear it and decide where it ranks in the discography. The follow-up to Different Class, this is much more inconsistent than its predecessor but relistening to it for the first time in many years, I was pleasantly surprised how much I enjoyed some of the tracks I had largely forgotten about. There's a lovely bit of Spanish guitar in the bridge of Dishes and Sylvia's soaring chorus is anthemic for example, but Seductive Barry is overling and a bit of slog though

Influential, radical, and Flav shows respect for good time-keeping.

I was a big fan of First We Take Manhattan as a 10-year-old, which has set me up well for the cruelty of life.

I knew Fix Up, Look Sharp and Jus' A Rascal before going into this and that Dizzee was precociously young when this came out. It's sonically inventive and more interesting than most grime I've heard but over the course of 15 tracks it is a bit jarring and cold. I did like there's a bit of heart and positivitiy to end on with Do It! but overall I wasn't bonkers about it.

My first introduction to The B-52's as a child was Love Shack -one of the most annoying pieces of forced joviality of any era, not just that one. Then not long after, Kate popped up in the Shiny Happy People video, again it was terrible but she definitely stirred other feelings in my confused pre-teen brain. Thus, I had definitely written off this band as not for me and was probably in my 20s before I found myself more intrigued by some of their older material. This was the first time listening to their debut and it was fun, the best moments were Planet Claire, Dance This Mess Around and Rock Lobster, the cover of Downtown is rather unnecessary so it's not quite a 5 for me but comfortably a 4 and made me want to check out to deep dive into more of their early-80s output.

There are different versions of this on streaming services. There is a shorter version which includes two songs where she messes up or admits she doesn't know the lyrics, which seemed a bit weird to include on a live album paid for and released by a major label. There's a longer version too with a song called Dancing In the Dark which has nothing to do with The Boss.

Close to a 4, Evan seems to make songwriting look effortless but a few of the songs didn't really leave a strong impression so opted for a 3. Fave tunes were Rudderless, Alison Is Starting To Happen and the title track.

Looking back it seems like this is where Kanye flipped over into trying to be an edgelord, though what I've heard of his later records are far worse than this. I liked both 808 & Heartbreak and MBDTF previously and the music and beat making is still inventive here. However taking an emotive Nina Simone sample of a song about lynching to then rap about your relationship and money problems over the top is tasteless and ill-judged.

Have a Talk with God, I Wish and Pastime Paradise are standouts but its all of a quality that rightly confers the title of musical genius to Stevie.

Only really knew the hits from this record, but overall I liked the vibe and empowerment message. Washed Away was a good closer.

I tuned into Common on the album after this, Electric Circus, which took more cues from rock and psychedelica. Never went back and listened to this or the album after Be, despite them being widely regarded as the high points in Common's career. I liked the storytelling and the more jazzy sound on this but ultimately it's a bit too long and I checked out a bit towards the end.

Got to love Dolly, Travelling Man and Early Morning Breeze were the highlights of this short, enjoyable lp.

I can't say it's objectively bad but it is bland and saccharine

There is a distinct lack of modern classical music on this list, so glad to see this included. I enjoyed it more and more as it went on.

I counted 125 uses of 'I' on this ten track record. After the Beatles broke up, this man's ego and self obsession went unchecked and he thought everyone was intrigued by his relationship with Yoko and Paul, when they probably just wanted better tunes. A bit of a prick, some of the songs ( Jealous Guy) are alright but generally this is all guff.

Lemmy had a formula and never deviated from it. Ace of Spades is just a classic and even if nothing here is as good it's still a blast.

I only knew Son of Sam before listening to this,. You definitely get the feeling Elliott wasn't cut out for handling the success he achieved, and this makes his final album a poignant listen.

Sounds like the album playing in the background in a chill empty bar at 4pm on a Tuesday.

Megadeth are surely the worst band on this list: stupid lyrics, horrible vocals and an overbearance of wailing guitar solos. Yet overall I didn't mind a few passages here in isolation.

Has this back to back with Megaderh and not really being a metal fan this wasn't my ideal soundtrack while I was staying away in London. It was fhough a considerable step up in quality from that shite. I knew This Love before and a couple of the other songs, I find the constant aggression in the music and themes exhausting so a low 3.

Hadn't heard this before being more familiar with Can and Kraftwerk. A record of two halves with the first three tracks being ambient and minimal and the second half being more traditional song/groove led.

The first three tracks on Parallel Lines might be the best triple whammy of opening tracks to any album. The economy of the songwriting and the amount of cool exuded by Debbie Harry is hart to beat

Takes me back to being 16 and listening to this when it came out. I was more into Blur than Oasis back then but there are a handful of tracks on here (Cast No Shadow, Wondereall, Morning Glory and Some Might Say) that are better then anything from The Great Escape.

The National are my favourite active band and glad to see them on this list. This album is the one that really cemented me as a fan. I had heard one or two of their songs but they were a bit of slow burn, when this album came out and I heard it, I was hooked. I loved the poetic lyrics, the interplay of guitars and the classic way they seemed to appreciate the art of setting a mood across an album. I don't need to listen to this, it's getting 5 stars whatever, also their B-sides are great. Its worth seeking out the expanded edition of this just to hear the heartbreaking You Were a Kindness. That or hunt down the six hour (!!) version of Sorrow .

No Stooges, no punk. No Pat Sharp either.

On first listen, I wished this was a single album with fewer tracks and more developed songs. There are too many ideas at play here and it felt like one of those 40th anniversary reissues where the band throw on every segment of songs and outtakes from a studio session, rather than a cohesive whole. If I had more time with this, I might appreciate it more and be able to lock out individual songs. The ones that stood out were History Lesson Part 2, Storm in My House, Corona and Cohesion but many of the shorter, punk-funkier tracks just passed by in a blur. Made me think this would be the result if Gang of Four had been commissioned to write the incidental music for a proto version of Friends a decade early.

After around a week of guitar heavy rock and metal albums, I was excited to get a bit of variety today. Sounds so futuristic, it's a toss up between this and Trans Europa Express for my favourite Kraftwerk album.

i had never heard this lady before but it was a lovely listen. She had a great voice and the arrangements were delightful.

I'm only really aware of Venom through the ridiculousness of their song titles In League With Satan...At War With Satan (come on guys, which one is it, make your mind up). The latter is previewed here at the end of this album but i don't really feel I need to go and check it out. Overall this is pretty silly and kind of fun, but the fact it inspired an entire genre (black metal) that is anathema to me from everything I have heard means that if anything I'm knocking a point off for influence rather than recognising it in my rating.

Fast Car is so affecting and the way the perspective shifts during the song is quietly devastating. I also absolutely love For My Lover.

This album was better than I expected, she does a few quirky things with her voice that elevate this above iits dated 80s production. Favourite track was When You Were Mine.

Wasn't really feeling this, much like the Flying Burrito Bros, but it ended with a few good tracks so I will award a low 3.

A bit more enjoyable and less challenging than listening to Swans, who gave the song title which inspired this groups nsme.

I prefer Mezzanine and surprised that is not also on this list given how critically beloved it seems to be these day but this is still great. I like the slightly darker, grittier sound, and interested to hear more of their discography to work out which era of the band I enjoy most.

Got two fantastic 1985 albums back to back: Songs from the Big Chair and Hounds of Love. I hoovered between given Tears for Fears a 4 or a 5 and eventually opted for the former, feeling I should leave a bit of room for truly extraordinary albums, like this one. Decision vindicated, the singles on here are brilliant but so too is the more experimental suite that makes up the second half of the record.

Doves came up on a playlist yesterday and I caught myself thinking 'how many entries do Doves have on the 1,001 Albums list?' I had a feeling the first album was on the list but wasn't moo sure about this one. Turns out it was on the list but was one of the albums which was subsequently cut. I saw them live as a support act and like the singles but it's not really intrigued me enough to check their discography. They are like a greyer Elbow, another Manchester band with more interesting lyrics and a stronger emotional weight, who deserve more records on this list than this lot.

I recognised All I Need, I've heard the remix version before which polished the song up a bit and turned it into a radio hit. Come to find out that remix was done by one Puff Daddy, so it's probably unlikely I'll be hearing that again soon.

I am aware how influential Bad Brains are and know a bit of their history but have never really listened to them. The guitar work on the intro track set the scene, a bit too metal for my personal taste and it carried on much in that vein. I thought the back half of the record was better generally and I enjoyed a few of their slower, more brooding tracks like Secret 77, She's Calling You and Return to Heaven so I'm hovering between a 2 and a 3. I'll round up given it's quite a unique sound and fusion of styles I just don't particularly care for any of them.

I know the Casanova album (the one before this) and liked some of Hannon's whimsical ways. I never got this but the single Everybody Knows (Except You) is one of their best songs and If... contains the memorable line 'If you were a horse, I'd clean the crap out of your stable' but it's really just a glorified EP. Seven tracks and just over half and hour, I've already forgotten most of the rest.

Sunflower and the title track are good but all feels a bit stuck in 1968.

This is the Pixies album I've spent the least time with, excluding the post reunion stuff (which I don't really count anyway). The first two albums are the best for me, then I feel like this is more consistent than Trompe le Mobde but it also doesn't have anything that hits the heights of U-Mass or Motorway to Roswell either.

Never heard this band before, I got some Robyn Hitchcock vibes from it. Production by Lenny Waronker who also produced several Randy Newman records and went on to be president of Warner Bros.

i knew Crystal Frontier and maybe one other sing from this band. I generally like alt country though so was looking forward to this. It lived up to expectations, started off really strong and though it dipped a little in the latter half I still think it's a solid four.

Fittingly was heading to Manchester where Ed and Tom formed the band, -can we call The Chemical Brothers aband?- on the day the algorithm gave me this, A gtreasure.

If someone put a gun to my head and asked me to name my favourite Pumpkins album, I would blame Billy Corgan.

i'd choose Velvet Rope over this. The 80s production is pretty dated and the lyrical content is heavy-handed but she has a great voice no doubt.

Like a strange cross of Leonard Cohen, Syd Barrett, Vic Chestnut and Moondog. It was better than I thought it was going to be.

I enjoyed the first few tracks but after I Miss You it settled into a series of formulaic ballads. It's not bad per se, just a bit predictable.

There's a great video of Aretha being asked by a reporter for her views on various other young singers. When Taylor Swift's name is mentioned, all she does is comment on what great gowns she wears. If anyone else did this it could come across as catty, but this is Aretha, she can say whatever she damm likes.

A hippie mate of my Dad's loved Country Joe and The Fish but never really shared his penchant for psychedelia. The instrumental track sounded like (Listen to the} Flower a people with it's sitar excess. Also in the first track, Joe tells the story of being picked up by some dudes who took him to LA Airport and gave him $20 to take a flight back home. The average price of a domestic flight in the US when this song came out in 1967 was $37 so this story seems somewhat -pardon the pun- fishy. I thought about giving this a 1, but it's a 2 because I didn't hate it, just found it to be boring in a way only someone who was massively stoned could enjoy.

Hells Bells is a great opener but there's really not a bad song on here. It's just uncomplicated rock and roll, butits simplicity is part of its enduring appeal.

Where the hell is Pumyra on this thing?

It is such an understated record that it feels like it needs more than one listen to fully unpack it. I've given a three but it's possibly a 4 ic it fully clicks with the listener.

This was great, very diverse, ambitious in it's scope and had a clear concept.

An excursion into soul between Bowie's glam rock era and the more experimental late-70s work. It's not my favourite Bowie album by any means but I really liked Somebody up There Likes Me.

My second Bowie album in a few days. I think this is a stronger album than Young Americans, but it's an interesting counterpart as it's the first Bowie album that's heavily influenced by and references American culture. This is very nearly a 5 for me and had I got this with a bit more distance from another record of his, it might have scored differently but I'm going with a high 4.

No, I'm not listening to the deluxe edition of this album. I don't need four hours of early 70s prog noodling. I went into this not expecting much but it was better than I expected, the Wurm section at the end of Starship Trooper was the highlight.

A masterclass in understated storytelling.

Too schmaltzy for me but it's got Suspicious Minds on it, which redeems it.

I prefer his full band rock material to the more folky, acoustic output so things picked up in the second half for me.

I've always been a fan of They Might Be Giants so the idea of lots of genre-hopping, short, silly and sometimes dark songs doesn't deter me. However, the sheer length of this thing makes it almost impossible to absorb in one sitting and review coherently. I liked a lot of the songs on here and the often wry observation of different foibles of love and you have to admire the sheer ambition of it, but I also do wish it was somehow trimmed down. None of the 69 songs are quite as good as God Wants Us To Wait from the album they brought out about a decade later.

A solid album but nothing really stands out until Waterloo Sunset which is one of the finest songs of the 60s and still touching today.

Loved this record when it came out, I had been a Blur fan for a few years but they had definitely exhausted the whimsical character studies of middle England by this point. Tapping into a more lo-fi, exprimental American sound at a time when I was starting to discover different bands like Pavement and Sonic Youth made this a firm favourite of mine. Closer Essex Dogs kind of sets the scene for the even more sprawling 13. I kind of lost interest in Blur a bit there and feel like this is the sweet spot of having some amazing hits like Parklife but with Graham's guitar more prominent on the likes of Beetlebum and Song 2.

Now you can get these three stars here for free. This was alright, very early 2000s-sounding. There are undoubtedly some talented musical figures involved but it feels a bit studio-crafted, calculated and lacking in heart.

A concept album about John Major's Conservative government in the mid 1990s. This didn't need to be a double album and the wartime revival stuff was a bit unhinged.

Enjoyed the bonus tracks which were more jangly, less country than the album itself.

Listened to the singles Storm and Default quite a bit around the time this came out, but I think I've only heard the album itself once. Those days between the decline of physical sales and the rise of streaming probably contributing to this falling through the cracks somewhat as I didn't really follow the band's career after this despite really enjoying their sound at the time.

This project should really be called Kind of Blue and 1,000 other albums you might want to listen to.

Initially wasn't sure about this record when it came out after 808 & Heartbreak which I liked but was quite divisive too, but came to view MBDTF ultimately as a classic of the last two decades. Last great Yeezy record with amazing production and a who's who of collaborators, and a far cry from his projects now which are not just weaker but beyond the pale and borderline unlistenable.

The title track is incredible but across a whole album it's pretty one-dimensional

Not really a fan of Morrissey's rockabilly diversions on this record, but the last three tracks which are slower and more atmospheric saved this for me. Favourite track Seasick yet Still Docked.

I had heard of Bert Jansch before, I think mainly Graham Coxon given him his dues, but had tended to dismiss him as a bit too folky for my tastes. Therefore this album was a pleasant surprise with lovely finger picking and thoughtful lyrics. I had heard Angie before, though possibly the Davey Graham version and that's a great end to a simple but strong debut. Several reviews have mentioned the influence of this on Nick Drake but I also heard shades of Elliot Smith here too.

From the first note of this album with a big funk guitar sound this was clearly very 70s rather than timeless. Curtis's voice is smooth and I enjoyed most of the tracks but given the title, cover art and the fact this was released right around the time of the Fall of Saigon, it's surprisingly light on the overtly political commentary I was expecting.

Stopped the last track to come and write this and for some respite from the awful noodling. Dreading going back.

Loved this album when it came out, it really evokes a nostalgia for a pre-internet adolesence, although I grew up in a village not in the suburbs. Still holds up well, and now one feels nostalgia for an Arcade Fire before they dropped off and we learnt more about the proclivities of the band.

This rages pretty hard for the 1950s, though Frank sounds smooth amidst all the emotional distress.

I've already heard Headache and it's sooo good. It's the best thing on here but there's plenty of other strong material. It's a bit too long but the songs are mostly short two and half minute efforts or under so there's another good song just around the corner if the current one doesn't click with you.

Was excited to get this for my listening today. The cover led me to think I might be encountering some spiritual jazz akin to Pharaoh Sanders. It's not really revelatory but just a solid album with some fabulous players.

I was a bit too young for peak era MJ, by the time Dangerous came out he was already a pretty odd public figure and it was hard to separate this from the music he made. I don't think this is his best album, Thriller has more bangers but still a good one from a more carefree era.

I only knew Dog Eat Dog and Antmusic from this album. I listened on streaming services and the sound quality didn't seem that good, I guess you don't go to Adam Ant for nuance but for catchy choruses and stomping, but would be nice to hear a bit more distinction in the contribution of the individual musicians.

This doesn't deserve to be as low a rating as it has, sure it's a bit of an acquired taste but nowhere near as bad as some are saying. It's a lot more interesting than The Icarus Line album from the same year that somehow made it onto this list. It's a strong 3 for me.

Four cool guys making a timeless album get four stars

Kind of interested to know what the pink giraffe thinks about this. It was so-so 70a rock but did get into it a bit more as it went on.

I knew Changes, Supernaut and Snowblind, but this doesn't feel quite as groundbreaking as the first two albums from Sabbath, though the musicianship remains high. Some of Iommi's best riffs but not sure about the sequencing with the two best tracks right in the middle of the album. RIP Ozzy.

I've heard Over And Over and their cover of Dancing in the Dark but neither of which are on this album. It was pleasant enough but nothing really stuck in my head either.

Sunday Bloody Sunday, Seconds and New Year's Day are all great but some of the album tracks sound like odd facsimilies. Is The Refugee thek trying to be Talking Heads (I'm sure Eno would have done a better job producing it) and is Red Light about Jesus or Bono's attempt to rewrite Roxanne by The Police.

Suede could be the best debut album by a rock band in the '90s, (Definitely Maybe and the Blue album are its only rivals imo), yet it's not quite got the consistency of the very best albums of the decade. The bands core dynamic is the relationship between Brett and Bernard, it couldn't last forever but once one of them leaves, it's really all over for me.

Feels a bit disrespectful to be giving a higher mark for Femi than Fela Kuti when without Fela there would be no Femi literally. I think I probably knocked Zombie down for being more ep than album but this fits more of a traditional album format and it's great to hear Femi and band in full flow.

Don't really get Wu-Tang or why this album is so reverred. I'd rather listen to Public Enemy, N.W.A. or The Roots or several other hip hop collectives. There doesn't seem to be much variety to the rapping and not every track needs to have a kung-fu sample.

Growing up Tango In The Night was one of a few tapes I remember my Dad having in the car. As I got a bit older I thought Fleetwood Mac was a bit uncool but I did liked the song Tusk. So somehow in my mind I acknowledge the quality of the band but viewed Rumours as somewhat overrated without actually having purposefully listened to it. I still don't think it's one of the best albums of all time, there are plenty of other albums from the 70s alone that I like better, but have to admit the songwriting and production is great even if you don't really buy into the drama of the inter-band conflict.

I've heard a bit of Smog before but not much of his later stuff. It started off and sounded a bit like a stripped down Lambchop but I gradually enjoyed it more as I got into it and the last few tracks are particularly strong.

Chilled

Obviously I knew from the title that We Are Family was on here but didn't realize the same record also gives us Lost in Music, He's the Greatest Dancer and Thinking of You. Thats almost too stacked. Four stars.

A posthumous release apparently, given that he died in 1991 after falling overboard from his yacht. I wonder what his children are doing now?

Apart from Do You Want To, can anyone name a Franz Ferdinand single post this album? Take Me Out is great but it's hard to find much variety in their sound or many depths.

As a kid, I really liked Call ame Al which came out a few years after this, but that was my first introduction to a Simon. I would describe this as uneven,, sometimes great and terrible moments live next to each other on the same song. Liked both versions of Think Too Much and Cars are Cars stuck in my head even if it was dumb. If you wanted to listen to a folky middle-aged singer songwriter in 1983, I'm not sure why you'd turn to this when Dylan has come out with Infidels. That's not perfect either but it's far less infuriating than Hearts and Bones.

I love R.E.M. and the Flaming Lips so GBV should be right up my strasse, but with a discography like theirs it's hard to know where to possibly begin. I've heard the song As We Go Up, We Go Down before but this was the first time I've ever listened to a full album. I really enjoyed it, sure it's lo-fi and chaotic and some songs are too short but I'll be checking out more of their stuff.

It wasn't hard to love this, I didn't have to try. A fitting send off for with You Want It Darker and Steer Your Way both stunning.

How statistically unlikely that this should be my third live album in a week having previously only had two in over 200 days. Not grumbling though as this was good, showcasing what a live force Brown and his band were at their peak. When I was growing up James Brown was much more recognised and lauded than he is today. The biggest music star of that era Michael Jackson openly acknowledged the influence of James Brown on his own music and showmanship, now it feels he's much more slept on. There was a biopic that I vaguely recall about 10 years ago but it didn't seem to generate the renewed interest that others did. It starred Chadwick Boseman, albeit pre Black Panther super-stardom. For someone whose timing was so immaculate on stage, it doesn't seem to have translated into his posthumous career.

Not really a fan of her vocal style but some of the songs still sound good today

The three songs I already knew (A Rose for Emily, This Will Be Our Year and Time of the Season) are all great but the rest of the album is all a bit of a psychedelic mush to my ears.

I like Sonic Youth but more familiar with the records either side of this one, Daydream Nation and Dirty. Listening to this I was hovering between a 3 and a 4 but the last track (Titanium Expose) puts it definitiveky into the four category. This might also be the time that Kim Gordon was at her absolute coolest, not that she was ever anything other than cool, but dann she drops coolness all over this thing.

What is the algorithm playing at? Yesterday I got Sonic Youth and today The Fall. Two Peel-beloved bands with sprawling discographies that I like but who are perhaps both best consumed in small doses. I own more Fall albums so would lean more towards them of the two though. This was their debut album so there's a sense the sound is still forming while Goo yesterday was the sound of SY hitting their stride. But you don't go to the Fall for maturity or musical complexity, the main draw is Mark E Smith's mad lyrical non-sequiters and I was surprised at just how profane he is on this. My favourite Fall song of this era Repetition is not actually on this, it was on the preceding EP but was pleased to hear it among the bonus tracks. The Fall often has great opening tracks and Frightened fits into that category.

A great album. Where is all the angry music these days? If Neil can sound this pissed with the Nixon administration, imagine the field day a musician with a social conscience could have with the current administration.

I was 15 in 1994 so this should have been right up my alley. However I just found it too chaotic, aggressive and self-disgusted. Over the years I've tried a few times to get into this as I appreciate Reznor subsequent work demonstrates how talented he is, but still I'd find myself hearing the 10 second "doesn't it make you feel better" piano part in March of the Pigs wishing that more of it could be like that. A Warm Place is a beautiful piece where again there's some restraint. Clearly Trent was in a dark place when he wrote this as evidenced by the lyrics of Closer and Hurt, but I think there's a better album here if he gets some therapy.

I'd heard of Soloman Burke but wasn't really aware of his work. Hes got a great voice and this was a nice, easy Saturday morning listen. Researching him online, it says he chose the title of this album as he was uncomfortable being associated with rhythm and blues, which he believed had "a stigma of profanity", because of his clean lifestyle and strong spiritual beliefs. Imagine my surprise on the catchy Hard, Ain't It Hard when I could of swore I heard him sing "that shit's hard" but according to the original lyrics it's actualky "that's sure hard". I'd give it a four if he had been a formative influence on gangsta rap but it's a very solid 3.

The back story to this is so interesting. Enjoys a meteoric rise to fame, despite her conviction for racially aggravated assault of a toilet attendant in a Guildford nightclub She marries a gifted sports star amid tabloid insinuations that the relationship is a sham to hide her partner's closeted homosexuality. After the demise of that ill-fated relationship she appears to briefly find happiness with a man 10 years her junior and who she had once mentored on a TV talent show but he later dies in a tragic accident falling from a hotel balcony while on tour in South America, leaving her to raise their son. Oops, sorry wrong Sheryl/Cheryl. Anyway all that aside, the story of how the original Sheryl kind of screwed over the co-writers of many of these tunes is kind of wild too.

Good album, good band but I can't really understand why they are so critically acclaimed.

First track Requiem is amazing. Reminded me of Gang of Four in places but I liked the more industrial edge this had.

Dance music was big at the time I was at uni, I liked The Chemical Bros, Leftfield, Death in Vegas and others but really couldn't stand Basement Jaxx at the time. So wasn't expecting much from Remedy. However, it hasn't aged badly and the familiar tunes are better than I thought. Made me want to go and listen to Where's Your Head At which I will grudgingly admit is a banger. The best track was Stop 4 Love

Dipped a bit towards the end for me but still an enjoyable listen.

I've had Alanis Morissette and Sheryl Crow on the last two Sundays so was fully preparing myself for some Aimee, Liz, Fiona or Bjork but instead I got the final studio album by Bowie. He was of course a master of re-invention during his career, but was never to my knowledge never eligible for a Lilith Fair bill. He did die on a Sunday though so kind of apt I suppose I remember doing an early shift the next day and waking up to the news of his death, which came just a few days after the release of this album and it was a heavy mood. It's a wonderful elegiac record and the sax playing from Donny McCaslin is a standout. Was tempted to give this a 5 for Lazarus alone, yet I only gave Aladin Same a 4 so can't quite place this above his early 70s output but the fact he was still making records almost as good four decades later is remarkable really.

I knew half of the songs already going into this, but it doesn't really resonate with me. I think I prefer my Bruce stripped down or when he's more economical. I get what they were reaching for, but for me it's too grand, and too flabby

My memory is fallible; I'm not one of those people who claims they remember exactly where they were the first time they heard Smells Like Teen Spirit or Anarchy in the UK. I don't remember how I first heard Pulp but I imagine it was on the Evening Session on Radio 1 about a year before this came out. Jarvis was captivating and to open this album with an outsiders anthem like Mis-Shapes was a wonderful reminder that it's ok to be different or feel different. I think the opening four track run on here is probably as good as any album released that decade.

Really surprised this is rated a couple of percentage points lower than the Maxwell record from the same era. I'm not really a neo-soul guy but this is clearly much better vocally, groove and production-wise. That said, apart from Brown Sugar and Shit, Damm, Morherfucker there's not much here to come back for.

- Hello, Mrs Morrison, what's your Jim doing these days? - What isn't he doing?

I know Psychocandy and various JAMC singles but somehow never got round to listening to the follow up in full. It's great, stripping away the feedback and chaos to reveal some gorgeous melodies.

Mostly just R&B covers but pleasant enough. only one original Jagger Richards song.

I remember hearing Nineteen Hundred and Eighty Five on French radio while in a minibus near Toulouse years ago. I didn't know who the song was by but it really grabbed my attention, when I hunted it down and worked out it was Wings I was surprised as had always rather written off as Paul's uncool post Beatles hobby. The rest of the album is not as good as the track I first heard en vacance. I like the middle faster section of the title track and Mrs Vanderbilt but otherwise I'm going to pass. ***

I thought this was interesting, liked the minimalist production and her vocals but the number of interludes did break up the flow of the album for me and make it seem longer than it's runtime. I'm going for a light 4 because I think I could really like it with a few more listens.

Probably makes more sense as a live experience than as a studio album.

I only knew Pacific from this album and while that's the standout track, the rest of the record was an interesting listen. I got Fatboy Slim's debut a couple of days ago and found all of the tracks repetitive and predictable, in contrast these pieces don't necessary do what you would expect them to do, whether it's the samples, the vocals or the programmed drums.

My Dad had this album when I was a kid and would sometimes play it on long car rides. We were certainly aware of Hooker though we'd ask for the Boom Boom song which seemed funny to a 10-year-old. He would have been in his 70s here and he ropes in lots of special guests to help out but that said the best two songs (My Dream, Rockin' Chair) are just him alone with guitar minus the 80s production and star guests.

I generally know Nina Simone for her moee springy numbers, this was slower and more reflective than I was Anticipating. I think her powerful voice and thought-provoking lyrics stand out even more in such a stripped back style. Four Women and Lilac Wine were transfixing .

2011 might not have been a vintage year for music but is this really one of only two albums of the year important enough to make the list? It wasn't bad per se, just pretty forgettable. I did like Street Joy and the instrumental before it though.

Not sure why this is anywhere near the 20 worst rated albums. It's more interesting than lots of the middle of the road albums. It's weird and chaotic and a bit uncomfortable in places but doesn't merit the low global rating. Favourite track was Human Cannonball.

I only really knew Roadrunner and Pablo Picasso but the rest of the album was great.

I got this the same day Ed Sheeran released a new album called Play. I've not listened to that yet nor do I want to, but if it is anywhere near as good as this I will eat my... whatever it is bald, vegans eat, tofu I guess.

Came out just over a year after Music From Big Pink and even surpasses it. A band who started at the peak of their powers.

I hadn't heard of Marty Robbins before this project but based on the cover I was excited to give this one a listen. I liked the music and the storytelling but had a problem with his voice. It was just too mannered and tasteful and didn't really fit with the tales of gunfights and fugitives. He sounds like a guy who has cussed a couple of times and tried whiskey twice and doesn't really like it much either, which took me out of the world which he was painting for the listener. This afflicted me from the opener Big Iron but it's by no means a bad album so I'll give it 3 stars.

Need to give this a few more listens but enjoyed the musical interplay between the trio.

I've owned this album since my late 20s/early 30s when I was beginning to follow less new music. I'd forgotten one or two of the more traditional folk-y songs on here and now I'm older they are still not really my thing. The restraint and ethereal guitar playing on The Calvary Cross is great, and The End of the Rainbow is so despondent that it makes me misty eyed every time.

Didn't really make sitar music anymore accessible for me but particularly liked the last track Sindhi Shairavi.

Better than the Funkadelic record from the same era.

I knew Marlene On The Wall but hadn't heard this one before. Her lyrics are powerful, particularly on tracks like Small Blue Thing which was stunning. Knocking off a star for the album cover's weird font choices though.

Hadn't heard of Fred Neil before and wasn't sure what to expect. I quite liked his voice but apart from Everybody's Talkin' not much stood out to me.

I remember the controversy around this album at the time but had never actually listened to a full album. It was a shock then to discover just how nasty, misogynistic, homophobic and centered on violent fantasy this album was. A hour of this is just boring, once you become desensitized to what he's saying. I'll give a low 2 but only because I acknowledge that Stan is well written and the last track ended on a slightly less sour note than everything else here.

Quite like some Sonic Youth without being very familiar with their pre Daydream Nation output. I had only heard Schizophrenia before and enjoyed that my enthusiasm for the record waned as it went on and I was really annoyed by Thurston's voice by the rather silly final track. Overall it's good but hovering between a 3-4 for this one.

I think I first became aware of Magazine when Radiohead covered Shot By Both Sides during the Kid A tour. They were moving away from traditional rock band sounds and pushing more electronic influences like Aphex Twin and Squarepuaher which were confusing to someone who has got into them via The Bends. It seemed like a bit of an olive branch to say that there were still cool post punk bands out there to explore if you didn't want to be trying to keep up with bleepy modern music. I can hear a bit some of the influence on Thom Yorke and co, but actually listening to Real Life I felt a few times this was like the 'punk' Roxy Music. The Light Pours Out of Me is amazing

Sweet Love is a great 80s pop track and the last track Watch Your Step was good too, everything in between was pretty boring and generic but she has a good voice so it's fine to listen to, albeit not memorable.

Tusk is probably my favourite song of theirs, thoughI would have first heard stuff from Tango In The Night which my parents played when I was growing up. Not every experiment on here works by any stretch of the imagination but it's a solid record and rivals Rumours for me. I particularly enjoyed What Makes You Think You're the One, Sisters of the Moon and Beautiful Child.

I got this the day after Fleetwood Macs Tusk, so I inwardly sighed at the prospect of another double album from 1979. I'm not much of a Floyd fan anyway but this was much worse than Tusk which apparently was considered commercial suicide at the time, have those people listened to this. It's bloated, self-indulgent and bordering on parody at times. It sounds like a Roger Waters solo project with some nice bass-playing and occasionally fragments of good songs but they are often jettisoned too soon in order to tell the 'story' such as it is.. It really dragged for me and I couldn't wait for it to end. I'm only not going for a one because Comfortably Numb is a good song and Mother was interesting.

I had always kind of dismissed Norah Jones at the time this came out as being a bit bland, and middle of the road when it was popular when I was in my early 20s. I liked the record she made with Billie Joe from Green Day on a bunch of traditional songs and it helped me appreciate her voice more. My favourite track was I've Got To See You Again. Also shout out to Norah's podcast where she invites on musical guests: there's a brilliant acoustic version of Sea of Love with The National from a couple of years ago.

I only saw about half a dozen 1 star reviewx for this -one or which admitted they hadn't even listened to it.🫣 There were dozens of 5 star.reviews on the other hand, which is as it should be. I found this more accessible than There's a Riot Goin' On as a first listen and it has tons of swagger and signposts where music would head in the 70s. I'm leaning towards a four but with a few more listens I could be persuaded to add to the ranks of the 5 star reviews.

As a callow youth entering my teenage years when this came out, my pop horizons extended mostly to hi-NRG pop like this and Erasure (who probably also should be on this list, albeit more of a singles than album band). The song Can You Forgive Me and it's odd video have stuck with me and is a highlight here, followed up by the second track I Wouldn't Normally Do This Kind of Thing. The album drifts a bit for me in the middle and becomes somewhat formulaic before a couple more standouts in the second half. The following year, I began to become enthralled with a resurgence of guitar bands with Britpop and alternative rock and with my year zero approach would probably have told you PSB were rubbish. Ah, the follies of youth, as Neil would probably say.

Contemporaries of R.E.M. and were tipped by critics to be the bigger band and although they signed to a major label it never really happened for them, largely due to their self-destructive behaviour. They also swing from snotty to poetic from track to track. There's a song on here called Gary's Got A Boner and also a progressive anthem to tolerance called Androgynous. I first heard the song a couple of years ago and still can't quite believe it was written in 1984. I've also got a lot of love for Unsatisfied and one Peter Buck making an appearance on the opening track I Will Dare though I'd always assumed he played the mandolin when in fact he supplys the guitar solo.

I honestly thought this was a solo project by a member of The Go-Go's so really wasn't sure what to expect. It's pleasant enough indie pop but as so many other people have noted it's baffling how this made the list. There's no room for Bat For Lashes, Cat Power or Waxahatchee all of whom released far more noteworthy records in the last 20 years, yet somehow this is being canonised If you want something British from 2017 surely Sampha or Idles' debut have more merit for inclusion than a mid-career album from someone so obscure. Favourite songs were The Architect (not as good as a song of the same name by dEUS) and Valley (not as good as a song of the same name by Kevin Morby).

There seems to be a few different versions on streaming services, I didn't listen to the two hour version which I couldn't be doing with According to the Wiki entry it seems there is some debate about how live this LP actually was with Ellington's band going back into the studio after the show to re-record some parts. It was cool, but Duke sounds like the Penguin in his between song repartee and once I heard it I couldn't unhear it.

Personally I'd probably have gone with Power, Corruption and Lies over this for the list but this is nonetheless classic New Order. Barney's vocals and lyrics are a bit ropey in places but musically it sounds great.

Some great tracks on here, starts with Baba O'Reilly and ends with Behind Blue Eyes and Won't Get Fooled Again, the tracks in between can't quite live up to those but were mostly very good. Solid 4.

I could have seen Al Green at Glastonbury many years ago, but I was young and foolish and didn't know much at that age and had rather dismissed him as an old soul dude. I'm not sure about the exact set times but I think I went to see Keanu Reeves playing bass guitar on his short-lived rock band Dogstar instead. They weren't very good apart from a memorable moment during a lull in the set when a wag in the crowd called out "Keanu, there's a bomb on the bass". With hindsight, I should have taken that rare chance to hear the Reverend's legendary voice. I'm atoning for my error now by giving this a 5.

There are more good songs on this double album than either Lennon or McCartney managed across their entire careers after dissolving their partnership. The 11-minute Out of the Blue was great but the other 'jam' songs were tedious.

I first became aware of Richard James' stuff through the intense videos accompanying late 90s crossover stuff like Come to Daddy and Windowlicker neither of which seemed particularly ambient. I was intrigued enough to get his compilation album of remixes (26 Mixes for Cash) a few years later. Sadly that one doesn't seem to be on streaming probably due to licensing issues though the odd individual track can be found just not the full album. I'll have to dig out the CD and give it a spin. There definitely should be more than one Aphex Twin record on this list given how influential and unique his musical ideas are/were..

Without the first Violent Femmes album would we even have Pixies or Neutral Milk Hotel -whose In the Aeroplane Over the Sea really should be on the list incidentally. The vocals are an acquired taste but the one thing that they do they do supremely well but it seems they never really evolved or recaptured the catchiness on display here. Favourite track Add It Up.

I've been on a run of great music for over a week now. All types of eras and genres from the 50s to the 90s, I've moved my feet to salsa and blissed out to ambient, but this is the first album of that run I really know inside out. Parklife was one of the first albums I ever bought, on cassette, at the height of Britpop. I've enjoyed other Blue albums down the years but I do think this is their peak and I knew without listening it was almost certainly a 5 for me. However, I put it on and even noticed some new things that hadn't really stood out before like the exquisite harmonising on the backing vocals in End of a Century or that Damon shouts 'A-G-A-I-N' in Bank Holiday, I always heard the first two letters but thought he was just making random 'Ay Ay Ay' noises after that or the weird clicking buried in the Clover Over Dover mix. Although the bigger hits are on the first half of the album I actually think it gets better as it goes on, with the run through the underrated London Loves through to This Is A Low among the best sequences of the decade. It's prompted me to go back and listen to their comeback record The Ballad of Darren again and while that doesn't get close to this, it has it's moments too. I know this charmed run will have to end soon, eventually my greyhound will come in last with something I just don't want to listen, but for the time being, I'm just enjoying it, because it's giving me an enormous sense of wellbeing. Parklife!

I put this on and lay in the bath on a Sunday morning and just vibed with it. I got out after three tracks because I didn't want to turn into a prune but could have stayed longer. A couple of the tracks used a screechy violin-type instrument that wasn't really enjoyable but otherwise it was great. If anyone enjoyed this and wants another Touré album not on the list I would recommend his first collaboration record with Malian kora player Toumani Diabete from 2005.

Favourite track: The Big Country. There are some great ideas on this album but it feels like a bit of a transitional step towards bolder artistic statements on Fear of Music and Remain In Light.

I know bugger all about Algerian music, and although I enjoyed Khaled's voice on some tracks, it was a bit long and the poppies stuff didn't really appeal to me.

I first heard Afghan Whigs when a live version of Going to Town was on a free CD I got with a music mag in the 90s. It really stood out at the time but the band wound up a couple of years later and I never really got into Greg Dulli's various other projects. I knew Gentlemen and Debonair but not really listened to the whole album. Its a great record, but a tad bleak in it's view of male-female relationships, I could listen to a few tracks but across a whole album the grievances wear a bit thin.

I note this is ranked number 2 in Rolling Stone's list of the greatest live albums of all time. If someone asked me what I thought of this album I'd say I found it long and boring. The musicians are accomplished and they are clearly a tight band but southern rock just doesn't really connect with me.

I think The Smiths may be one of the few examples of a band where each subsequent album they released is better than the previous one. The debut has some great tracks but the production is tinny and horrid, then Meat is Murder has the band stretvhing itself more and better production, next The Queen Is Dead where Marr and Morrissey bring in more orchestration and nail the epic pop song with Bigmouth Strikes Again and There is a Light... and lastly, my personal favourite album of theirs and their swansong Strangeways. But listening to Meat is Murder again for the first time in years has got me questioning that narrative as I think it may be on a par with the more widely-lauded The Queen Is Dead which has a few clunkers. It's definitely Andy Rourke's best album with the group with some stellar and almost downright funky basslines. The three track run in the middle of the LP is amongst the best in their catalouge - What She Said, That Joke Isn't Funny Anymore, Nowhere Fast. The upward trajectory theory of the Smiths may be ruined but at least we still have the downward trajectory of Moz as a human being which shows no sign of being reversed.

I remember the excitement around the time I Bet You Look Good on the Dancefloor came out. Everything I've heard since from then is a diluted version of this. A couple of other songs on the album are OK but nothing is on the same level. The artistic progression to a 70s lounge act and continuing popularity in America also seems hard to explain I don't see any reason why I'll be looking to return to this.

A witty antidote to yyThatcherism and 80s hyper consunerism..And yet on the other hand, here's four good songs and 35 minutes of filler, give me £6 please!

70s arena rock/power pop is a bit of a blind spot in my musical taste. I know Boston are the More Than a Feeling band, but them, Cheap Trick and The Cars get confused in my mind. It was nice enough but didn't grab my attention.

Half of these songs are over five minutes long, but they all feel interminably longer. I often got the sense I was listening to two separate records being played over the top of each other and neither particularly complimented the other. I found it annoying and almost unlistenable in places so giving this a very generous 2.