Herby Hancock man, that’s one groovy motherfucker. Had a blast revisiting this one. Short and sweet and will get you dancing no matter what. Top stuff.

I’m obviously familiar with a lot of Hendrix’s songs, but have never listened to a full album of his. Goes without saying, but the guy had some chops. There are some outright bangers on this thing and some surprisingly long winding jams. Unlike most other double albums, this one didn’t feel like it overstayed its welcome.

Everyone gets their first intro to Dylan through his early ‘golden period’ albums, but I think this may be his best work outright. Idiot Wind and Shelter From The Storm were standout favourites on this re-listen.

I feel like I’ve heard all these songs before, and have liked some of their standout singles in the past (although that could just be songs I’ve heard playing Guitar Hero games), but listening to this album in its entirety like this really shows up how generic these songs are. If this came on the jukebox while I was throwing back crappy beers and playing pool in a bar I’d be in my element, but this kind of sucks when listened to as an album. The influence some of these riffs had on Queens of the Stone Age is very apparent.

This is the first album to give me what I wanted to get out of this experience: I knew the big hitters off this album, but had never listened to a Stevie Wonder album. Listening to this record was a real treat; a real mix of soulful ballads and the sort of funky upbeat numbers I know him for. The bass lines on this album in particular were outstanding, and made me want to sit down and learn to play them all. It did sag slightly in the middle with the two songs that bookended the incredible Superstition, but otherwise this was a great listen and one I’ll likely return to.

My first introduction to Dylan was CD boxset of his first 8 albums. Of those 8, Blonde On Blonde must have been my most played, so I came to this recent listen very familiar with it, but not listened to in several years as I thought I was sick of it. It still holds up as one of Dylan's best (maybe his best overall, although Blood On The Tracks and Desire are neck and neck with it). Blonde On Blonde's strength is that it perfectly bridges the old folky Dylan into the more band focussed sound that he would tackle. I used to like shouting random lines from Leopard-Skin Pill-Box hat at the noisy end of my old band's live sets, so that song is particularly fun for me. This is Dylan at his peak, but I still think his stuff doesn't get above 4 stars for me; it's just a sound I'm not that invested in any more, but I can't deny the guy's got chops where it counts.

This may be a bit too trad-folk rock for me. I can acknowledge how well crafted the songs are and just how well Paul and Art's harmonies work together, but this was just too light and airy for it to make much of an impact on my feelings. Getting to stuff like 'The Big Bright Green Pleasure Machine' and the quite brilliant Dylan parody 'A Simple Desultory Philippic' was like finding an oasis in a desert of rather dry and dusty songs. I can clearly hear the impact it had on stuff that came after it, but listening to it in 2025 I can only appreciate it from afar rather than truly enjoy it.

You’d think that this album would exist in the shadow of the opening being the basis for the Exorcist’s main theme, but by the time the bass and piano comes in, you’re firmly back in Tubular Bells land for the duration of the ride. I remember seeing the cover of this album amongst my dad’s (of course; this is the quintessential Dad Album) Pink Floyd and Rush LPs as a kid and finding something very striking about the shape on the cover. I remember my dad showing me Oldfield’s performance of Tubular Bells on the Old Grey Whistle Test and it being a real catalyst for my love of instrumentals, soundtracks, and post and prog rock. It’s been a long time since I last sat down and listened to it and I’ve got to say, it’s still got the stuff. It could easily have been a bloated and pretentious mess, but Oldfield builds the piece with such sincerity that even the spoken word introductions to the individual instruments elicits a smile rather than an eye-roll. It’s wild to think Oldfield was only 19 when he recorded this album; it feels like the work of an Old Master, so profound is its delivery and its confidence to give each movement room to breathe. I particularly love the turn that Part 2 takes midway, but I know even my dad thinks that is “a bit wanky”.

Jerry Lee Lewis being the epitome of a human garbage bag aside, judging this album on its own merits, I found it surprisingly boring. Because it goes full on bombast-mode from the start and never lets up it makes for a very dull and repetitive album with versions of songs I’ve heard better elsewhere. Jerry Lee Lewis’ showmanship can’t be denied, and this is a surprisingly great sounding album for its time, but this isn’t for me.

In my mind Funeral was among the greatest albums released during the indie-boom of the 2000s and thankfully it still holds up today thanks to having such a strong through-line of theme and sound. Each song feeling like a cohesive part of a complete body of work while still standing alone to give the band some of their best singles – Power Out is still the best thing they have ever done in my opinion. Arcade Fire had such a drop off in quality with each subsequent release (to be fair, I do like The Suburbs) that it makes looking back on this album quite bittersweet as I realise now it was almost a fluke how good this album is and maybe not an indication for how good they are as a band, but I'm glad we got this one great album from them at the very least as it remains up there with my favourites.

Hell yeah, brother! Have always found this record a fun one to revisit, its length and structure so antithetical to punk it goes full circle and becomes punk in itself. It’s one for dipping into though, as listened in one sitting it’s quite long, but it’s the ultimate road trip album and I can’t knowingly rate anything with Mike Watt playing bass less than a 3.

Man I fucking hate this band so much. It’s even more painful acknowledging the musicianship on display here, and that when pulled away from the Chilli Peppers Chad Smith, Flea, and especially Frusciante have all worked on music I really love. Instead they choose to play this dogshit whiteboy circus funk like they’ve been forced to by Anthony Kiedis at gunpoint.

This album is kind of nothing? It just sounds like an amalgamation of all the generic 60s garage rock I’ve ever heard. Maybe you had to be there, but nothing about this feels notable, and its inclusion on a list of albums you have to listen to before you die is baffling.

The perfect record for valentine’s day. An album of unabashed odes to straight up raw dogging it shouldn’t be as good as this, but Marvin’s got the juice to make it work. Smooth as hell vocals from Motown’s golden boy and Jamerson’s unmistakable thumping bass, this is one sexy half hour ride. I could have done without the bongos and the tambourine: the unsexiest of all the instruments.

I should really love The Roots as on paper their skills both from a performance and production standpoint are of the highest calibre, but there’s something about them I find just a bit too polished and sterile, and so whilst I enjoyed this album, I couldn’t remember a single song from it an hour later; I prefer my hip hop with a bit more grit.

Where to even start with this one? A genuine masterpiece of an album that influenced a whole new genre of music. Every single person who has ever bought a guitar pedal owes this album some gratitude. It’s hard to talk about specific tracks on this album (except for the memed to death ‘when you sleep’) rather than see it all as one big piece of prickly fuzzy bliss. One of the greatest to ever do it; I can’t imagine how much this would have kicked my ass if I heard it back in 1991. I once met Kevin Shields while he was wandering around a car park with J Mascis and that was pretty much the coolest day of my life.

Herby Hancock man, that’s one groovy motherfucker. Had a blast revisiting this one. Short and sweet and will get you dancing no matter what. Top stuff.

My initial thoughts were ‘oh no, not another 60s pop rock bank’ but these guys were actually decent. Quite liked the singers voice and the songs had enough about them to stand out compared to some other early albums I’ve heard so far on this list.

I have quite complicated feelings with Stevens’ music in general — regarding a friend who passed away a few years ago who would always play a couple of Cat Stevens songs whenever I saw him play live — so I always worry I’m putting too much of my own emotions into his music and inflating it’s standing in my mind. But no, on listening to it again this album is genuinely brilliant. There’s the big singles everyone knows (Father And Son might just be one of the all time great songs), but every other song on this album is no slouch either. Coming in at just a squeak over 30 minutes there’s not an ounce of fat on this thing, and to end with such a flash of excellence as the title track shows real skill and dedication to Stevens’ artistic vision. I’m not a big fan of the reimagined album he released in 2020, but we were all going through some things then weren’t we.

I’ve not really kept up with Slipknot’s music since their first few albums, but these guys need to hang up their masks. There’s nothing of note here, it’s just an overly long album of bland melodic rock with the occasional pinched harmonic. Gone is any of the bite found in their first couple of albums. I have a feeling metal as a genre is going to be poorly represented in this list, and it’s a shame because there’s so many more interesting metal albums out there than this weak shit.

I’m obviously familiar with a lot of Hendrix’s songs, but have never listened to a full album of his. Goes without saying, but the guy had some chops. There are some outright bangers on this thing and some surprisingly long winding jams. Unlike most other double albums, this one didn’t feel like it overstayed its welcome.

I’ve always felt that the Stones are best represented by a greatest hits collection, and this album does nothing to change my mind. A really rather dull collection of tracks (I listened to the UK release so I didn’t even get the joy of Paint It Black). Under My Thumb is a great track as always, but I found everything else on this record very generic; the fact that The Beatles released Revolver around the same time and somehow people compare the two is baffling to me. I’m docking a star purely for the self-indulgent wankery that is Going Home. 11 minutes of a basic sketch of a generic blues riff, just awful.

I don’t there’s ever been a better statement of intent than the storm sounds at the start of this album. I sometimes forget that this album was released the same year as Let It Be. That storm lets you know that a change is coming, and over the next 8 tracks an entirely new genre of rock music will be birthed, kicking and screaming. This is up there with the greatest debut albums of all time and it still feels fresh and exciting to this day. Even the cover is mysterious and sinister in a way that makes you want to listen to is. Geezer Butler doesn’t get enough credit for absolutely carrying this whole record (and band) on the back of his bass lines.

I really recognised the cover but hadn’t heard this album before. What a bop! Really enjoyed this perfect half hour slice of synth heavy pop rock. Great stuff!

Alright on the whole kind of middling Kinks album. This continues the trend of me finding the 60s stuff way more drab than I expected it to be; I understand why they released the best songs of that decade as standalone singles outside of albums. It’s hard to rate this album objectively because Waterloo Sunset is one of the greatest songs ever written and is worth 5 stars on its own, but the rest of the album pulls it down to a 3 for me.

A fucking classic. The production on this album is unmatched, just a genius move to pair lyrical acrobatics with such trad jazz instrumentals. There are MCs still living in Phife and Tip’s shadows, their level of skill on the mic still rivals most of the rappers working today. And to end it on that phenomenal Busta Rhymes feature - this album is firmly one of the all time greats.

I expected this to be more exciting with a name like Rattlesnakes, but it was dreadfully dull. Very middling music all round and not really sure why it’s on the list. Not offensive, just entirely forgettable.

The greatest of the solo Beatles albums, and the only album to justify being a triple. This feels like years of pent up ideas unleashed all at once, and is great documentation for how Harrison’s music writing really made The Beatles’ sound what it was.

Not my favourite Stooges, but it can’t be denied just how solid they are as a unit on this album. It’s almost krautrock-like in parts, the rhythm section is like a driving sledgehammer through these tracks. Just such a fun record to listen to.

Two Stooges albums on the trot. I really do like this band, and even though punk isn’t really my go-to genre, I like these better than most other bands of that style. I think you stick with the Stooges album you first get your teeth into, which for me was the debut. Still, Raw Power is a great listen and one I was happy to get so soon after the last Stooges record was served up.

This album was a very nostalgic listen for me. Not my favourite Metallica era, more stadium dad rock at this point really, but it can’t be denied that these boys can write some great hooks and melodies.

I find a whole album of this kind of delta blues a bit repetitive, but I can’t deny how good these songs are. Proper toe tapping thigh slapping riffs from one of the best the genre has to offer.

Been doing this a month now and this is the first band I’ve never heard of, so had no idea what to expect going in (from the cover I expected a Bloc Party style indie band). I was surprised to hear a pretty decent trip-hop album. You have to be incredibly good at this sort of thing for a whole album to have staying power for me, and this just didn’t do it. Some really nice beats and drum work on this, but not one I’ll be returning to. That track with all the vocal samples about shagging was cringe as hell.

I haven’t heard from Sigur Rós in years, but it felt like they were everywhere in the 2000s. This is a very pretty album, but does feel like a product of its time. Some real lush string work and vocal harmonising on this album throughout. I appreciate it more than enjoy it.

I bounced off The XX the first time around, but this album is great. The moodiness and tidal wave of delay pedals really heralded in a whole new wave of copycat bands at the time, but these guys really knocked it out of the park from the start. I listened to this album after playing a gig whilst driving on the motorway at midnight, which is probably the perfect environment for this.

A very 80s album, even from these guys. I like New Order and everything they stood for, but I can’t help but feel I’d rather be listening to Joy Division whenever I hear them, no matter how good their stuff is.

I’m only really familiar with these early Eno era Roxy Music albums, but what a debut this is. That opening track in particular is such a distillation of everything I love about the early iteration of the band. This album does sag slightly towards the end, but I’ve always got time to listen to Bryan Ferry and co.

Is it time for Sultans Of Swing yet? Is it time for Sultans Of Swing yet? Is it time for Sultans Of Swing yet? Is it time for Sultans Of Swing yet? Is it time for Sultans Of Swing yet? Hell yeah, brother! I miss Sultans Of Swing. I miss Sultans Of Swing. I miss Sultans Of Swing.

The 60s were an odd time for music weren’t they? The ‘album’ feels like such an underused format for delivering music. I assume the kids just wanted the 45s which is where the best music was to be found, but albums don’t really feel like they come into their own until the 70s. This is yet another 60s release that has a handful of bangers on it, but is mainly padded out with much inferior tracks. The singles here do so much heavy lifting.

An artist I wasn’t familiar with, which is mad as this is my kind of thing. Real soulful pop music, some lush instrumentation, and Kelela’s honey rich vocals make this album a winner. One I’ll be returning to.

I had a real hard time finishing this one. The sound mix is atrocious, that hard panned guitar and organ are so loud over everything else it was an obnoxious listen more than anything else. Might be a better experience listening to a better mix, as I can really see the roots of The Doors here, but in the state I have access to this is hideous.

I’m not a big grunge guy, but Soundgraden leans more towards the grunge I do like. Chris Cornell was such a great frontman and really elevated this band with his voice. I was only really familiar with Black Hole Sun before going into this album (the video of which used to terrify me as a kid), but there’s some great stuff to be found here. Runs too long like all 90s rock albums.

I’ve heard plenty of Undertones over the years but not heard their debut until now. Liked this one though — The Undertones sit in a really warm and comforting place for me and I can’t help but have a good time listening to them. Not mind-blowing, but enjoyable.

R.E.M. are the band I most regret not seeing, so it’s always good to have an excuse to listen to them. Document is one of their weaker releases in my opinion, but it’s R.E.M., it is still really good.

It’s not my favourite Radiohead, but it’s probably their best on paper. There’s not a wasted second on this thing; every song is undeniably great, and it’s a lot shorter than I remembered — I was shocked by how quickly I got to the perfect ending of Videotape. I gave myself more homework and listened to In Rainbows disc 2 as well and even that is better than most bands’ best albums (Bangers & Mash is up there with my favourite Radiohead songs). An easy 5 star for me this.

Wasn’t familiar with this guy before but really liked his sound and the vibe of this record. I read afterwards this was released posthumously and Ali recorded it knowing he was dying, but you’d never tell because the guy sounds chill as hell on this. I can see the influence his guitar tone alone has had on more recent bands like Songhoy Blues, and will probably check out some of his earlier records.

An example of the worst 80s music had to offer: just a horribly synthetic and over-produced sounding record. There’s some nice singing on this, but this was too long with few redeeming qualities for me; just not a fan of this at all.

Listening to this album you can clearly tell the time period it was released in. It is straddling the trad folk of the time while also being influenced by the psyche pop released in the late 60s. Despite this, I found it quite a boring listen. Nothing wrong with it, just a very middling listen for me.

My favourite Neil Young record. It’s a lovely mix of Young playing with a full band but still having the sparseness to his sound that he doesn’t have on his stuff with Crazy Horse. The trilogy of ‘[ ] Blues’ songs on this album alone are a great representation of Neil Young’s strengths, but then you’ve also got beautiful heartfelt songs like Motion Pictures. I think Neil Young is one of those artists that you’ll love the first couple you hear, and so On The Beach is firmly cemented as an album I love.

I really am going to struggle with most of the metal on this list. I’ve never liked Pantera. Anselmo’s dogshit politics aside, they’re just really fucking boring to listen to. Just endless chugging. When the album ended and Spotify kept playing different Pantera songs I didn’t even realise. Rubbish.

Dexy’s always seem like they’d be a fun band to go and see. I like their take on a more poppy folk and I like this album - outside of the excellent Come On Eileen it doesn’t do anything too spectacular, but it was a solid listen.

T. Rex have always had a strange mythology around them that I’ve found to be quite impenetrable, so this is the first time I’ve truly listened to them. Marc Bolan is likely the best to ever carry glam rock on his back, but as a genre I feel it’s quite limited; there’s a reason Bowie left the genre behind to move onto (arguably) better things. This album was good, but just good.

Full to the brim with dad rock. A fine album, but yet another where I need to get a copy of the book to find out what makes it so special, as this sounded very bland and generic to me.

How have I never heard this album? Among the greatest supergroups to ever exist. Listening to this album makes me feel guilty to be a man. Country banger after banger. Loved this!

Really interesting hearing some pre-disco Bee Gees, but they definitely grew better into that sound. One of the Gibb’s voices on this is really bizarre and made some of the songs sound unintentionally funny.

You can’t really go wrong with Dolly Parton. She manages to make the most beautiful melancholic songs and pulls a few bangers out of her boot as well. She has stronger songs not found on this album, but this was rock solid.

Would love an album like this for more genres of music. It’s a great idea to get one of the pioneers of a genre to give context and attempt to provide a further understanding to a western audience. As an album of songs it’s not one I’m likely to put on all the time, but I appreciate what it’s doing.

I like Spiritualized whenever I hear them, and they’re kind of perfect for music to slip into the background or to chill to. This is one that sort of washed over me, but in a nice way.