1001 Albums Summary

It's been a long time since I last listened to The Miseducation of Lauryn Hill, but I can't help feeling like its shine has dulled a little since its release. There's undoubtedly some great tracks in here, but I was never a big fan of audio skits and dialogue that was so prevalent in this era of Hip Hop and RnB, as I find it just breaks the flow of the music.

Reggae is a genre I've never been totally hot on, but this is very listenable. Was already very familiar with 'No Woman, No Cry', but it doesn't overshadow the rest of the album which surprised me. Probably helps that its sandwiched by two good songs in 'Lively Up Yourself' and 'Them Belly Full' which helps set the tone for the record.

I've always had a bit of mixed relationship with Pink Floyd in that whilst I love Dark Side and a fair chunk of The Wall, they've never properly clicked outside of that. Wish You Were Here kind of exemplifies that for me as across the 5 tracks there are some really strong moments, but equally there's stuff in here that just doesn't quite land for me. For me Wish You Were Here really shines in its opening and closing tracks. I really love how these tracks meander between genre, opening the album in a more ambient mode before shifting into prog-rock and building anticipation for what's to come. There's a really great sense of progression and narrative that I think is lacking from stuff like Have a Cigar and the title track (which honestly I've always found a bit dull compared to other Pink Floyd tracks)

Actually surprised by how much I liked this. Feels like it's pulling in a bunch of different influences (jazz, folk, rock) and flows really nicely.

The singles loom large on this one, and whilst Surrealistic Pillow is listenable I think much of the album pales in comparison to 'Somebody To Love' and 'White Rabbit'.

Just a really big, fun album. Feels almost cruel that this was picked for me on a Monday, because it really should be heard at maximum volume, at around 10pm after a succession of strong drinks

Just found this to be quite dull and one-note. Not bad, but also not especially good

Really not sure what I make of this. Feels quite backwards looking for a 70s rock record. Some decent tracks scattered across it (such as 'Waiting for the End of the World') but doesn't feel like its really deserving of a spot on this list outside of being Costello's debut

My familiarity with Santana is pretty much limited to 'Smooth' and a bit of a reputation as middle class dinner party music. And whilst, yes this album features that song from the M&S food ads (Samba Pa Ti), Abraxas surprised me by being closer to hard rock than I expected. Overall I thought this was a pretty good time. A decent variety across the tracks and some really groovy numbers.

This album still has so much energy despite being almost 70 years old. Really, really fun record

It'd been a long time since I'd properly listened to this album in full. Whilst there are some really great, even iconic songs on here, I do think it's a little let down by being a bit overlong and with a few too many tracks that just don't hit. I admire it's ambition, but probably one of the more inconsistent Beatles records (especially from this period of their career)

Don't think I'd ever heard this before. My main interaction with Goldfrapp is the album Black Cherry, which leans much more towards electro-pop. Was surprised how this felt much more in keeping with trip-hop with a far mellower, laid back sound. Unfortunately I think that does kind of show it to be a bit lacking compared to the more chill electronica acts of the time. Felt Mountain is a nice, pleasant album, but it doesn't feel remarkable when you consider the likes of Air, Portishead, etc

Surprised I'd not come across this before. Really fun jazz record with some great grooves. Time just flew by listening to this and I was honestly tempted to just put in on a second time after listening.

Despite considering myself a fan of Springsteen, The Rising was a disappointment. Felt like a pale imitation of his better work. I do appreciate that maybe at the time this was a record that a lot of people needed, but I can't help but find it lyrically quite inert and musically dull.

Heavily front loaded with the big singles. Was surprised by how much this petered out by the end as it shifts completely to downtempo chill. Also feels like every song is twice as long as it needs to be. By the time you've heard half of a track you've pretty much heard everything it has to offer. I can't deny it's impact and influence (both positive and negative) which certainly earns it a spot on this list but returning to Play was kind of eye-opening in how empty it actually is

It'd been a while since I last listened to Lost In The Dream and glad that it still holds up as a lovely, vibey record. Great for just putting on in the background and letting the music wash over you, but not noticeable enough to ever surprise. I do understand why some people really love this, but I do wonder if it's quite distinct enough to really earn its spot here

Could not finish this. The production on this is dreadful. So many songs are just a muddy wall of noise with the few bright spots being when the bass cuts through, or they strip everything back to maybe one of two instruments.

This is one which might grow on me given time. As it stands there's some interesting ideas here and I appreciate the band trying to synthesise a bunch of different influences into their work, but it doesn't quite hang together as well as I'd have liked. Some good stuff in here, but it's definitely a little inconsistent.

Whilst I prefer Dylan when he goes electric, I can't deny that this is a really fantastic album.

I've never been a particular fan of Nile Rodgers' particular brand of disco - but it's deployed really effectively here. A really fun record with some very catchy, memorable tracks. There's a really infectious energy to the album and it just breezed by for me.

A genuine surprise this. My familiarity with early Warp records is pretty low, but I thought this was great. Experimental without being inaccessible. Able to grab attention and also serve as decent background music.

Starts strongly, but quickly trails off as it hits a run of quite baffling covers. Ferry Cross the Mersey?! Born to Run?! An absolute pace killer

I'd never heard anything outside of the disco hits, so this was interesting, if not fully appreciated. I quite like the big, symphonic pop numbers, but there's some real misses here. 'When Do I?' was distracting with how odd the vocal performance is, and I didn't find it that interesting lyrically.

Was familiar with Them Bones due to it's inclusion on the GTA San Andreas soundtrack. Unfortunately that was never one of my favourite tracks and listening to Dirt has not won me over to Alice in Chains. A couple of interesting moments on here, and I can't deny there's something nostalgic about how painfully 90s it is. But it's all so one note and just becomes a bit of a slog to get through. After about 20 minutes I felt like I'd heard all I'd needed to.

Dinosaur Jr have always been a bit of a blind spot despite their connection and genre similarities to other bands I love. I thought this was a pretty cool record. Good, fun noise. I liked it.

I've never really been into U2 and to be honest War did little to change my opinion on them. It's fine

Thought this was a pretty good synth pop album. Sweet Dreams is the obvious standout here, but there were a few other tracks that I really enjoyed

I feel like this one needs a couple more listens to really get into. Some really interesting moments on this, particularly where it descends into noise - whilst the vocals I remain undecided on. Could see how this might be someone's obsession though

Honestly maybe it just hit at the right time, but this album was a real gateway for me into noisier, more experimental music. The first time I heard 'Venus in Furs' it was electrifying.

Probably one of my all time favourite records. For me this was the Bowie album that properly cemented my love of his music. My intro to Bowie was through a friend lending me the CDs one by one, and whilst I liked the earlier records I wasn't in love with them in the same way my friend was. Until Station to Station. That opening track hooked me immediately and the rest of the album was just a perfect continuation

I can imagine for die hard fans these "sketches" of songs are interesting as a suggestion of what Paul McCartney would do as a solo artist, but for me this felt a little bit too inconsequential. A couple of decent melodies, but nothing here feels like it stands up as being amongst his best work.

I was mainly familiar with David Sylvian through his work with Ryuichi Sakamoto and Fennesz, so this was a delightful surprise. Definitely feels like a step towards an 80s synth pop sound, but not quite fully formed

I've only ever heard a few Black Sabbath singles as outside of Led Zeppelin, I've never been that into this style of 70s hard rock. However, I really liked this. Some great riffs, with a surprising amount of melody. That said it suffers from being a early (the first?) metal album in that it feels quite quaint in comparison to how heavy the genre has become in some places

Just love the sound of this record. Has that warm, yet melancholic production that feels so tied to the 60s and towering above it is a wonderful vocal performance.

Thought this was decent, but maybe lacking in standout moments

I generally really liked The White Stripes. They had an interesting take on blues rock that really sounded quite distinctly them. Blunderbuss, Jack White's debut solo record, feel like something of a regression to me. Blunderbuss feels like it could have been made by any contemporary blues artist, which isn't to say it's a bad record, just not a particularly interesting or exciting one.

Was surprised by how well this album flows from one track to the next. Despite the skits (which on other albums really disrupt the flow) Doggystyle maintains a pretty consistent vibe throughout. And whilst there are probably rappers from this era I like more, I can't deny that Snoop's style is probably the best fit for that G-Funk sound. Smooth, playful, and irreverent in equal measure.

Maybe this hit a lot harder back in 1972, but listening for the first time in 2025 I found it to be quite dull. A lot of the tracks just kind of blended together

Still the absolute best version of The Flaming Lips psychedelic sincerity. Beautiful, grand and weird in equal measure.

Maybe a bit overlong for what the album is - but I guess it is in reality one record with some bonus instrumentals. I quite liked the longer instrumentals, but they definitely feel a bit tacked on in the era of streaming, sitting awkwardly at the end of the tracklisting rather than being their own vinyl disc. But the rest of this album is just great. I listened to the 2020 version and the production is immaculate. Really highlights the music and Harrison's lyrics and makes you wonder what the Beatles missed by not having more songs written by him.

I couldn't finish this one. A weird mish mash of punk and country that just doesn't hang together with some quite muddled production and what I thought to be pretty awful vocal performances that.

Just a great listen from front to back. Don't think I've ever skipped a track on this. There's a reason why this album (and so many of its songs) are iconic

I generally prefer Eno’s ambient work, but I really like this as an example of a bridge between his different musical explorations

Enjoyed this a lot

There are some really great tracks on this - the title track and I've Seen That Movie Too being my highlights. But it really starts to drag towards the end and there's a bit too much that doesn't work - Jamaica Jerk-Off being the real nadir, but even Your Sister Can't Twist had me reaching for the skip button.

Outside of Higher Ground, Innervisions was not an album I was familiar with. I really liked this though - a perfect blend of jazz stylings and Motown soul.

Really great time revisiting this - one of Springsteen's best and most enduring records.

Was quite surprised that I'd heard a couple of these songs before. Never been a big fan of 90s British rock music - but this is a decent enough example of it and IMO much more palatable than Oasis. Just a shame that it feels like it peters out towards the end

The end of Sleeping Gas might be one of the most annoying ends to a song I’ve heard in a while. The rest of the album isn't quite as annoying but it's not particularly good either.

I don't love this as much as Rumours - it's certainly a messier record- but there are enough highs to make up for it

There's a reason why Back To Black has endured as an album, especially compared to the other neo-soul / retro-soul albums that popped up in its wake, and a lot of that is down to Amy. A great voice sure, but also able to imbue these songs with an authenticity and emotionality that I think allows her to stand alongside the greats she's inspired by.

Really lovely 70s production and great harmonies. Sometimes leans a little too sweet, but makes up for it with some beautiful songs and that stunner of an album closer

Really incredible synth soundscapes on this record

Iconic for a reason - some really fun songs on this

Despite being a huge Björk fan, I'd never really gone back to listen to her work as part of The Sugarcubes, so this was a welcome push to do just that. Clearly I've been missing out as this was a fantastic record - musically quite different to Björk's solo work but her distinctive voice makes it feel familiar. I had a great time with this and suspect I'll be listening to it a lot over the next few weeks.

There's a few bits that haven't aged especially well, but otherwise this is an absolute powerhouse of a record. Incredible sampling and production combined with the urgency of Chuck D's vocals just means that this always hits hard.

Beer Drinkers and Hell Raisers was the first track where this album actually caught my attention. I thought the opening track was quite weak which is definitely not what you want from a record like this. Unfortunately I generally found this to be broadly one note and quite dull.

This really felt like an album that had to hit at the right time - like I'm sure if I'd heard this as a teen I'd have really connected with it, but now it just didn't really do anything for me. However, I did appreciate how varied the tracks on this were and a couple definitely stood out to me (including the obviously quite famous opening track)

I really enjoyed this. Unsurprisingly felt of a piece with 80s era Sonic Youth and Swans which is a sound I'm very into.

I put this on and it kind of completely passed me by until Cherokee, which is such a fascinating amalgamation of genres - a bit of jazz, folk and psychedelic rock in there. That made me sit up and take notice, but otherwise this is just a bit forgettable

Whilst I get the impact Metallica have had, and I certainly appreciate how loud and heavy this album is, I felt like too many of these songs run a bit too long. Means they feel more like tests of endurance than thrilling thrash metal sprints.

Honestly feel like this just doesn't hold up very well. Provocative in a way that appeals to 90s teens who love South Park. I find Eminem's cartoonish delivery quite tiresome as well.

Thought I'd never heard of this band before and then Another Girl, Another Planet comes on and the realisation dawns on me. This was pretty fun. Should it be one of the 1001 albums you need to hear before you die? Probably not, but take a day off and just listen to some tunes.

Probably need to give this one another listen to really lock in my score, but thought that on the whole this was quite beautiful. A very successful mix of folk with the structures of jazz that just gives the whole album this very loose, almost improvisational form. Can see how this influenced a litany of artists and mad it took me this long to listen to it.

I just couldn't finish this. This album is all over the place and whilst I admire albums that try to conceptually do something interesting with the form of an album, this just didn't cohere for me. It doesn't help that I find Stephen Stills voice just really uninteresting - and at least on the version I listened to it was often kind of buried in the mix.

Not really something I'd listen to a lot of, but I can appreciate that there's some great musicianship and songwriting on display here

Some songs feel like a real showcase for Jeff Beck's guitar playing, but I found this to be wildly inconsistent and the vocals completely forgettable.

Thought this was fairly decent aside from a few baffling production choices that were possibly a little too distracting. That said in an era that resulted in albums that defined the decade, this maybe feels a little indistinct

I'm less familiar with James Brown's earlier material, so this was definitely an interesting listen. There's some decent tracks on here, but it was just a bit too short. It felt like just as I was getting into a song it'd be over and on to the next - which is probably why the longer cuts really worked for me.

Bluesier than I was expecting, but I enjoyed this.

I really love Tracey Thorn's voice and it's paired with some quite lovely music, but this just isn't really an album for me.

First track is really great - a hugely relatable ode to the morning after the night before. Love the variety on offer across the first few tracks. Some good songwriting and some really cool tunes so far. Really an album of two halves. Side A is definitely the stronger, but Side B is pretty fun - yeah even the quite ridiculous closing track.

First few songs start the album off strong, even if I'm not a fan of Heroes and Villains many false ends. Definitely some really strong stuff here - especially the transition into In Blue Hawaii - but it can be a little uneven in places.

I don't think ELO has ever really been for me. This is largely inoffensive, but it's not super interesting either.

Never really been a big fan of Queen, but this was even more of a miss for me. All over the place musically, but not in a way that works for me

A little more up tempo in places than I expected, though this definitely leans more towards a specific brand of 90s chill electronica. Definitely a pleasant listen, even if I think this style of electronic music has aged pretty poorly compared to others. Side note: The Story of Light's piano melody had me double checking it wasn't sampling Step On by The Happy Mondays.

Deceptacon is a really strong opener, and to be honest this album really doesn't dip after that. Really fun, infectious energy, I imagine this was brilliant live.

Elliott Smith has always been a bit of a blindspot for me. I first heard about him long after he'd passed away, and almost immediately saw the reverence - and sense of loss - his fans hold for him. It made the prospect of listening to him daunting. What if it didn't land for me, what if he didn't live up to those lofty expectations? Listening to Either/Or I'm pleased to find that Smith's music holds up incredibly well even without that personal connection. The song writing and musicianship is self evident and I was surprised by how catchy this was in places. I can certainly see why so many people have developed such a deep connection with Smith's music.

I feel like my appreciation of CCR only really goes as far as hearing them in film soundtracks. This is maybe the first time I've listened to a full album by them. Overall I enjoyed this - probably not enough to put in the regular rotation - but I can't deny they're really talented and crafted some great songs.

I've never really been particularly fond of The Jam. Personally felt they lacked the spikiness of other bands of the era - and listening to a full album of their material just kind of showed how one note their schtick could be. Aside from a couple of slower tracks, this all sort of blended together for me.

An odd one this. It pulls from a bunch of different genres (glam rock, 80s indie, rockabilly) but doesn't really excel at any of them. The more indie leaning stuff in particular makes it clear how much The Smiths needed the whole band - and particularly Johnny Marr's guitar. The slower, quieter tracks towards the end work best here as they at least allow Morrissey's vocals to shine (and when he's not buried beneath guitars he still sounds great).

Revisiting Black Holes and Revelations was an interesting experience. It was an album I listened to a lot of as a teen, and was the era where I saw Muse live. But it also represents the last album of theirs that I liked. I'd maintained that they fell off after this record, but now I'm not so sure. The big, high energy tracks like Map of the Problematique, Knights of Cydonia and Supermassive Black Hole were what stuck in my memory the most. Meanwhile I sort of held up Starlight as the rare weakspot on this record - unfortunately there's a lot more here in the vein of Starlight that I'd forgotten about (or more likely skipped over when adding the better tracks to playlists).

Never been a huge fan of Imagine (the song) so wasn't looking forward to this. Weirdly it really doesn't represent the rest of the album at all which draws much more from blues and roots rock. Still an incredibly boring album though

A high watermark of 90s rap that's let down by some truly heinous skits and a run time that's maybe a smidge too long.

Feels somewhat apt to get this album on the hottest day of the year. Threw open the windows, made an ice cold drink and for a moment forgot about the fact I'm meant to be working. I know some people deride this as "elevator music" or easy listening, but you know what, sometimes you do just want something that sounds great and goes down easy. And honestly this manages to capture such a specific vibe and mood.

A really great document of Fela Kuti's live shows - capturing the raw energy and tight grooves that goes into his best songs.

Weirdly this was the album that got me into the music of Leonard Cohen. Such a devastatingly beautiful album and a real testament to what a fantastic songwriter he was.

It's been a while since I've listened to The XX's debut album - an album I really loved when it first released. I was pleased to find that it holds up really well. There's a real intimacy to this record that I think they lose on subsequent releases.

Fun, if a bit inconsistent. The big singles are the clear highlights.

Another slog of a record from Bee Gee's 60s period. There's a pomposity to this that I found super grating - especially the big orchestral instrumentals in the back half which draw heavy inspiration from Elgar but don't feel earned in anyway. All the more galling that actual orchestral (or at least works by contemporary composers) doesn't feature on this list To me it's not a surprise that this period of Bee Gees music is largely overlooked compared to the disco era.

Country is not a genre I usually go for but I enjoyed this. I think the opening track is probably the highlight for me. The song itself is incredibly evocative, playing as a somewhat mournful ode to the small hours. The rest of the album flows rather nicely from there, drawing a bit of a bluesy tone, whilst Price's vocals just soar above everything.

Probably the only track I liked on this was Blue Turk, which was jazzier than I expected for an Alice Cooper track. Really hate the opening track, a really corny bit of pop-rock that's admittedly been a bit tainted by how overused it is in adverts. The rest of the album is also not for me. The West Side Story cover was like audio poison, whilst Alma Mater has real "we've got The Beatles at home" energy.

I think this runs just shy of a 4 for me. Some really good tracks on this, but I think I prefer The White Stripes in a less blusey mode.

Still feels incredibly powerful even today. The production on this has not aged at all. I do think it's maybe a little weaker than It Takes a Nation of Millions..., but not by much

A lot more varied than I expected. Manages to run the gamut of 60s psychedelic music with songs evoking pysch-rock, or pastoral folk, and even bringing in the more spiritual psych sound that became popular in the decade. What's impressive is that Donovan manages to fit so effortlessly in each mode.

Colin Zeal is quite fun and has a great little guitar melody. Pressure on Julian a bit of a step down though. Damon's vocals can be a bit grating here - I feel like he softens his accent later in his career.

I really adore this record. Whilst I think there are better Belle & Sebastian albums (this was only their debut after all) I do think there is something quite special about this one. There's some wonderful songwriting here and you can hear the influence of Nick Drake in particular on some of these tracks. Just a lovely listen from start to finish.

I liked this more than I expected to. Feels like a proggier Led Zeppelin, but still fairly restrained. Sure songs occasionally hit the 9 minute mark, but nothing here feels wildly excessive. Might be a record that grows on a relisten.

I liked this a little more than Goodbye Yellow Brick Road as it was interesting to see Elton John exploring some darker themes. However, I'm not sure it completely works - Indian Sunset in particular, whilst I'm sure was well intentioned, comes across very poorly. That said the title track and Levon were the real highlights for me.

Just because you can play keyboards fast doesn't mean it's good. Also falls into the trap that a lot of old live albums do which is suffer from really weak production. The vocals get absolutely lost in the mix and it feels like every instrument is fighting the rest of the band to be as loud as possible

I love how Planet Caravan almost sounds Can adjacent. Has that same kind of hypnotic, meandering quality. Rest of the album was still really great. I’ve been surprised by how much I’ve actually liked Black Sabbath so far

Still an absolute banger of a record. Manages to pull from a whole range of different genres and sounds and make it work. An album that feels weirdly prescient of the music streaming era and the way it makes access to unique micro genres even easier. Paper Planes is obviously a big standout, but there's so many great tracks here. Bamboo Banga and Bird Flu open the album with a bang, whilst Jimmy is a real fun update on a Bollywood hit.

Honestly couldn't really tell you what the 20 minute long opening track was about. Musically it's fine. It doesn't really sound super revolutionary - but maybe that's because I'm coming to this later. I will say that I find the lead vocalist's voice super grating which made the second half of the album a much tougher hang.

Compared to some of the other live albums I've been served from this list, this was actually produced pretty well. Feels like a good document of The Who's hard rock sound with the energy of a live performance, though I was a bit surprised by how many of the tracks are covers. Otherwise a decent live album, not sure it quite earns its spot on the list (or indeed the claim it's one of the greatest live albums of all time)

Cash sounds great on this record, and the response from the audience, as well as Cash's banter with them really gives this a very different edge to his studio albums.

Do not get some of the negative reviews of this. Thought this was really great. Rock music with some really interesting ideas and sounds that whilst pushing boundaries, isn't super challenging to the listener.

I feel like I always forget about the existence of Hail to the Thief. Like it's a good Radiohead album, just maybe not a great one

I'd never really listened to much of The Beatles pre-Rubber Soul. This is decent and you can definitely sense that they're still honing their song writing here. Maybe not one I'd return to a lot, but a very breezy pop album.

Preferred this to Your Arsenal (which the generator had served up previously). I think Morrissey's voice works better with the instrumentation here, though I do think that musically it feels much safer and less exciting than what we'd see with The Smiths

It's merely fine - I doubt anyone considers any of these covers as the definitive version. I get its importance as a massive band's debut album, but it really isn't that interesting.

Honestly a baffling inclusion for the list. I remember a couple of these songs at the time getting decent radio airplay but I don't remember the band being all that notable. So Much For The City has some fine songs - though I'd argue that a couple kind of wear out their welcome by being a bit too long and repetitive. But the album as a whole isn't super remarkable and by the end I was pretty bored.

Probably a high 3 for me. I like it more than Hail to the Thief, but I know there are other Radiohead albums I like a lot more and this just doesn't feel as fresh and interesting as Kid A.

Never really listened to much Billy Joel and this wasn't what I was expecting. Starts pretty strong with Movin' Out and I thought The Stranger was decent (even if the whistling didn't do it for me). However I really loved the overblown theatre of Scenes from an Italian Restaurant - which was a standout for me. That said I think the second half is a bit weaker (I’m really not a fan of She’s Always a Woman)

Not really for me. I find the vocals a bit grating in places and to be honest the mix of hard rock and funk rock is done better elsewhere

Really quite enjoyed this. Some great songs here, and seems to capture an energy that I feel like some rock albums of the era lack

Probably the more accessible of Bowie's Berlin Trilogy, mainly because Side A has more of what you'd expect in a pop song structure. Not all of Side A works for me (Joe The Lion is maybe the weakest track here) but you get some real winners in Heroes and Blackout. However, Side B is the stuff that really elevates the record. Some fantastic instrumentals, and maybe a bit more cohesive than Low (though that remains my favourite of the Berlin Trilogy)

Starts relatively well with Strange Brew and Sunshine of Your Love, but quickly becomes a bit one note and dull. Blue Condition is dire and the less said about closing track Mother's Lament the better.

Similar to my experience with the Sister Sledge album - this is a very fun, often quite breezy album if not quite for me. The standout though was Savoir Faire - an instrumental that really surprised me in how much I enjoyed it.

It's fine. Not particularly notable so not sure why its deemed worthy of inclusion over a bunch of other possible picks.

Had genuinely forgotten how stacked with great songs this album is. Whilst I maybe think Magdalene is the better record, this is such a strong debut that really sounded so ahead of the curve at the time.

Was a little nervous to revisit this after being underwhelmed by Wish You Were Here - but my god this holds up so well. In my opinion the most cohesive Pink Floyd album, but still managing to pull in so many different directions. Lands pretty much all of its ideas and also a really fun listen as well. A classic for a reason

A pleasant collection of 60s pop songs that seem to draw quite heavily from Motown. Unfortunately it doesn't feel especially notable outside of being Dusty Springfield's debut record.

I've always found that with a lot of the big UK dance albums of the 90s that they often have really strong singles, but the rest of the album is kind of ok. That really isn't the case for The Fat of The Land which feels absolutely stacked with blistering dance tunes. Even just listening to it at my desk it loses none of its energy and raw power.

I liked this, but maybe didn't find it as impactful as other albums in the same genre - not sure if there are any other desert blues albums on the list or not.

The second Elvis Costello I've had as part of this project and such a big step up from his debut. Whilst not every track is a killer, there's a lot of really great stuff on this. Costello's band has a real energy that makes the more upbeat tracks really infectious.

Some great 50s pop songs on this. Probably not one I'll revisit much myself, but I can certainly see how this was a huge influence on bands at the time

Crazy that I waited this long to listen to Marquee Moon. It's great. Can certainly see why it's held up as an era-defining record of the NYC new wave scene.

Felt like this went up in my estimation as the record went on. Some really cool beats across this.

Undoubtedly an important album in the history of hip hop, but I feel like I've just never clicked with this era. Could imagine throwing this on at a party and it going down well, but I just want more from the hip hop I listen to.

A real mixed bag this one. There are tracks on here that I really quite liked, usually the more straightforward pop / rock tracks. But it's almost outweighed by a lot of stuff that's overly twee and quirky that just made this quite a jarring experience.

Whilst there's some really great stuff on here - Tuesday's Gone and Free Bird being the real standouts for me - there are enough misses to drag the album down a star despite the fact it goes out on an absolute high.

A really bold album of two distinct halves. The first a much poppier, radio friendly selection of songs that contains some of Kate Bush's biggest songs, whilst the second half is a more conceptual song cycle that draws in experimental and folk styles. Somehow it works tremendously well and arguably set the template for artists like Bjork and many more to play in a more artsy, experimental pop space.

Never listened to much Nick Drake outside of Pink Moon. This is (as I suspected) really rather lovely and beautiful.

Had never heard of The Go-Go's or this album before, but I had a good time with this. So much so that I didn't realise the album was done and just ended up listening to more of their songs on autoplay.

I tried but I just couldn't finish this. Musically there's some interesting ideas on here, but it often just falls into a soup of quite overbearing noise with the lead vocals being quite grating.

Holy shit. Do I actually like Drum and Bass? Thought this was really fantastic. A long album, but a decent amount of variety across its tracks, with very few actually outstaying their welcome. Can imagine this had a huge influence on dance music and club culture (as well as video games, so much of this feels extremely PS1 coded)

Not as polished or consistent as Discovery, but still feels really fresh all these years later. Like flipping stations on the radio and just tuning in to a range of different sounds that all coalesce into the collage of dance music ideas. Wonderful stuff.

This is the second album I've heard with Jeff Beck playing a key role. Sometimes I wonder if he'd be better suited to an instrumental album because he seems to have poor choice in vocalists.

I think I only really knew The Temptations through Papa Was a Rolling Stone. In those cases I usually worry that an album is being carried by just one great single, but that's not the case here. All Directions is a really fantastic record. Funky and soulful in equal measure with some great harmonies.

It's Kind of Blue. It's one of the greatest jazz albums of all time. It's the album that got me into jazz. It's an easy 5 star

Out of the gates sets a pretty bad impression with their cover of Freddie's Dead, which on the version I listened to was just an auditory mess. The rest of the album is kind of chaotic in a different way - with all manner of genres thrown into the mix. Some of it works well, but some of it feels pretty generic (80s pop-rock track Mighty Long Way feels especially formulaic). Overall I just found it difficult to get on with this - none of the styles it plays with are my favourite to begin with, so even with the band being pretty adept at some of them, it just wasn't likely to win me over.

A little bit one note but overall I enjoyed this. Frank's vocals (obviously) sound great and his backing band give all of these songs a really infectious energy. Probably not something I'd return to but maybe take a couple of tracks from this for a playlist

The most damning thing about this record is that I hadn't even clocked that I was halfway done with this until I went to check the tracklisting. It's all so one note and monotonous, but not in a way that allows you to lock in and just be taken along by it like a motorik rock record. Did enjoy You Can't Quit Me Baby, maybe they just needed to dial down the scuzzy sound a bit and let the music and vocals have a bit of room to breathe

For some reason I only gave Are You Experienced 3/5 - a few tracks into this and I'm thinking I might need to revisit that record to see what I missed the first time. Obviously the big tracks still hit hard. Crosstown Traffic, Voodoo Child and All Along The Watchtower still sound as thrilling as ever. But what really surprised me were the jazzier numbers like 1983... (A Merman I should Turn To Be). Here Hendrix's guitar playing is hypnotic and it's just great hearing the band lock into a groove before it explodes into hard rock.

I'd not really kept up with Michael Kiwanuka after his debut album came out, but it's interesting to see how his sound has evolved over the years. Kiwanuka shows his influences quite clearly, and I do think this album is a pretty successful modern take on 70s soul. However, whilst I found this enjoyable it did feel like it lacked any truly standout moments.

Is there another album as intimate, as sensual as Björk's Vespertine? Somehow Björk manages to draw real warmth out of what could have been some very cold, emotionless synthesisers. Vespertine is the sound of a long frost thawing, of warm bodies melting ice.

Somehow had never given any of Fiona Apple's albums a proper listen. Really loved this. Great songwriting and her voice is just stunning.

This is still a fantastic record. A wonderful mix of afro-futuristic themes, funk and soul that just hasn't aged a day. Probably still my favourite of Monáe's records.

Was never really that big into Coldplay, even if I do think their early period is probably the band at their strongest. This album feels like it's pulling quite a bit of influence from Bends-era Radiohead (God Put A Smile On Your Face in particular) but it has none of the bite or thrill. It's like the album's songs are already being precision engineered for stadiums.

A toughie - I appreciate what this album is doing but it's not something I'd see myself listening to again. I can see some similarities to Tom Waits (both are drawing from traditional music styles and have distinctive vocal performances), but I think Waits has a theatricality and uniqueness to his music that draws me in a bit more.

This was a real miss for me. I love Wayne Shorter's earlier jazz work so was quite excited to give this a listen, but I thought this was so middle of the road and dull.

Rightly a classic of 90s rock. The band manages to draw some surprising melodiousness out of a wall of distorted guitars. Front loads the louder stuff, but the back half of this album has a bittersweet melancholy that I think really suits Corgan's vocals.

Honestly baffled that this was included in this list - a very middling retro rock throwback that sands off its rough edges for commercial gains. Early The Black Keys records were fun (and I enjoyed them at the time) but they were always in the shadow of better rock bands.

I actually quite liked this. Maybe not enough to revisit regularly, but despite the harmonious vocals, there's a real darkness and melancholy throughout this. Feels like an album that was quietly influential on a number of bands that draw from the darker musical tradition of the US like Tom Waits or Nick Cave.

God this album is so dull. Aside from a couple of tracks this is just a lot of mid-tempo brit-pop that often drags on too long.

I remember the first time I heard Low, I was so amazed that music could be as weird and wonderful as this. Easily my favourite of Bowie's Berlin Trilogy, I just adore how this divides its runtime between the avant-pop of Side A and the more instrumental, experimental work of Side B. Those two halves also feel like they went on to be hugely influential - I don't see how you get Talking Heads, LCD Soundsystem, or a whole bunch of alt-pop / avant-pop acts without this album.

A really great soul record from front to back. It's effortlessly cool and sexy, and Marvin Gaye's vocals just sound amazing.

I think this was my introduction to Sonic Youth back when I was at university and it started an adoration for the band and its members that continues to this day. I know a lot of people write this off as just noise, but I genuinely think that Sonic Youth manage to draw such stunning melodiousness from that noise.

Fever Ray is still unmatched when it comes to crafting dark electro-pop (building on the much weirder Silent Shout). So many have tried to imitate but none have done it better.

Great synth-pop record that really holds up. Cars is obviously a banger, but the rest of the album also holds its own. Enjoyed this!

Found this to be quite sweet and pleasant, though I probably prefer other Dolly Parton efforts to this. An album that I expect I'll enjoy in the moment but quickly forget about.

Definitely some bangers on here but also a bit more inconsistent than some of their other records - which is to be expected for a debut.

Never listened to much Randy Newman outside of his soundtrack work. Whilst I think Newman is a pretty talented songwriter - and there are some great arrangements here as well - his delivery doesn't always work for me. That said it starts pretty strong, with Last Night I Had A Dream being a highlight.

Really struggled to figure out how I feel on this one. There's some really cool bits of music scattered across an album that (even ignoring all the bonus tracks) feels like it drags on a bit long. It's probably not helped by an inability to properly end a song. It either ends abruptly, resulting in a jarring shift to the next track, or there's a little coda which feels at odds with the rest of the track. But the big hurdle is Howe Gelb's vocals. At times he sounds great. A slightly gruff edge to his voice that lends the songs a certain bar room melancholy, but all too often the songs are delivered in this hushed whisper that feels so limp it drains the songs of any impact.

A pleasant blend of country and folk. Some really nice arrangements here that compliment Emmylou Harris' voice perfectly. The title track was probably the standout for me.

I'm usually a bit confused by the post-2000s inclusions on this list, especially when it comes to alternative music. But this really holds up and it was great to revisit an album I'd not returned to in a while. Helicopter is still a bop.

One of the big realisations I've had in recent years is that John Cale might have been the best member of the Velvet Underground. This is definitely a record I need to give another listen to, but I really enjoyed it though maybe not as much as his more recent work. Big, grand avant-pop that's so well crafted with scale and intimacy.

The Bones of What You Believe is a great example of an issue I have with the list's post-2000 additions. Feels all too often that the editors picked the most popular albums in a given genre / scene rather than the actual important or trailblazing works. CHVRCHES are not a bad band, I actually quite like a couple of their songs, but they are certainly one of the poppier examples of early 2010s synth pop. Why are they more notable than Crystal Castles, Grimes, or even the Knife? That aside, I do think there's some good stuff here. The Mother We Share is a great opener and I also really liked Lies. That said I think the album leans too heavily on big bombastic synth songs that get a bit samey.

Couldn't bring myself to finish this. Thuddingly one-note and with a vocalist whose voice is like nails on a chalkboard to me. I have never really understood the appeal of AC/DC when far better hard rock bands exist.

Didn't really have strong opinions on this one. The singles stand out - but that might just be because I'm so familiar with them. I sort of admire this era of synth pop, but I think it's been surpassed.

Feels like more of an essential listen for Pink Floyd fans than a general audience. Some of the songs here feel more like sketches of an idea that an actual finished recording. Not entirely unlistenable (which is why it gets a 2) but I won't be revisiting this any time soon.

Hair metal is really not a genre of rock I'm into, and this did little to change my opinion on it. Some interesting bits of music scattered around, but I found it really hard to distinguish most of the songs from one another

Not my favourite Springsteen album of this era but still a pretty great record overall.

It's been a good while since I've listened to this album - I remember really liking it when I was younger but cooling on it as I got more into Rubber Soul and Revolver. There's some really fantastic tracks here though. Come Together is as cool as I remember, whilst I Want You (She's So Heavy) goes harder than I remember. Still a couple of tracks I'm not totally sold on like Maxwell's Silver Hammer and Octopus' Garden but they still benefit from some really great production. Side A is probably stronger for individual songs, but I do really like the way Side B is sequenced into these multi-track runs that flow from one to another. Gives the second side a very different feel, which I appreciated.

I just adore the cinematic sweep of these early Scott Walker records. Gorgeous, often thrilling arrangements that serve as a perfect accompaniment to Scott's vocals. Despite being a mix of covers and original material, this all feels so thematically consistent that you'd be excused for thinking all of the songs were written for this project.

Incredible that Lou Reed could go from The Velvet Underground to writing some of the finest 70s pop-rock tracks around.

I was familiar with Groove is in the Heart, but not the rest of this album which is much more 90s dance focused than I expected. The hit single is far and away the best thing here and honestly I wish there was a lot more stuff like this than more by the numbers house music.

Was never really a huge Green Day fan, and American Idiot was the point where I lost interest in them. I appreciate what they're going for - and it felt pretty bold for a big mainstream album to be this politically focused in the 00s. Just not sure that musically it holds up well for me.

Loved how raucous this sounded. Still feels absolutely electric.

Expected a bit more from this given Nico's work with The Velvet Underground (and that some of the songs feature members of that band). Ultimately I don't think Nico is a strong enough singer to really carry an album and whilst musically there are a few decent moments, it's generally pretty unexciting.

Having only ever heard a couple of Iron Maiden songs I'd written them off as not for me (probably not helped by the quite horrid artwork they insist on using). However, I really enjoyed this. Some really great songs, solos that didn't just feel showy for the sake of it, and some driving rhythms that just gave the whole album an energetic pace.

Opening track is maybe the best song on this, but the rest is still a really good time. Al Green's voice is so good and this whole album is so soulful.

For me The XX are a good example of a band capturing something really special with their debut and never quite getting there again. That first album was so singular and intimate, but the band has never really been able to better it. Each new album has added more, but it's always been a little diminished as a result.

Decent enough - I thought that musically it was pretty interesting and maybe marred a bit by a vocal performance that just didn't quite work for me.

Thought this was a step up from the previous Deep Purple album I got from the generator. Much more interesting and varied musically. A nice surprise.

Whilst the singles are definitely the standouts - especially California Dreamin' which is forever linked with Chungking Express for me - this is still a pretty lovely record. Great harmonies and some very breezy music behind it all.

I really went into this with an open mind, but I've just never been particularly keen on Taylor Swift's style of pop. There's a few good spots here and there (the opening verse to Style in particular) but a lot of this just didn't land for me. Shake It Off is pretty cringe - especially the semi-spoken word bit - Bad Blood is just so dull. Never quite sure if Swift is trying for an 80s pop pastiche, but failing to actually commit to the bit.

For whatever reason I'd never actually listened to this before. Just astonishing avant-pop and I feel like this will really grow on me (just like all of Kate Bush's other albums)

Probably one of the best examples of 90s chill-out electronica. Manages to feel effortlessly cool.

Had no idea that Tracy Chapman wrote 'Baby Can I Hold You Tonight'. Really loved this album. Fast Car is an obvious classic, but the songwriting is incredibly strong throughout and Chapman has a wonderful voice.

I know this is an album that won't be for everyone, but I adore this record. I love how stripped back and haunted it feels. If you told me that Tom Waits had recorded it in the post apocalypse I'd believe you.

Genuinely really fun. A vampy take on rockabilly - really reminded me of early Nick Cave, but more tongue in cheek. Not sure how much I'll return to this, but can see myself adding a few tracks to some playlists.

I've always just associated Supergrass with their one big single 'Alright'. Whilst never one of my favourite britpop tracks it certainly had a distinct sound, which can't really be said for this album. In It For The Money might be an accurate description for an album that feels so middle of the road and safe as to ensure airplay alongside the likes of Oasis and other identical britpop acts.

Wasn't really expecting much from this but found this really grew on me as I listened. A little on the poppier side of the kind of stuff I usually listen to, but some really great songs (especially towards the end of this)

A really impeccable soul album. A few absolute classics and Aretha's voice is just so powerful throughout.

Was surprised by this - not sure why as I feel like Spiritualized have always been fairly well regarded. Really vibey, spacey rock music that sort of allow you to drift along with it.

Really fantastic live recording that just captures the energy of the band perfectly. The final few minutes of 'Diminuendo and Crescendo in Blue' are absolutely electric - cannot even imagine what that must have been like to experience in that moment.

Such a spectacular album. One of the all time best Jazz recordings.

Feel like I'll be a bit of an outlier here in that I liked this less than Iron Maiden's debut. Maybe due to a bit of familiarity with some of the bigger songs, but I also feel like they lean much more into the fantastical.

The thing I'm learning through this project is that The Rolling Stones seem to have a much patchier career than I'd imagined. Beggars Banquet has one (maybe two at a push) standout tracks whilst the rest is fairly rote blues / rock that doesn't really feel that distinct from other artists.

Initially wrote this off as a psychedelic folk band riffing a bit too much on Dylan, but there's some surprising turns here that make this album a lot more interesting than that. Not sure about ending the album with 'Old Kentucky Home' though as it feels a little at odds with the rest, especially the fantastic 'The Wolf of Velvet Fortune' which could have made for a really atmospheric closer.

After getting two Morrissey solo albums, it's great to finally hear him in his best form. The rest of The Smiths really elevate his lyrics and compliment his voice so perfectly. Funny, cutting, bittersweet and mournful.

For a long time I'd have probably have had this as my favourite Beatles album. And whilst I still love this record I have come around to the fact that there are better records that follow this. That said this feels like the foundational step into the band's golden period and there are some true classics on here.

Pink Flag is one of those albums that I've been meaning to listen to for a long time. It has such a strong legacy and influence on some of the bands I love that has just made me a little cautious about listening and being underwhelmed. I needn't have worried, Pink Flag rocks. There's such a fantastic energy and variety to this record despite it being just 35 minutes long. A strong argument that sometimes brevity is best.

Nowhere near as bad as some would claim, but still very uneven. There are some moments scattered throughout here that I really liked, but it's hampered by a lot of decisions that just drag the experience down.

Had never heard of Miriam Makeba, but found this to be a really solid record. Miriam's voice is wonderful and there's a good mix of songs ranging from the soulful to the humorous. Whilst it might not make it onto my regular rotation I can see myself listening to this again.

Easily one of the best rap albums of all time - incredible that Kendrick would follow it up with an album even better. That said, I think there are some who would (rightly) put good kid, m.A.A.d city at the top of the pile. A rap album that figures as a coming of age story in a world of teen bravado, peer pressure and tragedy. It should come across as "worthy" but Kendrick manages to avoid that. Take something like Swimming Pools, a song dealing with themes of alcohol addiction, but with a woozy trap-style beat under it. These are songs dealing with important themes, but still with infectious and exciting beats and production.

Personally this is the peak of Britpop - forget Blur and Oasis. Different Class is absolutely stacked with great songs full of wit, bite and the seediness of suburbia.

One of the big issues with the 1001 list is that when it's come to revising the list, there's both a bit of a recency bias and an unwillingness to question long-standing inclusions. It means you get a fair few post-2000s albums that exist on the list for just one edition before making way for something else. Not only that but there very inclusion even a year out seems questionable. In Our Heads by Hot Chip is a perfect example of this. It is by no means a bad album. It's decent. Even fun in places. But it's by no means the best Hot Chip album, or even a particularly notable indie-electronic album. It just so happens that it was a pretty recent example of both when it came time to revise the book in 2014.

It had been a while since I last listened to Horses, but damn this album still hits hard. Gloria is a fantastic opener and it really doesn't dip after that. On this listen I found myself enjoying some of the longer cuts (especially Birdland) a lot more.

Despite really liking the work of Brian Eno, I've never really dug into any of the records he made as part of Roxy Music. This was definitely a weirder record than I was expecting (I think I'd assumed the band was a bit poppier) and one that I think I'll try to revisit. Glad though that Eno split away to do his own thing as I think his contributions to music have been much more interesting in the decades after this.

I really just don't get the appeal of Queen. Whilst they do have a couple of decent songs, the albums I've heard from them have been so wildly inconsistent. This record is no different and it just makes for quite a jarring experience. Also ending on a rendition of God Save the Queen is frankly embarrassing.

After Surfer Rosa and now Doolittle I feel like it's safe to say that I enjoy, but I don't love Pixies. There's some really fantastic songs scattered across these albums and I'll definitely be revisiting so maybe it'll grow on me more

Hadn't listened to Hunky Dory in a long time, but returning to it reminded me of just how wonderful this record is. It might actually be my favourite of his early 70s records as it's just a perfect blend of art, pop and rock. You've got catchy hooks, weird little diversions, and the epic sweep of Life of Mars

What an incredible album for an artist to leave as a farewell. Dark, melancholic and yet still showing a willingness to continue experimenting. Many artists of Bowie's stature would be willing to sit back and simply "play the hits" but it's clear that there's still more for him to share with us on Blackstar, an album that looks forward as much as it looks back.

Feel like it took me a little while to warm to the vocal performance on this one. It's maybe a little too quiet and whispery, but it does mean the production gets a chance to shine. On it's face it feels like standard 80s pop fare, but there's a certain weirdness to the choices that feels a bit more considered. Not sure how much I actually like this, but it's pretty fun in places.

Kind of an amazing snapshot of 90s D'n'B that feels at risk of being lost to time. Can imagine this being such a key text for so many dance fans and artists, but also it holds up surprisingly well. Infectious and melodic as well as being a little atmospheric. Had a great time with this.

I actually think I preferred Innervisions to this. Songs In The Key Of Life, is an iconic, sprawling album, but I think that works both in its favour and against it.

I've always been a bit more into the proto / early goth rock more than the stuff that comes later. I think it's that blending of gothic sensibilities with the sound of post-punk that really intrigues me. There's still an abrasiveness and intrigue that maybe gets a bit smoothed off as the genre evolves.

Interesting to get Supergrass' debut album after already listening to In It For The Money. Whilst I Should Coco hasn't turned me into a believer, it certainly solidified for me that they sanded off their more unique edges after this debut. There's a hyperactive energy to this album which is kind of infectious, if not always lending itself to particularly interesting songs.

The second album I've heard from The Band, and as with the previous one I find myself appreciating the musicianship whilst not really connecting with the songs.

Last.fm tells me I have listened to Keith Jarrett before, but apparently it hadn't won me over enough for me to listen to more than a few tracks. I think that all changes today, because this was phenomenal. Probably one of my favourite discoveries from this project so far.

Much more varied than I was expecting from the lead singles. This was actually pretty rad!

An interminably dull arena rock record. Album cover being the band in an airport that looks like a featureless limbo is probably the best representation of the music here.

Probably the prime example of "less is more". Pink Moon is such a gorgeous, yet sparse record but there's so much to love about it.

I think this is probably my personal favourite of Led Zeppelin's albums. I feel like Zeppelin III captures so much about what made this band great with driving hard rock, incredible blues and a smattering of British folksiness that really shouldn't work as well as it does collected into one album

Have always really admired TV On The Radio, but never really gone back to this album as much. You can definitely sees what sets them apart from the other indie rock bands of the era, though there's still a roughness to this which I think they refine on later releases. Still a super interesting and unique record.

Enjoyed this a lot. A really fun alt-rock record. Surprised I'd never heard any of this before

After not really enjoying the Stephen Stills albums I've had as part of this project I really wasn't looking forward to this. But, I was pleasantly surprised. A decent folk rock album, though unlikely to be one of my favourites of the era.

Liked this a little more than the CS&N album I had the day before. On a relisten this might just nudge into a 4, but for now it's a high 3

Weirdly despite quite liking the Beatles, I'd never really given this album much of a listen. And for whatever reason I find myself quite muted on it. There are tracks here I really like - particularly Within You Without You - but this definitely feels like the weaker of the band's golden era records that I've listened to so far.

Really fantastic, spacey and atmospheric krautrock. Tago Mago probably still has the edge for me, but this is wonderful.

As always with The Rolling Stones, the big hits are really good and everything else on the album is wildly inconsistent. Makes the fact that they have so many albums on this list feel a bit egregious

Maybe it's because I've had a run of fairly middling albums, but this sort of passed me by. It's fine. A couple of decent songs and some middling covers.

Is this my favourite Beatles album? It very well might be. Some of their best songs on here and more focused than some of the albums that'll follow.

Probably the definitive trip-hop album for me. Just every song on this is incredible, with some really choice samples used (so much so that they're now more associated with Portishead than the original artist in my mind). But the key factor is Beth Gibbons' gorgeous, haunting voice which lends the whole album this seductive melancholy.

As someone more familiar with Missy Elliott's big singles, this was much more laid back than I was expecting. Some really chill beats throughout this, which whilst not exactly attention grabbing, meant the whole album flowed nicely.

The slower tracks made this a little more listenable than the previous Jane's Addiction album I got, but I'll be honest this just really isn't my jam.

Was surprised by this. Feels a bit more tongue in cheek than I'd expected. Fun and seedy in equal measure - I can kind of imagine this being a bit of an influence on Jarvis Cocker.

Weirdly underwhelmed by this. Definitely an improvement over the last Metallica album I had from this project, and there's a couple of standout tracks, but it all sort of merges into a very midtempo sludge that I didn't find as sonically interesting as I'd like.

Never really listened to this much at the time, but found myself enjoying it. The singer's voice maybe requires a little adapting to, but I think it works alongside the quite fun instrumentals on the record. Not sure if this would go in the regular rotation, but keen to check out more.

I was never as crazy about The Libertines as some of my friends, but I can't deny the impact they had on the UK music scene. As much as they risked being overshadowed by the behind the scenes drama, they did manage to back up the hype with some fantastic songs. Really fun to revisit this.

Not quite as strong as Cohen's debut, and with a few instrument choices that I don't think work all that well. Songwriting is still super strong, but I just think he has better material elsewhere.

I've never really gotten in to The Kinks. This is the second album I've had from them in this project and whilst it is more consistent, it isn't particularly remarkable (aside from the closing track which I enjoyed a lot). Found myself a bit bored and often wishing I was listening to better albums from the period.

Some cool stuff on here, but I feel like it didn't quite hit for me like some of Hendrix's other stuff has. Might give it another listen but right now it's like a solid 3/5

Final song is maybe the best thing on here, but otherwise I thought this was pretty uninteresting. I probably prefer Breakfast In America (which I appreciate is a more commercial pick)

Maybe it's because this is the third Metallica album I've had, maybe it's because I just want something else from heavy music, but I was really bored by this (yet I remember liking this in my teens). Zero bass and the drums sound just awful. One is at least somewhat interesting musically, but I just don't think Metallica are for me anymore.

It still sounds absolutely amazing. 37 minutes of 60s pop perfection

This completely washed over me - to the extent that I know I listened to it but I remember basically nothing. Merely fine

Was kind of surprised by how much I enjoyed this. Much more varied than I expected and it has a really infectious groove to it

As someone who wasn't super into Deep Purple's studio albums (especially Machine Head) this was a bit of a slog for me. Extended live versions of songs I'm already not a fan of aren't super appealing and I don't think this does anything particularly notable as a live album. Maybe it'd work better as a concert film where I can see the interplay between the band, but I felt a disconnect between how much the crowd was enjoying it and how numb I felt to it.

A testament to the songs here that this double album never really feels bloated. Corgan's voice is certainly not for everyone, but I think he's always used it effectively - leaning towards something softer in the slower tracks for example.

Whilst I think you have to wait until Fear of Music for Talking Heads to become a truly great band, there are definitely hints of what lies ahead on this record. More Songs... acts as a kind of bridge between the art-school punkiness of their debut and the new wave funkiness of their best albums.

Thought this was really fantastic. I suspect that capturing this live is probably the best way to present this kind of music and the skill of the players.

This project has helped me to appreciate reggae a little more which is nice. I thought this was pretty interesting. Maybe not quite as good musically as Exodus, but there's some sharp political messaging here.

Enjoyed this a lot more than Rum Sodomy & The Lash. Not sure I'll ever consider myself a fan, but I appreciate a lot more what they're doing as a band

Whilst I've always liked the Gorillaz debut album, I think it really stands in the shadow of their two next albums. This debut is certainly interesting in how it throws a bunch of ideas and genres, together, but is definitely less successful in doing that consistently and even cohesively. But for every stumble there is at least a Clint Eastwood or 19-2000

Feel like this is pulling (quite successfully) from a number of different influences. There's a little Kraftwerk, a little Berlin-era Bowie and a little new wave thrown in the mix. It maybe never quite reaches the heights of those influences, but what it does offer is still well worth a listen

A bona-fide hip hop classic. Probably one of my favourites from this era?

Whilst I think Yoshimi is probably the best example of The Flaming Lips psychedelic indie rock, The Soft Bulletin is easily my favourite of their records. A gorgeous, transcendent record from start to finish.

Didn't really know what to expect from this but thought it was pretty rad. Spiky, weird and a little funky - feels a little like early Talking Heads with a little krautrock thrown in.

After just a few tracks I was genuinely quite surprised by how much I was enjoying this record. Draws from traditional folk styles without being completely beholden to them, a really fantastic sense of pacing and dynamism to the instrumentals. Maybe drags a little towards the end, but definitely one of the stronger folk-rock records I've heard doing this.

Sea Change has always been hailed as one of Beck's best albums, and whilst I don't disagree that it's certainly one of his most consistent - and most emotionally affecting - it is something of an outlier during the peak of his career. Personally I find myself a bit cooler on it these days. I sort of wish he was still able to find a bit of space for his more eccentric music stylings as I do think this becomes a little one note towards the end. But despite that it remains a very accomplished record if not one of his best for me.

Ended up listening to this a couple of times. I think there's something about Neil Young's songwriting and performance style that I find really connects with me. It's not exactly stripped back, but it isn't super showy either.

Thought this started strong with the jazz-influenced opening track, but found that as it went on the album felt more and more like a fairly trad 70s rock album. The musicianship is decent but I found myself wondering what makes these guys any more or less interesting or distinctive than their peers.

Really fantastic, moody synth-pop. Don't think I'd heard a song from this record before, but I thought this was pretty great from front to back

An album that is very deserving of its legacy as one of the best albums of the 90s. Haunted, paranoid and angry OK Computer still has a remarkable energy and disquieting vibe decades later.

Baffled by the number of reviews that compared this to The Smiths. Maybe my thoughts are influenced by having a pretty good run of albums recently, but I thought this was pretty middling 80s indie rock. Didn't really have anything either musically or lyrically that really stood out to me. It's pleasant enough but I feel like there were quite a few bands out there doing this better at the time.

Following Arcade Fire's breakout album Funeral, Neon Bible was always going to have a bit of a mountain to climb to have the same impact and whilst I think it's still a great album it doesn't quite have the highs to match. There's some really fantastic tracks here (it helps that it opens and closes well) but Arcade Fire's take on Springsteen-esque Americana doesn't always work.

For how devoted a fanbase Grateful Dead has, this was a very middle of the road record

Decent, but feels like a step down from Astral Weeks. Songwriting is still really strong though so I can see myself returning to this.

This was a really great surprise. An atmospheric and moody country album that just really drew me in. Loved the mix of original songs and covers - and that the covers weren't just traditional standards, but drawing from bands like Velvet Underground.

A really fantastic showcase for both Ella Fitzgerald as well as for George and Ira Gershwin's songwriting. Sure it's a mammoth collection of songs but it's such a wonderful, rich listening experience (and one that's easy enough to break into more manageable chunks).