Discovering not only a new artist but an entire new genre here...

Moody and intimate, with hauntingly beautiful guitar riffs tying the album together. 'At The Chime of a City Clock' is emblematic of this. 'Poor Boy', sticks out with its jazz piano and sax solos; its breaks up the flow of the album in an interesting way. Lyrically, some songs are guilty of hippy-dippy mumbo-jumbo; e.g. 'I never saw the moons knew the meaning of the sea... Straighten my new mind's eye' [Northern Sky]. Of the three instrumentals on the album, I did find 'Bryter Byter' to be the weakest. Overall the album was a solid 4/5 Fav track: 'At The Chime of a City Clock'. Added to playlist: 'Hazey Jane II'.

I've heard the iconic chorus for 'Dreamer' before, but fairly sure this was my first time listening start-to-finish. 'Rudy' is a classic prog ballad, highlighting the band's ability to storytell through their songs. 'School' showcases their musical acumen, with its manic pacing and strong beat. Rating: Another 4-star 70s British album - long may they continue! Fav song: 'Bloody Well Right'. Added to playlist: 'Bloody Well Right'.

This album is a regular who's-who of the Swinging Sixties - covers of 'Mama Said', 'You Don't Own Me', 'Wishin and Hopin' and, of course, 'Will You Love Me Tomorrow' are performed competently. However it leaves an uncomfortable feeling of whitewashing these black soul tracks. Fav Song: 'Don't You Know' is a spectacular showcase of talent. Added to playlist: 'I Only Want To Be With You' (not on the original pressing) Rating: Three stars - maybe I'm spoiled living in the era of Spotify and singer-songwriters, but a covers album being in the top 1001 albums is surprising

The definition of background music - this album just doesn't do anything for me. Snoozy rythyms, sleazy lyrics; didn't really need every track to be just how horny this dude is. Favourite tracks: Added to playlist: Rating: 2 stars, it's not painful but I'll not listen to this again.

Wasn't expecting this much sax! But The Boss growling down the mic gets old after a while... Favourite track: 'Tenth Avenue Freeze-Out' Added to playlist: 'Tenth Avenue Freeze-Out' A solid three stars

I preferred this to Let's Get It On but I'm not vibing with Marvin Gaye. Favourite Track: Added to Playlist: 'What's Happening Brother'

Weak vocals, discordant instrumentals, depressing lyrics - not for me.

'Ramble Tamble' gets five stars alone.

Idea > Execution

More prog than the popular Queen songs.

Kreen-Akrore could've been brilliant if he didn't breathe all over it.

Dylan croons nonsense over soulful harmonica.

Insatiably horny. Some stellar singles, but the rest really feels like filler. 3 seems harsh, 4 seems generous.

Yes, OK, you are the robots, we get it....

Great variety yet consistent sound throughout, not overly reliant on singles, every track shines.

Immigrant Song and Tangerine the only real stand-outs here for me.

10 minute tracks that feel like they go on for 30 minutes...

Discovering not only a new artist but an entire new genre here...

Nice guitar riffs but god the vocals are just not for me.

Is it a bit basic? Yeah, but maybe I'm a bit basic too.

Look, jazz is never really going to be my thing, but this album is undeniably groovy and stylish. The drums of 'Blues for Huey' were my favourite.

The songs are over before they start. Not sure there's much here, but Blitzkrieg Bop sure is catchy.

Very sharp, atmospheric album.

I might be cranky but it feels like this album is trying to be annoying. It's plodding, repetitive and nonsensical.

It's funky, and probably warrants further listens - whether it'll get them, TBD!

Yep, that's jazz.

Punk B-52s is still B-52s, no thanks.

First full listen to this album, it's clear to see why this is consistently in the conversation for GOAT - and I concur. There's a sonic theme to the album, while each track standing out. The orchestration is just something else.

Not particularly engaging; 'A Sailor's Life' has endearing elements but drags at 11 mins. 'Who Knows Where the Time Goes?' is a charming ditty though.

This is what happens when you let two of the greatest hip-hop artists of the 2000s go absolutely hog wild. Not all of it works for me, and I do prefer Andre 3000's contributions, but I can see why it deserves the nod.

Well-crafted, beautifully sang pop.

High highs (Ms. Jackson) low lows (We Luv Deez Hoez).

Yeah I do not like the gruff shouts of Tom Waits over often discordant tones. "Midtown" notable for having the most discordant tones, but no shouting.