Such an easy band to listen to. The whole album was just a pleasure. And I had totally forgotten how smooth that sax is on ‘Your Latest Trick’. Knopfler is one of those rare guitar talents where you just know immediately who is playing. Dire Straits have such a welcoming and accessible sound that it’s hard to be over critical on some of the weaker tracks where they’re just having a bit of fun. But the strength of the popular material on here more than pulls its weight for a throughly enjoyable listen. Four stars! ⭐️⭐️⭐️⭐️

Hair metal absolutely kills me. This is the early 80’s, yet I’m supposed to believe that the genre only hit self-parody at the end of the decade. I wasn’t alive in the 80’s, but to see old music videos of the likes of Dee Snider and Alice Cooper parading about, it already presented as parody of the self-serious stylings of the rock gods of the 70’s (Zep, Who, Aerosmith). Which is all to say, how the hell did anyone ever take bands like Def Leppard seriously. The songs are tedious. Really, how many numbers does a band truly need about how ‘totally bodacious’ it is to be in a rock and roll band. The production on their only notable attempt at something approaching important also comes across as so completely obvious (the gunfire and helicopters that precede Die Hard the Hunter) that everything that follows it is just one giant eye-roll. It’s just not for me, and I’d never choose to listen to this music. That album art is hilarious though. ⭐️⭐️

Not a blues guy personally but this was easy listening

Love this one. A fantastic send off for Bowie. He recorded this as he was dying of cancer of the liver. The whole vibe reflects it, but he still manages to keep his sound interesting and experimental despite the pall over the whole affair. I prefer his previous album before this one, The Next Day since it has a few more radio friendly tunes, but Blackstar is still really special. Highlight for me was Lazarus.

Bring it on Home to Me, what a fucking tune. Covered by the Animals and Jimmy Barnes, but I’ve never heard Cooke’s live version before. It sounds amazing (not withstanding the long as shit call and response lead in). You can hear from the hysterical crowd how completely he commands that room. As a relic of that era’s soul scene this is clearly an important listen. It’s not enough to make me a full fledged soul convert, but I’d gladly ‘twist’ to Feel It (Don’t Fight It) at the next sock hop; segregation be damned.

As a wise man once said: “Live albums are always a good time”. I couldn’t agree more. Though I’ve never totally bought into Nirvana, their pull is undeniable. At this album’s best, you get some of the most emotionally raw music ever recorded (All Apologies into Where Did You Sleep Last Night - holy shit what a closing combo). But at their worst, you get Kurt Cobain singing so far beyond his vocal range it physically hurts to hear. Deeply unpleasant at times. Listening to this Unplugged album I was surprised at how few of the band’s mega hits are present (Obviously Come as You Are is amazing). But, it’s a great opportunity to hear the band’s classic sound stripped of its distortion and wailing vocals. You get way more of a sense of Cobain as a songwriter from his warm growling vocals. There is a lot to love about this live album. As a snapshot of one of the most iconic bands at the height of their power, it’s a remarkable record. For my money perhaps one of the greatest covers of all time in Bowie’s The Man Who Sold The World. I’d put Johnny Cash’s cover of Hurt a notch above it though. A high 4 for me. ⭐️⭐️⭐️⭐️

This was not an easy listen. The rock n’roll counter culture of the 60’s has never made so much sense when forced to sit through this. For me it just doesn’t resonate. I think the biggest obstacle is that I don’t understand what the music is trying to make me feel. Each number is indistinguishable from the other in terms of quality. This just ain’t it.

Enjoyable 2000’s indie Brit rock with some echoes of the Smiths. I much prefer their contemporaries like the Arctic Monkeys, but here the sound is a bit more raw and immediate. Highlight for me was the opener, Can’t Stand Me Now. This one will definitely get a few repeat listens from me, but I didn’t quite click with the rest of the album. A low three for me ⭐️ ⭐️ ⭐️

Wow, what an absolute joy this album was to listen to. Double LPs are always bloated and self-indulgent - and the same does apply in Stevie’s case. But the pacing here is so strong, and the bangers so well placed that they mostly stave off the exhaustion. Yes, the tunes are just that strong. On first listen it’s genuinely difficult to pick a favourite side let alone song. Side 1 and 2 feel more concise and focused, whereas Stevie kind of just loosens up and takes the listener on a long groovy journey towards the end. If like me you’ve given yourself over to the groove by side 4, you’re going you have a hell of time. A high 4 for me on first listen but would not be surprised to graduate that to a 5 if I find myself returning to this one. ⭐️ ⭐️ ⭐️ ⭐️

As a huge fan of Springsteen’s Nebraska it was very cool getting to listen to the blueprint Nelson laid down in the Red Headed Stranger. For me, this is country at its best. Melancholy lyrics sung with enough reverb to make you think old Nelson was the last man on Earth. Nelson’s songs evoke vivid images of empty abodes and bustling old west saloons. While not my favourite genre, there’s certainly a lot to appreciate here in Nelson as a singer and songwriter. Three stars ✨

Punk music seemingly about the tedium of everyday life. Some fun grooves, and a bit of experimentation with sound, but not much here to excite. I’d take the Clash any day. Two stars for me ⭐️ ⭐️

God what a fun album. Full of excitement, soaring synths, and just plain cool songs. The spirit of the 80’s is on full display here and the highs are just so damn high. Duran Duran caught a bit of flack from their contemporaries for being a pop consumerist band (looking at you Robert Smith). But I don’t think that’s entirely fair. The song writing isn’t particularly deep, but I think that misses the point of a band like Duran Duran. Music should be fun, and make you want to sing and dance along. This isn’t fine art, but it’s damn good music. Surprise favourite for me is Save a Prayer. Something slightly haunting about the chorus in this one that resonates I love me some melancholy pop music. With decent pacing throughout Rio I feel good about low 4 stars for the album. ⭐️⭐️⭐️⭐️

I’m not a pop guy so this was a bit of a labour to listen to for me. Xtina is undeniably a talent with that voice, and I can’t help but feel that talent is wasted in the pop genre when listening to rock infused tracks like Fighter. In any case, the hits hit hard, but as with many pop artists of this era the rest of the album feels less intentional and more like a vehicle to sell those hits. A very ‘Dirty’ two stars for Xtina. ⭐️⭐️

One has to wonder how an album like this would play today. Michael’s allusions to fathers, teachers, and preachers as stand ins for sexual partners are clearly intentional, which makes the whole affair a bit ‘iffy’. The production has held up nicely, and there’s clearly a bit of fun to be had here and there; however, the whole thing starts to get a bit weary by the time Michael’s simulated sex sounds arrive in the overlong I Want Your Sex. Michael clearly did a good job here at relating his own personal coming of age struggles with sexuality and God, and for his effectiveness in an often shallow genre I give Faith a soft 3 ✨

Nothing on this album really stuck out to me on first listen, but I can’t say the experience was entirely unremarkable. The songs just aren’t overly catchy or impressionable, but the social commentary at least feels important. To those that came of age in a world already thoroughly ‘Americanised’ it’s easy to forget about the cultural rebellions in our own backyards. So there’s a British sense of humour through each track that takes aim at those changing times. Which is all well and good, and necessary even. But I do struggle a bit to find the joy in the listening experience. There are no bad songs by any means (The closest I got to connecting with the music was Colin Zeal), but the sarcasm on display here just makes it all feel a little bit like being on the outside of an ‘in joke’. All that said, there may be more than meets the eye here on repeated listens as the arrangements are interesting and the guitar work is impressive. A light three stars ✨

I admire the musicians in this band for their technical prowess at each of their respective instruments. The hallmarks of a competent prog rock album are all here in Fragile, but accessibility to the listener remains an issue. An album like this requires patience from its audience. After the frenetic energy of Roundabout to open, there’s a good 30 minutes of slow moving soundscapes that are beautiful, but don’t really go anywhere. That is until the stellar conclusion in Heart of the Sunrise. So I can’t in good conscience give Fragile anything higher than 2 stars no matter how much I admire the skill and musicianship on display. ⭐️⭐️

Holy hell, what an absolute barn burner of a record. Having never heard of ‘Big Black’, I came into the listening experience with a fair bit of trepidation. But boy what a blast. From the opening guitar scratch of ‘Jordan, Minnesota’ you just know you’re in for something violent - and once you key into the lyrics, the real horror show begins. This is an album that never lets up, and leaves nothing unsaid about life’s deepest miseries. This is a hateful and dark record; but you never get the sense that the songs have an agenda or something to rail against. They’re just screaming into the abyss. A rough as guts listen, but compelling as hell. A very easy Four stars ⭐️⭐️⭐️⭐️

There are all kinds of sounds in this world, but maybe it’s not a good idea to throw them all together at once in the pursuit of something interesting to try dance to. This was fucking diabolical. Not my jam at all. Completely untethered from anything approaching enjoyable listening. A disjointed, obnoxious mess of noise ⭐️

I liked this album a whole lot when I first heard it over a decade ago, but admittedly it hasn’t had much play time for me over the years. Dummy is equal parts haunting, mysterious, spooky, and disquieting. The music is effective, and retains a distinct identity in the trip-hop genre 30 years after release. However, Portishead offers little breathing room for the listener over Dummy’s runtime. The band’s sound can leave the listener searching for diversity amid the onslaught of record scratches and blips. Thankfully, Glory Box is there to blow the lid off the building tension on the album’s close. (And what a finale it is). Dummy’s themes have always gone a bit over my head, but I feel the album does such an efficient job of marrying Beth Gibbons’ vocals with the cold and oppressive soundscapes that you kind of get the idea anyway. By no means a genre I’m comfortable with, but Dummy scratches by with 4/5

First off, check out that album art would ya. Isn’t it heinous? None of them look happy to be stuffed into that tiny helicopter. Come on guys, it’s only 1976! And you’ve just released an album with some of your biggest hits ever - far worse times are ahead for each of you, believe me. Also isn’t it weird to name a record ‘Arrival’ when you’ve already released a steady stream of chart toppers like Waterloo, SOS, and Mamma Mia? I’m pretty sure ABBA ‘arrived’ sometime around their Eurovision win in 1974. “But is the music any good?” I hear you say? Irrelevant. This is ABBA. The drunken gen Zers belting out Dancing Queen in the streets as you make your way home from a big night out renders that conversation meaningless. Money, Money, Money, Fernando - the songs on this album will endure long after we’re gone for the simple fact that they are brilliant, joyous pop music. However, if I’m ever choosing to put on an ABBA record, it’s certainly not one that opens with a playful dalliance between a teacher and smitten student. Arrival definitely shows its age here and there. And, also, what the hell was that Hawaii tribute as the closing track?? The listing of these songs sometimes felt entirely random. But hey, this is ABBA we’re talking. They’re getting decent marks. ⭐️⭐️⭐️

I absolutely adore this album. Is it overrated? Oh yes, most definitely. But you can’t deny its impact on the punk, indie, metal, and art-rock scenes that came after. Even putting to one side this record’s place in rock history, you’re still left with some phenomenal music. I truly love how the songs capture the imagery of the 60’s, from the naive adolescence of All Tomorrow’s Parties, to the mass proliferation of recreational drug use in tracks like Heroin and Waiting for my Man. At it’s best this record is straight up transporting to listen to. On the negative side, I never had much time for the album’s closing tracks, but I’ve actually found it hits differently years later. The VU were experimenters, and there’s something sweet about listening to a band just let loose and jam out for a bit like they do on European Son. Of course, it borders on being overindulgent (figures like Lou Reed are after all synonymous with pretension), but on this album you can’t deny the authenticity of the music. Perhaps that is what keeps records like this relevant today. 🌟 🌟🌟🌟🌟

This is a really nice album. I don’t really have a bad word to say about it; however, it doesn’t really meet the heights of their self-titled debut. To an extent I think some of the disappointment I feel with these songs is that the XX don’t seem to have demonstrated any notable growth or evolution in their sound since 2010. I See You is no doubt super easy listening, and tracks like ‘On Hold’ are stunners of course, but for me it falls short of the kind of excellence I’m searching for to really fall for a band like this. Three stars ✨

All style little substance. An incredibly talented bunch to be sure. Breaking new ground in guitar wizardry and stadium rock production. But this whole album didn’t really resonate for me. I appreciate the lean runtime, but even at that, the high octane energy of those guitars and Lee-Roth’s yelping ‘aww yeyahhhs’ feels totally overwhelming by the end. Two stars ⭐️⭐️

At first I was struck by the gentleness of the music, but then the vibrato. That godawful vibrato. Some people dig it. I do not. Which is a real shame because musically I find myself enjoying a lot of peaceful sounds Anohni explores on this record. I especially enjoyed the contrasting of the lead vocals against Lou Reed’s grizzled tones. But that’s about all of interest here - I don’t feel compelled to come back for more. Two stars for me ⭐️⭐️

It took me a long time to come around on Nirvana. Outside of the catchy singles like Teen Spirit and Come as you are, I thought it was all just noise and angst. But I was wrong. Coming back to Nevermind after so many years there’s just so much to admire in the composition of these songs. Even tracks like Territorial Pissings have really grown on me. As a package this album is utterly excellent. Maybe a track or two shy of being faultless. But this album will forever have a permanent place in my rotation. Five grungy stars for Nevermind 🌟 🌟 🌟 🌟 🌟

This a busy album, but I’ll be damned if it didn’t put a smile on my face. There’s a lot going on in the production, and it can be overwhelming at times, but the tracks are bright and infectious. Personal favourite for me was Wild West Hero. If anything it’s nice to delve just a bit deeper into ELO’s catalogue and be pleasantly rewarded, rather than listen to the same four or five of their overplayed radio staples that kind of do my head in a bit. ✨

It’s difficult to pass judgment on an album like this after only having listened to it a handful of times. Dylan has laid out a soundtrack to the disintegration of a long standing relationship that is so rich with personal experience that it demands patience to fully appreciate, and to perhaps come to relate to what he’s going through. There’s so much to unpack, but the themes of regret throughout the record are most prominent on my personal favourite ‘Simple Twist of Fate’. It’s a slow and contemplative album, but Dylan’s talent for storytelling is as strong as it ever has been here on tracks like ‘Jack of Hearts’ and ‘Tangled up in Blue’. I’d be happy to revisit this album to see if it hits differently after spending some time with it. For now I give it a high three stars ✨

Excuse I, while jam out to this very chill album! I’ve never considered myself a reggae fan, but the vibe here is simply undeniable. These songs hit so hard - I especially admire the way each track flows seamlessly into the next, making the whole affair feel like one big punky reggae party. And to finish with the ‘one two’ punch of Three Little Birds and One Love? Just gorgeous. This whole record satisfies a very niche itch I never knew I had. I know I’ll be back.

Yeah this one is overrated. It’s good! Don’t get me wrong. But there are patches of this album that are straight up boring. Some of the arrangements grate the ears a bit too. (The squeezebox on Wait for instance is a godawful accompaniment). I’ve never actually listened to a Beatles record all the way through. I own their singles album and that’s been enough to get me by. So I am eager to delve a bit more into the catalogue to understand what all the fuss was about. No doubt this first appearance on the 1001 merely scratches the surface. All that out of the way, this is still the Beatles we’re talking, and of course they deliver on most of the material here. And there’s something to the hype in songs like In My Life and I’m Looking Through You. Norwegian Wood is nice, obviously. Melody and instrument craft mostly reign on this record. Throw in Lennon and McCartney’s soothing tones and you have super easy listening. Lyrically I question whether there’s anything revolutionary going on with Rubber Soul, but put simply: it’s pretty good. ✨

The Smiths’ last hurrah! Back when Morrissey was still in on the joke. I have to be honest, I really, really enjoy this album. Jonny Marr’s tones are vibrant, the songwriting is sarcastic and witty, and tracks like Stop Me are just so easy to sing along to. Ah, and who could forget Girlfriend in a Coma! So upbeat, so tragic, and completely inappropriate. But at a 2 minute runtime the joke doesn’t wear thin and knows just how long to stick around. Unfortunately the same can’t be said for other tunes on the record. Death of Disco Dancer takes forever to end, and Last Night I Dreamt takes an age to begin. The thing is , I still really enjoy both songs. So points deducted for a lack of focus and failing to cut some of the fat. There’s other evidence here that Morrissey and the boys were at the end of their lifespan creatively in tracks like Unhappy Birthday. At this point in the album the schtick wears a bit thin - like, we get it Morrissey you’re a spiteful prick with a long list of perceived enemies. So, sometimes he ventures into self-parody, but other times he hits the target: Paint a Vulgar picture for example is so eviscerating of the music industry, but surprisingly self aware. Morrissey knows when he sings, “but you could have said no, if you wanted to” that he’s not the uncompromising poet warrior he so often paints himself to be. And then the end. I Won’t Share You. The perfect soundtrack to the fraying Morrissey and Marr partnership. The playfulness with which Morrissey delivers that line is chilling in its own way. It’s a threat to blow up everything if he can’t get what he wants. Classic Morrissey. Ego on full display. A total dick to the end. ⭐️⭐️⭐️⭐️

This was nice, and Jarrett is clearly a very talented pianist, but I can only appreciate this album insomuch as I can recognise those talents. I would Listen to this to focus at work or read a book, but I wouldn’t listen to it for the music - if that makes sense. Also the crowd in this recording is annoying. ⭐️⭐️

Such an easy band to listen to. The whole album was just a pleasure. And I had totally forgotten how smooth that sax is on ‘Your Latest Trick’. Knopfler is one of those rare guitar talents where you just know immediately who is playing. Dire Straits have such a welcoming and accessible sound that it’s hard to be over critical on some of the weaker tracks where they’re just having a bit of fun. But the strength of the popular material on here more than pulls its weight for a throughly enjoyable listen. Four stars! ⭐️⭐️⭐️⭐️

It’s hard to believe that one of the greatest rock songs of all time could come from such an uneven mess of an album. Layla (the song) is a bit of a microcosm of the album at large: Astoundingly good at the start, but then it just keeps going until the relief of hitting the end. Damn near all of these songs are Slowhand wanking off on his guitar, playing extraordinary blues rock, but failing to keep the listener engaged with the consistent variation and soul of tracks like Bellbottom Blues. There are high highs to be sure, but as a complete package this thing is a bit of a shambles, and I can’t go higher than a two. ⭐️⭐️

Folk rock had always been a bit hit or miss for me, and this was totally the case here. The whole thing was just a bit underwhelming. The songs are okay, but things never really take off. It all seemed a bit directionless. The only saving grace is those tracks where Young takes the reins. There are snippets of his experimentation with distortion and sound that are at least kind of exciting. But it’s a bit of dud for me. ⭐️⭐️

I first listened to this album in my bedroom at 16 years old. I vividly remember having my headphones on when the Prophet’s Song began to play. The experimentation with production, the harmonies, and the layering of the vocal tracks absolutely blew my mind. I knew then that Queen was an exceptionally special band. A Night at the Opera is perhaps the best example of everything great about Queen. The record sees an equal division of labour between all members of the band, and showcases each of their unique strengths for singing, song writing, instrument craft, and their collective talent for raising the bar with music production at a time when traditional rock music had begun to stagnate. While the music is undoubtedly capital ‘C’ camp, there’s still so much to admire in the risks these songs take. Each effort here is genuine, and inspired. The quiet moments like Love of My Life are heart aching, and between legendary tracks like Bohemian Rhapsody, you get playful jaunts like Seaside Rendezvous and ‘39. Some of the lyrics here are fantastic too (“you call me sweet like I’m some sort of cheese!”). Brilliant. Queen never took themselves too seriously. They always had fun, and put creativity at the centre of everything they did. Nowhere in their discography is that clearer than here. 🌟🌟🌟🌟🌟

This entire album feels like the product of gifting your goth cousin a brand new Casio for his 16th birthday. Honestly, it’s hard not feel like most of these tracks are just some dude messing around with the various drum loops on his synthesizer. The whole thing gives off serious amateur hour vibes: Think Randy Marsh channeling Lorde. It gets a two from me for the interesting electronic sounds on the opening track. But good lord. This was mostly awful.

I generally loath this band but the holy trinity of lead singles on this record simply cannot be denied. Nor can it be ignored how tight the sound is all the way through this album. Personally, I find those in between tracks repetitive, but as a debut, the praise this album gets makes sense. Also, listening to Paradise City calls up some truly fond memories of logging into Burnout with my buds after school. I’d award a 3/5 if I’d left it at that. But the writing on some of these lesser played tracks is so crass and tasteless that it loses another star. (“Oh, panties 'round your knees with your ass in the breeze”). Stay classy G N’ R ⭐️⭐️

Not usually my kind of thing, but I found myself getting lost in a lot of these beats. I don’t really have a bad word to say (which is pretty rare for me with this kind of music). A pleasant listen if you’re in the right headspace and don’t want any distractions. ✨

Great album! I’d never listened to Marianne Faithful before, but I was pleasantly surprised. There are shocking moments on this album. Some of these tracks beg to be unpacked when you catch Faithful’s lyrics. But everything here is honest, clearly autobiographical, and still sounds fresh. This is clearly brooding tortured artist territory. But it’s authentic, painful, and comes together nicely. A high three stars ✨.

I desperately want to shit all over this album, but it’s just not called for. The sound here is so beautifully realised for a debut. It’s remarkable. We’ve all heard Yellow a million times, but I really enjoyed listening to it in context. The electric guitar keeping the beat does this interesting discordant thing in the verses that I never actually noticed. It’d sound awful by itself, but wrapped up in the production it’s just glorious. Such an easy, easy listen. It’s a shame about…you know… *gestures generally at everything Coldplay did after 2010* ⭐️⭐️⭐️⭐️

For 1976, this is incredibly impressive stuff. I got absolutely lost in this album. It’s clear that this was a landmark recording for those that came after in the genre. But the most unexpected place these soundscapes took to me was to the Mass Effect soundtrack in Part V. The influences of this album appear to be deep and far ranging. Really cool. A thoroughly enjoyable listen. ⭐️⭐️⭐️⭐️

Lots to love here! But a few missteps stop this from taking the top spot in the Police discography. Sting and the boys were pushing their sound in an interesting direction for their closing act, but what in God’s name were they thinking on Mother. Sure it harkens back to their punkier early outings, but it doesn’t belong here and it sounds awful. I have to give a special shout out to, Stewart Copeland (of Spyro fame), for his talents all throughout the album - especially on the opening, Synchronicity. His style is utterly unique, and he truly sets himself apart from rocks great drummers. I like a lot of these tracks, but I don’t love them. All that said, this squeaks by with a 4/5 on style and the replay value of these tunes. ⭐️⭐️⭐️⭐️

A beautiful album: Warm and inviting, and full of charm. The stories on this album are a bit corny and dated. But it’s wholesome, and doesn’t feel like it’s trying to cater to a particular listening group. Songs like Bookends are genuinely touching (and alarming from a couple of 20-somethings). S&G’s songs play heavily on emotion, and while those emotions are subdued on this album compared to the grandness of the superior Bridge Over Troubled Water, it still hits its target. Hazy Shade of Winter is the peak for me, delivering some much needed urgency and excitement to the album’s closing tracks. Really love this album. ⭐️⭐️⭐️⭐️

I’m not crazy (horse) about this album, but I respect what Young was trying to do with this project. The whole ‘rust’ concept as an allegory for rock music becoming comfortable and complacent is kind of interesting; I give him that. But I’m not in love with a lot of these songs. On to what I do love: Hey Hey, My My, and Powderfinger. All timers in my opinion. The live production is used to incredible effect to bring these songs to life. In particular, the distortion effects from the former give the song this wild and unpredictable energy. The increasing distortion throughout the song feels as if the band is breaking down - dare I say grinding on in spite of the rust. As an average guitarist, these songs also bring me a lot of joy to play. Young doesn’t aim for accuracy here. The mess of distortion and ‘missed’ notes makes for a highly accessible sound for wannabe’s like me to try emulate. So some of these songs resonate strongly with me, but I have to kind of shrug at the bulk of the material. Live Rust on the other hand is a different story, and I’ll be highly disappointed if this one made the list instead.

I just can’t get on board with this. Clapton has sounded better. The heavy use of organ is dated and silly. But most unforgivably, the songs are beige. I get that this music was important, but the more of the blues I hear, the more I’m convinced the style belongs in the past.

Hair metal absolutely kills me. This is the early 80’s, yet I’m supposed to believe that the genre only hit self-parody at the end of the decade. I wasn’t alive in the 80’s, but to see old music videos of the likes of Dee Snider and Alice Cooper parading about, it already presented as parody of the self-serious stylings of the rock gods of the 70’s (Zep, Who, Aerosmith). Which is all to say, how the hell did anyone ever take bands like Def Leppard seriously. The songs are tedious. Really, how many numbers does a band truly need about how ‘totally bodacious’ it is to be in a rock and roll band. The production on their only notable attempt at something approaching important also comes across as so completely obvious (the gunfire and helicopters that precede Die Hard the Hunter) that everything that follows it is just one giant eye-roll. It’s just not for me, and I’d never choose to listen to this music. That album art is hilarious though. ⭐️⭐️

The classics on here hold their ground, but everything in between is horribly dated. There’s also something in the Beatles cover that irks me. As if the kids from Glee truly believed their rendition of Don’t Stop Believing to be superior. Barring California Dreaming, there’s just no drama here. Which is a shame since that song is phenomenal. ⭐️⭐️

Unexpectedly enjoyed this! I can’t really relate to any of these songs, but there is an undeniable gentlemanly charm in Jennings’ delivery. The slower tunes drag a bit, but the interplay between electric guitar and banjo on the more upbeat numbers is really fun. I’d listen to this again. ✨

I’d like to meet the Tom Waits fans that immediately clicked with his sound because this has got to be some of the inaccessible music I’ve ever heard. Which is not to say I’m put off, but this is certainly an acquired state. I found the softer tracks here a bit more palatable. I recognise Jersey Girl from Springsteen’s cover, but Waits’ version clearly has more grit and soul. I’ve never been more certain with a review that whatever rating I give here will inevitably change as I figure out whether I’m into Waits, or can’t do it. But this album has me interested for more at the very least. I expect I’ll be hearing more of him on this list too.

Run of the mill. Paint by numbers. Blues rock. The sheer length of this thing tested my patience bigly. Very hard to find anything nice to say about this.

I had the good fortune to listen to Revolver for the first time after hearing Rubber Soul (also for the first time) a couple of weeks ago. The latter didn’t resonate with me at all. The Beatles’ outsized reputation completely obscured what I found to be an aggressively “okay” record. But with Revolver, I think I’m starting to understand a bit of the endless praise heaped upon the Beatles. I listened to this record in a group setting—explaining the mission of the 1001 list and walking friends through the seemingly impossible challenge of listening to, rating, and forming a fully developed opinion on an album each day for the next three-odd years. The group encouraged me to chuck on Revolver if I absolutely had to listen to it that day. We talked about the legacy of the Beatles, the contradictions in Lennon’s writing, the obvious influence of LSD on the sound, and even the occasional blandness—or that generic ‘60s’ sound—that sometimes crept into the tunes. But even in that setting—drink in hand, a wee bit bevved—some of these songs cut through the conversation and gave me pause. These songs: the craft, the writing, the sound profile—it’s all so completely different from everything that came before. In a week when the list churned out the Mamas and the Papas, it became that much easier to see how the Beatles were changing the game. Music no longer bound by the need to be replicated live opened the door to real innovation in the studio. That’s clear as crystal and should be recognised. And I realize I haven’t actually said a single thing I liked about any of these songs. They may hit differently in the cold light of day. But sharing the listening experience with others lifted this album in a way I’m not sure I’d have appreciated had I simply listened during my daily commute. Or could it just be that I listened to their music the way it’s supposed to be listened to? 🍻🍻🍻🍻 🥴

“Belligerent ghouls run Manchester schools. Spineless slimes; cemented minds.” It really is unfair that such talent for lyricism falls to Stephen Morrissey. This album, Meat is Murder, is just as interesting, bold, obnoxious, and tightly arranged as anything the Smiths have ever done. It’s not my personal favourite, but aside from the asinine title track the band don’t really put a foot wrong here. ⭐️⭐️⭐️⭐️

The funk overstays its welcome on a lot of these tracks. The music is competent and kind of fun, but nothing really resonated with me outside of the album’s closing number, Beetles in the Bog. I can’t see myself revisiting this particular album by the War again. Though learning these guys did Low Rider and Why Can’t We Be Friends came as a bit of shock. A shame they didn’t come up on this record! ⭐️⭐️

For my money, quite possibly the strongest run of four songs to open an album, ever. By that measure, perhaps it’s then unfair to deduct stars for the tumble this album takes after such dizzying heights. To these ears there’s a fair amount of retreading of old ground to diminishing returns. There are other highlights along the way: as an NZ native it’s truly surreal to hear Bono sing of one of Auckland’s more obscure landmarks in One Tree Hill. But it doesn’t hurt that it’s also a really lovely song. Had The Sweetest Thing shown up here rather than a B-side we might be in five star territory. While there’s nothing revelatory in Bono’s writing, this gets an easy 4/5 for the strength of the album’s high points. ⭐️⭐️⭐️⭐️

I feel like I need a shower after listening to this. Unfortunately my resentment for heavy metal is so etched in my taste that I found it a real chore to listen to these songs with anything other than disdain. The aesthetic, the droning guitars, the screeching and often incoherent lyrics. I just hate it all so, so much. And yet: after giving the title track one last spin, I found myself smiling a little at how ridiculous it all was. Maybe I’m too conceited and self-serious to really enjoy what Megadeath are all about, and I don’t see my feelings towards these songs changing, but “rock on” I say to those who live for this stuff. ⭐️⭐️

This was really fun! Rap is not for me, but LL is a great entertainer, and I was surprised at how easy a listen this was. I was really getting into the cornier tracks like Mr. Good Bar and Milky Cereal. Maybe I just enjoy songs about food products - All of these lyrics are supposed to be taken at face value right?? ✨

I never thought I’d see the day that I’d be able to heap praise on an album of this genre, but here we are. The beats here are killer: Lo-fi, crunchy, and impactful sounds kept my foot tapping and head bopping through so many of these tracks, even as I lost my way through a lot of the lyrical content. The MCs are relentless in their delivery, and it’s often overwhelming for a non hip-hop and rap listener like me. But man, is this record stylish. I loved getting to know each of the personas on this album. I held reservations about being able to distinguish who of the legion of contributors were fronting at any given time, but the production does a marvellous job of giving everyone their own unique voice on which to cook. I could totally listen to more of this. ⭐️⭐️⭐️⭐️

Man, Pixies just have such a unique voice in alt-rock. Even though I don’t love this record, Black Francis’ unhinged vocals keep things so interesting all throughout the runtime. When I listen to Bossanova, I can’t help but compare it to Surfer Rosa, and Doolittle. For me, Bossanova is a far nicer sounding record thanks to the production. But the sheen here smooths over the wild unpredictable energy of Pixies’ earlier output. It’s still here in tracks like Rock Music. But the highs are fewer and far between. I do enjoy this record though. To me, Pixies’ music has always been less about the stories, and more about the striking imagery Black conjures up in tracks like Is She Weird. ✨

Hooo boy! This is a fantastic record. I was a casual enjoyer of the odd CCR banger, but I connected hard with this in a way that I haven’t yet with the music on this list. The absolute peak for me is Run Through the Jungle. The soundscape the band creates using the guitar delay and reverb, and the low rumbling bass, the sound is just so well realised - like danger lurking in the corner of your vision, but never quite materialising. And then to follow up with Up Around the Bend!? Another absolute corker. There are so many other highs along the way too. Granted, nobody needs 10 minutes of Grapevine, but John Fogherty sounds unbelievable, and everyone is so locked into the groove, that I’m not so bothered. This was just so thoroughly enjoyable! I teeter between a 4 and a 5 - but hey, I had a genuinely great time with this album, so it gets full marks! 🌟🌟🌟🌟🌟

Totally forgettable, boilerplate, 60’s psychedelic trash. Honestly, who let these guys into a studio?? These songs make me angry. The most that can be said about these guys is that they’re a late 60’s cautionary tale of the music industry’s insatiable desire to package and sell anyone with an inkling of the Beatles’ or Stones’ marketability. 💫

A strong album from a legendary act. There are pockets of real charm throughout: Pale Blue Eyes is the clear standout, and the playful After Hours is such a refreshing palate cleanser after the experimental onslaught of Murder Mystery. I really enjoyed my time with this one, and have a few favourites that I’ll be revisiting. However: I question what Reed was thinking with Jesus. In general, I find pseudo religious soul searching music tedious and rarely worth paying attention. “Oh I’m so lost, and need to fill my spirit up with love and god, etc.” There’s nothing special in such messages. We’re all in the same boat, and a lot of us don’t need God to feel fulfilled. Reed explicitly stated that this was not a particularly Christian song; however, belting out “I am beginning to see the light” at the start of the next track only extends the tedium of one the record’s key themes. Which is frustrating because both songs in question are performed exceedingly well and sound great! So it gets a 3 for me for a couple of missteps, but I still absolutely love what I’m hearing for the most part.

“Woah” Me, multiple times throughout this record. That voice. Buckley sounds like nothing is out of his reach. At first I was surprised at how little exposure I’d had to Buckley’s music (outside of Hallelujah of course); no one seems to be interested in covering his original music. But it became apparent pretty quickly that these songs belong to no one but himself. Outside of Buckley’s enormous talent, this record works as a beautiful snapshot of 90’s popular rock. I wish I’d taken the time to listen to this earlier. Buckley’s singing abilities outshine anything else happening on this record, but the accompaniments are good and really allow that incredible voice to take centre stage. Really solid. ⭐️⭐️⭐️⭐️

There’s this split second towards the end of the opening track, On Sight, that tells me everything I need to know about Ye on this record. At 1:50 Ye sings, “I put my dick in her mouth,” dragging out that last word in such punishing style; you can hear him break at the last moment just before the mask goes back on. Ye knows full well that it’s obscene. That moment where the pretense of ‘the greatest artist ever to have lived’ drops gives me the assurance I need when I listen to his music that he’s not completely deranged (at least at the time of recording). Ye’s music carries all the subtlety of an atomic bomb. But he’s a straight shooter and he’s not afraid to speak his truth. I can’t say I approve of everything here, but Ye had an important voice when he made this record and boy does he know his way around the studio. The production is excellent and even innovative. The samples while often clunky are still somehow catchy and inspired; there’s real creativity going on here in the composition of these songs that is to be applauded. I love Black Skinhead, Bound 2, and pretty much clicked with everything in between. Blood on the Leaves, another showstopper. The electronic beats on some of these tracks also have this amazing cold, industrial feel to them - it’s weird and unfriendly, and I love it. For me to rate this anything less than a five would be clear virtue signalling to others that I couldn’t possibly have a high opinion of the music of someone so utterly compromised as a human. The truth is that this is simply a modern classic, and a high watermark for the genre. 🌟🌟🌟🌟🌟

It’s a bit of a challenge to review an album with such a storied history as this - especially on the day its creator died. BWPS is pleasant enough through its runtime, but it’s difficult to untie tracks like Good Vibrations from their historical context. Had 2004 been the first time the world got to hear it, would it have received so much universal love? Probably not. But it’s still a marvellous song, and serves as a perfect showcase for BW’s singular talent for instrument arrangement in the rock genre. I do enjoy that this work doesn’t take itself too seriously. But the whimsy grows a little wearisome, occasionally crossing over to being downright asinine at times. But it’s all inoffensive, and it is endearing. BW took big risks; and the release of this album is best seen as a triumph over one man’s personal demons. ✨

Disappointed with this. I remember growing up watching E! Docos about Michael Jackson. Off the Wall was heralded as the turning point in MJ’s career, from child star to serious adult recording artist. So I expected something a little more. The first two tracks are classic pop disco. Literally everything else here is forgettable, and mediocre. Michael’s voice is endlessly listenable, but it doesn’t save this album from being little more than a hit vehicle. ⭐️⭐️

This is the kind of album that probably would have become my entire personality over one summer holidays at uni. It’s fun, energetic, confident, and just really kind of cool. I especially enjoy the way a lot of these tracks build, starting off slowly and culminating in a crashing crescendo with some tight instrumental arrangements. The sound is very much, ‘of the time’. 2000’s indie rock was really hitting its stride at the time of release with bands like Bloc Party, the National, and Interpol all bringing similar energy to their music making. A great album with only a few standouts that I’d come back to. But as a complete package, this is a fine record. ✨

Beyond the spectacular Superstition, the songs here never really rise above what is best described as ‘a pretty good’ Stevie Wonder album. The material here is quite repetitive. Things start off nicely with the lovely Sunshine of my Life, and that kind of sets the theme moving all throughout the album. So there’s not a lot of interesting song writing going on. But it’s easy listening, and I’m more than happy to let Stevie do his thing. ✨

There are moments of real joy on this album, but they are sparse. The title track is creative and fun, and the radio ready Jet is catchy. But the album as a whole amounts to less than the sum of its parts. Tracks like Mrs Vandebilt and Mamunia kept my interest, but songs like Bluebird felt a bit uninspired and didn’t appear to have a lot to say. By the time the plodding Picaso’s Last Words hit I was ready to check out. However, the closer, Nineteen Hundred and Eighty Five, tipped the scale back to posit for me. I’m fond of Phil Spectoresque grand finales in my music, and that track is almost worth the price of admission in its grandeur and drama. I’ll spare any overlong ruminations on Sir Paul as a solo artist post-Beatles. Is he overrated? Duh. Does an album like this belong on this list? On its own merits - probably not, but as a peek into how those Beatle boys fared after being heralded as the best thing since sliced bread, this is an important record, with some genuinely listen worthy moments. ✨

Electric guitar, a bass, and a drum machine. Minimalism done exceptionally well. The XX’s debut is wonderfully cohesive and hits just the right spots with its interplay of echoing bass and dancing guitar lines. I also admire the lyricism on display here. It’s gooey, and overly doe-eyed, but it’s honest and sentimental, and I really believe it tells a universal story of love and connection for certain peoples at certain stages of their life. Granted, it won’t be for everyone - but there’s a marriage of musical textures and sensuality in the vocals that’s just kind of perfect for a project like this. However, with that aforementioned minimalism comes a slog of a final act. Painting with only three colours can get a bit boring after a while, and that’s where we find ourselves here. Fortunately the closing tracks remind me of some of that spark, and offer an as yet unfulfilled promise of how to evolve this sound in a compelling way. XX scratches by with a 4/5 ⭐️⭐️⭐️⭐️

It’s nice to see bands like these pop up on the list. It assures me that there are other artists from the 60’s other than the Beatles or “insert generic well regarded blues rock band here” to look forward to. The music here is nice enough, and I recall hearing and liking the opening track at some point in my life, but there isn’t a whole lot else here that excited me. The tunes have this slightly out of time feel; they just moved on by, like a Thanksgiving float of Woodstock hippies shaking their tambourines, and holding up ‘peace signs’. Godspeed you beatniks. Away with ye, and on to the next band of freak-shows. ⭐️⭐️