Sabbath’s first six albums are hard to match. For heavy metal they bring a groove and listenability that is unparalleled. Vol 4 doesn’t pull its punches from the outset this album means business. The atrocity of Ozzy’s duet with Kelly could easily make you forget how beautiful and striking Changes is, especially given how different it is from their general output. Ditto the majesty of Laguna sunrise. Ozzy is undeniably one of the great frontmen in rock, but my god you cannot overlook the skill of Iommi, Butler and Ward. Sometimes a line-up just works.

Eddie Vedder has one of the finest voices in rock music. This is a standard setter for everything that came after. Despite been a massive step away from Nevermind they complement one another brilliantly

Just a bit dull

If I didn’t know this was Bowie i’d have assumed it was a monumentally bad parody album. God knows how Heroes came out of the same session as the rest of this album

Every cliche about prog on one album

So many singles it’s effectively like listening to a greatest hits album.

There is a time and a place for good Jazz, unfortunately none of which apply to this album

Good slbum for a sunny spring morning. I’ve never listened to a Hendrix studio album before and enjoyed the Experience

Sounds like every rubbish sc-fi soundtrack from the 80s

One star for Maggie May and a collection of sub standard b-sides

Would be better as an instrumental album. Hype man vocals are just annoying

So smooth it’s just dull

A truly wonderful album. Not my favourite Beatle but possibly my favourite Beatle solo album

Would have been 4/5 for speakerboxx alone but despite aa on sprawling album the Love Below holds it back (despite som standout moments). Sounds like what it is two separate albums presented ad one to maintain the Outkast brand going a little longer. Ideally would have been 3.5/5 but just not quite strong enough for a 4 as a cohesive album.

A good album, but suffers from some unnecessarily long tracks

I was surprised thst i only knew two tracks on this album, but having now listened to it less so. It’s an overblown overlong album and listening to it was a real slog. I fear like Shakespeare this is something you need to see performed to fully appreciate but i wont be wasting anymore time on this

Really enjoyed the first volume, but with a second volume as well it just felt overly long. Was surprised how many songs i recognised, but obviously some of this was due to them being standards and in the case of what you hot cooking, just brought flashbacks to the horrible Findus advert from the 80s

I expected an album of Nick Cave’s vocals would be my sticking point with this album, but i think it’s actually the music. The backing tracks are either so ethereal i drift off and stop paying attention to the beautiful lyrics or its jarring (synths) and actively annoy me. Leviathan was reminiscent of queue of wicker man at Alton Towers so st least retained some intrrest. Ghosteen the song lost me when synths start ed to sound like refugee from a jean-michel jarre song. Although my dislike for those did mean more of the lyrics in the second half made it into through my ambivalence. Overall the album was just background music Sorry Nick it’s me not you.

Pure 90s nostalgia. It perfectly bridges the gap between grunge and more mainstream US alternative rock scene of this period. I can also hear the influence they had on my favourite band the Wildhearts, especially in Helpless. Overall a great trip down memory lane

Only knew Kick out the jams and that was through covers, so had high hopes for this album. Turns out that those hopes were misplaced. Far more straight down the middle rock than i expected and just fails to provide anything interesting

Not horrendous but not for me either. Instantly forgettable

Track 1 abrasive noise Track 2 the sound of a panic attack Track 3 standing outside a school music within which a collection of kids are doing there own thing I decided to wait for something positive to write but that never came. This only serves value in making you appreciate how much better most of the list is. It is more likely to be the sound i hear at the point of death than something you need to hear before it

As i’ve got older, i’ve found more ‘country’ music seepiing into my music. Modern country is not that fair from more mainstream Americana or more general modern folk. This is not that. This is old fashioned county with lots of Honky tonking. Best i can say is that is generally easy listening and moves along at a reasonable lick

Obviously a defining album of the nineties and the first five tracks, To The End and This Is A Low make it impossible for me to score this lower than a 3. But i’d also forgotten the dreamy elegance of Badhead and the joyous bounce of London Loves. Ultimately though i will always be more Oasis than Blur and the remaining tracks to push it over the top. A really good listen but not a classic

First 7 minutes sound like an orchestra warming up rather than playing any tangible music. After that somebody reminds the band they are recording an album, still not great but at leastfeels like its meant to be music. Picks up slightly with the middle two tracks before track 4 returns to near five minute warm up and my delight at the fourth track ending quickly dashed by it starting up again It’s the sound of Jazz meets Rock but this is far from a happy marriage of styles

Had to go old school and buy a cd in order to listen to the full album as seemingly absent from uk streaming. The album opens with the sound of pure joy. A wonderful blend of styles like an audio street festival. Latin grooves with occasional rapping and shouting whats not to love

Unhinged, creative genius of an album. Somehow manages to instil every track with a high level of quirkiness whilst maintaining highly listenable tunes.

There are some obvious stand out tracks on this album like sour times and glory box but it just all feels a bit middling. Nothing grabs hold of you and demands you pay attention. Its not surprising that this has led to the music being s go to soundtrack to seedier crime drama like The Vice. Enjoyable background music

A debut album that sounds so strong it could be a best of for most other acts. Even the lesser tracks (digsys and married with children are ridiculously strong in their own right

An explosion of 60s psychedelia with a Brazilian twist. With the exception of of A Minha Menina (which i think must have been used on an advert at some point) it sounds a little too much like someone trying to sound like other groups in places, especially the Beatles but still quite enjoyable. Not sure about the sudden slurp noise in Baby, may have made sense if you understand the lyrics but for me a rather unpleasant jolt.

Good old fashioned blues rock. Straight down the middle delivery. When i spotted a cover of heard ot through the grapevine, i thought this could be good/interesting and i was right, it could have been, had they kept it tight and not stretched it out to over 11 minutes. Nothing wrong (if you ignore the extension to grapevine) with it but nothing to excite either.

The actual music is fine but i dont really want the explanatory detail. Not sure i will ever revisit this album but kind of enjoyed the experience of listening to it at least once

Just very derivative paint by numbers music. It would appear that pizzas, even ones that have sexual relations with one of your parents do not make for solid inspiration for songs. Relies on too many childish jokes that just fall flat

Always had a troubled relationship with Suede. Animal nitrate is a truly great song but my appreciation tends to be restricted to their singles. This album just serves to reinforce my view that they were just a bit dull

The jason derulo of the 70s, god this band want to make sure you know their name. Obviously it’s hard not to like the groove that Nile Rodgers brings to a tune, but at times it’s like the record is stuck and cant move onto the next part. I didn't think i would say this but Fatman S coop made more of Chic Cheer than Chic did. Le Freak is a stonewall classic and enough to make me overlook that lyric (i know it’s Chic, enough already) Savoir faire was not what i was expecting and not in a good way. Bring back the vocals telling me who it is as i honestly wouldn’t have known this was by Chic. Another dull if funky track and then another classic in I Want Your Love. Why do we get some momentum going and then dash it with a slow dirge track. Sometimes tries its best to get us back on track with a funky Niles bass-line but still feels like filler. (Funny) bone has a great groove to it and the lack of anything that could reasonably described as lyrics works in its favour

This is an album i feel i should enjoy. An album equivalent of an eighties coffee table book that all middle class households own and say they like. But I didn’t grow up in a working class household so the only nostalgia i have is for its use in soundtracks, but that exposure tender to be fleeting and therefore this just feels unnecessarily overblown pretentiousness of the highest class. This is not a classical work, an instrumental (i dont care it had a short burst of speaking toward the end) does not need to be 25 minutes long. It comes to something when the theme from Blue Peter is a highlight, given the programme itself was a dull patronising affair I assume Mike Oldfield’s single is named that as if he played this on his dates that would certainly be the end result. Although give it it’s due mercifully short. The final track is frankly pointless why anyone would want to listen to that i’m not sure.

Harmless enough but a lot of the songs didnt seem to go anywhere (obviously this is based on my inability to understand the lyrics). Really enjoyed the title track and definitely heard a lot less through this process.

Laid back relaxing effortless cool from one of the masters of jazz. As with most Jazz it would benefit from hearing it in the confines of a club but soothing nonetheless.

One of The great albums of all time. Revolver is the point where the Beatles have truly refined the art. From the very start this album delivers. The perfect mix of of more upbeat songs like taxman and Good Day Sunshine to the sweeping beauty of Eleanor Rigby and For No One. Tomorrow Never Knows with its loops etc is so far ahead of it’s time whilst delivering a great song. Got To Get You Into My Life is a truly underrated classic. There is nothing to dislike on this album, even the Ringo track is Yellow Submarine!

Having now listened to this and the wall i assume they felt one decent track was sufficient to justify an album and then then name it after that song. This album could and should have been a single with s shortened version of track 5 as the b-side. Overblown pretentious crap

Remake/re-model is chaotic fun and even rips off Day Tripper but i cant get past the whiny annoying vocals Is there something sounds like an attempt at Bolanesque vocals but just sounds like a goat wailing Virginia plain is another example of what could have been for the want of a decent vocalist

How can you not love Just The away you Are and She’s Always a Woman, absolutely classic tracks. However the minutes music and whistling at the end of The Stranger could have been cut for me, as could the very clunky lyrics of Scenes From An Italian Restaurant (a bottle of white, a bottle of red). Billy obviously unaware of my comments about the outro to The Stranger decided that wasnt long enough so extended for the album closer. Damn you Billy Joel, you just dont want these stars!!

Twaddle felt like i was l listening to a game load on the spectrum in the 80s.

Good old fashioned rock. Very evocative of the late 60s, early 70s. Like a gentle breeze of melody blowing through the day. It was the perfect accompaniment for the dog walk of a cool sunny morning

A bit slow, a dit dull, but still listenable. Just meh! Strangely for quite a short album a lot of the tracks felt unnecessarily long. Jesus is accurately named, but i suspect mr Mayfield and i are putting very different emphasis on that song title. A tale of what could’ve been i fear.

Strong start but definitely front loading the album ahead of some pleasant but uninspiring album tracks. My god blue condition is a dirge and least said about Mother’s lament the better. Oh and that is one way to pronounce Ulysses

I approached this album with the preconception that i font like Leonard Cohen’s vocals, so was pleasantly surprised that they didn’t immediately grate on me. The man can write emotive lyrics and is his younger years could passably sing these. However, it’s just generally a bit dull. Suzanne and So long Marianne are stand outs in a fairly bland album

Brian Wilson was undeniably a genius and knowing the history of this album perhsps makes it difficult to judge. It’s a story of what could’ve been had the beach boys clung together and completed Smile. As it is it lacks any spark of magic and the inclusion of Good Vibrations judt highlights this is far from Wilson’s best. A solid album but not a classic

I perfectly understand people who think Dylan can’t sing and used to feel that way myself. But at some point it just clicked for me and now the vocals fit perfectly on classics like ‘Like a rolling stone’. If you dont like Dylan they i doubt this will convert you. I live the old style stomp of ‘It takes a lot to laugh’… which is evocative of walking into a smokey blues bar. Highway 61 has a stomping groove to it which i love. Just a really good album

As a rock/indie fan i never properly got into the Chems until after this album and have never been motivated to go back. This just works for me as a complete album, unencumbered by the presence of a massive hit single (or at least one i recognise). All albums can also be improved with a sprinkle of tim burgess. I suspect i have all the albums after this or have certainly listened to them, but as it turns out the one i have previously ignored is their finest, most distilled collection of their craft

Six sings, 36 minutes and track one is ten minutes of that feels like something’s gone wrong. That said station to station in an enjoyable upbeat Bowie track, just not sure it needs to that long. Rest of the tracks are fine but hardly spectacular. Just a reasonable solid album

Not far into this album and it feels very much like they are a band that feel the listener should do some work before they ate rewarded with songs. Unnecessarily long intros mean by the time the song proper starts I’ve already slighted turned off. With the exception of Lovesong their slavish dedication to intros well over a minute mean i can only assume Robert Smith has a weak bladder and songs are all arranged in a manner they can be easily extended to enable his relief before the vocals come in. That said, the songs are generally pleasant enough to listen to and whilst nothing really grabbed me and demanded my attention it is a reasonably solid album. Oh for the want of a strong producer to rein those unnecessarily long intros into line.

This is a great album. From the melancholy yearning straight in the damn right defiance of send my love this is a tour de force. Adele delivers every line with such controlled power you have to pay attention.

I feared the worst on the album opener until the vocal’s kicked in and lifted it to become a really strong groove of a tune…..but then it refused to end. Track 2 sounds like the theme to an American tv show from the 70/80s snd just lacks the ‘filmed before a live studio audience’ announcement. Unfortunately that the highlights as the album continues into not unpleasant forgetableness

I mean it sounds like classic Costello, so cant go wrong. Kinder murder is brilliant storytelling in a song “dreaming of the pigskin’ The whole album just feels balanced.

Now this what good 80s music sounds like. I remember this sounding just so different and exciting to Uk chart music. It’s tricky has always been been my favourite Run DMC song, throw in My adidas and Walk this way and you cant go wrong A fine example of good old school hip hop

An album of pure majesty which manages to be so traditional, yet so innovative at the same time. BDB looks like a busker but by god he’d be the best busker there was. Tracks like Once around the block, , Disillusion, Pissing in the wind and the Shining. BDB also made great videos for this album, who can forget him perched on the edge of Joan Collins’s bath

Meh!

The album opens strongly enough with Sunshine of my life and Maybe your baby, but the subsequent couple of tracks feel distinctly filler. At his worst Stevie can stray firmly into keyboard driven schmaltz and this album is not immune from that. Things pick up with You’ve got it bad girl, which sets you up nicely for the undeniable classic. Superstition is Stevie Wonder at his best. The funky brass filled joy of the backing will always make you feel joy. Big brother is an interesting track with its simple backing track and ernest lyrics. I’m not sure i know how i feel about it, as every time i feel i really like it the lyrics just jar a bit. Looking for another pure love feels like an attempt to writing another Sunshine of my life but fails to locate the spark that lifts that up. In the end it just feels a bit blah and repetitive I Believe closers the album in a strong note walking the fine line of those before, settling on the great songs. Unfortunately the album just feels too inconsistent for a great album.

Strange that other than the big hitters, uicy and Big poppa, this didn’t move me either way. A solid album but few highlights outside those two tracks. Largely forgettable and as a result slightly disappointing

Pleasant enough but it all felt a bit background music for me. I suspect my engagement may have been increased if i understood the lyrics, which alas i dont.

Green onions is definitely a classic, but cant say i knew much beyond that. I think my general mood throughout the album was boredom. Everything was technically good but just didn’t move me. In particular their version of Twist and shout just put me in mind of a fairground organ tune.

Joni Mitchell has a great distinctive voice and that shows on this album. However overall i was left underwhelmed by the album and slightly bored. For an album lasting only 37 minutes it really seemed to drag at points. The change in tempo for ‘Raised on robbery’ was a welcome relief from what went before but was not enough to lift this album for me overall.

I have never really liked synth pop, but Annie Lennox has an amazing voice. The album opens strongly with ‘Love is a stranger’ but quickly dips to mediocre 80s synth pop. Obviously’Sweet Dreams’ offrrs some respite and is a true classic. Within the other tracks it feels like there are traces of other similar music of the time. ‘ This is the house’ put me in mind of the Human League but with Annie on lead vocals(and ‘Pop Musik’ by M). Over the album serves only to reinforce my view that Annies best material was as a solo artist

The only positive here is that the album is only 27 minutes long, although it does feel longer

Great start but quickly turns to mediocrity

Fast loud a raucous, what’s not to enjoy!

Generally mediocre but the unnecessarily long final track drags this down even further. More to not like than like

The songs are just so perfectly crafted. The production on this and obviously Marvin’s vocals are just on point. Album openers dont get much better than ‘What’s going on’. As someone who quite often finds soul music a bit blah, i cannot speak highly enough about this album.

Nina Simone’s vocals are faultless and other an interesting counterpoint to the lyrical content of this album. The story telling of racial equality is impactful without detracting from the enjoyment on a musical level. I love Jeff Buckley’s version of Lilac Wine and Nina’s version definitely holds its own with that.

This is very much an album of its time, but lacks anything to lift it over and above in a crowded hip-hop field of the mid-nineties. Solid but nothing to excite or endear which results in a largely forgettable listening experience

Solid modern day funk. The arrival of Kendrick provides the first real highlight. Adding a much needed layer of texture to the track, lacking on those before it. Generally there is too much synths for my liking and no where is that more apparent than ‘Friend zone’. Which is the sound of an oncoming migraine. Drink dat is another standout and it’s not coincidental that this is another track with a guest rapper, in Wiz Khalifa. Unfortunately for me at least when Thundercat is playing off someone stylistically different and therefore this generally falls a bit flat

Without doubt have of the great duos, despite their issues their vocals complement each other perfectly. Homeward bound is a beautifully crafted song, but that along with 59th street highlight that some of the other songs (Big bright green pleasure machine) dont quite live up to that exceptional standard. It also feels odd to include a Christmas song on a normal album, no matter how good that song is

I do Not like ABBA and ‘When i kissed the teacher’ does nothing to dispel that opinion. It is very ABBA by numbers all jangly backing track and layered vocals singing counter to the main vocals. If hell has an audio form it might be this song. Dancing Queen at least puts you in mind of joyous nights out, but retains that horrible tweeness ABBA bring to all their songs. My love my life makes me long for the normal twee upbeat europop you associate with their singles. Even with this dirge of a track i dont think you are ever in danger of not knowing what the song is called. ABBA definitely like to hammer a song home. Dum dum diddle- christ please make it stop! Knowing me knowing you at least puts me on mind of Alan Partridge so adding him shouting aha! Adds something to it. Money money money’s is possibly ABBA’s most enjoyable 40 odd seconds, although in part my mind thinks it would be improved by Fagin from Oliver! Singing it. Oh and the annoying chorus. Why did have to be me? At least brings some musical variety but who would’ve picked ABBA doing Chas n Dave doing an upbeat pop song as the style to go with. Tiger and arrival provide no respite from the attack on my senses. Not sure whether instrumental ABBA is preferable to non instrumental ABBA Fernando is at least another song i associate with Alan Partridge. It also has possible the catchiest of their choruses.

Now i’m all for a bit of harmonica but the introduction to this album is taking it too far. Aside from from that the tune (eventually) is jolly enough but the singer’s vocal grate on me. Bloody well right continues the pointless intro issue. Already being to get tedious. When the tune (again eventually) arrives i dont think there’s any doubt, if there ever was, what decade this album is from. This is just slow boring drivel.

The album starts fairly middle of the road inoffensive 60s pop rock and then you reach Sueno. Sueno suddenly introduces flamenco stylings, but this still doesn’t lift the overall album from mundanity. Groovin is however a great song. Overall the album is a pleasant enough snapshot of the era but nothing to write home about.

To my shame despite living for a year with a massive Beastie Boys fan, i dont think i’ve ever listened to an actual album in it’s entirety outside of ‘To the 5 Boroughs’ (which is far from their best). Having already being bitten several times by albums popping up that i assumed (mistakenly) i’d love this one had me worried. However finally this one confirmed my preconception and i thoroughly enjoyed it. It perfectly soundtracked a very sunny summer morning. Sabotage holds a particular place in my heart from going to the alternative club nights whilst at school, safe in the knowledge that at some point you would get the double hit of Sabotage and Killing in the name of and everyone would just lose their shit.

A pivotal album in hip-hop. De la Soul introduced me to Queen Latifah and obviously they feature on this album. The production is similar in style and i love but Latifah’s flow is still the standout here. Ladies first is just a classic and always good to hear some Monie Love.

The album seems partly preoccupied by how great/different they are in terms of their delivery or things like their funk. Newsflash very little of difference here and there’s a limit how many songs about the technicalities by of making the song is interesting/bearable. When the lyrical content moves away from this, isn’t doesn’t get any better unfortunately. This album is definitely of its time and there’s nothing here that suggests it shouldn’t be left there.

Growing up Dave Brubeck was Jazz is my mind. Not because my parents liked or even played him, but because he appeared to be tv’s go to example. So a character in the Beiderbeck Affair liked Jazz, out would come the vinyl and on would go ‘Take 5’. This is undeniably easy listening, its just soothing like a musical trickling along, not the handbrake turn you get with some Jazz. There’s security in this dort of Jazz, you are never in doubt that someone will go off script and do that Jazz staple of improvising. That said this safety means it generally feels like background music. Take 5 is a classic.

A solid slice of mid nineties punk, never as consistent as Green Day but man they had a tune in them. Tracks like ‘Come Out and Play’ ans ‘Self Esteem’ show how could the Offspring could be on their day and say the right side of the novelty line which just a couple of albums later they merrily flung themselves across.

My first thought at seeing this as today’s album was ‘not my favourite era of Radiohead’, but ‘Weird fishes/Arpeggi’ is one of my favourite Radiohead songs. Thom Yorke’s vocals are so well suited to the erratic backing that fills this album and it gets off to a cracking start with a powerful 1-2 punch of ‘15 step’ and ‘bodysnatchers’. What I realise pretty quickly is that my musical tastes have shifted quite a bit since this came out or there isnt the shock their was when it became the first pay what you want album i bought. I thoroughly enjoyed listening to this as its suffered in comparison to the bends, ok computer and even pablo honey as the radiohead albums i would reach for first.

Classic.

Solid opener with a song that i only know from being a staple of Oasis’s setlist. For a fairly short album theres more variety in terms of style than the previous Neil Young albums i’d listened to, presumably in part due to the live aspect but this still works as a cohesive album. Not sure of the necessity to close the album with a different version of hey hey though, especially given it is not as good

Dont like his voice. Dont like the music. Dont like the album.

Having thoroughly enjoyed their 2025 album ‘heritage’ i was pleased to see this pop up. Unlike some of the other albums i’ve had on this list, that aren’t in English, this didn’t feel like it possibly lost something to my ability to enjoy it. The musical just picks you up and sweeps you along and whilst i might know what the lyrics content is telling me, it just fits rhythmically.

The perfect meeting point of early nighties hip hop and jazz. Along with De La Soul, Jungle Brothers and Queen Latifah, Tribe epitomised my early foray into hip hop. The chilled beats and fun lyrics make this album a must

Not really my preferred style of rock, but i do have a soft spot for Van Halen, albeit i actually prefer the Sammy Hagar fronted version incarnation. Obviously the guitarmanship is insane and listening to eruption i cant help but hear the influence EVH had on those who came after him like Nuno Bettencourt. Whilst there are a few great tracks on this album i think it would be generous to describe the quality as variable. Atomic Punk in particular is s low point. It is very old school rock and some of the lyrical content reflects this. I dont like DLR’s vocals and obviously that presents another stumbling block in terms of enjoying this. Full marks for the musicianship but not so much for the thing as a whole.

Sabbath’s first six albums are hard to match. For heavy metal they bring a groove and listenability that is unparalleled. Vol 4 doesn’t pull its punches from the outset this album means business. The atrocity of Ozzy’s duet with Kelly could easily make you forget how beautiful and striking Changes is, especially given how different it is from their general output. Ditto the majesty of Laguna sunrise. Ozzy is undeniably one of the great frontmen in rock, but my god you cannot overlook the skill of Iommi, Butler and Ward. Sometimes a line-up just works.

Bobbins.

Nilsson is someone I’ve obviously been aware of for a long time, but save for his versions of songs that others have covered, not someone i’ve (knowingly) heard much by. The album opens steady enough. Both of the opening tracks breeze through and suited the stroll from the bakery it soundtracked. Early in the morning continues the smooth approach but as the lyrics suggest through in a touch of blues, which i enjoy. Down introduces a funky bit of piano and brass which switch things up a bit more and put me in mind of some of John Lennon’s 70s output, albeit vocally probably closer to Macca. I always thought that Nilsson wrote Without You, so was surprised to discover it’s actually written by two members of Badfinger. Nilsson’s version however is great and manages to have that grandeur to its delivery without the histrionics of latter versions. My subconscious knew there would be more Nilsson tracks that i’d know and sure enough Coconut proves that point. The quirkiness providing an interest contrast to Without you. The funk of Jump into the fire is irresistible. It’s another track that shows that Nilsson really did have range.

As we go through this process i worry more than finding new artists i really love it is more a case of reevaluating ‘great’ artists who i only have a limited (one album or a greatest hits) knowledge of. Unfortunately Joni falls into this category. I like that this album appears to try musically different things from what I’d expect from Joni Mitchell, but i really dont like tracks like the ‘Jungle Line’. ‘Edith and the Kingpin’ feels more safe JM territory and its strengths in being a gentle flowing song unfortunately are why it doesn’t grab me. I just find it a bit dull. ‘Shades of Scarlett conquering’ is a bit more engaging. Generally this sounds like a Sunday morning album from my childhood, inoffensive background music with people only occasionally aware of its presence while going about their morning

David Byrne’s vocals really dont sit well with me for a full album. One or two songs is fine but over the length of this album they started to jar by the time i got to ‘The Girls Want To Be…’ I quite like the music though, although again it gets a bit too samey over the course of the album. Given this ‘take me to the river’ is a welcome gem toward the end of the album, as it forces something a bit different on both fronts. Big country is also a strong song, just a shame these are stuck at the arse end of the album

I loved Eminem when this album came out and his early output remains his best. This is Eminem before he jjst dtaryed rapping as quickly as possible, yes the content can be uncomfortable (to say the least) at times, but it is dtill a great album. Guilty Conscience was always my favourite Eminem track and had a great video. The album just doesn’t live up to the memory. I guess in many ways the shock of prime Eminem has long gone and there is just better rap music out there.

Pleasant enough, makes me feel like i should be sat in an open boxcar crossing the open land of America.

I long since past having an issue with Dylan’s vocals and instead now appreciate the character it brings to his music. This feels like quite a tuneful Dylan album and is just generally enjoyable, despite there not really being a bit hitter in its tracklist.

This album wasnt available through apple music so i had to listen through youtube with ads. Generally the album sounded worse thsn if they’d lined the instruments up at the top of a long staircase and pushed them down whilst recording the local drunk spouting nonsense. Dali’s car sounds like someone who cant play guitar trying to play a variety of tv theme tunes they only vaguely remember on an out of tune guitar. The colgate ad was by far and away the best track

Never really listened to any Siouxsie Soux other than occasional songs on compilations etc, so cant say they’re an artist that necessarily appeals to me. I quite like the music but there is just something about the vocals or maybe more specifically the style of delivery that just doesn’t quite sit with me

I didn’t think i was gonna enjoy this album as never like Tom Wait’s growling vocals. For the first couple of tracks that view appeared to confirmed, musically and lyrically great but man how can anyone get past them vocals. I cant quite place it but at some point it just clicked for me and i realised the vocals just fitted the overall performance. This feels very much like it would suit being some form of visual album, as the storytelling of the songs is so strong.

Truly a great album. The blend of Madonna and William orbit’s production is pure pop perfection.

Classic songs to mstch Adele’s faultless rich vocals

This is a great album. Felt such a new sound whilst all the key components of U2’s existing sound being there. Zoo station is such an under appreciated opener and sets the tone for the whole album. This is one of those albums where virtually every song could've easily been a single, which obviously means tracks like One ,the Fly snd Mysterious Ways were pretty fucking special to be the singles.

A good blend of electric and acoustic Dylan. The album floats on by with some obvious stand outs. I love a bit of harmonica so love ‘On the Road again’ which stomps along like a railroad tune. This is a solid album but by no means a classic and there are better Dylan albums out there.

Artistically very good and certainly not unlistenable like a lot of the albums in this genre ….. but just feels like its missing something to push it beyond middle of the pack. By the end it was just a bit boring

Long time dince I’ve listened to any Maiden and i must admit the style of remember tomorrow shocked and jarred slightly. I much prefer the Bruce Dickinson era Iron Maiden as i’m not a fan of Di’Anno’s vocal style. That said ‘Prowler’ and ‘Phantom of the opera’ are great tracks.

Sorry a couple of tracks aside, listening to the whole album just becomes a dirge.

I didn’t know what to expect from this one, but must admit ‘Happiness is easy’ was a great opener and immediately drew me in. Even the childrens vocals fit with the overall song. ‘Life's what you make it’ is instantly recognisable as a mainstay of eighties soundtracks. As with the previous two tracks the backing track feels a gular and slightly off kilter but this time adds in a soaring guitar line that just works. I enjoy the dominant bassline and the overall album is a pleasant surprise

As with the previous Talking Heads album this process has thrown up, David Byrne’s stylised vocals for a full album is just too much. Psycho killer and first week/last week aside from the tracks generally blur into one for me.

Was never that bothered by Elastica. Connected, waking up and 2:1 all good tracks but they still fail to really excite and i struggle to pinpoint why.

As with anything related to the Neptunes you know the production is gonna be slick and it is. However i’m not sure the songs quite match that high bar. The featured artists are an alluring prospect but in the end i’m not really sure they offer anything to live up to their potential. She wats to move, Maybe and The way she dances are the clear standout tracks. Overall enjoyable if you’re in the mood, but not a great album.

I think of this as being the point where my musical tastes and one of my childhood favourites well and truly diverged. That may be a bit harsh in retrospect as ‘can you forgive her?’ And ‘go west’ were always great. ‘I wouldn’t normally do this kind of thing’ is a bouncy enjoyable PSB track. ‘Liberation’ reminds me of the heady days of ‘surbia’ but older, wiser and more reflective. Things take the turn i have been dreading with ‘a different point of view’ which strays too far into dancy PSB for me. You can feel its similarity to ‘getting away with it’ by Electronic and Neil Tennant but i much prefer the latter. After that the underlying dance oriented music is not for me until of course we reach go west!

Aside from ‘my generation’ and ‘the kids are alright’ this is just a bit meh. Far from their best and nothing that really raises them above everything else.

Not the best or most accessible Primal scream albums but all the bleeps and whistles (and ringing phones) a highly enjoyable listen. Get duffy reminds me of the tune from ‘a hitchhiker’s guide to the galaxy’ which can never be a bad thing.

Donovan exists in my consciousness entirely thanks to the constant references by Trevor and Simon on Saturday morning tv and even then this didn’t really extend beyond jennifer juniper. Given this Donovan is solely hippy shit in my mind, so was surprised how much i enjoyed Sunshine Superman (the track). Beyond this we revert back to the hippy dippy shit i expected until Season of the Witch, which is the one track i already knew. Whilst it’s a higher standard than most of the tracks the subsequent cover versions have definitely lifted it up.

Not a step wrong on this album (ignoring the borrowing of hello). It perfectly encapsulates the time it was from, but also stays as relevant as vibrant as ever.

I love the stripped back approach of acoustic and harmonica of his early days. I dont care what you think of his vocals nobody packs more meaning into their lyrics. This is just an enjoyable listen.

Baba O’Riley is a cracking album opener. Unfortunately whilst not bad the other songs dont live up to it’s standard until you get to Behind Blue eyes and Won’t get fooled again. For me the Who were at their best when Moon was let loose on the drums which certainly applied to the opening and clising tracks on this album (and even behind blue eyes to dome degree) but overall there’s not enough to elevate this album from a solid album to a great one.

I prefer yoshimi but this should not detract from what is a quality album . The Flaming lips are a band that could never be accused on being boring, like a mash up of super furrys and mercury rev. What’s not to like

I feel Fast car being such a strong lead single over shadows just how stong the rest of this album is. Talkin bout revolution is every bit as powerful as Fast car and in tandem are hard to beat. Her voice has so much depth and warmth to it which is emphasised by the fairly simplistic musical arrangements of most songs. Baby can i hold you and She’s got her ticket are other stand outs in a really good album.

I’ve never been sure about Bjork, not an artist i dislike just mot someone i would choose to listen to. I dont think this album has swayed me one way or another. You can definitely appreciate the art though as even though i dont think this a great album and artist i can understand why others would.