Perfect length. Started listening at 22.45 on headphones. It worked really well. I knew maybe 2/3rd of it and the songs I didn't know, I enjoyed. Great start to this project. 5/5.

I like cool jazz, it turns out. Do I like it enough to listen to an entire Miles Davis album? Possibly not. It got quite repetitive but okay for background. I did not like the last track which has singing on it. That felt old.

Absolutely not listening to this guy.

This was certainly an album with a lot of instrumental solos. Sure, it is a landmark album but I feel like it's more a historical curiosity than an actually good album. It gets very muddy in places, it's repetitive despite the short length, and perhaps one or two solos could have been omitted. I'm glad I listened. It's okay in places and I can see why it's so influential. This album just doesn't wow me.

This was a great album for a sunny Sunday afternoon. Good Aussie rock.

This was a joy. The first half is the commercial one: the hits, the camp synthpop and a slightly overwhelming production. The album really settles into its own on the second half (what I suspect would be the Side B on a vinyl): playful New Wave pop with nods to B-52s and Split Enz. Cyndi's vocals are great throughout and there is an arch playfulness to her that none of her contemporaries (Madonna, Sheena Easton) never managed. This will go on repeat.

This was a surprisingly great listen. So great that I listened to it three times in a row. While I'm not the biggest fan of Young's vocals, there is a vulnerability to them that works really well here. A tough album to grade because I think he's best within the CSNY combination and also this isn't his best solo work - but there is undeniably something special here.

This is peak 1993 American grunge/lo-fi. You can tell where subsequent acts like Snail Mail, boygenius, and Courtney Barnett got their inspiration. Courtney Love pilfered a lot as did more slick acts like Alanis Morrisette and even Sheryl Crow. But that doesn't mean that I liked this album. It's of its time and place, and that makes it an interesting and groundbreaking album. It's a historical curiosity. Glad I listened but never again.

Lloyd's "Love Story" album is one of my favourite 1990s albums, so when this one turned up as my album, I whooped because I've never listened to his work with the Commotions. And unsurprisingly I bopped along to this album very happily. The jangly indie pop is the sound of where I live (quick check: yes, this band was formed in Glasgow) and I adore Lloyd Cole's signature vocals. Listened a few times while getting ready for work and added more than a handful of songs to my playlist. An album to slot in between Aztec Camera, Belle & Sebastian, and The Go-Betweens. Good stuff.

Even on their early just-finding-my-feet days, this band was something else. The album starts with It Won't Be Long at full throttle and, while there are some slower songs, never really lets go. I'm not going to bother with "oh but they got better.." because obviously this isn't The White Album. This is great: short, snappy, intensely energetic, and fully committed.

Someone whose name was familiar but I hadn't heard the music. Joan's voice was great and her guitar skills excellent. The music was good. The production (for 1976) was insanely good. It's just not my sort of thing. Still, you can hear the line from this album straight through to Tracy Chapman, Tanita Tikaram and even Amy Winehouse and Raye. So even if it's not my sort of thing, mad respect.

Title track is a stone cold classic. And then the album dipped into background music. Don't get me wrong: this is smooth as heck, but the smoothness also blends together. Would I play this album on Sunday mornings? Sure would. But it doesn't go any deeper than that for me.

This is so dull. 80s jazz-easy listening that plods along with umpteenth sax solos and sterile production. Legit the first album where I felt like giving up after the first three songs.