1001 Albums Summary

What a difference five years makes. On 1976’s 2112 Rush were offering up an album which could act as a neat introduction to prog rock, something enjoyable and gentle that could get you into the genre. By the time they get to Moving Pictures they are masters in their field crafting big, overbold melodies which shoot along with palpable force. Quick proggy changes from one idea to another, one key to another, one time signature to another never feel anything less than fully developed and cohesive. They have a vision bolstering each song which allows you as a listener to fully immerse yourself and be taken for a ride. The band have sat together and worked out what makes each track tick, yet it never feels anything less than a singular fluid machine. If 2112 is an album which could get you into prog, Moving Pictures is an album which could get you fanatical about it.

Ray Charles and his band are at their best when they reign it in and let their natural talent speak for itself. Too often Ray alters the material to add a little extra flourish, and it changes for the worse. We all know the standards so it’s a bit annoying to hear someone consistently making new inflections and timing decisions here and there that make the songs worse. His talent is in singing not composing. Similarly the band sounds best when they’re playing it straight, but the more they push the bombast or the flourishes, the more strain gets put on the original material. But there is enjoyable musicianship under all of the extra layers.

Sergeant Peppers is a remarkable record in so many ways. To a greater or lesser extent from track to track it handles psychedelia well and has the typical Beatles enjoyable mix of rock songs and ballads. Getting Better is one of the highlights, with John nicely undercutting Paul’s emotional “it's getting better all the time” with a dour and cheeky “it couldn’t get much worse!” I also absolutely adore the deeply emotional and gut wrenching A Day in the Life which starts so beautifully hopeless and tragic, before resolving into something remarkably chipper. Unfortunately I struggle with the popular consensus that this is “one of the very best albums of all time” though. It’s great, but unless you’re strictly framing this in terms of its impact on wider culture and music, I can’t conceptualise it as a masterpiece.

A killer title track which everyone has heard a thousand times, followed by other songs that pale in comparison but are totally fine, if a bit bland at times. The album tracks don’t pop but make for easy listening. Nothing to get mad about!

Nick Drake was capable of breathtaking simplicity, generating a great deal of emotional energy simply through finger picking a series of smart chord structures and gently singing. There is not a single bell or whistle on this record, the songwriting and lyricism is left to speak for itself. Drake doesn’t have to hide behind anything because there is a seriousness and depth to his music which carries the whole production. You think you’ve got a handle on his performance, his rhythm, then he produces something as simple and thought provoking as Horn. The space in between the notes are as profound as the music itself. Country to popular belief it’s not a dour album either. Listen to the hopeful and life affirming choruses of Things Behind the Sun which counterbalance the creeping melancholy of the verses. Much has been made of Nick Drake’s dislike of the dense production and additional instrumentation on Bryter Layter and clearly that preference has been addressed here. I personally admire both modes equally but concede that Pink Moon is a perfect record and am glad it has that point of difference with it’s predecessor. A one in a million talent.

By all accounts a well loved classic album, but the main descriptive word I'd personally use is long. This album is very, very long and thanks to the various reissues, remasters and remixes its almost impossible to find the shorter original version (only 104 minutes!) in the original order. Side A and B are very solid with Harrison outlining his vision, a good mix of hits and more thoughtful folk rock, but the further down the road the rarer the quality cuts become. You can have too much of a good thing.

The highly complex erratic jazz of Uh Uh represents this album's top moments in my mind but this is nicely paired with the more vibey moments such as A Fan’s Mail. Drunk is pretty funny at times too, but is sensible enough to not bring that into every track. I think it could be cut down to a very good 30 minute album. It’s not a long album, but it feels long. Despite the quality of the best material, by the end this quality feels stretched out, lowering the overall experience. A welcome feature like Kendrick’s is during these points a refreshing glass of water in a hot, barren desert. Simply put, the end of this album is boring.

I’d only heard one of Calexio’s later albums and based on that had no idea that they had this kind of multilayered and deep compositions in their pockets. The variety of instrumentation, from the sultry strings on Black Heart, to the robust country guitars that line most of this album, is impressive. They don’t sit still offering up wildly different versions of themselves from track to track. They can play it straight, they can play it experimental, but it’s all very accomplished. Not Even Stevie Nicks… shows they can easily offer up alt-country pop bangers if they want to, but they’re busy doing so many other things!

Elvis is, obviously, absolutely huge. Everyone has heard of him. He is one of a very small number of globally dominating artists. Before The Beatles for a large chunk of the planet, he was music. I find it strange then that only 70 years later I know absolutely no one who listens to him. And I don't mean in a kind of RYM sense of someone checking an album out and rating it, I mean genuinely sitting at home on a weekend and listening to a couple of Elvis records for the sheer pleasure of it. All of The Beatles' albums pass this test after 60 years, but growing up I've only seen Elvis as an iconic image rather than a musician. If I was to guess why, it would be because of the value we place post-1963 on musicians writing their own songs. We struggle to look at someone who is an amazing performer and give them the same kind of plaudits as a singer songwriter. Back in 1956 that would be like expecting your favourite actor to have written all their lines but now, to me at least, it seems reasonable. This debut does a great job of showcasing Elvis "the performer." The sheer force of personality that made him a wild sensation in a mostly grey world. He can get quite weird and freaky on the mic, which I like. He can also be sentimental and soulful. A legend.

I feel like a bit of a villain rating this so lowly, but it doesn’t do much for me. It’s a vibey, smooth listen that’ll go down well with company round your house on a weekend. But it reach out of the speakers and grab me. There isn’t a particular element that I lean into and get obsessed with. It’s just totally fine.

When an album varies to this degree, spanning so many different styles, I find myself having to listen several times to arrive at a unified opinion. This undefinableness has to be a good thing. The thread that’s woven throughout its psychedelic nature, but it has in proggy, relaxed and avant-guarde forms. When a band goes off on one with mad riffs and never ending jams, I sometimes crave a grounding human voice. The relative lightness of vocals across Larks makes it slightly less to my taste than the masterpiece In the Court of the Crimson King. But it’s got an awful lot going for it.

Very sweet, completely inoffensive lounge music that is unlikely to have a major impact on you, but might raise a smile.

Tracks 1-4: The songs at the start of this album are kind of great and kind of terrible - they make me feel like my brain is broken. It’s as if Moby has 75% of the ingredients needed to be an amazing artist but just has something missing. Something is slightly off. Tracks 5-7: There's suddenly a nauseating variety of genres introduced. Like you're eating ice cream and gravy. The closest artist I can think of is The Flight of the Conchords. He's trying out loads of different styles. But with no jokes. And the songs are suddenly just bad, but like, in a skillful way. Track 8: Back on more even ground here. You’re starting to understand the formula of Moby’s better songs. He finds an amazing, niche sample, then puts some pretty impressive production over the top of it that almost matches, but doesn’t actually match. Track 9: Moby as an Acid House hellscape New Order. He wants to show us how talented he is and how many genres he can master. He is a musical genius. A musical tyrant. Tracks 10-13: We’ve reached the filler tracks baby! And you know what? It’s respite from all that damn flavour. Moby sedated and running out of ideas is my favourite kind of Moby. Quick - catch him while he's tired. Don’t let him loose! Track 14: Who gave Moby an acoustic guitar?! Now I’m having to contemplate the sentence “epic downtempo folk rock music.” This is unnatural and wrong. Tracks 15-16: Woah. Ambient Moby is really lovely. I feel like I’m in the hypnotist’s chair. “Your eyes feel heavy. You are feeling sleeeepy. The last hour of music has been the flawless product of a musical mastermind.” Track 17: Okay. We’ve reached the tipping point and I’m finally prepared to say it: these songs are pretentious. Moby needs to stay as far away from that mic as possible. He is talking quietly and has the mic’s gain turned up to max. It’s an ASMR nightmare. I can hear the saliva in his mouth. Horrible wet mouth sounds. Why would he want me to hear that? He has intentionally chosen for me to hear that. Track 18: Nothingness. Empty nothingness. There was life before Moby. There is life after Moby.

They already sound great, and in brief glimpses you get to see the exceptional talent they later displayed in bucket loads. If they never went on to write another record, I think With The Beatles would be considered a strong, c-tier early 1960s record with excellent pop sensibilities and gorgeous harmonies. As a Beatles record it receives a far greater level of expectation than it can handle.

I loved this album the second I heard it. But I’ve had to play it ~5 times to understand what on earth I’m listening to. Is it a sort of early REM thing but with more of a freestyle jamming style? Or does it sound like a more laid back Pere Ubu? Or are they like a sort of slightly unhinged country band like The Colorblind James Experiment? Comparing bands with other bands is boring but I just can’t yet properly catorgarise the gentle magic behind what fIRHOSE is doing. I’m going to have to do lots more listening.

Thin Lizzy are a tremendous amount of fun and bring tonnes of energy in this live setting. Even as a curmudgeonly hard rock hater who is turned off my needless displays of virtuoso guitar playing was completely swept up in it all. The thing that does it is the knock out singles. You can’t deny ‘Jailbreak’ or the iconic “The Boys are Back in Town.’ It lifts the spirits.

It’s an extremely relaxed, funky record. Lots of zany keys and soulful ballads. It’s that dreaded thing though where, for me, it fades into the background and becomes just a nice “vibe.” It's definitely adding something to my day, but I won’t be rushing back for repeat listens.

After a brilliant, and sadly underappreciated comeback album in The Next Day, David Bowie clearly felt he needed to deliver something more ambitious for what he understood would be his final album. The Next Day has a comparatively packed tracklist - 14 songs to Blackstar’s 7. What Blackstar loses in length it gains in the scope and scale of the songs themselves. This is not a straightforward pop album. The title track is a multi-layered odyssey. I remember a friend of mine describing it as “weird” and not being sure about it when it was first released. Months later after Bowie's death they hailed it as “genius” and “very clever.” Well, I agree with their revised opinion. How the hell do you have a song like Blackstar in the tank while nearing end of life care? He had more energy and creativity at 69 than nearly anyone has in their prime of life. For the bulk of this album (Lazarus, Dollar Days, I Can’t Give Anything Away), after a career of writing from the perspective of different characters and rarely autobiographically, Bowie talks from the first person, as someone who is either dead or dying. Given that no-one knew about his diagnosis for the first 2 days of this LP’s release, he essentially chose to present himself to the audience as one of his characters. It's a powerful and very considered choice. He sounds mournful, nostalgic and appreciative. More than that, each of these songs are beautifully melodic with a striking central performance. The jazz musicians working around Bowie enhance every move he makes. Girl Loves Me stands out, not just as part of Blackstar, but across Bowie’s entire discography. It has an edgy, jumpy quality to it. Flirtatious and scary. He is almost rapping nonsense rhymes, which makes for a nice antidote to a lot of the more reflective and sombre songs elsewhere. There are two tracks which, for me, pull Blackstar back from being a masterpiece. Sue and ‘Tis a Pity are a rerecorded single and b-side from two years prior, both in my mind feel like a significant step down from the album as a whole. But forget that and think about this. He lived to see rave reviews from critics. He will have predicted the compound public interest ultimately generated by his death. He knew that, unlike The Next Day, this album was one of his biggest hits.

Dark Side of the Moon treats its audience with respect. It trusts that people are patient and are willing to wait for good things. Structure is everything to this record, imagine if they’d tried the CD era trick of kicking the album off with this LP’s big single ‘Money’? The track listing is intelligent and rewards people for listening to it as a whole. Pink Floyd are not experimental in the sense that bands like Throbbing Gristle or Suicide are experimental, but they manage to take some relatively awkward ideas and make them palatable for a very broad audience. It is this element that makes Dark Side of the Moon one of the most exceptional albums of all time. The ability to make something pretty surprising translate it in a way that any human being could appreciate. The triumphant wall of sound moments pressed up against the modest, gentle moments are perfection. The general mix and tone of every element of this album is unbeatable. The tension between the relatable down to Earth vocals and the cinematic out of this world instrumentation is phenomenal. Basically, this is a great album.

I struggle to summon a huge about of energy for ZZ Top, either positive or negative. Its bluesy, southern rock which is a genre mismatch for me, though I do find it perfectly listenable.

Part jazz, part psychedelic rock, one hundred percent freewheeling and experimental. Facelift takes a little while to get going, initially lost in its own whirs but it settles into some genuinely compelling jazz which is somehow both uplifting and disturbing. Slightly All the Time has a more straightforward appeal. This is the song you could pluck out and show a friend, with a slow, stately build throughout the 18 minutes Moon in June brings in elements of English folk singing, or at least charming vocal wandering, courtesy of Robert Wyatt. It’s a less jazz-y more Hammond organ-y affair but no less densely textured. Out-Bloody-Ragious moves the band back to base a bit but messes with the production and gets into some nice saxophone loops. Overall there are moments that I absolutely love, and others which I’m less sure about. It’s a phenomenon though. A must listen.

Overall I find this to be a mixed record because of the inconsistent writing, tone and occasional dodgy politics. I'm sure I'm the one millionth person to point out that the Jamaican accented Coconut stands out like a sore thumb on the track list. Its hard to put myself in a mindset where I'd see this as a carefree bit of fun, even though I know this is how its intended. Comedy music is hard isn't it? Especially if you want something to never date. I'm a big LCD Soundsystem fan so first heard Jump Into The Fire via their rather straightforward cover. I'm not sure I love either version but its got a good energy to it. Listened to in a vacuum, Without You is a gorgeous number. I like the heightened emotions it delivers. But in the context of this "funny album" it sounds like a self conscious offering. Half a melodramatic joke, half a painful admission of heartbreak. Its would like to be taken seriously but failing that will accept a laugh.

Its a genius idea to create a concept album reflecting on life in the suburbs. I've always been drawn to music which explores the mundane reality of people's lives. I find "exceptional circumstances" are explored far more in art than the actual life that most people are living. I prefer the vinyl tracklisting with Suburban War moved to the backend and the infinite loop after We Used To Wait. The record splits itself neatly into 4 EPs which all have their own energy and flavour, progressively getting less urgent and more introspective.

Its wonderful how Tracy Chapman can turn her political anger into something so uplifting. Its a small shame that Fast Car, the most repeatable of all the songs here is the only one that lacks a political bent. Despite being emotional, her music is an unambiguously positive force. The front end has the hits and they still feel as fresh as ever. The latter half is less of a rush, but eminently listenable.

David Berman's vocals are absolutely gorgeous. This with combined with loose, extremely slow paced approach to country, makes for an enjoyably melancholy listen. I am a lover of sugary treats, so I must admit that the pop factor Berman later brings to Purple Mountains is more my speed, but I certainly have no regrets spinning this for half an hour.

A wide eyed, whimsical hour of uplifting instrumental twists and turns that take you on several fully fledged journeys. When it hits, it really hits. When it doesn’t, it’s still musically interesting.

This is an interesting album but I’m not sure it lives up to the hype. Perhaps others love the fact he sounds vulnerable and tired, mournful even at points. He is certainly eschewing his trademark pop sensibilities which gives this an interesting direction, but out of all the Bowie records, this is not one of the more memorable.

I thought I was partial to a soppy love song with comedic twist, I’ve certainly tried to write some myself, but I didn’t enjoy this album. The closest I got was the excellent If… which is the only one which nailed the balance between romance and comedy, with enough focus on the latter to sufficiently undercut and take the curse off of the former. Overall though just too many songs in a row about the same thing that aren’t that funny or entertaining.

I’d say this is The Beach Boys in their platonic form. It doesn’t quite have the differentiating factors that make Pet Sounds or Surfs Up so special but there is the inspirational songwriting and performances that you would expect. I particularly liked Do You Wanna Dance? which would uplift the spirits of even the most embittered troll. The album gets progressively less evocative as it goes on, especially the lyrics. For example, I'm So Young mourns how the protagonist is too young to get married, they wish they could get married, etc.

The charms of the mock provincial schtick on the opening song is lost on me. If it was just this song I’d probs be able to get on board but to a lesser extent this jokey twee charm threads through the whole album and is an annoying vibe for me. I like The Kinks in other contexts but I’m not a fan of this one.

I prefer Want Two quite a bit to Want One. Rufus is more enjoyable in this darker mode, especially when it's just him at the piano and he dials back the pomp and humour. The Thom Yorke comparisons (sorry) continue to be inevitable because he does just sound so similar, especially the major to minor transitions, but in its own way this is an enhancer. The weakest moments for me are when his trying to make the audience laugh.

Howdy partner. I unfortunately did not have a rootin’ tootin’ time listening to this record. It was a real patience tester for me. Buck Owens’ music is so saccharine that it makes Johnny Cash sound like a thug by comparison. Its open, tender heart is undermined by the repetitive subject matter of the songs - a girl is often leaving Buck!

I love the fidgety, playful energy Pretenders bring to each song. They sound like they are continually teetering on the edge of exploding, actively working to hold the whole production together. Chrissie Hynde is great, keeping the momentum going with her powerful voice and force of personality. It’s an album of peaks and troughs though - it has the singles you know and love and some more quality tracks besides.

I'm relieved the label convinced Prince to not make this a triple album. Its charms, and clear popular / critical appeal, is lost on me. There are sparks of smart pop writing on display, but it wanders around a lot, the songs are extremely long, not particularly to the point and is missing the flare and hooks that I'm after.

I’m not an Americana kind of guy and I quite liked this, so it must be a strong example of the genre. The band are passionate and the singing sounds genuine and heartfelt. Yeeehaw.

This is a highly entertaining rap quartet who bring great lyrics and a real sense of fun and energy to their flows. It sounds like a talented group of friends who are trying to make each other laugh over the top of boisterous jazzy production. There’s enough single power across the tracklist that it more than earns the almost hour long run time. There’s an interesting tension between the deliberately controversial lyrics on a song like Pack the Pipe, and the fact that you’re listening to what sounds like four classically trained theatre kids. Other tracks like Return of the B-Boy just sound like a group of boys having the most amazing party in the world. With some notable exceptions, the humour has aged very well. In fact, the skits act as spacey, rich interludes which neatly glue the songs together. It would be a much poorer release without them. It’s also a great opportunity for them to showcase their excellent singing.

I enjoyed this, but not to the same extent as others so I hope to return to it at some point. The production sounds like plunderphonics in its infancy, a collage of samples which is cool and almost certainly cutting edge for the time, but falls short given what I can listen to today. The rapping is much better than the beats but it does still sound a little late 80s, early 90s to me in a way I’m struggling to get over. It could hit harder. It's obviously influential on music that I love. I’m hoping its qualities are going to dawn on me sooner or later.

I think my three stars can't capture quite how interesting this record is. My favourite aspects of this record bring to mind the Animal Collective album released in the same year. There's a lot more to it than that though, they are far more fragmented, a lot more abstract, happy to hinge a whole songs off of a series of non-sequiturs. A patchwork album of patchwork songs. Its fascinating. I'm just not sure my brain can make it completely work for me.

Tracks like ‘Venus in Furs’, ‘The Black Angel’s Death Song’ and ‘European Son’ enable The Velvet Underground’s debut album to still sound surprising and edgy 51 years later. John Cale’s strings, tremolo on the guitar and weird percussion/ sample effects are just some of the elements that elevate this from being a standard fare 1960s rock album. Oh, and the fact that Lou Reed is an amazing front man with an unmistakable voice. ‘All Tomorrow’s Parties’ introduces a lovely psychedelic flavour to this record. Nico’s addition to the line up really helps break up the feel of the tracklisting. She sings in a low, haunting but relaxed way which sounds at odds with the frantic piano behind her vocals. ‘Sunday Morning’ and ‘I’ll Be Your Mirror’ are relaxed perfect pop songs that are real levellers. You’d be hard pushed to find someone who’d hate them. It’s strange that neat, cute little flavours like these could be sat on the same LP that delivers something as expansive, beefy and lyrically outrageous as ‘Heroin’. Invigorating straight up rock songs ‘I’m Waiting for my Man’, ‘There She Goes Again’ and ‘Run Run Run’ are completely different again but they sound cohesive with the rest of the album. They manage to keep on varyin the way they write and perform without it all sounding like a disjointed mess. The final track ‘European Son’ sounds like it is constantly on the edge of falling over, but they juggle that sound and just about keeping everything in place - its electrifying. It would be easy to underestimate this record and mistake it for a good but standard rock LP, but its not. It is certainly a 5* album.

This album washes over me in a really beautiful way. A beautifully controlled, patient, well composed LP. I’ll admit that the moments that grab me most though are the slight glimpses of freak out jazz pop, like the backend of Criminal. I know on later records she specialises primarily in this more esoteric approach, which is where my interests lie. That aside, the debut provides a series of accomplished ballads from a 19 year old with a phenomenal voice, who sounds several years her senior. In fact, 30 years later her voice sounds exactly the same as it did back then.

Janis Joplin has a phenomenal voice. Totally unique and highly emotional. The band is tight and working in perfect unison. I like how personable and personality led the record is. It has a real sense of self.

I am uncultured. I need to hear some Songhai Music which is not blues tinged, because most bluesy music knocks at least a star off due to my broken brain. My God I struggled with this record. I can hear that the performances are good. I'm into the vocals. I'm not into the hypnotic, winding melodies. If I was in a trance like state, meditating or at a serene cafe reading a book then maybe I'd be able to understand it better

There’s an engaging tension throughout between Pere Ubu presenting songs in the classic form and jagged jabs of uncontrolled energy and noise. The vocals have a compelling, anxious unpredictability that goes beyond post-punk’s typical form of expression. They can screech and yelp and laugh and lurch to places well beyond a conventional approach. It’s playful, artful music which is willing to stretch and contort itself. You can’t make music that engages in sound collage, or performance art that intentionally uses repetitive, monotonous, and unsettling elements, without people calling it pretentious. Ultimately whether this is pretentious to someone or not is just down to that gut reaction - did you enjoy it? I personally love it and love what it does to my brain. It makes me feel like I’m being turned inside out.

An inoffensive, charming listen of historical importance, but the impact of this album will most certainly have lessened over the years. “Famous soul singer takes on country and western classics” does not have the same impact now and it would have in 1962. Expectations radically shifted in the 60s. If an artist is not a songwriter it’s hard for them to maintain the same legendary space that they once held

The compositions are bold, brash and basic, often even underdeveloped. The humour fails to charm me, in fact the lyrics generally lack detail or focus. To top it off it’s a frustratingly long release. At best it’s pleasant and inoffensive, at worst the unearned “punch the air” moments gnaw away at you while Rufus does a Thom Yorke impression.

Sounds way more modern than 1993 to me. There were so many rappers even in 1998 still doing that annoying “hippidy hip-to-the-hop” thing. Instead Wu-Tang defined a bold, brutal and determined style which just cuts straight through. Clearly very influential on the best of hip hop today. Once this style penetrated I don’t think the genre could ever shift back. There is something crisper more substantial about the production, a finely balanced record.

I have never engaged with U2 and am dipping in mid-discography with no context. I have to ask: why do U2 sound like Take That on this album? This is quintessential 90s cheesy boy band fare. Easy listening. Adult contemporary. Whatever euphemism you want to use. Stuck in a Moment is especially toe clenching… At odds with the reputation they’re supposed to have - no? The more palletable moments veer into “cool” era Robbie Williams, but without the hit power. Bono emphatically singing the chorus lyrics “a mole, digging in a hole, digging on my soul now, going down, excavation, ionide in the sky, you make me feel like I could fly so high, elevation.” Had me with my jaw so wide you could see through to my stomach.

Soundtrack albums are meant to be more ephemeral than this. Yet 50 years after Super Fly (the movie) has faded from collective consciousness, Super Fly (the soundtrack) is still standing as one of the most famous albums by one of the most famous Soul singers of all time. Curtis’ vocal chops are no less satisfying than on his debut. For me though he is lyrically sidetracked, or even hamstrung by the task of lyrically following the plot of the movie. His trademark social commentary is significantly dialled back. Instead we have peppy, groovy songs like Pusherman, where Mayfield provides a character analysis of a drug dealer. It’s iconic silly fun. Ultimately I don't think this sits as one of Mayfield’s top albums despite its legendary status. There are three killer tracks mixed in with some less exciting instrumentals and weaker narrative tracks.

It’s a strange thing listening to this album on streamers in 2025 because you’re conscious that you’re not hearing the original 1956 LP. The original album is a swift 46 minutes with studio overdubs liberally applied (60% of the “live album”. On the “complete” version, you’re firstly delivered the full 75 minute show, which is captivating, then studio excerpts from those curious overdubs. You are then presented with what is sort of the original album, with one track subbed in and one track subbed out. The two albums sound nothing like each other! Nothing at all! I wonder if anyone at the original performance who picked up the LP months later could tell that fake audience clapping was being faded in and out! The original unaltered recordings are sensational, really showing what Duke Ellington can do with a piano. Despite being recorded in an open air environment it’s full of warmth. I’m not hearing the original record through a gramophone set up, but listening side by side with the truly live recording it quite obviously lacks that same level of warmt. But then it sold an absolute tonne in the 50s - so what do I know about anything? Both records are great and give you a proper rush. But the original is a stealth studio album.

The Pretty Things make music that is rougher, tougher and more robust than the more psychedelic elements of The Beatles or early Pink Floyd. Balloon Burning has a little bit of proto-punk bubbling away inside it. I actually had to check that this album was from 1968 on hearing Baron Saturday based on how ahead of its time it is. And (to keep the annoying comparisons going) it's the first time I’ve heard an artist who I’m pretty sure inspired The Fall. Very cool!

Dire Straits are potentially the quintessential dad rock band, one that I haven’t engaged with until now, though like most people have had a lifetime of hearing Sultans of Swing on the radio - which is a bop to be fair. The band are able to create quite a groove. There is a relaxed quality to the guitars throughout this debut, it’s very vibes based, controlled, professional. The vocals remind me of Bob Dylan and have a strong personality to them. Would I personally like a bit more flavour? Yes. Though I appreciate the relaxed approach.

The Beatles followed up the monumental critical and cultural success they enjoyed with Sergeant Peppers with easily their lengthiest and most challenging work. A huge part of The White Album’s appeal comes from its sheer variety. It’s got the hits but it also sees them taking on unexpected and even sinister new modes that have you question who this band are. To pick a song out (and feel I have to zone in on particular tracks because there’s 30 of them) Helter Skelter is one of The Beatles most exciting and surprising songs. It creates a phenomenal vision of a completely different band, perhaps even paving the way for Heavy Metal bands of the 1970s. They are saying “we could be this band if we wanted to be, and we’d be amazing at it.” And they’re right. How unbearable or enjoyable you find Revolution 9 is completely down to how prepared you are to hear songwriting icons, The Beatles, step away from music and instead create sound art. For me it’s an interesting enough idea to happily spend 8 minutes on. As a one off it’s pretty damn interesting, especially given how it transitions into the crooning old fashioned brilliance of Good Night, which has to be one of the all time most affecting transitions between songs. Good Night is another example of “we could be this band if we wanted to be...” If I was to pick one hit to discuss it would be While My Guitar Gently Weeps, which is in my opinion The Beatles’ best song. Across a discography dominated by John and Paul, George manages to best them with his rawest and most emotional outpouring. It’s a pop song but it’s also tough, twisted and mean. The guitar solo is as gut wrenching as it is beautiful to listen to. So why is this an 8/10 for me and not, as most would have it, an out and out classic? Simply put, I think it could do with a bit of a trim. I’d keep the big singles of course, and welcome all the bizarre outliers, but I’d cut out songs like the Honey Pies and Bungalow Bill which neither push the band into new territory, nor are particularly exciting examples of their craft. 90 minutes has to be well a truly earned and for me cuttable songs on such a long LP is a bit of a sin. Though I appreciate there will be people for whom their enjoyment of the band truly hinges on Wild Honey Pie and The Continuing Story of Bungalow Bill. Mine does not, so for me this The White Album sits in the category of flawed epic.

Bluesy rock albums are often lost on me and this is not an exception. Even for me though, Maggie May is an absolutely cracking lead single. Other than that, despite the clear musical ability on display this leaves me cold. During the Amazing Grace rendition it even leaves me in despair.

I find it crazy that David Bowie’s long awaited triumphant return was met with a relatively muted reaction. This is a brilliant set of tracks stands toe to toe with albums from more celebrated eras, bringing proper pop hits to the table in spades, including Valentines Day, which stands as one of my favourite Bowie tracks. He has so much passion and the energy on this LP. I love the idea that he spent years writing, saving up these tracks, ready to reemerge.

This is a much more laid back album than I was anticipating, having been raised on the 2005 follow up. There are some good tracks, Sound Check stood out to me as having a particularly good groove to it. But I could have done with a bit more oomph generally.

Who knew that the words “surfs up” could be read negatively? It sounds like The Beach Boys stretching themselves creatively, looking at what is developing in music of the era and thinking about the state of the world. Some of the experiments work better than others, but the lasting impact is a far broader definition of what this band sounds like. It’s dark, energetic and actually pretty deep. ‘Til I Die stands tall amongst the tracklist. It has me on the edge emotionally as it seamlessly transitions, dips and dives from section to section. The Beach Boys using their well known skill of harmony for a new and different purpose. One that is sad but no less impactful. 8/10

When compiling an album I think it’s important to make sure there are mixture of tempos and rhythms so that one song doesn’t easily blend into another. There is clearly a lot of writing talent on display, but once you get beyond the genuine pop hits the mid-tempo easy listening tracks do become fairly indistinguishable from each other.

I don’t think I’ve ever heard a band have as much fun as Queen are having on this album. There is no shortage of flourishes as the band push each song to be the most developed, maximalist version of itself. You’d have to be a bit heartless for it to not raise a smile. A lot of it’s not to my taste - but this is clearly music as a force for good in the world. 6/10

Accounting for inflation, Shalimar is apparently the most expensive film ever made in India, with strong international appeal due to the inclusion of Western actors and a bilingual script. It takes a couple of listens to get a proper handle on this soundtrack because the first and second halves are so different from each other. At the start of this LP my brain feels like it is being juggled from performer to performer, style to style, transition to transition. The performances, and expansive range of musicians don’t just sound expensive, but like they have free reign to be truly creative. Singer Usha Uthup on One Two Cha Cha in particular is so fluid in front of the microphone that she has you questioning whether she’s ad libbing (impossible surely?) It’s experimental music in virtue of it being home to such eclectic styles sitting side by side, but also, consistently and pleasingly strange decision making being made in the writing. During the second half it settles into something much more conventional. The spine tingling, filmic instrumentation remains, but you get the feeling they would be enhanced by the visuals they were written to support. It might be an indication that I need to see the film, which I’m sure benefits from the relative lack of intensity in the closing moments. 7/10

I love that Belle & Sebastian push against the prevailing forces of cynicism but without being humourless. On this LP you get a genuine sense that you are looking into their deepest thought. This is an enjoyable album, though I do think it’s been bettered by them since, with a slightly quirkier, preppier take.

This is my first exposure to Eels and I’ve been really taken by how extreme the dynamics are - bolshy guitar noises quickly swap in and out with moments of relative silence. I also love the lyrics. E pushes the jokes in his lyrics really hard, either by developing them into something increasingly more ridiculous, or just by pushing the same joke again and again. They have the same gutsy cathartic style as Nirvana but with the humour amped up a thousand times. Fans of Elliott Smith would also enjoy their cheeky, downbeat worldview.

This is a pretty hefty document. An impressive fifth and final blow out on IRS records before shooting off into superstardom. Their incredible success as a band is in part thanks to the singles It's the End of the World as We Know It and The One I Love which both make it onto close to 100% of all mix-tapes spanning REM's 15 albums. With some notable exceptions, its a darker record than most of their output, moving closer to what we saw with Fables of the Reconstruction. Unlike Fables though, the songs are relentless, robust and overbold. Finest Worksong feels like you're in a boxing ring with the band, getting absolutely pummeled. They just don't give up. My favourite songs tend to be the brighter ones. The lyrics to Exhuming McCarthy are really funny. "You're sharpening stones, walking on coals, to improve your business acumen." The way Michael Stipe's vocals dance around the piano stabs and strumming is a genuine delight. The pummeling continues with It's the End of the World... but here they are pummeling you with kindness and slightly niche references. "LEONARD BERNSTEIN." Its a timeless song that feels more relevant with each passing year. My enjoyment of the record does cool slightly over the course of the closing tracks, but it still stands as easily one of their most important and popular albums. While in my opinion Lifes Rich Pageant from the year before stands as their best release, there is no doubting that it is Document which got bums on seats.

A great introduction to The Clash and an album that goes a significant way to defining a genre, but it is not their definitive work. They are mostly at their best on the tracks that come in at 2 minutes or less in length. The lengthier songs at the end of the record don’t have the same amount of power to them, an element of their craft they clearly master on later LPs.

The production and arrangements on Kid A are The production and arrangements on Kid A are unbeatable. The tracks ‘Kid A’ and ‘Treefingers’ put choice of instrumentation, detail and textures above everything else. This approach punishes passive listening but rewards active listening ten fold. This is true of the whole album. Even when Radiohead are kicking you in the teeth with ‘The National Anthem’, if you listen with the kind of focus required for the two aforementioned tracks, an incredible amount of additional beauty is revealed behind the focal points. Following OK Computer, which saw them master their craft, with Kid A is especially impressive because it sees them instantly master an entirely new craft. It’s the same band, yet entirely different.

I hate to admit it, but bring all my biases to listening to blues rock. I think everyone has a genre which sounds like “old people” music to them, and this is mine. The reason I say this is because I could feel this remarkable album expanding my music taste. It got me. The musicianship is out of this world and it gets better the further it goes on, with the best track in my mind being the epic In Memory of Elizabeth Reed. When they get stuck into a particular groove and just rock it out it is quite a ride. So much so that even the most cynical and difficult to please among us (me) are left pretty impressed.

Dare! is a masterpiece that would be impossible to replicate today. Even if you were to get the same keyboards in the same studio with the same personnel, the writing and production would be significantly altered due to modernity. Part of its appeal is the bluntness and boldness of the synths and creativity with which the various sounds are matched to the bright, oscillating melodies. The sheer dynamic range and variety achieved with such a ridged set up is what pushes the band into such inspiring and surprising places. I don’t want this to sound like a patronising “didn't they do well”. What I’m saying is thank God they made this when they did because it’s just perfect. There is an incredible tension between the severity of the angular rhythms and the big, bold, bright purposes that they are employed for. The vocals match the keys, each syllable is shot out in a singular punch, arranging themselves into words. The lyrics and their delivery have an odd detachment to them, while covering a range of the most dramatic human emotions and experiences. Particular favourites are Darkness and Seconds but I don’t think there’s anything even remotely representing a dud across the tracklist.

It’s a very open hearted, deeply chilled out and vulnerable folk rock record. The pleasingly jarring, conspiratorial lyrics on What are Their Names is the definite highlight for me. Though pretty pleasant, it did get a little tedious the longer it went on. Worst offender for this is the extended length second track Cowboy Movie.

There is a harder edge to this debut than the later albums that I’ve heard, potentially with less of an eye on being a commercial success. Not a criticism of either mode - both are great. The first half is full of unforgiving, relentless beats. Each song digging deep into a groove and never letting go. Three Little Birdies Down Beats goes particularly hard. The Manchester influence is there, shades of Baggy in Chemical Beats. The second half flexes to something a little more airy and open. I like the female vocals on closer Alive Alone providing a beautiful contrast to the thick clicks, thrubs and snaps around them. An impressive debut!

What a beautiful, joyful, open hearted album this is. I’ve only ever heard More Than a Feeling in ironic late night rock bars with people drunkenly overacting the lyrics at each other. Removed from that context it’s much better. It’s just a huge, unselfconscious “punch the air” moment, full of pure serotonin. I’d go as far to say this is one of the least self-conscious records I’ve ever heard. Though I haven’t heard much hard rock, so it might all be like this…! Anyone who is unfamiliar with this band should read their Wikipedia page, or even a short biography. They are more fascinating than most groups. I particularly loved that they pretended to record this record in a proper studio to make the label happy, how mad! They’re just rocking out in a makeshift basement studio having a fantastic time. Once the hits dry up the second half of the LP settles into something less “punch the air” and a more chin strokey, though it’s still a positive vibe. It could even soften you to hard rock!

The production is amazing. The lyrics are conscious and refined. Gang Starr are a very smart package. I do start to flag though after 30 minutes of such a similar rap flow. Similar to how I felt on the backend of Moment of Truth - I either want this to be a shorter record or have the introduction of a new flow somewhere along the way. The Meaning of the Name stands out positively because it does just that with Guru on more of an offensive. There’s ideas introduced though that I’m sure artists I love have benefited greatly from. A solid listen.

I have a lot of time for old English, poetry led folk music and also anything where people are trying to do something different. There were glimpses I enjoyed, but Wyatt did not win my trust over the course of the album. There’s a playful leap you need to make to be brought onside. I couldn’t get there because I’m not sure that he had fully figured the record out himself. It made me want to listen to early Pink Floyd!

A handful of hits are mixed in with what sounds like b-sides. It’s quite exciting if this is the worst The White Stripes record because it’s really not that bad. Makes me want to get more familiar with their discography. I especially like how skittish and ridiculous My Doorbell is.

Since getting into hip hop I’ve always been partial to hip house - it blew my mind to find out that this existed as far back as the 80s. Queen Latifah brings a good number of hits to this record, they make up about half of the tracklist and would be a fantastic soundtrack to a party. She’s got a variety of flows which match a strong mix of production and instrumentation - groovy basslines, saxaphones, surprising samples. She’s a good lyricist but I’m most impressed at her ability to land both serious points and humour, the result is fun but not insubstantial. The Pros made me really laugh - I love the idea of members of the public trying to match up to the Queen’s level of rap skill. The only awkward moment across the whole LP for me is the roll call of her children on Mama Gave Birth to the Soul Children - I didn’t need that!

With the exception of Take Me to the River, the Al Green cover, this is only one of Talking Head’s first 6 albums which doesn’t have what are widely regarded as “one of the big hits”, but it’s no worse for it. The band have sanded off what few rough edges they had on 1977 and have arrived in their most iconic form, in part due to much plusher production than on the debut. David Byrne is in a particularly hyperactive mood contrasting nicely with a smoother performance from the band. Throughout the record there are seamless transitions between wildly different sections. Everything is made to sound effortless.

There’s a real sense of journey to this record and I love its warm and open heart, but I can’t pretend I love everywhere that it takes me. It’s certainly interesting, and I can appreciate the freaky qualities which have garnered it a cult audience.

A buoyant, passionate, energetic debut which had me, someone who struggles to connect with blues tinged rock, nodding my head enthusiastically. I predict big things for Led Zeppelin.

This album has some very impressive, cheerful singles where Christine is able to get across his incredible force of personality. When it settles into more of a groove it becomes pleasant but less exceptional. Spotify put the English version of the record first for me, I wish it hadn’t because it’s not as good. I can see the ambitious commercial rational of releasing two versions, but I’d rather he selected the version that resonates best with him.

There is always a tension in Morrissey’s music between his ability to write great pop songs and his narcissistic personality. At his best the latter enhances the former. The World is Full of Crashing Bores (a great pop song) acts as a breakdown of Morrissey’s personality. He sees himself as a victim who is much more interesting than others around him, yet he is also insecure and just wants to be loved by others. He is a self obsessed, vulnerable reactionary with a unique voice and a natural ability to playfully write about his feelings of isolation, and how difficult he finds the world. The way he writes resonates with me despite (or maybe because of) his flawed way of processing the world.  He goes further on How Can Anybody Know How I Feel. He hates himself, but not nearly as much as he hates everyone else. It’s fascinating, for as long as the music is good. On later albums we can be less forgiving. I have a less complicated relationship with The First of the Gang To Die, a cathartic anthem with a big heart which just cuts straight through every level. The effortless, bright guitar chords match beautifully with his melancholy. Morrissey fans have been peeking through their figures watching him slowly come out as a racist over the course of four decades, culminating in him proudly declaring himself in alignment with the English Defence League in 2018. The whole “judging the art, not the artist” conversation seems specifically designed for his fans. It unfortunately puts Irish Blood, English Heart in an unpleasant light. He yearns for people to see the good in England, take pride in its accomplishments and rejects the idea that flag waving is racist. But then it's difficult to get swept up in his yearning, given that he is a racist. It's a well written, passionate burst of energy with a compromised message. A perfect encapsulation of Morrissey.

Big beat indeed. Across the iconic hits on this record Norman Cook brings his very biggest beats, clever manipulation of samples and pop sensibilities from his time in a band to deliver a brash record with popular appeal. At its best these are dramatic, panoramic songs with a real sense of energy and fun to them. The bravery of the man also. To let some of these songs run on for as long as they do. When you’re in the groove with Cook and onboard with the song then this is a definite enhancer. Away from the singles there are several songs that could have done with either a trim, or removing entirely. The track names that you do not recognise in the middle of the album could all go. There is a significant uptick in quality at the end, songs which could have happily sat in the middle. The album as a whole is feast and famine with big singles followed by filler, and at 61 minutes in length that didn’t need to be the case.

It’s rare that a record can both sum up a moment in time, a movement, in the way this one can but also be so utterly timeless. An album perfect for any context with songs that still feel as fresh as when they were conceived over 60 years ago. It’s amazing that in Bob Dylan’s career he bettered this album several times, but there’s a chance he never made anything quite as iconic.

Milli Vanili meets New Order meets The KLF. But nowhere as good as that sounds. I wasn’t here for this first time round, so it feels like there is a bit of a nostalgia factor at play in people’s enjoyment of this which I won’t pooh-pooh but it just sounds boring and annoying to me. Multiple songs sound like parody music. I hope this isn’t what they were playing at the Hacienda!

Pet Sounds is such a sincere and meaningful record. The Beach Boys hit you with excellent song after excellent song. A relentless onslaught of harmonies, neat song concepts and above all - pep! They are in peerless unison as continually one up themselves to deliver another peak of emotion.

There’s enough hits on this Strokes album to sustain 4 albums by regular indie bands - and not bad bands either. It could sound like a greatest hits, if it didn’t have such a singular vision. The guitars have an addictive quality. Every song has a strong theme / concept but without sounding gimmicky. A perfect album.

Amy Winehouse was a powerful singer and a soulful writer with an intuitive grasp of what makes a captivating song. She made writing iconic songs sound easy. The way she sings about the mundane, or even disappointing aspects of her own life is fascinating, not because her life was fascinating but because she was a highly skilled storyteller. You don’t need to spend any time watching tragic documentaries or biopics about her because Amy tells you her entire story in her music, and she tells it better than any of the ghouls who have fed off of her legacy. Two albums, 92 minutes, tells you everything you need to know. The collaboration between the two producers are critical to the quality of her final album. Salaam Remi draws from the jazz standards, providing a more traditional, nostalgic backbone to the record, linking Amy to the past. Mark Ronson takes things in a much poppier, crisper direction which, despite being clearly inspired by 60s girl groups, points Amy towards the future. The two sounds are the opposites in almost every way but sat side by side they lead to a perfectly balanced half hour record. Together with Amy they were able to create an album which was both a critical success and a chart sensation. Mark Ronson is the person who helped her unlock her potential as a household name. The first album has the same level of skill, but lacks the pop sensibilities to go stratospheric.  The two albums compliment each other beautifully, even if they are a little tough to listen to at times, due to the intensely personal nature of the lyrics (see the deeply poetic Some Unholy War) which reveal more with each listen. There are deep rushes of energy balanced out with steadier, thoughtful moments where Amy Winehouse gives you a complete picture of her at a moment in time.

To my ears the Undertones are on the more sugary, poppier end of pop punk than Ramones - perhaps being a better indication of the future direction of the genre. It has an adolescent charm, like time travelling back in time to a school disco. It would be difficult for me to totally get what it would have sounded like as a teenager in 1970s Northern Ireland. There are some nostalgic qualities that almost sound like their harking back to traditional rocknroll. Teenage Kicks is the clear stand out track, but I was also quite struck by the quite strange True Confessions which sounds like a Joy Division bassline with Gary Newman meets XTC vocals. The 48 second closer Casbah Rock mission statement “you won't get pop at the casbah rock” is a genuine headscratcher that's a silly way to finish the record. Others passed me by leaving a smile on my face but without much incident.

I’m not a proggy guy but even I can see this album would act as a great introduction to prog rock, it’s an awful lot of fun and an accessible example of the genre. If you loved this it could point you to some tricksier, harder stuff. There are gorgeous performances from people who have a strong enough understanding of how to write music to be able to turn it into a full theatrical production. You don’t need to closely follow the plot of the opening 20 minute track to admire Rush’s confidence in turning half of their album into a sci-fi epic. If I was to critique this track, I think the different parts could have more directly transitioned into each other.

I loved this album as a child. I was a big Oasis fan at one time, after many years away my memories of it is better then actually sticking it on. Rock n Roll star is a great opener - lots of energy and personality. I also loved closing tracks Slide Away and Married with Children, which really caught me. But then there’s songs like Shakermaker which have aged very badly. This song has the especially unforgiving placement of track 2. The most impressive thing about this debut is that despite them being heavily inspired by The Stone Roses (note how Noel sings “SHINNNNEEE”) they have a very clear identity of its own. This identity is lost on later records.

This has aged not nearly as bad as it could have due to the chilled out funky vibes of the majority of the record. The more hyped up moments are a bit more cringe inducing for me because they are aiming to get me amped and at excited but instead make me feel like an uncool uncle at a kid’s birthday party. None of it’s particularly good, but it’s not in your face enough to offend too heavily. If you ignore the mediocre rapping there’s enough here to pass the time.

Even now, with everything that came after this LP in the form of Madchester, Britpop and a belated reunion, The Stone Roses debut still sounds totally distinct from anything else. There is magic happening on this record. Save for a couple of tracks it’s wall to wall hits and songs that are developed and robust enough that they still surprise after countless listens. Despite being influential, band’s that have drawn from them never quite recaptured their magic.

It is most definitely conscious hip hop. The through line is in the title - he’s a good kid in a mad city. He is a world away from being a gangster, even if he’s surrounded by them. You hear him talk with relief and regret over an early (almost) run in with the law on The Art of Peer Pressure. The features on this album are quite clever, in contrast Jay Rock and MC Eiht play the role of trouble makers, rapping about guns and cocaine while Kendrick’s response is "and they wonder why I rarely smoke now.” The repeated themes of prayer and religion push this further - his mind is on other things. While other rappers are rapping about drugs and gangs, he’s rapping about how his family and faith serve as a grounding force. He is exploring his struggle to stay true to their values while being exposed to the various negative forces of his environment. Okay, he’s also rapping about drinking and his hot girlfriend, but you get my point. The album manages to be robust but light and good fun throughout. On an album full of highlights Swimming Pools (Drank) is a really nice hit of pop rap. I could imagine this getting better with each listen.

It’s an interesting record in that it’s got bundles of personality and a band who are clearly keen on creating a new path. The moment where they harness this towards more complete sounding songs for me work a bit better than the sound collage elements, but it’s all good. I love the grinding chords on Interstellar Overdrive. This is clearly not the space the band stay in post-Syd but you can continue to hear little touches of what’s going on in the debut throughout their discography

It’s an interesting production but not one that I have fallen in love with like others. My favourite part is the middle of the record which swells with positivity as a more straightforward counterpoint to the esoteric beginning and end. For me it’s a reward / relief when it becomes a pop album, then a bit of a drag when it’s discordant, noodling or meditative. As a fan of his ambient albums I suppose this record sits as a bit of a halfway house between styles that I don’t personally “get”.

I did not realise how conceptual Iron Maiden were as a band. I couldn’t imagine turning up to band practice with some very literary lyrics about defending the Earth from alien invaders. I don’t know where that impulse comes from. But I’m glad someone’s done it. When you think of how many bands out there have utterly meaningless or derivative lyrics. To have a band write an ode to 1960s TV show The Prisoner, I’m all here for that. Their music is a lot of nerdy, camp fun - and instrumentally very impressive. They’re adding something to the culture that you’re simply not going to get anywhere else.

My favourite moment of this record is the opening a capella song, which suggests a straight up, very earnest traditional folk album. What you get instead is a series of extremely mid-tempo, extremely boring contemporary folk songs. Nicely produced, nicely performed, but there's little to no flavour. I've seen people rave about the Velvet Underground cover... I just don't see it. A worse and more boring version to my ears. The songs all meld into one by the end. The most I can say is its - quite "nice".

Political Science could be satirising Trump’s actions this week. It’s funny, a cheery song about bombing the world. The title track is more chilling, soon to be slaves sailing towards America, towards “the land of the free”, written as a patriotic anthem. It’s clever, world weary satire. Risky lyrics delivered in a gentle way. Musically it’s somewhat interesting, lyrically it’s very interesting. I like that you could have this on at a party and pay no attention to the subject matter of the songs.

Within a sea of 2009 landfill indie emerges Merriweather Post Pavilion, one of the decade's most impressive and enduring records. A dense and uplifting experimental sunshine pop record which bounces from shimmering, hyper melodic synths to fidgety psychedelia. This record pushed a generation of kids away from Razorlight and The Pigeon Detectives towards Tame Impala and Beach House. The shift was real and sizeable. Part of its appeal is that Animal Collective has a foot in two camps. While being uncompromising (gleefully engaging in glitchy excesses which will be annoying to some) they have created highly accessible, well crafted pop songs for those who are swept away by the drama. They are entirely lacking in self consciousness. They have spent no time considering how the outside world would respond to the record or the prevailing forces of music at the time. The results are majestic.

This is certainly in the upper echelons of Bob Dylan albums. The run of songs in the middle of the LP in particular. I Want You and Just Like a Woman have to be two of the most emotional songs he has ever written. Leopard-Skin Pill-Box Hat then reminds you how funny he can be. I've been laughing along with that song since I was a small child. While the arrangements, finger picking and production remain phenomenal throughout, emotions do cool slightly on the back-end of the record. With the exception of the epic and powerful 10 minute long final track, the songs aren't quite as exciting. For this reason there are multiple other Dylan records which I'd rank higher - but its a high bar!

The thing that puts me off of some older jazz is just how stately it can be, it lacks a pulse that a lot of my favourite jazz has. In contrast, I love how erratic and hook-laden the first couple of tracks on Kenya are. They are going for bombast, even sitting down I could feel my body twitching, ready to dance. Machito’s Latin jazz variant adds extra layer of insatiable danceability to proceedings. When it moves away from the bombast it’s an album of contrasts and regular dynamic shifts, horns pulling in and out, percussion bubbling away, rarely sitting still. Definitely one I’ll return to.

A gorgeously produced record with Morrissey’s vocals acting a centrepiece throughout. It's very consistent with no outliers or energy dips, very listenable. The charm Morrissey brings to The Smiths records, which is missing from some of his solo work, is present here. He seems more self aware, gentler and compassionate, particularly on Hold Onto Your Friends and The More You Ignore Me. I’m not sure this is my favourite Morrissey solo album, though I think it’s the most sonically consistent and the most similar to The Smiths. Speedway is a particularly strong closer - I love the LOUD DRUMS. The Smiths' records are just hit after hit, and this isn’t that but it’s a pleasant way to spend 40 minutes, Morrissey sings beautifully throughout.

There’s so much going on throughout this record. It’s a smorgasbord of genres, styles, instrumentation. Sure Shot has Jazz flute, tight smart looping production, with a traditional rock drum kit. This transitions into Tough Guy which turns into straight up hardcore punk, which is possibly the most successful mode on this record. The instrumental tracks, particularly Eugine’s Lament and Sabrosa, featuring a prominent double bass, adds some engaging left turns and sophistication to a record which in other ways is full of reckless charm. The only downside of its sprawling nature is that it does not quite know when to end. You don’t begrudge the hour long run time too badly, because of the various strange and surprising avenues they take you down, but I think it could have been even more effective if it was a little tighter.

Most of Fever To Tell sounds like basic garage rock to my ears. It's a pleasant listen but Instrumentally there is not much to favourably distinguish them from The White Stripes, though Karen O does have a distinctive voice. Maps and Y Control squeeze themselves in at the end of the tracklist - cold, icy glasses of water in a desert. They are great songs, full of personality and flavour.

Relative to other post-punk bands this is a very eccentric album, though in the context of Pete Ubu this is a pretty sober and subdued follow up to The Modern Dance. There are two epic hits in the form of Navvy and On the Surface which will definitely be in my regular rotation, but the album as a whole is strong. It’s like listening to an evil Talking Heads. It’s interesting to hear them present themselves as a slightly more conventional rock band (again, this is all relative). I’m sure this different mode will be an improvement for some but for me gives the debut the slight edge.

This goes to some pretty surprising places and sounds great in all of them. Mike Oldfield is keen to show you everything he can do and how creatively he can assemble a pallet of different sounds that you don’t usually hear side by side. At various points something sudden and surprising happens (e.g. an unexpected voice) and continues to impact how you perceive the music well after it has left the stage. A very clever composition.

A beautiful meeting of beats and lyrics. Luck of Lucien particularly has an outstanding groove, it’s a really smooth ride which demanded immediate repeat listens from me when I first picked up this album. The good natured rap flows are just as buttery. The whole production just bubbles away like a dream. The samples throughout the record are intelligently selected and an excellent new twist is brought to them all. There is a slight drop off midway through the record, I can totally see this being the start of an incredible run of LPs though - looking forward to hearing more.

Whenever I walk into a guitar shop, there is a guy playing something almost exactly like this and I want to walk straight out. I just don’t get it. There’s a crossing point between blues and rock music that I struggle to engage with - people really getting into bending the guitar notes, closing their eyes, feeling the music. It’s just not for me. 10/10 for featuring a copy of The Beano on the cover though.

Perhaps the most potent strain of the 1980s ever discovered? It’s an awful lot of fun. Camp, extremely extraverted, maximalist music with verbose and arch vocals. Flourishes on top of flourishes. I like how ever-present and persistent the vocals are, putting the singer in frame as much as possible. Taking up all the oxygen. It leads with bombastic, huge melodic force. The 1980s sounds like it could have been a fun time to be alive. I think we need more of this theatrical fun in music.

A strong mix of huge pop hits sitting neatly alongside spookier experimental offerings. It’s dramatic throughout without ever tipping over into being cheesy. Songs sound meaningful and important without the messages behind them being spoon fed to you. It’s a work of art.

This is a very rare album. One that, in 2006, seemingly everyone in the UK all loved all at once. Music fans and people who couldn't care less all cottoned on to this group at the same time, with catchy, immediate singles leading to the release of a well rounded and (more than anything else) fun album. There is a freshness to it that almost 20 years later still manages to make you sit up, despite all of the singles having received more than its fair share of airtime. Alex Turner is at his funniest on this debut. Its his well observed, interesting or absurd lyrics that turns an album of energetic garage rock tunes and slower indie ballads into something instantly relatable for most listeners. "Have you been drinking, son? You don't look old enough to me." "I'm sorry, officer, is there a certain age you're supposed to be? 'Cause nobody told me." There are touch points that you can hear under the bonnet: The Strokes; The Streets; The Rapture; but what they're doing is a new amalgamation and created an album that still today some guy in your local pub describes as "the last time a band made proper music."

Ice Cube sounds tough, but not at the expense of a head nodding, digestible album. I didn’t realise that hip hop that hits this hard was released (just) before I was born. The Predator has a pretty flawless first half - vicious, sharp, groovy beats which Ice Cube delivers clinical rapping on top of. Wicked goes super fast, the rapping is exhilarating. It Was a Good Day feels like it’s from a different universe. Super chill beats with a smooth rap which slowly unfurls on top of it. The second half isn’t as perfect but nothing that spoils the vibe. A very impressive effort.

I love the textures, performances and general vibe of this album. I prefer the compositions when they wrap themselves around a more traditionally shaped song, some of the tracks are a little formless for my taste but make for an interesting listen. For this reason when the band points towards a pop song on the bouncy and life affirming Glittering Prize, this stands out as my favourite moment on the tracklist, even more impactful because of the overall album it sits on.

I think the trick with Muse is to not take the music too seriously. It’s supposed to be fun - a big rush of endorphins, rather than anything probing. At points they sound like a souped up, distorted Coldplay - and there’s a time and a place for that!

I think of Stereolab’s output as music for stereotypically cool people. Think: micro fringe with long hair; drinks speciality loose leaf teas; used to live in New York and Paris, is now situated in East London; is in their 30s but has solely Victorian furniture; vegan; bilingual; good looking; works with an art gallery; doesn’t use cling film for environmental reasons. This album in particular (very good, but not my favourite of their records) has a highly sophisticated, almost untouchable sound. Playful, distant, refined, beautiful, odd. It’s a real experience. I definitely feel more high status for having listened to it.

A debut album which instantly establishes Siouxsie and the Banshees’ iconic sound. Once you’ve heard this, you’d recognise anything they’ve done. It also goes some way to defining what post-punk is and what differentiates it from its immediate predecessor. The gothic tinges and pure terror in Siouxsie’s voice at times has a spine tingling effect. The band bettered this record several times as they moved into more melodic spaces, but there’s something to be said for the chaotic and rough catharsis of this album. Oddly enough it’s the final two tracks that come out on top for me.

Play anyone this album and the descriptive word that's likely to come to their head first is "smooth." Damn this is a smooth record. You'd be hard pressed to find anyone with a pulse who finds it objectionable. Marvin Gaye sounds deeply in love and out of that made one of the all time most romantic LPs of all time. Its a shock when it ends after only 30 minutes but I admire Gaye not stretching beyond the hits.

I feel bad because The Choral are putting a lot into this album to add flavour, to titillate, to entertain, but because I’m not wowed by the core ingredients it ultimately adds up to a boring listening experience for me. There are gorgeous guitar licks here and there, but there’s tepid guitar chords too, paired with plodding bass lines. No amount of unexpected sea shanty harmonies can solve that for me. There’s then Dreaming of You, gleaming from the middle of a beige tracklist, so obvious in its brilliance. It’s a finely crafted piece of pop which has earned every second of its airtime.

Chris and Tina from Talking Heads deliver some serious hits on the front and back ends of this album, taking the funkier elements from their sister band and ramping up the disco. It's a series of focused persistent grooves with surprising, sometimes funny and abstract vocals. It's nice to get a sense of the rest of the band’s personality without David Byrne who would otherwise take centre stage. The quality of Wordy Rappinghood, Genius of Love, On On On On… and Booming and Zooming seriously outweigh the rest of the album, which is otherwise a more patient affair.

An interesting mix of traditional folk, blues and rock n roll. Taylor has a warm pleasant voice which makes for a very comfortable half hour but rarely tips over into electrifying brilliance. The highly arresting Fire and Rain is the exception to this which pairs a clarity of storytelling with extra oomph and drama in both the melody and production.

The amount of patience displayed on this record is staggering. Their willingness to let every idea ride out for as long as it can doesn’t dampen the urgency of the LP. For how long and awkward these songs are, they are oddly poppy and accessible. It would be easy for seven minute long, repetitive synth based tracks to alienate a broad listenership, but James Murphy and co seem to have no trouble in making this an album for everyone. Perhaps the most surprising thing about Sound of Silver is how different this LP is from their debut. All the rock elements are gone and are replaced with a much better and more refined set of dance sensibilities (with the exception of the closing song). LCD Soundsystem seem to realise their remit on Sound Of Silver. They take this new, improved sound and manage to fill almost an hour with no duds. Their unique blend of indie infused dance scratches an itch that music fans cannot find elsewhere. ‘Get Innocuous!’ is confident and brave opening track, it doesn’t show its hand immediately but slowly beckons the listener in before rewarding them with a belter of a dance track. We have to wait two minutes and ten seconds to get vocals on this record - which is a statement of intent on an indie album. When the vocals do hit, they are so weird, so bold, so perfect. It’s intoxicating. LCD Soundsystem do have clear influences directing their writing, but it’s their specific blend of these ideas which is inspired. James Murphy is a highly talented and versatile lyricist. ‘North American Scum’ shows off his talent for humorous observation - “And for those who think we are from England. We’re not. No.” Just one track later he is bringing us to tears with ‘Someone Great’, a track which always floors me with its brutally honest sentimentality and kindheartedness. “I wake up and the phone is ringing, surprised as its early. And that should be a perfect warning that something’s a problem. To tell the truth I saw it coming, the way you were breathing. But nothing can prepare you for it: the voice on the other end.” Wow. Perhaps his most well observed moment sits on the title track. “Sound of silver talk to me. Makes you want to feel like a teenager. Until you remember the feelings of a real life emotional teenager. Then you think again.” A line good enough to be repeated a thousand times. The repeating piano line on ‘All My Friends’ is superb and manages to pump through the entire song without getting tired. Also, the trademark DFA records cow bells* throughout this album are so much fun (*see The Rapture’s Echoes). ‘New York, I Love You But You’re Bringing Me Down’ is a great closer and acts as a reward for any listener for whom a dance album isn’t their usual bag. You could see this track fitting snugly amongst older songs like ‘Movement’ and ‘Tribulations’. I think it takes a bit of time for some albums to settle into their “classic” status. People never want to believe that 10/10 albums are currently being released. Eleven years on from its creation it is clear now more than ever that this is an almost perfect album.

The ridiculous fun of Rikki Don’t Lose That Number is the highlight of this LP for me. The rest is less of a genre match with my tastes and doesn’t give enough to overcome that - despite enjoyable instrumentation throughout. I enjoy when they stray into pop rock Bowie territory. They have a funny use of language as well, particularly the term “major dude.”

I love 60s psychedelic folk rock, so this is right up my street. It is a very rich sound full of sunshine and charm.

An album that you feel as much as you listen to, partly due to how often played and familiar it is. It's one of the pantheon of “very good albums” that sit solidly in public consciousness, its place earned thanks to big, bright, bold melodies being thwacked out in as distorted, a cathartic burst of energy as possible. Even without the grungey set dressing, these are perfectly composed and produced songs. Come As You Are cycles seamlessly between its different sections, each having a hero moment of its own which catches the ear - and how good is that iconic bassline? Territorial Pissings has electrifying guitar overdubs which are my favourite elements of the song, you get the sense that these are the product of a very intense and involved set of recording sessions. Lithium might encapsulate exactly what captured the public imagination. The choruses are so listenable that you could imagine the “yeeeaaaaah” on a toothpaste advert. Not because they’ve written by numbers commercial music, but because it's just very immediate, savvy writing which is alternative enough to be interesting to everyone but accessible enough to not alienate anybody. Something in the Way into the unlisted and 10 minutes later (on CD) Endless, Nameless are a fantastic 1-2 to close out the album. The former being recorded without a click gives it an uncanny eerie quality with the band slipping in and out of time. Then the chaotic almost hardcore punk of the later sounds like the band at their least accommodating. What a ride!

It’s hard to imagine a label making the money available for a project like this today. Sending someone around the world to find talent for an international audience. The idea for this recording came about by chance when Ry Cooder’s planned Mali-Cuban collaboration LP fell through due to visa issues on the Mali end. It’s a story that you could base a movie on (in fact Wim Wenders did!) A large group of Cuban musicians, some celebrated locally in their time, shot into international stardom thanks to this unexpected mainstream success. You can split the album into two halves, both of which rely on the incredible musicianship which provides the record’s beating heart. The first half of the record is lively music to be listened to with large groups - there is a jubilant, celebratory vibe. The second half is a more intimate, romantic experience which you could get lost in, forgetting the rest of the world exists.

This album is my first brush with Black Sabbath in the wake of Ozzy's departure from this planet; and its been an eye opening experience. I'd say this album leans more towards Hard Rock than Heavy Metal, but regardless its the first time I've found myself properly "getting" these genres. I realised that I have been missing a cornerstone of this form of expression. Black Sabbath make it make sense. Its a surprisingly tender album and has far more musical depth and detail than I was expecting. Damn me for dismissing this earlier!

I have a bit of history with Nightmares on Wax. I saw him perform in 2016 and was blown away. I’d go as far as to say it was one of the best gigs I’d ever been to, certainly the best DJ set. A couple of years later I listened to his 2018 album and was surprised that it lacked any of the drive or pulse that I’d experienced that night - it’s just not what he’s going for. I thought his 1995 effort, his most popular work, might be the thing that makes my overall experience of his music make sense. At its best, this is vibey, chilled out stoner music with a patchwork of different textures and fragments of melody. Its the excellent music that I remember from that gig. It is music that is about the journey, rather than the destination. While there are definite highs across this release its mammoth 74 minutes sees diminishing returns, getting increasingly aimless and tedious. Some of the closing tracks simply should not have been featured.

Of course I wasn’t there, but a great live album will make you feel like you were. It connects you to the artist at that snapshot in time in a way a studio album can’t quite. They are excellent musicians. They bring the hits. And the little comic asides from the band remind you of a certain type of sense of British humour which feels lost to history.

Finley sets out a set of nice, chill, dubby, reggae grooves. So chilled in fact that he doesn’t feel the need to write any hooks into his songs, which float around cheerfully for the best part of an hour. Music for patient, kind hearted souls.

I have always gravitated to the following Ziggy Stardust album, so despite being familiar with most of the track list this was my first active listen to Hunky Dory at the tender age of 32. How embarrassing, as its absolutely perfect! Its surprisingly stripped back throughout. Even songs which you would imagine are more maximalist (e.g. Changes, Life on Mars) only see new elements only see new layers being added in very cautiously. Every ingredient has its carefully considered place. Its got the hit singles but its well balanced out with finely crafted album tracks - and its not always easy to the difference between the two. The lyrics to Andy Warhol make this album track a favourite of mine "Andy walking, Andy tired, Andy take a little snooze."

Guns N Roses - it’s all in the name really. These guys are not subtle and want you to feel every emotion at once while you sit on their thrill ride. It’s not to my taste but you can’t deny that they have countless hits under their studded belts. The singles are strong enough to transcend the naffness - they have star power. The album tracks do not benefit from this though and sometimes the lyrics are beyond tasteless, bordering on annoying.

You can trust Sparks to play you a simple song in the most delightfully complex way possible. I’m amazed the frankly genius Thank God It’s Not Christmas has not made it onto any Christmas playlists I’ve ever encountered. The way they pronounce “Ch-rist-mas” is startling and exciting. Despite some excellent songs peppered throughout, this album as a whole is just on the cusp of being brilliant. Close but not quite. I love the vibe, the ambition, the approach (and the amazing song titles!) But the songs aren’t always quite there for me. It is potentially a bit style of substance in some instances.

I’m not sure anyone, including the band, knew exactly what they were going for here. The album treads water, aimlessly wandering from one mid tempo tepid track to another. I had a particularly hard time with Wonderful, which took forever to end. I agree with the band’s assessment that they should not have produced the record themselves. I dread to think of what the original mixes sounded like before Nigel Goodrich stepped in. I could imagine a much more listenable album if they had teamed up with a producer from the start.

This album passed the time without much note, but in a pleasant way which made me feel good. Not the sort of thing I’d gravitate towards but it’s very good natured and pleasing. It also makes me feel like I’m getting the full live experience, which is the key with any live album. I think I would have had a pretty chill time at a Peter Frampton gig.

Like Nick Drake, because of the tragic end of life story, people also overestimate how sad Elliott Smith’s music is. It’s melancholic, sure, but it is hardly miserable. There’s a fine balance between introspection and a sunnier side to his music that makes it a compelling listen. He has such a unique and distinctive voice. In the 28 years since Either Or it has been often copied but never been bettered. It is not experimental, it doesn’t push boundaries, but it nails a specific grungy, singer songwriter approach that no other artist has quite managed to perfect. Combining delicate, intimate folk rock with angsty, sometimes bitter vocals is another tricky balance but he arrives at something universally enjoyable. It doesn’t come across as just “music for teens”, though it would be very good for that also.

A steady and sweet album that reads like an open book. You can leave any cynicism at the door with this one and just allow yourself to be sung a series of kind hearted country songs.

So many bands want to sound like Wire. They are the exact centre point between punk and post punk. Tough, carefree vocals meeting guitars that are thoughtful when they want to be and blunt instruments when required. 21 tracks over a pleasingly short 35 minutes. You never get a chance to get tired or even stay still for a second.

OK Computer is an expansive and cinematic record. Albums of this ilk are often described as “ambitious”, as if to insinuate that they aim high but don’t quite succeed. OK Computer is an ambitious album which completely nails what it’s trying to do. It has also defined how post-production is approached by most modern rock bands. Radiohead manages to be epic in a sophisticated way. Bands who perform epic music (like Muse or Kings of Leon) sometimes sound a little pretentious as if the audience knows that the style they are performing in places more importance on the music than it actually deserves. OK Computer presents itself as epic and important in a completely unpretentious way. It has been said a million times, but this album really shows off the full breadth of how compelling and detailed a catchy rock record can be. If it wasn’t for In Rainbows I might even be able to call it the best album of all time.

My favourite bits are the saxophone, where a little bit of menace gets into it and it gets a little freaky, even though it’s subtle, with the backdrop of smooth jazz it’s very powerful for me. The opening track is particularly effective in this regard, slipping between calm and slightly manic expressions of love. My least favourite bits are the guitar, it does nothing for me. No hidden menace. Overall it’s very listenable and home to some bits that I absolutely adore.

This is an all consuming break-up album. One that wraps itself around you many times, constantly exploding outwards, spinning and expanding into ever increasing detail. It has a number of instruments that you'd more closely associate with an orchestra than a rock band. Textually it is in a million places at once but it never loses focus on its awesome singular vision. It can be difficult to pin down exactly what Spiritualized are doing because any point of comparison seems a little bit off. I can hear elements of Dark Side of the Moon; fragments of The Velvet Underground & Nico; a general sheen of My Bloody Valentine folds itself in at points. None of these parts stay still long enough to pull focus and become an obvious reference point. Dare I say it sounds… new? Unique?

For many Skepta is the absolute top Grime artist out there. So, while I have definitely preferred Wiley (and my ears pricked up when he started rapping on this!) I might have to accept I’m just not that into the genre. I like the production. I quite like rapping. But I’m not particularly into the lyrics which don’t really go anywhere. We all like a bit of hype, but I think it lyrically he needs to pack a bit more than just that. Everything lines up really nicely on Man and That’s Not Me - the best tracks on this LP.

An iconic voice, an iconic persona, giving her definitive take on an exciting selection of soul standards. She really understands and unlocks the potential of the material. When it's good, it's good, but on the several occasions that it's great, it is truly something else.

I’ve been searching for an album like this for ages. The musical diet I am fed by “the agreed canon” is very male focused, so its refreshing to get such a single heavy, uplifting new wave record that is also feminine. It’s astonishing that Beauty and the Beat is from 1981 as it sounds like acts that come from well after them. You have jangle pop guitars that I’d associate with acts from the mid-80s; harsher post-punk moments which add a nice bite to a wholesome overall production. Then, the thing that shines through this is the highly charged, overbright, overbold power pop which harkens back to the soul girl groups of a couple of decades earlier. It makes me feel so positive. I am looking forward to getting to know The Go-Go’s better!

There’s a chaotic amount of ingredients in this pot. Spirit never sit still. I don’t know if there’s one flavour I like enough to get me into the rest, but it’s interesting that it can fluctuate from (aptly) spiritual sounding music which is at one with nature and something a lot sillier and funkier.

This album has fantastic production and rap that has an actual flow to it (not a given for the time). It’s not “cool music” but it is a big blast of fun and energy. It’s Tricky comes out on top for me. Its hip hop that’s trying to show people a great time and start the party! They get plenty of credit for setting the template for so much hip hop / rap rock, paving the way for acts to come, like the Beastie Boys. Also - my perfect amount of Aerosmith is one chorus of one song - it’s a successful collaboration!

It’s one of those albums that is just so beautifully performed that, despite not having individual songs that I’d pull out and shine a light on beyond the opening a closing track, still come together as a grand and satisfying whole. The only song that I didn’t gel with is The Jungle Line which interrupts the flow a little bit. It’s stunning that’sJoni Mitchell is such an exceptional artist that this excellent release doesn’t stand amongst her best albums.

The opening track to this record is hilariously off kilter and absurd “remember people thought the world was round?” Hot Chip are not aiming for the charts with this one, they’re just vibing. In fact, there’s nothing that can really be called a single across the entire tracklist which is solid in the most part but does peter out towards the end.

I find the album tracks to be a lot more interesting than the singles. The radio friendly first half sees the band in overly bombastic territory, though I admit I was a little touched by the chorus to With Or Without You. Fans will often present this as the album to listen to if you’re a U2 skeptic, I unfortunately remain a skeptic, though I think in the right light they can be a powerful band.

Ramble Tamble is an amazing first track. The vocals have an unhinged craziness to them that the rest of the album lacks - later on I kept wanting him to loosen up a bit more. The cover of I Heard it Through the Grapevine is also fantastic, but similarly, reminded me that the rest of the album had lacked some of the poppier melodic moments that this track brings in spades. Elsewhere there’s a professional mix of blues and rock n roll but not something that sets my world alight.

There will be occasional sparks of genius (such as the gnarly sliding guitar on Whole Lotta Love) which put me in the mind of the majority of people who adore Led Zep. There’s some very clever flourishes, bits of surprising songwriting. But at their core they make music which doesn’t appeal to my sensibilities. It’s a me thing.

It’s a strange sensation to listen to a thoroughly likeable album with a consistently enjoyable vibe, but not be able to just lose myself in it. It might be Bryan Ferry’s vocals that are holding me back, but there’s a lot to enjoy. Out Of The Blue has one of the nicest twistiest bass lines I’ve ever heard. There’s a whip crack propulsion to this song. I also love how tender Ferry sounds on the intro to Bitter Sweet and how a touching, mournful guitar occasionally wraps around him.

This is the best Paul Simon album, and the one I most readily gravitate towards. The fluidity of the guitar and vocals are in contrast to the band who are so crisp and tight, the perfect backdrop for him to shine. Duncan is one of the best songs ever written. So knowing, cheeky, lyrical, nostalgic. The lyrics, which keep pulling the rug from under you, are some of the best too. “My father was a fisherman, my mother was a fisherman’s friend.” “Holes in my confidence, holes in the knees of my jeans.” The silliness of the lyrics, and the tenseness of the music are a wild combination. The mixture of light and dark, funny and serious is part of what makes this LP work so well. Paul Simon is here to have a lot of fun, but it’s not fluff! ‘Me and Julio’ and ‘Peace Like a River’ sit side by side on the tracklist. Both equally as good as each other, yet diametric opposites. I always like it when he undercuts a serious point with a joke. Counterintuitively it improves the point (and the mood!)

The first half is very smart, very retrained. Exactly how I like Queen, with their eccentricities paired down and focused into a tight formula. It makes me think “huh, maybe I like this band more than I realise?” The second half is unleashed Queen with all the bells and whistles, which I would imagine is the more exciting half for a fan of the band. For a non-fan it sounds like an annoying kid in school desperately trying to get your attention, doing backflips, puffing out their cheeks, making unusual noises. I was relieved when it ended.

There is an over-polished, untouchable sheen to the production of the record. I am into melodic, well crafted forms of glam rock, but combined with hard rock it is not my vibe at all. There are elements when they push the performance into harsher or even more romantic territory where it gets a little more interesting, but I feel distanced from the majority of the performance which lacks an emotional core. It’s not bad necessarily, but very professionalised, it could use a bit of spice!

Bjork has a consistently surprising voice which is hard to describe. I keep wanting to say “fragile” but it’s actually pretty robust. Weirdly, it’s both. Part of the surprise comes from the way she chooses which notes to sing. Usually once you’ve heard someone sing a verse of a song, you can more or less guess the melody they will sing on the next verse, even with variations. But Bjork will sing one note, then shoot off to another which, while perfectly complimentary (not erratic or kooky) could never have been guessed. Another surprising thing is hearing how she has influenced other artists that I love. On Pagen Poetry, one of my favourite tracks, I can hear bits of Four Tet’s 2003 and Iglooghost’s 2017 records. Both sides of the album are excellent but my favourite is the elaborate, abstract pop songs of the first half. It’s Not Up to You is absolutely essential. It’s quite a journey in the second half riding through the even more abstract and ambient tracks which are then punctuated nicely by Unison at the end.

A very charming debut from a band who on the whole like a poppier Nirvana, which is no bad thing. They do deviate into more shouty territory on Weenie Beenie which I particularly like. I suspect I probably would have checked in with this band sooner had I been exposed to songs like these, rather than the more radio friendly stadium rock they are now better known for.

Penguin Cafe Orchestra is doing a lot. It may be doing too much. There’s no one element, in the band or the orchestra that grabs me, and all together at points I even find it off putting. Dialled down a bit it could be a nice background piece. What I can say for it though is that it sounds very modern for 1976.

My band played a gig at a small venue in Cardiff a few years ago which was next to a giant stadium. During our sound check 15 Paul Weller fans walked in to get a drink from the bar. We knew they were Paul Weller fans because they all had Paul Weller’s haircut. It’s a normal haircut to see out and about, but a group of 15 uniform men is quite arresting. We started soundchecking and were charmed that they all stopped talking, watched the stage, leaned in and took us seriously. We were playing post-punky sort of stuff, but there was nothing tribal about their reaction, they just loved music. I’d not really heard The Jam properly until today, but had been vaguely aware of and unenthusiastic about Weller’s solo career. Listening to All Mod Cons made the above experience click. It’s a beautifully put together album, not just with hooky bits to sing back to the band in a stadium, but bits that make you think. It’s also a lot less uniform than the haircuts would suggest. There’s moments in both the performance and production that sound like it’s straight from the britpop era. I like the appreciation of poppier, rockier songs, but then also more emotional, stripped back ones. I love that so many of the songs are about longing to be someone else or have a more exciting life - it’s sweet. Similarly, I was surprised by how domestic so many of the lyrics are, “a piece of toast from the one you love most.” Romantic, but a kind of romance you don’t see represented in music often.

I don’t get it. Beck is trying something different but it doesn’t settle into a distinct, cohesive style. The lack of cohesion is almost the style, a sort of experimental slacker rock, which is not for me.

Kiwanuka’s strength is the quiet but substantial power he generates with his voice. There is a serious, even mournful quality to much of the tracklist, which is quite touching. This is a very pleasant, consistent album which at points bursts with a bit of added colour.

This is the best Queen album I’ve heard. What I liked about LP2 was how restrained the first half was, and I liked the fun and carefree nature of LP4. Sheer Heart Attack combines these two things into a neater package. It doesn’t go off the rails at any point, which Queen are prone to do. Killer Queen is my favourite of Queen’s big hits. It’s a very speedy, smoothly crafted single. I’ve never heard someone so effectively sing both the lower and higher octaves within seconds of each other as I have on Brighton Rock. Impressive vocal control.

While it’s not to my tastes it’s an interesting listen. You don’t get concept albums with such literary aims as telling the story of a ship lost at sea nowadays. It’s very operatic and I like how it weaves in classical elements, but it’s a bit dry for me.

Here Sting manages to bring bits of reggae into the performance without going ridiculous on the voice - he’ll need to keep an eye on that. There’s some great pop songs in Message in a Bottle and On Any Other Day, the rest is totally fine but not particularly attention grabbing.

I can see the appeal of The Grateful Dead. The band is a well oiled machine, in sync enough to provide an enjoyably loose performance with what sounds like a lot of improvisation. While I like the performance a lot, the songs themselves are merely “good.” I could have done with a killer The Doors-like single.

Something less commented on about early punk music (~1977) is that it can, in the best possible way, be camp and theatrical. Years before the word punk had passed anyone’s lips as a genre title The New York Dolls were serving up music with a mixture of camp and aggressive, pent up sensibilities that points to an entirely new type of music. Other than Iggy Pop I’d struggle to identify who they were in debt to, but could point to plenty of bands who are indebted to the dolls. This LP is chock full of propulsive beats, hooky melodies and surprising gear shifts. Looking For a Kiss has a bizarre quality to it - it’s like having a drag queen shout in your face. Compare this to the more reflective Lonely Planet Boy. It keeps you on your toes and keeps your pulse racing. The dolls are not just influential, they are packing a wide variety of hits.

REM are one of my absolute favourite bands and Green is a record which I often come back to, especially if I need a bit of a boost. It’s got some of their most high energy, sugariest, uplifting songs, balanced out by more tempered tracks with gorgeous, spooky harmonies. Like all REM records it’s an album bursting with empathy and human emotion, but also undercurrents of haunting melancholy. You can never quite be sure where the band will take you next. On their first Warner record, and off the back of the radio hit heavy Document, you get the sense that they are keen to continue their push for the widest audience possible. You could just about imagine a hooky song like Get Up on an earlier record, but the way the band go for the jugular on Orange Crush and deliver a cathartic pop song with a capital p does feel exciting and new. It’s rewarding to hear REM inhabit this new mode without any dip in quality. Despite the big singles, Document is one of their darkest LPs - that darkness has very much lifted here. Even on the less friendly songs (of which there are many) with creeping major to minor transitions, the production continues to be a world away from Document. It’s plush and crisp and high fidelity, a shock when you consider that before this REM’s production was without exception obscure and smudged and fuzzy. In retrospect you could imagine Document benefiting from a more “expensive” sounding treatment but also how records like Lifes Rich Pageant or Reckoning would be totally ruined by it. Green is not as highly rated as I believe it should be amongst fans. If I was to theorise why, it would be because it confronts us with the fact that while it shares a lot of the same DNA with their first LP, their sound has developed and moved on. In 1988 there were two REMs. The one of the past who mumbled, and even as they got bolder and more direct, were not polished or prepped for anything beyond college radio. There is a charm to both bands but it’s a different kind of charm with no guarantee of crossover appeal. As a poptimist though, my experience of both these REMs was that I got to fall in love with the band twice. Once as a child listening to the records in the zeitgeist, and then again as a teenager finding out that (what?!) they had 5 relatively undiscovered gems from the 80s where the band benefited from unchecked creative freedom. It’s this variety that makes them one of the greatest bands of all time. This is not the last time the band would develop and change. It's these changes that made them so prolific and led to some of the most consistently exciting consecutive releases of any band ever. I hope one day I can reconcile myself with where REM went post 1994, because it would be great to experience that joy all over again.

Having only heard the amped up singles collected on Legend, it is a beautiful thing experiencing Bob Marley in this more low key, chilled out setting. He is a beautiful performer. There is a true skill in keeping things engaging when the music is just simmering along for a while 40 minutes. The original version of No Woman No Cry took a couple of listens for me as I was more familiar with the live version, but it’s got a very charming feel to it. It’s a totally different composition with a different energy and shows you just how much a single song can be transformed by how you play it. The final track is a bit of a climb down after a very consistent record, probably the only thing holding it back.

I enjoy Ryan Adams’ subtle, less overbearing take on Americana which makes a palatable form of a type of musical expression that I usually struggle with. New York, New York and La Cienega Just Smiled stand out positively. That said, it's a long, long old album that required a fair bit of commitment from myself to sit all the way through. By the third quarter end any memory of songs that I was digging at the start felt distant as I lulled from one mid tempo song into another.

This is my second Creedence album and I have to admit a bit of a disconnect. There are moments when I can really see what others see in Clearwater: Green Water, Bad Moon Rising and Lodi all have a bit of pop appeal embedded into its sound which rounds out the songs nicely, but elsewhere Revival’s songs are lacking an X factor for me.

Wild is the right word. This album is not just fun, it’s actually quite surprising and strange in parts. These songs are mostly catchy, fun and good natured. On the few occasions they are not good natured (such as the amazingly titled: ‘(I'll Be Glad When You're Dead) You Rascal You’) they are totally unhinged and excitingly unsettling - even if it's all performed with a bit of a wink. The lyrics are frequently bizarre, performances are crazy, but never off putting. This elevates it well beyond being "just some swing record." Its a subversion of the form. It would be impossible to make traditional swing led pop music like this today without it being an annoying 1950s pastiche. But in its original context it works beautifully.

For the first two thirds of this record there are an overwhelming number of things going on. Several layers of intricate instrumentation vying for space against vocal performances that include what is often thoughtful rapping and soulful singing. It’s a more layered sonic palette than most rappers would choose to work with. A skilled producer has done their damndest to hold all of these parts together and has been about as successful as you could hope, given the strength and complexity of the various flavours. It’s not a smooth or easy listen and I can’t decide how I feel about that. Part of me wishes the more gentle songs were pared back to make the most of the soulful, delicate vocal performances. Another part of me is in awe of how skilfully overloaded it is. It’s exciting - your brain is not given a second to rest. In the last third everything settles down and you get a more focused product, without losing any of the variety and experimentation. (Thirsty is such a wild way to close this album.) It could have been cool to hear some of these songs shuffled into earlier parts of the album, or for this approach to have been employed a little more elsewhere.

As a KLF newcomer I can’t be sure if what I’ve just heard is the actual version of The White Room, or that even matters. The director’s cut is the only version available on streaming. I enjoyed the instrumentals. I pretty exclusively didn’t care for the vocals. All together it was a pleasant and pretty unaffecting listen.

Beck delivers another smorgasbord of random flavours which don’t work together. Love the ambition, hate the results. Some songs work better than others, but this is often the less interesting ones. And when he raps it’s the worst. Broken Drum stands out positively, delivering something more reflective, in the style I enjoy on Morning Phase.

The B-52’s manage to be erratic and quirky without ever losing their focus in delivering well crafted, punchy, new wave hits. There are several songs, like Rock Lobster, which almost sound like short sharp punk tracks that, rather than resolving within two minutes, spin out into different, ever more textured developments on a theme. All the while their crazed, energetic and joyful approach just fills the listener’s head with a big, bolshy buzz. How are these guys not even more popular than they are?

When I was 17 I heard Grace Slick and the Great Society and was spellbound by Grace's powerful performance. She has an eerie, cult-leader like voice and a talent for storytelling. The comparatively rough and ready live recordings of songs which end up on this record are an absolute delight. What I prefer to that live record is that the band let each idea ride out for long stretches before returning each time to the core of the song at play. Things on this studio Jefferson Airplane records are (to my ears) a little bit more straightforward, and the improved quality of the recordings does not enhance the overall production. I also just love Grace Slick's voice, and I'm not nearly as enamoured with the male singer who sings on the majority of these songs. Its objectively a great album but that early experience of being blown away by something similar, but substantially different has left a mark on me.

Overall is fine. Quite charming in places and made for a nice listen while I read. I do wish he’d had a more sympathetic producer, because my word from track 5 those MIDI synth horns jump out at you. They are totally out of keeping with the rest of the composition. The bass playing is also a bit wacky in parts.

A very smart, sophisticated album with some killer singles which really, really stand out. Its much more relaxed than other downtempo records I'm used to which usually maintain a certain kind of drive all the way through. Air are happy to pull almost everything out of the mix at points and let the listener float.

X-Ray specs bring a great atmosphere. I particularly liked the extra melodic push provided by the saxophone, which was always welcome. Some songs are more punk than others but it’s certainly a nice counterbalance to the more celebrated punk acts of the era. There is a uniformly fun and exciting sound but I think it’s missing a couple of killer singles that push it into that next category for me.

It amazes me that this an American band as Forever Changes truly feels like it is home British sensibilities. Someone I was dating at the time bought me this record 10 years ago and I loved it. They then borrowed it and another LP - and I never got them back! The album is great throughout but really blooms in the second half. There is an unsettling, twisty turny, eeriness to The Red Telephone in particular. It’s romantic but at the same time creeps me out in the most fantastic way.

This is a very smart, refined record with a restrained spy thriller quality to it. I'd love to see a Portishead themed James Bond movie. I quite like trip hop as it turns out, but I don't love it as much as others. All the singles on this record are top drawer, but the album tracks leave me feeling a little fidgety. Something about the combination of dramatic, slow moving vocals and crispy, clicky production works better in some moments than it does in others.

Some of this is very good, but they are trying their hand a few different things and in the back of your head your directly comparing it to bands of the era who are committing to individual elements with more focus and clarity. Do you want a psych album? Music hall? Toytown music? You'll get a little bit of all of that here but not enough of any of it. The narrative structure in the second half sounds like a band who are trying how to make a side B which feels "complete" but it just serves to distract and make the album a little stop start. There's good tracks on here, but its a flawed album.

Everyone is going to have music that is anathema to them and I think that’s what I’ve stumbled across here. I just can’t abide by it. I may well have heard Hardline According to… when I was younger because it makes me feel like a bored child listening to another generation’s music. Some elements are weirdly dated, kind of kooky 80s pop soul, other moments are a little bit more probing, serious and quite strained. Neither of these modes work together. None of it clicks in my head.

What a phenomenal record, and one of such variety. The cathartic first half has a string of high octane, propulsive hits, including We Will Not Be Lovers which now stands as not just my favourite Waterboys song, but one of my favourite songs full stop. The power and aggression from that repeating violin line is quite something, and blows the lid off of anything you could possibly imagine holding the genre title “celtic rock.” All of that aggression leaves the room in the friendlier second half, but none of the energy or momentum is lost. What you have instead are emotionally mature, very smart folk rock songs which, for this listener, tugs at the heartstrings. It's a wonderful one-two which shows a band with multiple sides to them. I am partial to traditional folk, so a highly sincere offering like The Stolen Child which might get a sideways glance from a more cynical listener genuinely brought a tear to my eye.

Its refreshing to hear the worlds of punk and celtic folk collide in such a carefree way. The Pogues are political but never preachy, nostalgic but never cloying. They want to remind us that music is allowed to be fun. I wish they were a bit better known beyond their Christmas hit, because they deserve it!

What a strange artifact of 1989! A real sense of fun and energy carries this charming LP. I particularly like the Mark E Smith feature with him rambling over the mic. Telephone has some hilariously delivered lyrics “hello?” “Who’s this?” It starts to drag by the end (at least on the US version which I heard.) It’s very loveable even if it’s good, not great.

Mannish Boy hits so hard, it set me up nicely for a record that I would have otherwise not been overly excited for. Muddy Waters’ sexually charged and dramatic take on soul is quite arresting initially, but I did find that the experience lulled into a bit of a pattern by the end.

There are some very high quality cuts across this track list, with songs which lean towards dramatic, unspooling musical theatre. I particularly like the famous Tiny Dancer and epic Indian Sunset. There are also songs which miss the mark considerably with a head scratching disconnect between vocals and lyrics, such as the weak Levon, which is home to some of the worst and least compelling storytelling I’ve ever heard. I do think this album is a tad overrated and that Elton John has better.

The Cure at this point has perfected the art of slow moving, creeping, gothic drama. Drawn out, gorgeous instrumentals with passionate vocals that cut through to the soul. These patient tracks with huge payoffs are punctuated by big singles which would play great in front of a festival audience or on prime time radio. It’s this killer combination that makes them one of the all time great rock bands.

It’s a very gentle, delicate record but not one that’s going to ever get me too worked up. I prefer Elvis when he is getting really weird and wild on the mic, whereas here he is crooning and delivering something more thoughtful and touching. I can see why he was a sensation, but I do find it difficult to replicate that experience as a modern day listener.

There is a ramshackle, off kilter charm to the Libertines, whether they are delivering an adrenaline fuelled anthem or a more nostalgic, sweet song. I love the harmonies, I think both Karl and Pete have very interesting voices that sound unique together. It’s rare to have two vocalists share equal billing. I do wonder why they received such an extreme backlash from beard stroking music fans at the time. The fact that they were unlikeable tabloid fodder can’t have helped, with their celebrity getting in the way of their music. Listening back, this is a very well turned out record, lots of fun, with plenty of exciting detail that pops (brilliant little asides) and huge, amped up melodies. They know how to write a song! Perhaps I should take the fact that the kids were loving it and grown ups were groaning as proof that they were doing something interesting and different. If I was to find one flaw in this beautiful collection of songs it would be the sequencing of the back half of the record. The album keeps feeling like it’s about to end with too many tracks feeling very “final.”

If you’ve only heard Neil Young’s most famous albums, there are shades to On The Beach that will surprise you. It’s comforting to hear him in this less momentous mode. He never pushes the performance too hard, you instead lean in and let him whoosh you away with a delicate voice and gorgeous finger picking guitar. He is a great storyteller.

The Butthole Surfers’ music is not horrendous but it is full to the brim with affectations, disparate ideas threaded together with an implied “can you believe we just did that?” It lacks the adolescent charm you’d hope for. It also lacks the core of an amazing idea which you can hang the rest of an experimental rock album off of. I like that it’s very manic, weird and full of variety - but that’s about it. Ultimately they’re aiming for “woah!” and “huh?!” but instead inspire “hmm.”

I didn't get this one, its charm was lost on me. At best pleasant and bland, at worst tedious and repetitive. Its a half hour record which felt like an hour. I suppose that its important social and political points, which are simply and strongly stated, are what make it such a powerful listen for others.

I particularly enjoyed the high energy opening track Turn to Stone which has an gorgeous pairing of basic, bubbly electronics with neat pop rock instrumentation and fun, flirty vocals. The following track It's Over also stands out in a dreamy, sophisticated and nostalgic kind of way. I'd love to be able to say that there is a track which usurps Mr. Blue Sky, but it stands head and shoulders above the rest - truly iconic. Its a strong album which is a touch too long. You could happily lose 10 minutes collectively from sides B and D.

The Arc of a Diver ends very suddenly, after what feels like a pretty aimless but pleasantly good-natured swim through a selection of pop music styles from the late 70s and early 80s. Its a time capsule of the turn of that decade, with disco bass and zany synths combining forces with sometimes fun, sometimes nauseating results.

To my mind this is the quintessential autumnal and nostalgic 1990s record. Its a solid record harking back to the British rock groups of days gone by. Most songs have downbeat lyrics paired with cheerier instrumentals. The highlights are I Can't Sleep and of course There She Goes.

I've always been a bigger Joy Division fanatic than New Order fan, so am drawn to the latter's debut which sounds like a "lost" Joy Division record. With New Order in fully fledged 80s Synthpop mode I most love the big, bold, brash singles, which makes The Perfect Kiss my highlight on Low-Life. Elsewhere there is a nice mix of jangling yet angular guitars, sweet storytelling and overbold synths.

It’s really cool that an alien wrote an album. The best bits are when Bjork is at her most romantic and opening up about being completely befuddled by and obsessed with love. Despite there being more hits on the front end I think I warmed up to it the further along it got. I admire her deep level of creativity, artistry and honesty.

One awkward, tedious, slow motion declaration of love after another. Til the Cops Come Knockin’ is particularly shocking. I’ve never heard something so desperate to be romantic and sensuous - quite off putting.

People will often point to how ahead of its time and cutting edge Kraftwerk are but it’s important not to pull focus from how robust and confident the songwriting across this record is. The Model and Neon Lights are my highlights because of the former’s punchy melodies and the latter’s gorgeous repeating hooks. At points it sounds like an embryonic form of one of my favourite albums - The Human League’s Dare! which came just three years later.

Tusk kicks itself off with a couple of surprising, significant stylistic shifts from Over & Over to The Ledge, then Think About Me. All three modes work, from the deeply emotional, gently hooky pop ballad to the pumped up, manic, rickety rock. It’s a strong start which sets an unrealistic expectation because four songs in it settles into a generally amenable vibe which ties the majority of the LP together. It isn’t until the standout keyboard countermelody of I Know I’m Not Wrong until something knocks you out of all the general pleasantness. The backend of the album, from Beautiful Child reels you in with some compelling gentle drama and storytelling which feels personal. The quality of writing keeps you interested - but I don’t think this LP needs to be 74 minutes long.

The most common yardstick I judge a pop album by is its hit rate, and by that measure Justified is firing on all cylinders. The first half is chock full of singles that kept the radio waves busy for the decade following its release. It is a huge step up from his output in *NSYNC and confidently sets out his stool as a solo performer. I enjoy how multi-layered and ridiculously over-engineered the production is at points, with extra little details flying at you with gay abandon. It's a maximalist presentation and the clicky percussion never gets boring. I don't mind that he is essentially proving a 2000s, modernised version of Michael Jackson's sound - its a solid approach. On the more low key second half it’s Justin is more in lounge entertainer mode but it works nicely. It's a smooth, enjoyable experience that rarely flags.

Eno’s manic, romantic vocals come loaded with pop hooks that slot him neatly into the glam rock category alongside Bowie and T. Rex. Unlike those artists he doesn’t have much in the form of huge radio singles, but instead you get to spend meaningful time in bizarre side alleys where he explores concepts with a genuine sense of creativity and childlike wonder. It's the warmth from the guitars and pulsating bass that tie what would be an otherwise fragmented record together. There’s tonnes of excitement, tonnes of variety and a genuine sense of journey.

An earnest, big hearted record which, as much as it makes me feel bad, does little to grab my attention. Though part of me is attracted to the longing sound of heartbreak and nostalgia over all too brief romance, Gram Parson’s take on these themes is simply not very exciting and far too lounge-like for me. Completely lacks a pulse.

I love all the instrumentals but hate all the vocals. If I could turn the vocals down, I could quite easily put something much better on top of it. What I’m trying not to say is. I think we should junk all the existing vocal masters and that I am happy to put myself forward as the new singer of AC/DC - I think their fans would love it.

Wilco spans a mad number of country sub-genres across this record. I most enjoy the songs at the beginning which sound like emo alt country. The big band Bruce Springsteen bits are less my thing. The majority though is a more straightforward gentle approach. It’s sweet and pleasant. I won’t regret any time spent on this record but as it’s very long I won’t be rushing back to it in a hurry.

Elis Regina was juggling my brain in her hands as I left the house this morning. Nicely caffeinated and feeling inspired I made my way to the train station while Elis soundtracked a whimsical heightened reality around me. Robin redbreasts theatrically darted about, Disneyfied; the first leaves of autumn rained down, picked up by a stately gust of wind; a fat cat stared at me, atop a kindly fence. Shortly after I sprained my ankle, tumbling from a grass verge into the pavement, drawing the attention of a local dog walker who I assured I was just fine. Walking off my minor injury, still enjoying Vento de maio, I reflected on the brief moment of unbridled joy afforded me by Elis Regina and her band. Like the Robin, the leaves and the unexpected grass verge, they make a series of surprising choices which dart and dance around the listener. I love the showwoman in her. Every note that leaves her mouth has been calibrated for maximum effect: joy, sorrow, drama. Her band follows with what can at times be a gentle accompaniment, and at others spurt out in jagged random outbursts. Of course whoever has compiled the version of the album on Spotify has done their utmost to confuse by presenting the songs in a random order, but the album survives that and sounds great in both original and adapted track listings.

I wish I lived in a wholesome enough society to have more examples of close harmony pop duos. Its a powerful and direct way to perform music. I am more familiar with Simon & Garfunkel's solo works (with a strong emphasis on Paul Simon) so it was exciting to hear them in this iconic original form. Bookends is enjoyable throughout but has a particularly strong ending. The epic A Hazy Shade of Winter stood out positively to me.

The word "croon" was surely devised to aptly describe the elongated, magic melancholy of Scott Walker's powerful pop vocals. He is a stunning singer. Because for so much of each song he maintains a bold, robust, simple approach, when he strikes out and makes an unusual turn (such as the chorus and outro of The World's Strongest Man) you feel it a thousand times over. The compositions are spellbinding, the lyrics are romantic and utterly charming. But the quality of the vocal performance is so shockingly good that its difficult to fully take on anything around it. Often copied, never bettered.

A remarkably consistent, impressive body of work which showcases a wide range of electronic styles. My personal favourite are the hyped up, more aggressive and melodic entries such as Xtal and Green Calx. I admire the more chilled out sides to this record even if they are not what I’d intuitively gravitate towards. It’s all very intelligent, intellectual dance music.

It just happens sometimes, where a vocalist's style doesn’t click with a particular listener. There isn’t much Aimee Mann could have done to win me over. That aside though, the impact of pop rock has to come from the kinetic energy generated between the band and the sugary vocals, but nothing jumps out. I find the elaborate storytelling elements curious but not compelling. It’s all a bit tepid.

Miseducation has a pretty unassailable first half where Lauryn Hill brings a string of impressive hits that would win over even those with little interest in soul and R&B. It was Final Hour which particularly stood out to me though, showing off how versatile Lauryn is. She does very little rapping across this LP but its some of the best I've ever heard. A real achievement.

A groovy party record, packed with good vibes. I prefer the arrangements and general atmosphere than the compositions themselves. That said, Everyday People is an obvious single and has a life of its own beyond the LP.

On an album with such certified hits as Dancing Queen and Money Money Money, it surprised me that my top moment was Dum Dum Diddle into Knowing Me Knowing You. The singles are, of course, absolutely stellar. The multilayered musicianship and songwriting on Dancing Queen in particular are era defining. Of the album tracks, most of them do enough to keep the propulsive energy in play. As a non-obsessive, it’s a joy to hear a familiar group deliver some melodies that I’m unfamiliar with. In fact the only weak spots for me is the comparatively durge-like Why Did It Have to Be Me? which has a melody uningonorably similar to the middling closer Happy Hawaii. Without these tracks it would be a hands down classic.

I can understand why Stevie Wonder charms so many with his smooth, glistening performance. It transitions neatly between sweet ballads and huge party tracks, the high point being the 1-2 of Superstition into Big Brother. I’m not quite as bowled over by this as the majority, but it does have a lazy Sunday afternoon with wine kind of vibe which is very attractive.

Marianne Faithfull has a totally unique, brittle, roughed up vocal style which in and of itself is compelling. She could hang any song off the quality of her vocals alone. I particularly like it when this is paired with the slightly weird, off kilter, shoddy synths and bass guitar combo. When it hits it hits. Broken English, What’s the Hurry? and Working Class Hero all being stand outs. On the first half of the record the music isn’t generally firing on all cylinders, but the vocals save the day. Final track Why’d Ya Do It stands on its own, musically removed from what precedes it. The whole album blooms at the point she grabs the mic and unleashes the last half hour of pent up energy, using her bitterness in its most palpable and attractive form. It’s her angriest and most provocative performance.

Sam Cooke is my Elvis. What a show! The energy he is able to whip up in the room and his crowd work is out of this world. What a joy that this performance was recorded for posterity. Chain Gang and Cupid particularly sent me into a frenzy, but there wasn’t a soft spot on the record.

There is more than one moment of genius on this record, where I can see exactly what others see in it. For me though these are often swathed in vocals that are not my flavour and interspersed with awkward transitions. More bad than good but an interesting listen nonetheless.

It’s remarkable that on this, The Smiths’ least popular album, 70% of the tracklist is absolutely 10/10 perfection. Marr and Morrissey finished things off with so much juice in the tank. God only knows where they would have gone next. Stop Me… In particular is a propulsive powerhouse, melodic pop genius with such an addictive circular structure. Girlfriend in a Coma is such a huge single that it’s easy to forget just how compelling and frankly odd the lyrics are. Marr has possibly never sounded so consistently good. The only thing that could improve things is if there was a big burst of energy at the end, like that in plentiful supply in the first half.

The most forward thinking moments from this record come when it delivers something removed from the Northern UK 1990s scene. I love accessible, expansive take on psych. As good as it is, I'm less mad about the more brit-pop-esque songs because it not unique to them. If you trimmed those moments out you'd have a healthier (and still full length!) LP. Having said that, if the takeaway is some of the 1990s most iconic rock singles, and some wonderful side alleys taken on album tracks, you can't say fairer than that.

To Alice in Chains' credit they have managed to create a cohesive blend of grunge, metal and hard rock. There are many more genres besides that you'll be given glimpses of too - shoegazey moments, post-punky moments. It all adds up to one band, which is impressive. However, the vocals, come across as affected to me, leaning into an archetype which I prefer elsewhere.

A uniformly fun and free record. Each song has a strong lyrical concept behind it and the band do a great job of balancing the structure of clear, concise songwriting with looser, more longform moments. There’s not a weak spot on the LP - the gap in brilliance between flawless singles and good album tracks is only due to the strength of the former rather than the weakness of the latter.

I like Belle & Sebastian in this preppy, peppy, low key energetic mode. They have great songwriting chops and even on this debut have a unique, instantly recognisable sound which is theirs alone and still intact today. My favourite of their records, Dear Catastrophe Waitress, amps up the silliness and theatricality in a way that I always crave elsewhere across their discography. I could always handle them being slightly more unhinged!

Hard to hate, hard to enjoy. Some interesting explorations into symphonic prog rock which bounds about the place with great enthusiasm but never really delivers a clear vision which balled me over.

I love the improvisation. You get the sense that Van Morrison knows exactly what it is he wants to do, he knows the through line, and that the band are vibing around him, both him and the band adapting to each other’s movements. This is undeniably cool. The melodies themselves are a not as interesting as the song structures, but it’s a very cool artefact.

Hearing the more familiar, earlier Doors sound that I know from the self-titled perfectly blended into traditional 12 bar blues is as powerful as it is unexpected. It’s a blend you can’t hear anywhere else that no other band could deliver. Oh - and of course it’s got tonnes of great songs on it.

A pleasant and low key record which is ultimately a bit one note for the running time. I could have done with Gene letting rip at some points but though it’s clearly emotional and smart it’s also restrained.

More Specials is an aptly bland title for an album which sounds like discarded tracks from the seminal album that immediately proceeds it. Some of the songs truly stretch credulity, with Sock it to ‘Em J.B. being most firmly in my crosshairs. God knows if in 2025 they would continue on naming every title of every James Bond film to date. They sound a bit looser, but not in a good way.

Usually when Jazz gets this unhinged there is a more aggressive slant to it, a more menacing edge. But Bitches Brew does crazy in an amiable way. It’s oddly structurally robust despite the fact it follows no formula. It wanders, but Miles Davis knows where he is going. He is in control of the whole thing. The music is pouring out of him. Every choice he makes is strange, fascinating and always obviously the best choice. Elsewhere we have heard Davis stand out against a more typical backdrop, but here we get the benefit of his band being on exceptionally very fine form, clearly improvising around a general sense of where Davis is going. Albums of this length are always a little unwieldy, so I had to listen in two parts, but it was a very pleasurable couple of listens and a key to unlock a bit of jazz rock fusion history.

The peppier, spicier first half makes for especially good Elvis, before it settles down into his take on some more typical ballads. Fever is a weird and hilarious listen, but not unenjoyable. An above average Elvis record.

RHCP are on strongest ground when they are acting as funky alt rock radio hit makers. Sure - its dated badly over the last 25 years, but they made a spectacular impact on culture with this. They also get some miledge out of the sweeter, quieter, straight-forward moments like Porcelain and Road Trippin'. The weakest moments are easily the rap-rock tracks and the more affected "woah man" rock songs which are just lame. Anthony Kiedis has terrible lyrics throughout this record but it is when he starts straining his voice and trying to sound cool that the whole thing falls over.

The start of this album hits you with a very professional, rich sounding take on country. There are moments of absolute brilliance sprinkled thereafter, but there are also whole songs which are quite plain and forgettable.

There is absolutely nothing subversive or surprising about Red Headed Stranger. Willie Nelson is as straight up as they come providing some truly robust country music that is often wistful and occasionally (my favourite bits) even a little romantic. There is an admirable confidence and clarity to the performances which never leave you in any doubt that Nelson knows how to craft a song.

It was on my 100th listen of the title track of Young Americans that I spotted the surprisingly overt Beatles A Day in the Life interpolation. I could have done with that being the only Beatles reference on the album as the overwrought cover of Across the Universe is really unflattering for Bowie’s voice. This album vacillates between excellent and okay, with the exception being that cover. For this reason it’s a record listeners usually just pull the singles from. Having said that, it’s a testament to Bowie’s talent that this constitutes average for him.

An interesting listen. I enjoy how the Manics have blended a series of rock genres into something which is theirs alone. There are some stray artifacts from music of the time that’s not so much to my tastes but fall in the same ballpark as their Welsh countrymen Stereophonics. Talking of the Welsh, it’s nice to hear fragments of the native tongue on Revol, I only wish there was more of this. The best bits are when it gets really wiry and angry. The worst bits are when its so-so lyrics are put under the spotlight.

They aren’t subtle are they? The Cars drive each song confidently giving off a bold, brash, basic brilliance in their power chords, straightforward bass guitar, bubbly synths, all with a dramatic flare in the vocals and occasional but powerful backing harmonies. There are no subtle digs in what I’m saying here - they have found excellence in pairing down songs to exactly the number of ingredients required to give the listener a big punch of flavour. Nothing is under or overwritten, it's all just exactly right. It is joyful music which is designed to be played loud. I’d seen a lot of chatter about how The Strokes have ripped off The Cars. I don’t understand that at all really, but can confidently say that releasing this album in 1978 puts The Cars solidly ahead of their time and singles them out as influential.

The more Talking Headsy XTCish elements of Devo appeal to me. I love the feel, energy and presentation of the music, which is skittish and slightly unhinged. The songs themselves are cool, though I’m not sure how I feel about the Satisfaction cover. I remember switching the record off in disgust after hearing Mongoloid as a 17 year old. This time round I had the patience to read the Mongoloid Wikipedia page which gives some fascinating historical context around the word, but it did still leave me stretching my head as to why they committed so hard to this bit. In a good mood I like this band and in a bad mood I’m not particularly bothered about them - there are worse reactions!

The stylistic shifts within stylistic shifts make this Jazz(?) Rock(?) Modern Classical(?) Blues(?) album unknowable. It’s variations on variations on variations and it’s also a lot of fun. My favourite bits are the instrumental sections, though I admit that vocals consistently contribute to the LP’s number one strength, which is surprise. The use of covers and interpolations are also mind boggling. It’s controlled chaos with every new element sounding perfectly out of place.

I suspect this is an album which will do different things to different people’s brains. For me, it’s more of a sample tape showing off the textures, arrangements, production and transitions this group are capable of with Faust rarely organising themselves into “a song.” This is obviously completely missing the point of what the band are trying to do. They want a feel of organised chaos though I’d prefer it if it sounded a little more improvised and organic. Due to these personal tastes Jennifer and Lauft… are the obvious highlights to me.

The US version is better in virtue of the extra single power. I can only imagine how mind blowing it would have sounded in 1967. It doesn’t hit me quite as hard as it should just because this particular mix of blues rock / psych is not that exciting to my ears, which means the album tracks sometimes are missing that magic. But man - he can play, and he is nothing short of an icon.

Blending rock into traditional English folk music in a way which doesn't destroy the delicate nature of the folk is no small achievement, Fairport Convention get the balance exactly right. Its very listenable and manages to bypass that self-consciousness that very earnest music can sometimes summon. I see them as a cornerstone of contemporary acts I love today, such as This Is The Kit.

A solid pop rock record with a lot of energy - its not enough to flaw me but it made for a pleasant listen. I much preferred this to A Wizard / A True Star even if it takes you on less of a "journey."

There is a real driving force on this record, a rush of energy. Its a jazzy, jammy rock record that is scatty but completely structured in its erratic nature. There's a nice mix of smoother moments with wilder brasher moments - Zappa is not afraid to blow your head off. Interestingly, over 50 years later it strikes me the influence Hot Rats has had over the very best of video game music. Its got that wistful exploration that makes you want to drive your character to the next level.

Tim Buckley sounds a lot older than he is on this. He has the voice of a seasoned professional on their 10th album and instrumentally he is a master of the art, comfortable enough to expand out on interesting little ideas within the framework of his well defined compositions. He is also comfortable enough to write songs which are on average over 7 minutes long which shows a serious amount of confidence in his vision as a singer songwriter. It's astonishing.

This Stephen Stills album has a lovely vibe, and is very listenable, but if I was to be harsh I’d say it sounds like Neil Young if he had no hits. To Stills’ credit, I enjoyed every moment but even with a killer sound, over the course of 71 minutes, it would have helped if at some point it coalesced into a straightforward single. There are weirder and wilder moments where you feel in a slightly more dangerous and exciting territory, but it never fully commits to this either.

Dr Dre summons up a whole new sound here. A robust, punchy rap flow over the top of high pitched, sleezy synths and low pitched thwacking percussion births G-Funk. The production is surprisingly musical. It gets the balance right between being a lot of fun but still having depth. Grand Theft Auto owes its entire auditory experience to Dre. He creates a great vibe that even now it sounds entirely distinct. If you could trim this record down to a lean 35-40 minutes I think it would be considered one of the all time classics. But it sticks around long enough for less interesting tracks to get airtime, the most egregious example being The Doctor's Office skit which is just dumb.

I thought I'd never heard a ZZ Top album before, then I saw on my RYM that I listed to Tres Hombres three months ago and it failed to leave any kind of impression on me. Considering that I had more fun than I expected with this. The move away from blues to a campy form of hard rock made things more enjoyable. Though by the time I got to TV Dinners I did start to lose the will to live, in no small part because of the absolutely dreadful lyrics.

I like the opening tracks, but can’t make sense of the long stretches of discordant, messy bits - which must be where the real joy for this record lies. There are unconventional tuning changes between each song, which make the band members sound out of tune and out of harmony with each other - I’m definitely missing the point! I thought I’d like the sound of a more professional “The Shaggs” but with all the energy and raging pulse, Sebadoh lacks their charm.

Faith No More has a real range but I find the vast majority of it very silly. The occasional flirtation with Metal works best but the vocals consistently put me off, whether theatrically whispered, delivered with a gung ho yell or nasally eeked out. I struggle to work out exactly how ironic it's supposed to be.

Nina Simone's voice is absolutely stunning - almost overwhelmingly beautiful. Surprisingly deep and deeply humane. Some of the earlier cuts lack her full gravitas, but as soon as you hit the two live tracks, including the title track, there is a superb run of slow building drama from there to the end. She knows how to make the most of every note, wringing out every bit of potential and keeping you on tenterhooks.

What keeps Time (The Revelator) so fresh is its even split between folk and country. It is able to reel you in with one and then entertain you with another, never settling on too strict a formula. There is an authentic emotional core to Gillian Welch’s singing which makes the more serious and probing numbers the stand outs, with the opening and closing tracks being particularly stunning vocally, the former even being a bit gnarly at points on the guitar - which is a surprise! However, I appreciate the light hearted numbers for how they add extra dimension to the LP, increasing its overall impact. It's interesting how much of the album she dedicates to singing about rock music and its icons, although the Elvis tribute might be the only cut on this LP that I could have done without.

Nico was a German who learnt to speak English, Spanish, and French during her travels through Europe. By the time she started her music career in 1960s New York City, her gifted voice and mixed European accent made her sound totally distinct to her British and American contemporaries. There are only so many singers who have an instantly recognisable voice, and Nico is one of them. Her voice has an ethereal quality which vacillates between sounding mysterious and, when called for, haunted. Recorded immediately following her debut with The Velvet Underground, on this solo debut she surrounds herself with gorgeous chamber instrumentation and warm guitar picking. This typically acts as a whimsical backdrop for her vocals to take centre stage, but the music goes to a wide range of places. She provides cutting edge folk rock performances but also shows that she is suited to more mysterious, medieval style baroque pop songs. Daringly she adds into this pleasant mix some more experimental and uncompromising moments too - music as modern art. Had the internet existed in the 1960s Nico could have garnered a huge audience of people who love slightly off-beat, forward thinking music. But in an age where music was limited the radio and physical record sales, you can see why this would have struggled to find purchase. Of course, thanks to albums like this, as time went on she became a star.

I like how good natured Mudhoney are as a grunge band, they are rather sweet. The production is fantastic, I enjoy how each track has a clash between its super clean and its fuzzy, distorted elements - this is a core part of their sound. The song writing is solid, but it never quite makes the leap from “pretty interesting” to “compelling.” They are definitely the grunge band you’d take home to meet your mother though!

The selling point of Raw Power is just how huge and intense sounding it is at a point in which nothing like that really existed. Based on the 2023 masters I much prefer the Iggy Mix. Because of the way it’s recorded you can hear the Bowie mix wrestling the dynamics into a conventional shape which takes away from the RAW POWER and turns it into a pop rock album that has to stand toe to toe with pop rock records which have been more proficiently recorded. The Velvet Underground’s White Light White Heat is the only major label album I’ve heard that’s recorded “worse” from a traditional technical accomplishment perspective. It’s impossible really to know what it sounded like at the time based on what’s on streaming services. There have been so many remasters of both versions. This is where physical media is handy, as access to any particular version of any record can be withdrawn at any time. Though I suspect Iggy ‘23 version is king.

I’m used to more introspective, dour songs from Neil Young, so it’s interesting to hear him in more of an impish, chipper mood on Tonight’s the Night. The singles are not as iconic as you can get elsewhere but this only underlines how strong his base-level sound is. It’s amazing what a difference playing music with a smile on your face makes.

The Cardigans up until this point had made a minor name for themselves for the way in which they mix sweet and sour sounds. On First Band on the Moon they continue to drop little explosions of joy into a mix which is tentative and unsure in its happiness. The call-backs to the 60s girl groups are less pronounced than before but still contribute to a generally nostalgic sound. The second album amped up the sound, and this one amps it up further making The Cardigans more of a pop rock band. Lovefool is one of the obvious standouts, sounding nothing like the rest of the tracklist or any other song they’ve put out up until this point. It is the band in their most radio ready form and is quite deservedly a massive hit. Less chart worthy, but no less conspicuous is the Black Sabbath Iron Man cover which reveals half of the band’s unlikely roots in heavy metal music. It’s a fun and silly addition. Despite all the pop factor on display, it’s still a surprise that Peter Svensson has gone on to write mega hits for (/with) with Lizzo, Carley-Rae Jepsen, Ariana Grande, Elle Goulding, Troye Sivan, The Weeknd, Meghan Trainer, Avril Lavigne, One Direction, Leona Lewis and Justin Bieber. For my money The Cardigans sound more distinctive than the majority of those artists.

On Remain in Light Talking Heads produce something that captures the feel of spontaneous creativity and the magic of the first draft, without compromising on perfect arrangements of meticulously developed sound beds. The vibe is loosey-goosey but the performances are tight and expertly judged. The chaos is all -planned. Their sound is a world away from their first two albums, embracing something far more abstract and ethereal. Its unprecedentedly atmospheric arrangements of noise which act as a poppy, angular backdrop for David Byrne to pour his stream of consciousness vocals into - a perfect match. Given how popular this album is you'd expect there to be copycat bands pilfering these rich ideas for inspiration, but artists are not doing this because its incredibly challenging music to write and very difficult to copy. Remain in Light is a rare beast and one of the best albums ever made.

The Chemical Brothers have fully arrived with a much greater sense of journey on this record. They build on and refine their sound, keeping the best elements of LP1 then pushing them further, not necessarily harder. There are more psychedelic moments where they are reaching out of the speakers and meddling with the production in unexpected ways. Similar to LP1 the bangers are on the first half, but the biggest improvement is in the (relatively) more relaxed second half where a lot of the best songs sit. The final three tracks is a particularly impressive offering from a duo showing that they don’t just do high octane hits.

On Evermore Swift and Dessner deliver a second helping of sensitive, twee folk pop. Lyrically it is not as strong as Folklore, with some of the more overt efforts at memorable storytelling resulting in lyrics declared cringe at birth. However its successful in capturing that same breathy, patient, passionate approach. Its a gentle hour that moves at a reasonable pace with some welcome features. I do find it surprising that this album ranks so highly among beard stroking music fans in comparison to forward thinking and impactful records like the lesser rated 1989. While I prefer my Taylor Swift a bit more pop-tastic, especially considering how oversubscribed the field of folk pop is, I like that this duo of LPs contribute to the fact that her career successfully spans country rock, folk and synthpop. Its this variety that keeps fans coming back.

Neil Young sounds incredibly modern on this 1990 LP. Given I was only familiar with albums from his “classic” era and albums where he performs without Crazy Horse, the amped up and rocky nature of this record took me by great surprise. Young fares well as a rollicking, tough frontman of a band. As an artist I sometimes find that he needs a bit more bite, and Ragged Glory has plenty of bite. I have to give a special shout out for just how unhinged he sounds on Farmer John, willing to get a little loose and experimental with his vocals.

This made of a very strange listening experience for me. I went with the unshakable knowledge that I did not like U2. I'd even listened to the holy relic The Joshua Tree and found it to be a pretty mild ride. But then I put War on and it sounds nothing like the other U2 records I've endured. Genre wise its more tailored to me with some post-punk and even some campy bits of new wave - they are great in these temporary modes. Its passionate, focused and nicely detailed. Its energetic without being particularly stadium worthy, suited to more of a medium sized venue. Bono has a really unique voice which is an acquired taste but I love all the elaborate, strange directions it shoots off in on this LP - he is really quite unpredictable.

I like how strange this album is, surprising given its chart status. There’s a nice oddness to it that comes from the highly strung, neurotic vocals. Having only heard the radio singles I was taken aback that Alanis Morissette sings like that for the whole record! Sadly I would say I prefer the singles outside of the context of the LP. Rather than enhancing them, or placing them along a journey, for the most part the album tracks just sound like worse versions of the singles. Part of the issue is the degree to which she spotlights the lyrics, which while usually not being terrible, aren’t good enough to take that degree of focus. There are some simpler power ballads, some of which work quite well, but I have to call out Mary Jane for having some of the worst and repetitive storytelling I’ve heard in a long while. She’s going for “inspiring” and “mysterious” but it falls flat. Ironic, which has a similar level of storytelling quality, gets away with it due to its sheer force of nature - and because it’s a strong pop song!

The singles are great, fantastic vibe with some surprisingly daring production which raises the typical singer-songwriter game. It’s surprising how many hits are on this 50 minutes. Very sweet closing things out with an unusual Soft Cell cover too. If I was to critique I’d say it’s slightly too long which allows some lesser cuts into the mix which are less inspiring.

Instrumentally it’s all way too zany for me, playing the same notes in unison before breaking out into mysterious wandering space age prog. The backbone of the band is very much music as a blunt instrument, with lots of frills layered on top of it. Vocally it’s a bit more my speed and helps up the game of the overall sound.

They’re playing the standards, sure, but the way they’re playing is anything but standard. It’s all slightly on the edge of good taste, fighting between distortion and a penetrating clarity. The performance is dirty, fuzzy, wild and nasty, elevating songs which could in the wrong hands be a simple, pretty distraction. I usually struggle to connect with these early 60s cover albums but have no such issue here given it has plenty of the Sonics’ own personality. Four of these songs are written by the band - which helps things whip by nicely. I can’t wait to hear more!

I wondered whether my opinion of Richard Hawley might have changed in the 10 years since I saw him at Cardiff Student Union. I am much more into crooners now than I was a decade ago, and it’s true that some of Hawley’s romantic, mellow style sits more comfortably with me now but even accounting for genre his music is extremely uneventful. His fans hail Cole’s Corner as the best of his LPs so I can only imagine how little happens on a typical album! There’s a nice, swaying lyrical nature to it but I’d prefer to be listening to a grander, more detailed Elbow album.

It’s a sound from another era that bands like The Sonics smashed to pieces a decade later. Unlike music from the 1960s I find it difficult to summon a fully formed opinion. It’s very formal, prim and proper but does little to engage the senses. Not particularly interesting!

This record’s delightfully broad range is what stops its two hour running time from being an issue. It is not consistent enough in tone to become boring. The lazy thing to say about a 2 hour album is “if only they cut out X number of songs they could have had Y quality record,” but that would miss the point of Mellon Collie. The Smashing Pumpkins are, at this time, a band with an uncontrollable number of ideas in their heads who would have had to significantly tone down this LP to be able to settle on a concise view of what it should sound like. You could cut three or four totally different albums out of this record. The metal elements on a cut down version could be used as short moments of contrast to show how far the band could push things in another direction. Instead they really go there and counterbalance the big breezy indie rock hit singles with sections of complete madness. It’s an exceptionally brave release, just not one that you can listen to over your lunch break. It's impossible to get to know as a casual listener, so if you can break through that it could make you a fan.

I find this record very sweet. I adore the bright and jubilant chainsaw power chords, pop punk sensibilities and open, pleasant vocals. Its kinda grungy, but in the cutest way possible. While the vibe is there and it passes by like a dream I can't say there are any individual compositions which stand out to me greatly. It wouldn't stop me putting it on again though.

I find the flow and structures of the song enjoyable, even loving much of the percussive elements but the synths are hit and miss for me and the vocals are just miss. There was this idea in the 80s and 90s that inspirational, motivational, almost spoken word sounding, ethereal vocals would really make a house track pop, and for me it does just the opposite. It makes me feel hungover!

After recently spinning Curtis Mayfield’s edgy and captivating 1970 album Curtis for the first time I’ve been excited about dipping into some of the classic soul, funk and disco albums of the 1970s. The stand out hits on Songs in the Key of Life are impossible not to know. ‘Sir Duke’ and ‘I Wish’ have a whole life outside this LP on radio stations and party playlists across the world. ‘Pastime Paradise’ sounds very modern, the use of synthetic strings is ahead of its time and can be heard in plenty of the soul, R&B and rock records that proceed this album. Upsettingly, outside of these hits there is not a lot for me here. I don’t feel like much effort was put into cutting this 2LP + 1EP album to its key, most attractive elements. It’s a very long record to get such little pleasure out of. Most of the tracks on this record are very safe, sedate and glossy. Every track that Stevie Wonder performs lives or dies on whether those vibrant and vital feelings translate to the listener, I personally can’t tap into it. I’m delighted that nearly every other person digs this, but for me I feel like a child being forced to listen to their parent’s boring music. There are very few songs that give me the kind of rash like negative reaction I get from ‘Isn’t She Lovely’. It makes me nauseous - it simply won't end! Stevie Wonder has enough fans without me butting in. I’m gobsmacked at how much more famous Wonder is than Mayfield though… its mad.

If you enthusiastically enjoy the first couple of tracks then it’ll likely be a very warm listen. If you find them pleasing but not particularly engaging, then it is likely the rest will flow by without too much note. Charming and completely inoffensive. I prefer country with a bit more bite.

The Visitors delivers a true “album” experience. Despite having some stand outs (the title track, Head Over Heels and Two For the Price of One) it moves beyond feeling like more than a collection of singles. I found the album really motivating, fidgety and fun. There are moments, including the title track, which reminded me of Sparks! It sounds like they've really got the hang of synths and how to turn them into a bubbling symphony.

John Coltrane presents a series of contradictions as if they are totally natural. I’m in awe at the tension between the smooth and discordant elements which are both disconnected and entwined, manic but present, busy but slow. The band are in tune with each other but in a way which is totally at odds, yin and yang. It works as an abstract description of love, but he could be describing any “lost in the moment” passionate force. It’s a work of art.

I am impressed at how fresh this sounds, a familiar genre (blues) given a fresh coat of paint. Interesting writing throughout and a consistently good mood.

A couple of months ago I listened to The Man Machine for the first time in 15ish years and really enjoyed it but was slightly disappointed that I was head over heels in love with it like I was when I was 17. It's got amazing melodies, compositions and (of course) cutting edge use of synths but there was a very slight disconnect which stopped me falling totally in love. Listening to Autobahn for the first time today rekindled my love for this band. I had an almost spiritual experience at points. The explorative use of synths, full of childlike creativity, joy, wonder and awe is extremely satisfying. At some points it’s more structured and melodic and at others it stretches out and elongates beautifully. They are working out everything they can do with their emerging technology at their disposal. But these aren’t just experiments, they are emotionally rich songs. I like how the peaks and troughs of the 20 minute title track reflect the experience of driving on the Autobahn. Very clever. I’m hearing the way it influenced Tubeway Army and I’m even hearing bits of The Fall in the occasional vocals. It’s way ahead of its time. I hope Kraftwerk has more records like this.

I know I’m in for a treat when I see an album by a band I’ve never heard of described as their “most accessible work.” Lightning Bolt prioritising the cathartic percussive qualities of the bass and drums over everything else makes me feel like I’ve had my ears cleaned out. This is not to say there aren’t melodic hooks, but they are delivered with such caustic blows that it’s the feeling of buzz, fuzz and distortion that I’m left with. Though energetic, relentless bursts of noise are my thing, I would say that the second half is just like the first but not quite as good. I’d be interested to see how they progressed this sound on their “less accessible works.”

The covers on this album range from sublime and iconic (Hurt); radio 1 live long quality (Personal Jesus); and faintly ridiculous (Danny Boy). I’d have limited these to the best and then folded in some of the old favourites from his back catalogue, brought to life with his seasoned older voice. Having said that - how sensational is The Man Comes Around? A Cash original and the best song on American IV by yonks. This song alone justifies the collection.

There’s some good songwriting on display here, but all together it added up to a dreary mid-tempo listen which never got me out of the slump it put me into. I was very bored of hearing about her ex by the end!

You can imagine this coming out at the peak of the Hacienda’s powers. On first listen, based on the opening moments, I was convinced it would be a full on dance album, instead it’s a pleasing mix of synthpop and dance. No big hits but it works well as full album experience. The only small shame is that All the Way sounds unignorably similar to The Cure’s Just Like Heaven - even including some of the same lyrics!

The original Christmas album which inspired countless compilations and covers. Almost every song here is the progenitor to a “classic” version of the same song but a couple of songs still survive as the ultimate version on deeply unoriginal Spotify playlists. A handful of oddities (most notably A Marshmallow World!) stand out for no reason other than the fact they do not have the world-beating fame of the other songs surrounding it. And it stands up! It was the best party record in our household this Christmas.

This is clearly a major turning point in The Beatles’ (and pop music’s) development. Despite this being their sixth album in three years, the number of ideas and quality of songwriting is only increasing and an edge has been gained. At this point you couldn’t swap their songs out for any other group without the complex and unique compositions losing something.

I’m sure there is a time, a place, a setting where I could get more out of this. It sounds like winding down music at a big party which I wish I’d already made my way home from. It’s nice, not particularly hateable but very chilled and drawn out for something which didn’t grab me.

Some of what Throbbing Gristle offers up falls under the category of music, but the majority of the material on Third Report does not as they are engaging in sound art rather than songwriting. As sound art it is somewhat interesting, but as an album of music it is lacking many of the features you should judge when writing an album review (melody, rhythm, etc.) They successfully create an uncomfortable and uncompromising atmosphere which I will not be returning to. I find the life story and personality of Genesis P-Orridge much more interesting than the output of Throbbing Gristle itself.

It’s a rare pleasure to reunite with a record you played a lot in your teens to find you like it even more than you did at the time. It’s a step up from The White Stripes, especially their later records, with every song bursting with melody and creative energy. The expansion in his sound in part comes from the abundance of different musicians across the tracklist, the line up changing substantially from track to track, keeping things energetic and nervy. I didn’t want this album to end because every track truly delivers, there isn’t a dud in the bunch.

I’ve always had a lot of affection for this Ian Dury album. It’s all drums and bass and vocals; and surprisingly it makes you want to dance in a pub rock kind of way. It’s really carefree and loose with a big emphasis on fun / just having a good time. It’s a totally untapped idea to repackage Cockney music hall and blend it with rock, pop and even disco bass / drums. If anyone else out there is doing it it’s certainly not left the mark Ian Dury makes with this record. My copy has Sex & Drugs & Rock’n’roll on it, uncredited, and it does boost the overall tracklist. I don’t know why he was shy about putting singles on the LP, although one of the best tracks has to be the album track Blackmail Man which is pure angry punk energy. Fantastic. My wife told me today that the child on the front cover is Baxter Dury which I didn’t realise - he himself has had a really full music career. You should check out Leak at the Disco if you’ve never heard him.

My only exposure to Lenny Kravitz before now is the side-splittingly hilarious Architectural Digest videos. It’s pleasing to see that he is the exact same character here. He takes the most dramatic and forceful elements of The Beatles and adds a dash of Soul singing. It’s all a bit cheesy and overwrought for my personal tastes. He regularly pushes the performance too hard into quite grating territory.

The propulsive, good natured boogie from the band drives the record along nicely and won me over in the end. They sound like a very polished blues bar band. The vocals and lyrics are foregrounded and unignorable which is fine when they suit my sensibilities but at points sound hokey or harsh. As long as the vocals are pointed towards lifting spirits and keeping things fun I tend to be on board!

Without looking you can tell this is Beasties Boys’ debut because the blend of hip hop and rock is not as refined as what comes later. They are still building their rapping abilities and their music doesn’t sprawl and stretch into the different sub-genres (i.e. hardcore punk) that make later records such a delight. Having said that, the track list is home to plenty of treats, especially in the middle of the record. The barbershop quartet-esque Girls is absolutely brilliant and seems to come from nowhere, a nice contrast with the energetic breakout hit single that follows Fight For Your Right, which acts as their rawdy mission statement. You can see how these boys whipped up so much excitement among the teens!

I suspect how much I enjoy this record is simply a reflection of how much I enjoy Jazz-Funk Fusion. I'm not mad about that genre, in fact it sounds like hold music to me, so am not really one to judge its success. I can say that I preferred the opening track thanks to its R&B vocals which nicely brings together the sound of the band, who without the vocalist wander off into all sorts of blind alleys.

Deep Purple put on quite a show. They are rarely subtle, and in fact I prefer it when they make no attempt to be subtle, as they find their best light in the moments of drum twacking, guitar crunching and fidgeting about on the fretboard. This is best played loud and is a hell of a lot of fun.

The Queen is Dead is the height of both Morrissey and Johnny Marr’s collective and individual creative efforts. Part of The Smiths’ genius comes from how thick and fast they wrote songs (this is just one of 4 albums written and released in 4 years). Never is that more true than on this LP where at points Marr sounds like he is in a hurry to get all of his riffs out, notes falling perfectly into place on conception. This rush of creative inspiration is beautifully captured by Stephen Street. Nothing overconsidered or overwritten. Morrissey’s vocals are at their most fluid and his lyrics are their most balanced. Of course you have the usual floral notes of tragic nostalgia and self pity but they are offset by plenty of outward-looking humour (occasionally harsh but more often just absurd). Nowhere else does he sound quite this playful, allowing his voice to take him to unexpected places. Its an all time classic!

There is clearly an interesting vibe, a robust, very full sound and excellent production on Central Reservation. I especially enjoyed the unexpected downtempo songs, which there could have been more of. However this record is also overlong and does not have a song power to match the gorgeous overall “feel.” You could slim down the tracklist to arrive at a more pleasing version, but even then it could do with a couple of singles, at points it gets a bit dreary without them.

I preferred Sail Away by quite some margin, partially because it sounds better organised and more focused, but also because it does more to spotlight Newman’s lyrical content - his key selling point. On Good Old Boys I find myself peering through the mix trying to understand what he is saying. Some moments are chipper, others are thoughtful, others leave no impression at all, though it does provide some good mood music if you’re happy for it to fade into the background.

Delivering fresh energy and new ideas to alt rock music, without fundamentally altering the form, is an undervalued contribution. Barring some slight grunge leanings The Afghan Whigs feel to me to be a straight up rock band who deliver all their points of interest through snappy and dramatic songwriting. The album gives good insight into men's failings, this being most effective in the first half though I enjoyed the inclusion of Marcy Mays on vocals in the last third, which has made me want to check out her band Scrawl. I have to admit though that it did bring into focus that I slightly preferred her as a vocalist…!

In the UK in the 2000s Parachutes was on regular rotation in most CD players across the country. It hit the sweet spot of being both intellectually stimulating and instantly accessible, synthesising a broad range of fresh sounds (a little bit of OK Computer, a little bit of David Gray) and delivering something brand new to a country who’d almost had its fill of Oasis. Every song has a deep emotional core which you can lean into and convincing melodic hooks to match. There’s a nice balance of intimate, introspective ballads and fuller, rockier songs, but it never tips over into bombast.

It’s not devoid of any good stuff, but there’s a nauseating fusion of genres which doesn’t do much for me, as well as an infuriating take on spirituality. When Singh settles on a particular idea you might get a passage or two that’s quite pleasant but then something silly will be dropped in the mix that throws me off. All spoken word passages on this LP are without exception terrible.

Elvis Costello has more dimensions to him than I realised, with this album going to some surprisingly dark places, contrasting with what I would have considered his more typical jubilant mood. Interestingly the title track was the only one I didn’t particularly vibe with, the rest of the record is a lot smoother. The slow, mournful ballad I Want You is the best song I’ve ever heard from him - a career highlight!

I am not someone who puts music from the 1970s on a pedestal, but I have to admit I envy an era where market conditions regularly allowed bands who had enough label support to fluidly release multiple albums in a year - charting their development in real time. Plastic Letters, released in early 1978, sets out Blondie’s stall with a series of songs that showcase a fun, sunny vibe, but there is a monumental step up with Parallel Lines which is stuffed full of highly energetic singles and doesn’t let you sit still for a second. The introduction of a more post-punk sound has come from nowhere, but it substantially perks everything up. They are firing on all cylinders. Great songwriting meets exceptional style.

Hejira is an album that demands repeat listens, not because it's hard to enjoy but because on first listen it's so dense with musical and narrative detail that you couldn’t take it all in at once. There are wonderfully queasy, unnatural rhythms, particularly in the way Joni’s guitar interacts with the imaginative bass guitar playing that takes some time to fully wrap your head around. Then of course, her voice and vocal delivery is just sublime and the best of the three of her albums I’ve listened to so far (though I’ve yet to listen to Blue!)

A fun, energetic band who wants you to know exactly how young they are. They are very self referential, clearly understanding that the music they are making is powerful and arresting, if not exactly complex. You’re unlikely to have a bad time with The Adverts.

I’m conflicted on Creedence Clearwater Revival because I really like some of their stuff - the first three tracks on this record get into some interesting grooves and are pretty inventive. But then there’s a bluesy stylistic shift in the middle of the LP which sounds less imaginative to my ears. I was surprised to see that Proud Mary wasn’t a cover and that CCR are the band who wrote this number! I’d personally take Ramble Tamble over this track any day, but I can still appreciate the cultural impact.

This album is surprisingly political with a strong social consciousness on hit track Papa. I admit that I prefer hearing the group deliver pop hits (and this is certainly not that) but I do appreciate the smooth, gentle soulfulness throughout this half hour.

A delightfully serene record that’s likely to put you in a beautiful mood and unlikely to ruffle any feathers. It’s simple, slow tempo country harmonies without any fuss, though there’s possibly not quite enough to it to keep me coming back for more.

This sits firmly within the zeitgeist for 1983, summing up pop music for this period. Of course, anything caught within the zeitgeist runs the risk of burning bright before fading from collective consciousness. Though would a pop star prefer to peak high then fade, or to never have been at the centre of culture? Forty years later there is still something to be said of this plush, radio friendly form of dance-pop. It's certainly not short of melody as it pleasingly fidgets from one bright, bold idea to another. They know how to write a song with a hook - they earnt their airtime.

My favourite moments are where Tom Petty feels barely able to keep a lid on things, like he has pent up energy that’s going to burst out in some unintended way. American Girl comes in like a punch in the face at the end of the album and it was much appreciated by me. I needed a solid gold anthemic single with plenty of cheer. I could have probably done with a little more of this in the last third of the tracklist which is a more patient affair.

Without being familiar with William Orbit you quickly work out that he must have been influential. In 1993 he delivered a new style which (to my ears) survived until the early 2010s in cinema and TV thrillers. There’s a nice overlay of organic sounding synths with guitars, dance beats and, surprisingly, a baggy strand which crops up throughout the record. This is all offset with ambient tracks. The opening track with Beth Orton is most effective, following tracks have similar points of interest, but it is a series of diminishing returns after that. Still, for 1993 this is undeniably forward thinking music which would make for a great soundtrack.

I’m surprised this album is not more widely recognised. This was The Beau Brummel’s first album of original compositions, a confident series of tightly written songs which are so heavy on detail that you’d swear the band was bigger than a trio. Vocally, the most obvious comparison that comes to mind is Bob Dylan, but there’s more of an elaborate, theatrical performance. You could almost imagine the vocalist making eye contact with you throughout - it’s a performance that wants to be seen and heard. The whole album is strong, but my favourite moments are at the end. The pensive, patient and ultimately forceful performance on The Wolf of Velvet Fortune is a hidden gem of the 1960s. There is then a quantum shift in tone as we move into the cheery, bright Old Kentucky Home which I would love to have seen performed live. It leaves you with a big rush of energy at the end. They had me in the palm of their hand throughout!

This is a genre mismatch for me so I’m not in a great position to judge. When there’s a little energy to proceedings it’s more entertaining, if a little cheesy. The slow numbers though are impenetrable and sound pretty old fashioned for 1974. I’ve never known an album clocking in at less than 30 minutes to drag like this one.

Heroes is one of the most naturally expressive LPs of Bowie’s career. It has a misleading title track as it is in no way an album of anthemic hits. In fact, a couple of instrumentals make this an unexpectedly calm, even meditative experience at points. At other points it's the most Bowie has ever sounded like Bowie - have the idiosyncratic elements of his voice ever been more distilled and than on Sons of a Silent Age?

It starts off pretty interesting, with the spoken word track and some nice songwriting on the opening few tracks, but the further down the considerable tracklist you get the more threadbare the writing becomes - simple power chords, basic drums, one dimensional bass playing. It lacks finesse, flavour, or frankly - surprise. What starts off as quite charming soon becomes tedious. The most certainly did not have enough fuel in the tank for a double album.

I’ve always been very fond of the Best Of Kinks compilation I listened to countless times as a child, and have only recently dived into a couple of their albums. Sadly as it stands I’m resigned to preferring them as a singles band, with a bit of the magic I feel from Sunny Afternoon being missing from the LP as a whole. It's not a bad listen by any means, but I always had them pegged as a category above.

It's a pretty flawless record which peaks at the perfect 1-2 of Deja Vu and Our House. It's an obvious thing to say, but the combined skills of the album’s different writers opens up a range of possibilities and styles. It's not a consistent product but it's all the better for it. I particularly like Neil Young’s vocals, he strikes me as their most valuable player. The flaw in the Persian rug for me would probably be Almost Cut My Hair which took me a few listens to get beyond the lyrics. Every other song though is a warm hug of perfectly executed folk rock.

I imagine in many ways this sits more comfortably now than it would have in 1993. Reading reviews from closer to the time, I find many of them are boorish and some downright sexist. Men really weren’t used to listening to women musicians, maybe women generally. Liz Phair has an interesting voice you don’t hear too often which takes songs to places that a more polished performance wouldn’t be capable of. The songwriting is solid and most importantly an active effort has been made to not overcook anything. In the best possible way it sounds like a bunch of impulsive demos that capture the original energy and intent of the songs. Anything more and you’d lose the focus on the narrative Phair is stringing across the record. At some points the lyrics are compelling and at others genuinely shocking, all centering around her insecurities and the harm inflicted on her by various guys. I can’t really think of an obvious comparison. It's not quite Elliott Smith, not quite Alanis Morissette. It's its own thing.

Goldfrapp was one of few bands of this era who sounded like they were auditioning to write a Bond theme - it's not a bad wave to be on! There’s a glamorous, slowly unfolding dramatic energy to this album, clearly inspired by 1960s movie soundtracks. A nice integration of strings, plenty of synths and curious, playful vocals at the centre of it all. I love how patient it is, never in a hurry. It's all robust and well conceived, even if it never develops into something I’m totally lost in.

Something to keep in mind while listening to this record, is that this group essentially just want to make their listeners feel good, raise a smile, and of course show the world that they are crazysexycool. It's an approach that defies critical analysis because it just feels mean spirited to anything other than to just go with the flow and enjoy. I would say that this record could do with a handful more killer singles, and that it does tread water for some of the tracklist. I also would personally would have removed the interlude with the flushing toilet - while it made me laugh, I don’t think that needed to be kept for posterity!!

A groovy, and on the whole, snappy party record which doesn't let up in propulsion and energy. They have a wonderful, natural, genial vibe and know how to put on a show. This is mixed up with some surprising psychedelic qualities. The second half is my favourite as II find the 10 minute Run Away Child overpowering on side one. I prefer them keeping things quick and light.

In a universe where Sundays are a bad thing, only one month after the release of Strangeways, Here We Come, Morrissey recorded his most direct and immediate collection of solo material. He was in the white heat of his career, where excellence comes easy. Ported over from production on The Smiths albums, Stephen Street also writes all the music here. He knows exactly how to treat Morrissey’s vocals, and the backdrop needed to get the most out of him. He does a pretty excellent job in subbing in for Marr and Rouke on guitar and bass and is truly the unsung hero. The string section provides a beautiful contrast to all that and results in some lovely dynamic shifts.

Each individual component is objectively good: musicianship; songwriting; flare. For me however, there is a structural issue with the flow of these tracks. I don’t think the seemingly endless jams put any of these beautiful components in their best light. It all comes off indulgent and lacking in momentum to me. Though I am sure that the people who love this album love it for the jamming element, and maybe even wish it would never end…!

Sixty years has a way of completely recontextualising an album. I am not listening to the same music B.B.’s audience were. They are hearing something white hot, innovative and unbelievably, unbearably exciting. They cannot contain themselves and the MC is doing everything he can to whip them up into a frenzy so it can be bottled for the LP. It's impossible for me to connect with this music in the same way. It’s nice, it’s solid, it’s very pleasing music, it may even be ahead of its time or genre defining. But it is not exciting, it is not electrifying. I would need to be on a diet of very restrained or antiquated music to be able to hear what they are hearing. But regardless, I had a good time and I’m happy to have heard him roll out the classics.

I am quite sympathetic to this sort of disheveled dive bar rock, a straightforward presentation of embryonic punk ideas. They have the campness of Queen and the rough and readiness of the Ramones. The issue is that each song has a joke at the heart of it, and I never get the joke. With “Back to Africa” and “Master Race Rock” the band would be courting controversy, if anyone had ever heard of them. The music is decent / fine. The lyrics are frequently strange and occasionally appalling. It is never funny to me!

This is the right time in my life to start listening to Matalica. I'm glad that I’d been schooled in Black Sabbath beforehand because it gave me a route into old school Heavy Metal. When I was younger I would have rolled my eyes at some of this - especially the vocals and lyrics which are at points joyfully silly. I’m now old enough to appreciate rocking out on the guitar, crunching chords, drum fills, projected vocals. There's drama, there’s shock and awe. My whole life I’ve wondered why certain grunge and heavy rock artists strain their vocals in that particular way, and now they know - they’re copying Metallica. What sounds overwrought from other singers, sounds electric when done right.

This is a very warm, exuberant, kind hearted album with plenty of pep. Outside of the big singles though, I do feel a slight disconnect. It's a fun, warm listen which I’m sure would make a great party record which sits pleasantly in the background, but doesn’t give me anything deeper than that. 50% Earth, 50% Wind, no Fire.

The standard approach is the standard approach because groups had to make it the standard approach. I don’t know enough about Country to tell you whether The Louvin Brothers are genre defining, but there’s no doubt to this inexpert ear that it has never heard this style so naturally adopted. It’s a charming half hour.

There must be few pleasures in life simpler than listening to Eagles’s Take It Easy, it is smooth and carefree, radio ready vintage pop rock that is impossible to take issue with. The rest of the album has many of the same properties, but with less urgent songwriting it glides by without as much notice, though I did like the cheeky and erratic, banjo-lined Earlybird. I had a similar experience with Hotel California, so I wonder if they are more of a singles band?

There are some tremendous, monstrous singles on Celebrity Skin. I like that pop rock from the late 90s was fronted by tough, uncompromising figures like Courtney Love. People wanted some rough and tumble from their radio music and happy to oblige, Hole delivers several smacks to the face. The first and last thirds of this LP go especially hard. Love is a powerful singer, and one of a dwindling number of chaotic rock stars. While I would not want to return to that era, you can’t deny that frontwomen like Love have a certain aura of cool about them.

If Radiohead had never released another album, I believe this would be considered one of the very best albums of the 1990s. Similar to how The Strokes’ debut sits among the pantheon of 2000s indie music, The Bends is better than many of the most popular 90s group’s ‘best of’ compilations - it's absolutely packed out with singles and has an incredible flow. The title track does an excellent job of encapsulating most people’s main take away from the record. Those beautifully panned, panoramic opening guitar chords, making the most of stereo, with the chorus pedal turned up to max draws a clear line in the sand between the average 1990s rock group who gave us Pablo Honey and this new band who were of a totally different order. Bones pulls a similar trick when the guitars open out in the choruses and create a series of triumphant, euphoric uplifts. These grand moments are offset by creeping, anxious ones like the eerie verses of (nice dream) which make it impossible to write off The Bends as “Just” being for stadiums. The Bends has of course been eclipsed by the band on multiple occasions since. The multi-layered outro of My Iron Lung prefigures the even more multi-layered outro of Paranoid Android. The tender and gut wrenching Bullet Proof prefigures the even more tender and gut wrenching True Love Waits. But what The Bends does better than any of Radiohead’s other albums is prove that they could make a record for the masses. Something which cuts straight through equally to avid fans and the everyman. Radiohead fans like to think that it's OK Computer and In Rainbows that immortalised the group among the general public, but that’s not the case. There is no Radiohead album more pleasing to more people than The Bends. Not only is it one of Radiohead’s perfect albums, it is generally considered their best.

This is an educational album giving a flavour of what German cabaret sounded like during the World Wars and inter-war periods. The English translation of several tracks will annoy purists but it helps position the songs and drive home the meaning for English speaking listeners. I don’t spend much time listening to musical theatre, what I’ve connected with has been contemporary and pop influenced, so this is a taste stretcher for me which I failed to connect with beyond taking a curious historical interest. It’s amazing to think that the gap between today and this album’s release is only slightly less than that of this album’s release and the end of World War Two. How the world has changed!

The more I listen to Nick Drake, the further I move away from the received wisdom that he was a dark and miserable songwriter. All three of his albums prove this to be absolute nonsense. His brooding, melancholy turns are usually counterbalanced by bright and hopeful ones - often within the same song. What makes him fascinating as a writer is how he switches from minor to major, hitting a sweet spot between being downbeat and uplifting. Also against received wisdom, and Nick Drake’s own preferences, I am glad that delightful and eccentric chamber instrumentation was added to Bryter Layter because it creates a stark contrast between each of his three LPs. None of his albums is like another. His lyrics are often whimsical and soaring, so to match that vibe with orchestration is genius to my ears. The only time this falters is the title track and closing track where Drake’s simple instrumental, which doesn’t do much on its own, is simply drowned out and distracted from. This album was on regular rotation in my household growing up, so will always be the Nick Drake record I am most familiar with. It holds a special place in my heart.

I’ve had a weird journey with this record. I’ve listened to it twice, four months apart. The first time I loved the instrumentals but couldn’t get on board with the dramatic, world ending vocals, which sounded very cheesy to my ears. On my second listen however it was like I was listening to a completely different vocalist. He’s still a strong flavour but seems more in keeping with the band somehow. Maybe someone has meddled with the masters or maybe tastes change with continued exposure. Either way, what I definitely like is the chaotic, unpredictable post-hardcore elements and how they regularly, fluidly fold into ambient passages. Vocally, depending on the day, I find it far more or less challenging but there are points that now I’m acclimated I “get” and bits that I don’t.

This album perfectly captures sophisticated 1980s synth pop at its most glamorous. Itchy beats, bright, extroverted synths and vocals that yearn for connection in a slightly detached, otherworldly way. The two singles are huge, but there are plenty of other stand out moments, such as The Blue Sky’s hypnotic, overlapping vocals.

R.E.M.’s career is one which is defined by change. It's not always helpful to think of the band in terms of the “IRS era” or the “Warner era” because more often than not each album is in direct opposition to the last. There is little cohesion between their first five records, or what comes after. In one way Automatic for the People is a natural continuation of the increasingly maximalist sound of their previous three records. Perhaps the success of Losing My Religion led the group to focus their efforts on refining this bigger, more “full” sound. But in other ways it couldn’t be more different from Out of Time. You couldn’t imagine the relentlessly cheery Shiny Happy People, the joyful Near Wild Heaven, or the downright silly Radio Song on this record. Automatic is their darkest album, and the one that most openly emotes sadness. Outside of this album my favourite R.E.M. songs tend to be the ones that equally balance optimism and pessimism, often blending downbeat verses with upbeat choruses. Before Automatic for the People it was unusual for them to push the darker elements of their sound further than that, and the rare songs where they did leave me feeling cold. On their eighth album they push this much further, and with magnificent style. Not only do they harness darkness in a new way but they manage to sustain this over the course of a whole album without tipping over into something unattractive or bleak. Nightswimming is nostalgic and hopeful in its sadness, it brings a smile. Man on the Moon has a great momentum and despite it being a spooky, meditative number, somehow manages to slowly morph towards a rousing conclusion. This is only possible because of the band’s advanced understanding of songwriting - they’ve had a lot of practice. The one brief moment of unadulterated joy is The Sidewinder Sleeps Tonite which cuts through like a shard of light as a result. The dynamic shifts on Out of Time were smaller than previous records; passages that could have been quiet were delivered with a booming stage whisper and a chorus pedal. That doesn’t change with Automatic, yet here it’s an asset. The songwriting has been optimised for this approach, dynamics resulting from changes in intensity and emotional impact, rather than volume. When Radiohead say that R.E.M. had a profound and direct influence on them, it may be this that they are referring to. OK Computer similarly has several moments that “feel” quiet despite all proof to the contrary. If it’s not clear from the above, I think Automatic for the People is a perfect album which has had an indelible impact on our culture and the music that has come since. It went wider and deeper into public consciousness than anyone listening to Murmur in 1983 could have imagined. It’s a testament to the value of a band constantly moving forward, developing and changing up their sound. They should have been household names several times over by the time this LP came out so I feel a huge sense of warmth, satisfaction and justice that this album was an unmitigated success.

I love the core ingredients of this record - how primal, furious and repetitive the band are, and the screamy vocals. I am less enamored by the singing vocals and also wish it developed a bit more as I worked my way through the track list. Still - a cool sound.

A curious, unassuming early approach to indie rock with welcome tinges of psych occasionally peaking through. It never moves beyond being “quite good” for me and as the album went on was at risk of fading into the background. Though I'm someone who doesn't particularly rate Led Zep - so what do I know?

John Barleycorn Must Die makes me realise how limitless the possibilities of songwriting and album building are. Or at least, how many needless rules songwriters usually box themselves in with. Traffic are happy to ignore genre boundaries which makes them unpredictable. I never imagined hearing jazz flute, over the top of traditional English folk music, all held together with a time signature defying proggy sensibility. If you only heard brief snippets of this LP you could easily convince yourself that these sounds came from wildly different releases. Despite how wide ranging it is, it holds together as a cohesive whole, peaking with the title track. From my perspective this is a must listen for anyone interested in songwriting.

Blood on the Tracks sounds so different from early Bob Dylan. These songs do not have traditional beginnings or endings. He using his guitar to create long form canvases to sing stories over. Once the story is finished the track stops. I’d be surprised if these generally came in at a set length or if he’d play a song in the same way twice. Yet things don’t sound loose because he is playing the guitar with such purpose, and the lyrics sound particularly personal. A phenomenal record which I’ve underrated compared to his mid-60s classics.

Released just before Let It Be, this is a bit more rough and ready than a Beatles album, which isn’t a bad thing. It gives a fascinating insight into Paul’s songwriting process and sounds fresh and in the moment. Released in the modern era it might be described more like a mixtape than an album, but it’s nice to hear him play around without overly refining.

The beats are consistently engaging. It's cool when they take more risks, like on the weirder and wilder What “U” Waitin’ “4”? and the extremely hype Tribe Vibes. For most of the track list I find Jungle Brothers’ good natured rapping limited and predictable but I appreciate how conscious they are and the variety of topics they cover. It's not all bluster and bravado. To my ears they sound best when they go hard. The Queen Latifah record from the same year goes a bit further on both production and rapping, helped by the fact that it employs more humour which gets the most out of this embryonic hip hop era for me. Despite this I’m confident Jungle Brothers have earnt their status in early hip hop. It's confident and energising stuff.

In his own gentle way Cat Stephens (/Yusuf) has a very strange voice. It makes what could be a series of straightforward ballads into something far more compelling. The writing is strong, but the delivery is what makes it shine. You’re hanging on his every word because you never quite know what’s going to happen next. The truncated title track is one of the coolest, bravest ways I’ve ever heard an artist close an album. Yusuf is showing off that he can just whack out a rich and fully developed idea with an incredible crescendo in just over 60 seconds.

It takes a bit of time for Food & Liquor to get started but once the mission statement Kick, Push begins things are in full flow. He is a talented rapper and the production is plush, expansive and radio ready in an enjoyable way. The album’s momentum peaks in the middle but then drops off a cliff with the overlong credits / thank you track. I wish I could pretend this track didn’t exist as the album is already a tad long without it and for me it brings the whole project’s score down. The biggest indulgence of the CD era?

Based on the opening moments I imagined Floodland as having the familiar sonic palette to post-punk bands of the era, particularly Echo and the Bunnymen. The gothic element transforms it though, making The Sisters significantly eerier, darker and moodier than their post-punk counterparts. Despite this it doesn’t shy away from pop sensibilities, folding in hooky melodies in frequently unlikely places. I can see how they became a cult hit as they are pushing the gothic aspect of their sound further than any major acts that come to mind (The Cure, Joy Division, Nick Cave, Swans). It's a flavour that I haven’t yet heard elsewhere.

Released in between two largely accessible, high fidelity recordings, White Light/White Heat is the anomaly in The Velvet Underground’s studio album catalogue. To see what they were going for with this release I think you need to look ahead a couple of years to their 1969 Velvet Underground Live album which shows the electric clarity that could be achieved through capturing the band on tour, balancing the guttural feel of their semi-improvised performance with a crisp, clear sound. When attempted in these rushed recordings in 1967 the band overwhelmed the equipment with noise and it led to a very distorted end result, the compositions are immense but little would be lost if you listened to them through a tin can. The band were disappointed with the results, and (unpopular opinion amongst fellow fans) I also think they would have benefitted from a bit more time, but what we’re left with is a welcome time piece which could not be more different from VU’s other output. Fans of this record can quite rightly point to the fact that the band are delivering an early form of noise rock and punk, putting them well ahead of their time. It is for this reason that it's such a well regarded album, though I would personally put LP1, LP3 and the aforementioned live album well ahead of this.

A monumental step up from her debut EP. A tremendous amount of work has been put into this far stretching range of songs. Her “suite I” compositions were very densely detailed, but here that is pleasingly dialled up to eleven. Her songs have become maximalist creations, some with a frenetic pacing, others with dreamy, reflective qualities. Throughout the record there’s an “anything goes” sense of play and experimentation. You could never guess what’s coming next, but it all works well together.

If I hadn’t read that Paul Weller was behind this I would never have put two and two together. There’s no point comparing this to The Jam, because the aims are so different. It’s an interesting ensemble piece with plenty of variety that would play well in a cafe. Some songs have stood the test of time better than others but never really gets better than “cute” or “listenable” for me, and at points “boring.” Overall I couldn’t work out why Weller went down this route at all.

American Idiot was released at the perfect moment for me, just as I was getting into music. Unfortunately, I was getting into completely different music and was ideologically opposed to all forms of pop punk and emo. This meant that I wasn’t able to appreciate the classics released across my childhood. As I’ve aged I’ve matured enough to appreciate the music from my adolescence. Looking back, it was audacious for Green Day to channel their creativity into multi-stage, prog-like song structures with clear political messaging. These songs are nothing like the super short nihilistic ones that made up Dookie. They are linear, longform and operatic. I would love to know if they took any nods from NOFX’s War on Errorism, released the previous year. Even when American Idiot is not overtly political, it sums up the experience of a young person in Bush’s post-9/11 America. Both bands proved that pop punk could handle themes more complex than teenage angst and skateboarding. Although they remained indispensable in soundtracking a PlayStation 2 rendered Tony Hawk. American Idiot is possibly the most memorable and iconic pop punk record of all time with crossover appeal that spilled into mainstream, non-teenage angstridden culture. These big pop songs pleasingly still hold up.

I feel lame for not checking out Black Sabbath before the age of 32. Whatever I imagined they sounded like, it wasn’t this, because Paranoid is incredibly cool. It makes excellent use of dynamics throughout - a nice mix of heavy songs with creeping, quiet ones. Most surprisingly of all (for me at least) is the consistently sinister, psychedelic edge to their writing. They don’t sound safe or normal. I can only imagine the faces of worried parents in 1970 as they heard this weird music emanating from bedroom doors.

Fans may disagree but the stripped back production sounds more sophisticated to me than the embryonic plunderphonics of Fear of a Black Planet. I l already liked the rapping, but here it comes together as the full package: dancier, looser, more fun. Previously I thought I wanted to hear them go harder, tougher, meaner, but in fact through adding more funk, soul and joy into the mix that they have captured my imagination. A nice mix of politics and humour as well, paving the way for the unrepeatable, hilarious backing vocals on I Don't Wanna Be Called Yo N*. You’d have to be pretty stone faced for this record to not to raise a smile. It doesn’t particularly dip at any point in quality, but if there was any trace of an energy slump, the closing Anthrax rap rock collab certainly wakes you up!

Several of my favourite Radiohead songs sit in Hail to the Thief. There, There is an awesome single, it’s amazing the feeling of urgency they summon with a few simple chords and eerie pacing that’s neither fast nor slow. Wolf at the Door is similarly powerful in its low key delivery of an anxious, twisty turny melody. The high power moments also play out beautifully, 2+2=5’s “PAYING ATTENTION!” quickly transitions into Sit Down, Stand Up’s “AND THE RAIN DROPS!” In my opinion these two freak-outs make for the best opening moments of any Radiohead album. I find that it falls short of the upper echelons of their discography due to its length and diversity. For example, I find The Gloaming to be a stylistic hangover from Amnesiac which I would prefer wasn’t revisited. In Rainbows has a similar sonic set up to my favourite aspects of this album, but is then laser focused on what it wants to achieve. Every time there is a bit of energy loss though, the band will hit you with another “must have” classic song, so it easily holds its own.

I was able to listen to this record three times in a row without getting tired. It’s a buoyant, cheerful listen with some stellar pop singles which had me singing along at several points. She does sincerely come across as an unusual presence, especially when she gets slightly more freaky on the mic.

Every R.E.M. album stirs, to differing degrees, a complex mix of both positive and negative emotions. Their two most popular albums on RYM sit on opposite ends of the spectrum in this regard, with Automatic being their darkest record and Murmur being their most joyful. Both are both, but Murmur wins the prize for “R.E.M. album most likely to get you out of a funk.” Without being sugary or overblown it leads with an open, welcome heart. It is a stunning and uplifting debut. Murmur does not rely on any prominent, anthemic singles to wow its audience. Instead you have a series of spookily cheerful and melodic songs which the band beautifully mumble their way through. There is something quite special about how restrained and obscure a song like 'Pilgrimage' is. You could imagine a stadium version of "take a turn! (take a turn)" but instead R.E.M. dial everything down and get beauty out of the subtlest of moments. 'Laughing' manages to speed along at mid-high tempo without the band getting overly grand or carried away with themselves, it is personable and cute. More notably, the structure of this song feels mad. Like on their Chronic Town EP (1982) R.E.M. have built twists and turns into their music - random sonic shifts from the verse to the chorus to the bridge. Each section has its own distinct personality which compliments the sections around it. It's impossible to listen to the infectious 'Catapult' without singing along with the indecipherable "Catapult! (Catapoh?!)" call and response vocals. Whilst 'Sitting Still' has a touch of the melancholy to it overridden by a sense of hopefulness and determination - these feelings are conveyed purely through the musical performance as the lyrics are complete nonsense: This name I got we all were green See could stop, stop it well rid We could bind it in the scythe We could gather, throw a fit Up to par and Katie bars the kitchen signs, but not me in Set a trap for love, making, a waste of time sitting still" But they are not meant to make sense - the band are deliberately trying to obscure and confuse their work.

This is a low key brutal album. I’m impressed with the propulsive, rough and tumble energy PJ Harvey is able to create with such a barely-held-together-with-sticky-tape sound. In 1992 she must have been at the forefront of this slightly distorted, lo-fi approach. I feel like I’ve heard various artists aping this style since - and not in nearly as accomplished a way. The chaotic, confessional lyrics pack a punch, and when the instrumentals decide to kick in there is a big whoosh of energy. PJ pulls so much focus that it’s easy to forget the band, but the hefty, relentless bass playing in particular must be applauded. Sheela-na-gig shows that if she wanted to be radio friendly she absolutely has all of the pop sensibilities required. I like that for the most part she chooses to cannibalise that into something a bit rawer, a bit more unsightly. But my god, once again - how many artists nowadays are ripping off and softening this exact sound in the pop sphere?!

There is a great deal of experimentation on Loveless. They pioneered a new use of synths, overdrive pedals and washed out forms production to create a blanket of all encompassing sound. You can hear touches of Cocteau Twins at points, but they’ve taken elements of that sound and dialled it up the greatest possible extreme. At this time, My Bloody Valentine displayed an exceptionally rare quality - an ability to innovate and create their sound from scratch, similar to what Kraftwerk did in the 70s. I Only Said is a clear example of how My Bloody Valentine’s approach to production differs from a typical rock band. The mix of every instrument is smudged together to create this completely new sound. Only the lead synth line cuts through apart from the rest of the instrumentation. The sound, image and feel that My Bloody Valentine have crafted on this record is a clear influence on countless records, including a teenage fave of mine - The Horrors’ Primary Colours, which is still one of my favourite records. (The track names on that album even look the same!) When I was younger it was the more melodic first half which grabbed me the most, but I now find the subtler moments on the second half LP equally grab me. This is an album I’m sure I’ll return to throughout my life.

The Killers first album could have been more killer less filler had they settled on a shorter tracklist and moved the running order around a bit. My memory of this album was very warm, given how flawless the many era defining singles are, but the second half is chock full of b-sides. They have a tendency to stretch out and make the most of every idea - which is great when things are working, but when they’re not it gets a bit wearing. Regardless, its a fact that the first four tracks are some of the very best songs to come out of the indie era.

Blimey there is a lot of invention on this record. It is a textually dense and aggressive, but much more melodic and hooky than that would suggest. They seem invested in getting unusual sounds out of their guitars. The heavily manipulated guitar sounds on Passing Complexion deserve some kind of award. Kerosene's pitchy, chime-like guitar sounds are similarly impressive. The flaw in the Minnesotan rug is the adolescent lyrics which are desperate to shock. Its a pity because without them I think Big Black would be far better recognised. I can hear their influence in tonnes of band's from my youth (from Crystal Castles to Battles). My suggestion for enjoying this album is: tune out the lyrics, they are not particular worth focusing on, you can just let the abrasive qualities of the vocals wash over you and assume that the content of the words are very dark indeed.

The skill is undeniable, they are absolutely nailing what they are going for and have earnt their adoring fans. The bits that are great straight up rock or more glam I enjoy. The prog bits are not my kind of prog - the tendency to stick a flourish on top of a flourish, and the generally medieval vibe on some songs, is a genre mismatch for me. Still - it's fun to spend an hour in an unfamiliar part of town.

Low in the register, Beach Boys style harmonies over psychedelic synths, backed by a talented art rock band. It’s a unique sound which wowed me on release and still wows me now. The album doesn’t let up - with singles threaded all the way through and, best of all, a real sense of journey.

One of the joys of the last six months for me has been getting into Metallica, who I’d previously thought were beyond me. They have taken me from feeling slightly detached toward Metal to straightforwardly loving it. Going backwards from the black album (I know, I know) I’m enjoying even more hearing them in this genre defining mode. It’s no less atmospheric than them making pop music, but there is a definite edge to the relentless crunching, pummelling and chanting. In both modes it stands out to me how focused the band are on making sure a bright melody is never too far away from poking through the mix. It’s a fantastic mixture of fuzzy, crunchy and bubbly. I’m a fan!

This is a charming listen and one that is impossible to dislike. There is a dash of old school Hollywood about Count Basie’s performance which feels stylish, fresh, energetic and good humoured.

There are a number of reasons why this is a very peculiar record, most prominently Soft Cell’s exploitative approach which doesn’t settle on a particular style. It manages, mainly through the vocals, to hang on to a cohesion despite this. They are a little darker and edgier than The Human League, sometimes with a hint of the sort of outlandish and extreme flavours you might expect from Suicide. I don’t think that it’s a problem that my two favourite songs are the ones that deviate the most from their centre ground. The cover, Tainted Love, is a proper bop which has transcended the band. And then the closer Say Hello, Wave Goodbye is one of my favourite songs from the 1980s. It’s strangely sentimental and beautifully melancholic. After some hectic tracks it’s nice for things to resolve so peacefully.

This is a phenomenally chilled out performance. It’s not hit heavy, but doesn’t need to be as it gently takes you through a series of open hearted reggae performances from the masters of the art. Quality-wise I only spot two outliers which sit side by side. Stir It Up is clearly an all time classic and the awkward Kinky Reggae which immediately follows it is easily the worst of the crop.

Motherless Children is the high watermark on what I think is ultimately an overrated covers album. It’s remarkable that in 1974 a talented guitarist could cover some songs they love and arrive at such critical acclaim. An equivalent album today would be buried under the weight of endless content competing for attention. A 2026 Clapton would need to be bringing more authorship to the table to make the same kind of mark on the culture. Given he had such a compelling life story at the time (a commendable recovery from heroin addiction) I think he could have put more of his own story into this. Instead he is singing I Shot the Sheriff, which feels totally detached from his own personal perspective.

The multi-staged Marquee Moon is the perfect centrepiece of this record. It's head and shoulders above the rest, but only in virtue of being one of the best songs ever written. Outside of the title track there are a series of smart compositions which slowly unfold and evolve and show the band to be ahead of their time in how they play the guitar, with various tones and inflections being lifted and shifted by those who’ve come since. I could hear a bit of David Byrne in the vocals, so I was surprised to see that this LP was released six months before Talking Heads’ ‘77. A remarkable album.

An interesting mix of flavours that you wouldn’t usually put together but definitely work and come together as a unique, cohesive sound. Red Snapper have seemed to find a route through to a totally new take on trip hop which I’m partial to. There isn’t a particular track that I’m drawn to - the album lacks a stand out moment. I must also admit that some of the lyrics set me on edge a bit, but maybe I’m being prudish.

This is immensely fun, good time music which you should “feel” rather than think about too much. It’s a rush of joyful silliness with extreme amounts of flair. I laughed a lot at the audaciousness. The bass playing is terrible though. I’ve heard of a walking bass line, but never one with a limp! I can’t imagine how boring it would be to perform these parts in a band that makes such a thing out of extra flair and plays for attention.

A fascinating record. Often ugly and abrasive but fearless and endlessly interesting. I suspect it satisfies neither fans of 80s Madonna; Ray of Light era; or Confessions on a Dance Floor era, though I reckon it’s been influential years later on hyperpop artists who’ve been able to tweak elements of its sound in a more thought out way with better branding. I’ll admit I got motion sickness as the ill-advised and extremely quirked American Pie keyboard cover kicked off the end of the album, but even in this I found a bizarre, awkward charm. Certainly a moment I won’t be forgetting any time soon.

I’m not a mosh pit kind of guy, but I’d like to witness the pit at this show from a safe distance. I am a big fan of singers growling and shouting incomprehensibly over the top of manically crunching guitars with relentless pummeling bass and drums. This series of incredibly short punk songs are to my mind the quintessential punk sound, given this comes from 1979 I now know who was responsible for it! My main criticism is that the last third of this record really drags. For the first 11 songs it's a thrill ride, then from The Other Newest One onwards it felt like they had nothing new to say.

A very gutsy and forceful album with a fantastic vibe. I love when Courtney gets properly angry on the mic towards the end and the contrast with the popper vocals. I can hear the influence on several bands from my teenage years. Because of the relative lack of hits it doesn’t quite match up to Celebrity Skin for me, but I could see why it would be their top album for many. Certainly it’s their most iconic.

The fact that Alice Cooper’s music is not for me is no reflection on his ambition or talent. He is there to entertain listeners with an amusing, flamboyant, glam form of hard rock. It is my dislike of hard rock that makes it hard for me to fully get onboard with what he is doing, but I have to admit there were multiple points across the tracklist where he made me smile and I was impressed at just how elaborate the performance was.

I wouldn’t have thought I knew any songs by Frankie Goes to Hollywood, but working my way through Welcome To The Pleasuredome I felt familiar with large chunks of the tracklist. Granted, some of these are originals and other covers, but it all culminates in a very listenable, peppy, and finely curated 1980s mixtape. It is all very of the time, but the epic pop drama of the decade is still appealing.

Good luck having this record on in the background if you’re trying to have a conversation with me. It's so majestic that it polyfills all the gaps in my brain and stops it from fully functioning. The Cocteau Twins’ tickle a special, rarely accessed part of my consciousness. Elizabeth Fraser’s soprano singing is so show-stoppingly, heart-thumpingly, mind-expandingly ethereal that it's difficult for my focus to ever get beyond them. Has any vocalist ever been more successful in bottling up musical equivalent of pure unadulterated joy? Because the lyrics are there purely to enhance the melody, rather than make any kind of sense there is a freedom at play which is missing from most performances. "Pomoke / hokidomi cannot care / hocus pocus do nimoka / Annapurna donima." Robin Guthrie and Simon Raymonde provide a gorgeously sequenced, perfectly smudged orchestration of different sounds, all drenched in slowly unfurling reverb. It’s so accomplished that it's difficult to accept that they are using the same conventional instruments that are available to everyone else.

A very influential, idiosyncratic record which was never replicated. Sex Pistols have a nicely off kilter approach to throughly commercial punk music which has kept it at the centre of culture for 50 years. When it hits it hits - the singles off of this LP are as big as they get, but the more numerous album tracks are just the same as the singles but worse. It’s this that stops Never Mind the Bollocks being the all time classic you feel it should be, but it’s no less iconic as a result.

Steely Dan’s debut shows off their enviably smooth flow as they cycle through a roster of hits. I can’t help but feel this band is deeply underrated nowadays, or at least I’ve been sleeping on them. It’s very listenable, beautifully composed music with a very high hit rate.

There might be some mid-1980s context that I’m missing that makes sense of Planet Rock, but I struggle to find anything redeeming about it. It is compositionally poor, never managing to coalesce around a pleasing melody. The vocals and samples are frequently at odds with each other. It’s zany, rambling music which never gets to the point. It grates and frustrates from beginning to end.

I’ll admit that after recently listening to “Heroes” and Station to Station I was worried that while I really enjoyed Bowie’s discography outside of the his most famous works, they didn’t inspire in me the same level of intense enjoyment as Hunky Dory or Ziggy Stardust. It turns out I didn’t need to worry, as Low might be his best album. Low is a completely different kettle of fish. Bowie takes us on an incredible journey with no weak spots. It’s astonishingly free and melodic, only snapping into a more organised shape when you reach the big single Sound and Vision. It stretches itself into something even looser, smoother and abstract on the back end, which is where some of the biggest and most satisfying surprises are. Closing track Subterraneans completely reshapes my image of Bowie and what his music is capable of. A masterpiece.

It takes a little too long to get going, but once it does, Orbital 2 is great. I quickly admired their confidence in how long they spent with each idea, slowly tweaking, introducing new elements and building until they grew into monstrous forces of propulsion, endlessly moving forward. You feel like you’re in safe hands, being delivered one driving beat after another. It does the opposite of a typical pop record in that it ends on its very best material, but because of this, and the album’s evolution, they more than earn the 65 minute running time.

Bad Company are a skilled band who clearly know how to perform but I find listening to their compositions like wading through sludge. It's dreadfully boring and takes a long time. I was never going to be won over by a series of slowly unfurling blues tinged hard rock songs, so they never stood a chance really but I’ve heard others do it better.

If you ignore the couple of ballads and the harebrained John Lennon cover, you’re left with an hour of very peppy, convincing pop music from a band who are perfectly in sync, led by Khaled, the ultimate hype man. It's a fresh fusion of sounds and they do well to keep the energy up over its 78 minutes. The length is an issue though with Khaled covering the same ground more than once across the tracklist - surely an hour would have been sufficient!

An enjoyable mix of sounds from the entire punk spectrum from pop to hardcore, I like that it goes hard in parts and is more melodic and playful in others. I enjoy the strained vocals and how fuzzy everything sounds, it hits a nice balance that feels a bit more robust than the average Tony Hawks Underground band. The songwriting feels more distinct in the first half, though it might just be that I was exhausted by the pummeling drums and jittering guitars by the end.

I am thrilled with the atmosphere, the tense build up and dramatic transitions on this album. When the songwriting is at its height (School, Dreamer, Crime of the Century) it all comes together in a compelling package. There’s something stopping me from absolutely loving it, perhaps that I’m a bit cooler on some of the songs than others, but I can’t deny that it’s had much more of an effect on me than a typical listen. Very cool.

For an album that’s this listenable and acceptable in a public setting there is a surprising amount of rough and tumble. It gets intense and screamy with heightened occasionally violent lyrics without ever tipping into anything even vaguely anti-social. The focus on delivering a big melody with every song means that there are hooks that give the listener a route through the noise, but the abrasiveness then enhances everything around it, upping the excitement. An all time classic.

No doubt Led Zeppelin are legends, and IV stands as the pinnacle of their achievements. Its my dislike of hard rock which stops me fully connecting with them but what makes IV interesting for me is the English Folk and psychedelic elements which layer their sound in a satisfying way.

The aptly named Birth of the Cool gives us some of the earliest Miles Davis recordings from 1949 and 1950, a decade before his most celebrated Kind of Blue and two decades before his revolutionary Bitches Brew. While it is true that this compilation does not stir in me the kinds of emotions that those two aforementioned records do, the fact that 75 years later it stirs anything at all is astonishing. When the average person thinks of "jazz" they probably most readily think of the exact sound captured on Birth of Cool. When I hear jazz played live in Blues Bars in London it is this sound which they are trying to recapture, and surely no one does it better than Miles Davis.

A smooth half hour of deeply impassioned R&B with a pitch perfect flow. I was particularly taken by the emotionally charged ballad Lost One and pop rap infused The Other Side. It has a lot to say about sexual politics and gave me an empathetic insight into Jazmine Sullivan’s experience, which is very different from my own.

I was surprised by the degree to which this album charmed me, it made for a very perky, smooth Saturday morning listen. The first two thirds have more interesting songwriting, after which it does spin its wheels a bit, but from end to end it’s perfectly pleasant. It manages to have bundles of energy without ever becoming more than pleasingly low key. I was especially surprised by the Talking Heads cover, clearly it’s not my favourite version of Heaven, but I was impressed at Red’s ability to transform this song album unrecognisably, and it still worked well.

The abrasive patchwork of distorted guitar loops, compressed drums and tortured, highly processed beats is unique and at times even ingenious. The most progressive and exciting instrumentals sit at the beginning of the album, but at no point does it sound disinteresting. The lyrics however range from being at best obscure enough to happily ignore, and at worst elaborately unpleasant, fake deep and emotionally stifling. Also, Trent Reznor has a distracting obsession with animals.

A nauseating, torturous listen for me, the best bits being the brief pauses between songs, or at least the moments before John Lee’s warbling voice meets the never ending, looping chord progressions. It perfectly encapsulates all my least favourite things about blues music. They sound like the unpaid band at the school fete.

Weather Report cannot contain themselves showing off a range of approaches across this record, the unifying thread being an eccentric and overbold approach to Jazz with “out there” synths, theme tune bass lines and some of the best drumming I’ve ever heard.

The Cure maintain a gothic, foreboding vibe for the full length of the album. There isn’t even a shard of light. It is an affecting, daunting listen which feels like the natural end point of a form of exploration the band started with the equally patient Seventeen Seconds. Pornography ups the levels of atmosphere though with a greater commitment to keeping the sound pent up, never letting any air in. Its consistency is in complete opposition to the debut and the poppier more single friendly eras to come. It is potentially The Cure at their most aesthetically distinctive.

The production is very sophisticated throughout; modern beats which other rappers of the early 90s would have killed for. I appreciate the social conscience of the lyrical content when it moves beyond braggadociousness. The overall effect is surprisingly friendly given the “gangster” label. Gangster rap has a sensitive side. If I was to critique this I’d say the rapping itself is decent, but not mind blowing, and the project is overlong with several of the songs covering similar ground. I was happy to see the inclusion of his heavy metal side project though - impressive range.

In the least pejorative way possible, What’s the Story (Morning Glory?) sounds like it’s been fine-tuned for karaoke. It’s catchy, cathartic, and a little cheesy. I can only imagine how deafening the crowds must have been at the reunion gigs. Oasis’ 2025 tour setlist featured 6 songs from their debut; 8 from Morning Glory; 2 from Be Here Now; 1 from Heathen Chemistry; and more surprisingly while three of their latter-day LPs were in no way represented, 5 songs from their b-sides album The Masterplan. It suggests then that for fans of Oasis, Morning Glory represents the zenith, so good that the b-sides are getting their time in the sun thirty years later. Received wisdom while I was growing up was that Definitely Maybe was Oasis’ best album by quite some margin. Certainly that’s what the Gallagher brothers repeated post-break up. While it might be the “cooler” choice I agree with fans that the follow up is the superior record. Not only is it tighter, with a greater number of iconic songs, it feels like the culmination of the whole Brit-pop project.

I like how blunt, hard and excitable the bass playing is on this record. Deep Purple is at its best when everything is very bold, forceful and insistent. Oddly it's the mega single Smoke on the Water which is my least favourite song, the only one I disliked. I think it lacks their energetic USP. I also take issue with the lyrics of the final track where blind people are essentially likened to mystical creatures. All in all though a bit of good fun.

When it's got a good hook, I enjoy musical theatre and the more theatrical end of pop music. Even though the words “rock opera” don’t get me particularly excited I found the title track of Bat Out Of Hell to be pretty awesome - it's got a hell of a driving melody and plenty of character. Unfortunately it is in no way representative of the vast majority of the album which is home to too many overwrought takes on overlong Elton John-style ballads which are sadly not my thing. Occasionally they’ll bloom into something else, but not often enough for me.

I had The Zutons on regular rotation when I was 13 but have had a 20 year gap in my listening. My wife walked in whilst I was listening and started doing a sort of barn dance. I don’t know if that says anything. The part that stands out most positively oddly is what my dad accurately described as the “grade 3 saxophone” which is fantastic in its own way. I can hear why a time came when I stopped playing this record. While there are some more memorable songs in the second half, there is not much to it and it's quite ploddy. The compositions are “nice” but bar from the rare hectic moment (“pressure, pressure, pressure, pressure”) there is not much to get your pulse racing. The Beatles are overly credited with influencing every band under the sun, but I think it's fair to say in this instance that one's time would probably be better spent listening to them.

In 1986 another new romantic synthpop record from Talk Talk would have been gratefully received by fans. Examples of genre shifts this extreme are rare, and were even rarer at this point in time. Pleasingly on this occasion it was not just unexpected but gave the band a newfound purpose and a life outside of a sphere that nowadays gets other bands branded (perhaps unfairly) as nostalgia acts. Its My Life might be their big hit, but this is where Mark Hollis’ most significant cultural impact begins, kicking off a series of records with phenomenal texture and depth; patience and reward. Each record after this betters the last. Even now, when a rock or pop group is particularly progressive or leans into chamber instrumentation, I can usually hear the influence of Talk Talk.

There is a creeping and sinister darkness to The Doors’ debut which elevates a record which already has an incredible hit rate and some of the highest quality jamming ever captured. This era of The Doors is my favourite, where crystal clear ideas arrive like a bullet, but are then dramatically fleshed out with some gently psychedelic sensibilities. In 1967 The Velvet Underground were writing music that wasn't a million miles away from this, but the darkness in Jim Morrison's voice, and tendency to draw everything out makes for an entirely different listening experience. No song benefits from their patient approach to songwriting than the iconic The End, which left an indelible impression on me when I watched Apocalypse Now as a teenager.

Straight out the gates Talking Heads have a perfectly defined, unmistakable sound dense with detail, curious melodies and eccentric vocals. While setting some of the template for what came to be post-punk and new wave, aspects of the performance, particularly, David Byrne's uniquely strained, high in the register vocal style has never been effectively copied. Its a very exciting debut. Every Talking Heads record that follows is a variation on this theme!

A joyous and carefree listening experience that would work for pretty much any social gathering (maybe not a funeral?) It feels like music put together with express purpose of spreading joy and being shared with live audiences. I do not dance but this album really makes me wish I could!

Suicide are the definition of uncompromising. They made music that sounded completely divorced not just the time it came from, but from reality itself. It blew my teenage mind to hear Vega and Rev go places that no one else cared to (there are points on this album that I found genuinely frightening). It's not just its inventive use of synths and beats, but a whole approach to writing music which feels uniquely theirs. There is an aspect of avant garde performance art to the debut, which sounds in line with the descriptions of their elaborate and sometimes violent live shows. Unlike a group like Throbbing Gristle I feel they take the extra steps necessary to explicitly turn a sometimes abstract approach into what is unquestionably a new and highly artistic form of music. It doesn’t surprise me that an unexpectedly high proportion of the listeners of which have gone on to be household names, or how often I hear Suicide samples turn up in much more famous songs.

Lust for Life has a highly distinct and effortlessly cool sound. Iggy Pop has channeled his carefree punk spirit into a smarter and more sophisticated approach. It is interesting hearing him contain his bundles of energy. My favourite post-punk bands from the decade that followed were definitely taking notes on his vocal performance. When you get to the halfway point some of it owes a little too much debt to David Bowie, who by no coincidence is on production duties. In this mode Iggy sounds less innovative and less like he is playing to his personal strengths.

The instrumentation is beautiful, the production sublime, but the songwriting is drab and boring. At its best, a rare song like Blinded by t!he Hour reminds me positively of Echo & the Bunnymen, but most of it was uninspiring.

There’s some interesting and quite strange elements to Alex Harvey’s performance. I like it when singers see themselves as entertainers and want to do what they can to surprise. My favourite songs are the highly energetic and more reckless ones like Swampsnake. I’m less excited hearing him put surreal and subversive lyrics to more traditional and inoffensive music but it still adds to the admirable element of fun which is threaded throughout the album. Perhaps not sensational but pretty entertaining.

This is a wide-ranging album with a strong grasp on obscure, elusive melodies. It is a series of multi-layered and sophisticated takes on synthpop, never quite settling on one style. My favourite moments are standout singles Personal Jesus Enjoy the Silence. The only song which took me out of it was Waiting for the Night which lacks the strong pulse and forward momentum of the rest of the LP.

In pop music more often than not, the tendency is to inject songs with an abundance of noise and energy, using this to create momentum, drama and a pulse. On their debut The xx achieved the same effect through making every effort to keep each song as small as possible. Each passage has the fewest number of layers they can get away with which creates a fragility and tension. It’s a cool point of difference that they whisper hooky melodies across the entire length of the tracklist. In 2009, at 16, I did find it a bit more profound than I do now. There is the odd sentimental lyric which doesn’t quite land for me. But largely it holds up in my estimation.

Even before the overt reference in The 6th Sense I was hearing a modern take on Gil Scott Heron in Common’s performance. It’s an intelligent and grounded take on hip hop with a snappy, crisp, jazz-y production. I like the way he projects his voice and how he mixes serious points with humour. I also admire his love of his family and him inviting his dad onto rap.

It’s a very silly but surprisingly multifaceted LP. Funky pop rock with plenty of off kilter, eccentric flare, hooks aplenty, aimed squarely at a young audience. The whole thing has a mid-2000s chill, smooth pop sound, The Neptunes production perhaps being the best element. The songwriting is mixed but with definite highs. It’s a weird week for this album (w/c 27 April 2026). I had to buy it on iTunes for £6.99 (which was nostalgic in and of itself!) as (according to Reddit) it was removed from streamers 7 days ago. Ahead of being taken offline the explicit version had been replaced with a clean version. And that was the only version available for purchase - it’s heavily redacted with the vocals regularly dropping out for any offensive lyrics. The drops don’t impact too badly but it’s a bit lame. If this album has done anything it’s inspired me to attempt to migrate all of the iTunes purchases I made as a child to my modern day account. Wish me luck!

This is what I like to see from the Kinks. Plenty of big singles and bright melodies with performances and production that rough them up a bit for extra dimension. In terms of sheer hit-rate this may be the best LP.

It’s quintessential post-punk with a moody gothic bent and alarming alarm-bell style melodic hooks sprinkled throughout. Several of the songs in the first half have the immediate impact of Heaven Up Here and Ocean Rain, others don’t quite succeed in going for the jugular in the same way. They still sound solid but wander around a bit more. Although it’s a pleasure to wander through their atmosphere.

Trash is the kind of metal which you just have to give yourself up to while it stampedes over you. I’d find it too overwhelming to try and keep up with Sepultura, instead the best I can manage is to tentatively approach them like a mortal in the presence of a vengeful demon. I am in awe of the mania they can summon, seemingly from the pits of hell.

When music critics review a new Bob Dylan album they often describe it as “his best work since Time Out of Mind” distinguishing 1997 LP as his late, last fit of genius. I think describing it as “one of his great works” might be taking things a bit far, but it’s true that it’s a very beautiful record and a proud accomplishment for any artist over 30 years into their career. The songs here are very chilled out, very touching, very soulful. Being familiar with his records from the last 15 years has inoculated me from any craggliness in his voice, it all sounds very natural to me. He sounds like an old master.

The tone of Blue vacillates between soulful, solemn, spirited and sometimes even sexy. I didn't realise so many of the songs were covers, so am relieved that Respect is his own, a song which looms larger than Otis Redding himself.

Exodus has an incredible flow, you feel looked after as Bob Marley carries you from one smooth jam to another. His songs are so unignorably well written, that what would otherwise be an obscure genre is known the world over. He is one of the great levelers whose music works for pretty much everyone.

The War on Drugs is a good natured, meandering, slowly unfurling, vaguely uplifting, updated take on Bruce Springsteen, smudged with plenty of reverb. It's a solid album but I’m not hearing the classic that others treasure, quite possibly because I have less reverence for the reference points at play here. It does however have a great flow, and a real sense of journey across the LP.

So many indie bands that I grew up with in the 2000s owe tonnes to The Jam. They know how to write a slightly dangerous sounding pop rock hit, writing with an edge but that’s also whistleable - not an easy balance to strike.

Psychedelic post-punk with a quirky, slightly dark sense of humour is an unusual flavour but The Soft Boys show it to be quite effective. I Wanna Destroy You is a passionate anthem of hate with gorgeous harmonies. Positive Vibrations is the complete flip of this with cheery vocals over quite anxious, busy-brained and amped up guitars. Tonight is more at ease with itself with quiet verses and electric, punch the air choruses. The twisty turny guitars on You’ll Have To Go Sidewides are brain bending. And then there are the various more patient, far weird cuts. A vast record!

The first three songs, Independent Woman, Survivor and Bootylicious are 10/10 all time classics. The rest of the album then lives in the shadow of these songs. A shorter record with better sequencing could quite reasonably call itself a classic record, but it tries to bite off more than it can chew. Still - few records add this much to the culture. How many weddings have you heard all three of those songs at?

The first half sounds like a better version of The Sensational Alex Harvey Band, the commonality being Nick Cave positioning himself as the energetic and reckless entertainer. The lower key second half sees Cave performing chaotic piano ballads with a rickety band around him twanging guitars and thudding muted drums. I prefer him in the more amped up mode but can appreciate the vivid textures of the more acoustic set. All together it is far too long for me though and not enough songs grab my attention enough - despite the excellent musicianship and craft behind them.

Every song is a masterclass in different ways to approach post-punk writing. They don't settle into a groove, constantly shifting and surprising with an energetic, erratic performance. Themes of the occult permeate every song, making them a cohesive whole, almost a concept album. The witch-y vibe gives Siouxsie and The Banshees an idiosyncratic, iconic sound.

MIA gets into some highly unlikely grooves with hyperactive hooks throughout Kala. The best moments of this record are the big anthems where she is using her full force of personality to completely overwhelm the senses. There are six or seven of these songs with opener Bamboo Banga standing out with some particularly peculiar, arresting hooks which make this a “must listen.” She has a great ear for pairing melodies with tones - I love the audaciousness of the horns on XR2. She's also great at manipulating sounds, as showcased by the iconic way a The Clash sample is repurposed on Paper Planes. Some of the more drawn out, patient songs are hits but others are misses - most notably the double interpolation of New Order and Pixies on 20 Dollar is a strong flavour which almost but doesn’t quite work for me.

I can see why Purple Rain is popular, it's objectively very listenable, beautifully composed, and certainly my favourite of the Prince albums that I’ve listened to. Perhaps it is the general drawn out and exaggerated aesthetic which I struggle with, but it doesn’t make me want to party, or stand in the pouring rain crying. It's certainly very interesting though and a worthy addition to the cannon of “classics.”

I think you’ll find that it’s Sade who is the smooth operator. It's impressive that she can maintain such a romantic, cosy vibe for the full run time without the spell breaking or becoming cloying. It is a very singular approach bookended with the obvious hits that works a treat.

I am a Deep Purple novice having only listened to a couple of studio albums released around this time. I’ve had a soft spot for them, but my word this live album goes further and deeper than either Deep Purple in Rock or Machine Head. It’s faster, wilder, more indulgent and more of an “experience” benefitting from having space to insert an elongated drum solo here, a never-ending song outro there. It’s pretty outrageous that the shortest song on the menu is just shy of 7 minutes long - the longest is almost 20 minutes(!) but they get away with it, using their pre-existing material as a jumping off point / rough guide. The only song here which I don’t like is Smoke on the Water. The various “guitar players” at school who could only play the main riff from this song might be to blame for that, or it might be because it’s slow and stodgy and totally unrepresentative of what I love about this band.

The pretty jangle pop aesthetic is breezy and likeable but the songwriting is extremely faint with easily forgotten songs making little to no impact. The lyrics sound odd and awkward against slow moving strumming that goes on forever in search of a melody.

I love Paul McCartney - one of the world’s great enthusiasts who has only gotten cooler as he’s gotten older. This third and final Wings album sees him on particularly life affirming form with brilliantly sunny songs pouring out of him. There is a glorious range of effortless interwoven textures and sounds on each song including some fantastic guitar work which has a proper bite and plush harmonies.

It kicks off with some tight, very precise numbers which are very exciting - legendary even. But then after that it's a lot looser, sprawling, less organised, sounding more like experiments pointing towards something greater. It is interesting to hear a series of covers performed in a radically different way. They’d make a great TV chat show band or a backing band for an artist writing originals. It’s harmless, cheesy fun.

Cohen sings from the darkest depths with such elegance and grace that its surprising that this is his debut - he sounds like an old master. Its almost all centered around simple, subtle, baritone vocal and guitar melodies. So much so that when even small amounts of chamber instrumentals are added into the mix it feels like a radical change; equally when he moves slightly up in the vocal register on the superb So Long, Marianne, the difference feels stark and the listener receives a big whoosh of energy. It doesn't rush to reveal itself - but there's plenty there.

I struggled to connect with Brothers. There are individual elements which I could imagine being able to lose myself in a different setting (I quite like the vocals) but the songwriting is very boring and the further you get into the very long tracklist the more of an issue that becomes. I had to listen to it in two sittings because my wife asked if we could put something “more fun” on. Fair enough!

I had no idea that The Who were at one point a psychedelic rock band. This is much, much more my thing than their hard rock stuff and puts my lack of exploration of the band to shame. There’s so much heart and soul on this record. The epic, restless I Can See For Miles is the high point (a new favourite song of mine) but I also loved the jingles and warm sense of humour (reflective of the cover art).

I feel far more distant towards this record than the more patient, introspective Happy Sad (the only other Tim Buckley album I’ve heard). He is going for a jubilant, carefree mix of blues and funk which I don’t think he is naturally suited to and I had trouble surrendering to.

Genre-wise this should be up my street. Indie infused post-punk with an occasional psychedelic leanings harking back to the 60s. The framework is great unfortunately the content, the songwriting, is pedestrian and unimaginative. The prominent vocals never caught me and I found the lyrics very circular - a new idea is raised at the beginning of each song and repeated but never developed. I’m also not sure I heard a hook over the 45 minutes. After a while I realised that I was listening to “The Wedding Present but if they were boring.”

The Byrds set the scene well with a great vibe, and sometimes that’s all you need. This amiable series of (mostly) covers puts me in a good mood but there isn’t anything unique or compelling enough to bring me back to it.

I like the energy and feel of both the dancier, bubbly, synthy songs and the more stripped back, delicate ballads. It's much more my kind of thing than the garage rock of Yeah Yeah Yeah’s debut. In the final third of the record there is a bit of power loss as they move into something more introspective, but it’s still a very respectable effort with some cracking stand out singles.

My favourite version of Nick Cave is all over this record - I love it when he is furious, raucous and unhinged. On Papa Won’t Leave You he sounds like an excited, angry sailor, venting his frustration. Even the emotional ballads like Straight to You are gregariously over-delivered and exaggerated - it feels like Cave is breathing down your neck. His more reflective, subdued approach which I’m less into has become more prominent in later years. It's clear to me that I need to focus on the earlier end of his mammoth discography.

I love the pulse and momentum of this album. It flies by with one big beautiful beat after another and a smart integration of samples. Listening, I was mostly just enjoying the general dancey vibe and bopping my head along with the music, but In My Arms and Drop the Pressure stood out as especially striking singles. It's a shame this is Mylo’s only release as it would have been awesome to hear more from him.

The perfect cross point between alternative dance and baggy. A vibey, groovy rock band with a keyboard and programmer bringing the dance music. It’s crazy that a group who presented themselves as raucous, careless nihilists somehow managed to turn in one of the tightest, fluid, meticulously detailed records of the 1990s. It had a defining influence on the sound of the decade yet has never been replicated.

Having recently been wowed and surprised by The Who Sell Out from The Who’s looser, more psychedelic earlier period I was a bit suspicious of diving back into their hard rock material but once again this band show themselves to be one I’ve severely underrated. While this is less of a match for me genre wise, the reassuring, robust qualities of a song like Baba O’Riley is undeniable regardless of how your bread is buttered. They assert themselves in such a way that you can’t question whether they’ve got the situation under control - you just have to sit back and appreciate it. It’s not all of that level, the middle of the record is a little faint, but it comes back with a vengeance with the solemn and dramatically chilling Behind Blue Eyes (I’m ashamed to say I’d only ever heard the Limp Bizkit version!!) Then Won’t Get Fooled Again which is as good a justification as any for the existence of the whole hard rock genre. While The Who Sell Out might be more my flavour I must admit that this feels more like an “album.” I can see why people are nuts for it. I won’t get fooled again!

It's interesting to hear some early hardcore punk. Lots of posturing, noise and bluster is a welcome thing - it reminds me of being at fantastic (if sparsely attended) gigs in small venues. Too many albums are overlong for no reason, so it's nice to be reminded how far you can push the other way.

This is my favourite of the Brian Eno art rock albums I’ve heard. There is a perfect harmony and balance between the hyped up pop tracks and the more zen, drawn out offerings. The calmer songs have more of a pop flare to them than their equivalents on Another Green World; and the energetic ones are beautifully silly and bouncy. I particularly love Eno’s childlike, wide-eyed approach to the lyrics. The thoughtful, sombre piano led By This River is my favourite Eno song I’ve heard - I’d love to hear him in this mode again.

Lyrically Serge Gainsbourg is deliberately sparking controversy. He is a man in his mid-40s singing a series of love songs about a fictional 14 year old girl from Sunderland. Comparisons to Lolita spring to mind but the direct inspiration was his 24 year old wife Jane Birkin who is pictured on the album artwork holding a teddy bear. Presenting fictionalised versions of Jane and himself with a heightened age gap is there to (in my opinion) give a sensationalist edge to a series of poetic love songs directed towards someone from a different generation. I’m kind of indifferent to this device but can see why it would wind some people up, as that was the intention. I can’t speak French though, so none of this had any bearing on my enjoyment of the album which can be summed up like this: the way Serge’s vibey rock instrumentals mix with the luscious, cinematic strings and his softly spoken, narrative heavy, mostly spoken vocals totally works on me.

It struck me in its opening moments how formative What’s Going On has been, both musically and lyrically, on the soul and hip hop that has come since. It’s not just that it’s been heavily sampled - there is a general attitude and vibe on this LP which has made its way into the broader ecosystem. You’d think that a political soul record would feel more serious than this but artists like Marvin Gaye and Curtis Mayfield were able to reflect on the state of the nation without wearing it too heavily. What they were singing about was serious, the way they were singing was anything but. What makes Gaye stand out from his contemporaries is how singular a focus his most popular records have. To stay fixated on one topic for 30 minutes without a dip in either meaningful commentary or musical excellence is no small achievement.

Given its reputation I was expecting more from Elephant. The singles are very effective - rough and bolshy garage rock with broad appeal. The Hardest Button to Button has a simple but gnarly hook at the centre of it which is perfectly exploited. However the basic, stripped back songwriting does not translate as well to the folkier numbers. I am a huge fan of folk rock, and even whimsical twee folk, but I did not find much enjoyment in any of these cuter songs. When they then switched back to the simple and bold rock songs it began to sound a bit one note. A songwriting approach this straightforward would probably lend itself better to a half hour LP.

Suede are usually the fourth band mentioned when people list Britpop acts off the top of their head: “Blur, Oasis, Pulp and Suede”. I’m convinced that these groups sound nothing like each other and that the whole movement was a marketing ruse rather than a genre. Oasis were inspired by The Stone Roses; Blur by The Kinks; Suede, who I’m consciously listening to for the first time today, sound inspired by Morrissey; and I’ve never properly listened to Pulp (sorry). I was less than four months old when this record came out so unaware of the brief but significant impact it had in the UK. Their atmospheric, dejected sound is cool but listening with unfamiliar ears I am surprised that it was ever mainstream. It sounds niche, and unlike several actually niche British indie bands of the early 1990s (The House of Love and The Wedding Present come to mind) I can't hear any big singles. Lyrically Brett Anderson is pitching himself as an outsider with a chaotic lifestyle, which definitely has an appeal, but not the kind of mass appeal of the other “Britpop Big Four”. This is no way a point of criticism, just a point of confusion. Ultimately for me Suede are an interesting, vibey group, but one with an elusive appeal.

There’s a consistently interesting combination of sounds, though admittedly nothing that truly ever sets my world alight. I like the dubby, chill soundscapes which slowly morph, change and reveal themselves. Some are more effective than others but they all create a welcoming vibe. The variety of singers keeps things fresh while the production is consistent enough to make for a coherent album experience.