1001 Albums Summary

Belle & Sebastian; this is how I got to Isabelle Campbell without really listening to them. At the time they were the darlings of the Indie music scene. 1. "The State I Am In" 4:57 - excellent opening. Opens slow, then into a mid temp acoustic strum. Nice organ and dynamics. 4* 2. "Expectations" 3:34 - Double bass. Oooh brass! Nice. Mid temp strumming again. 3* 3. "She's Losing It" - 2:22 - Cute. Nice Nashville guitar flourishes. Love the brass, more prominent than "Expectations". 4* 4. "You're Just a Baby" - 3:40 - A whiff of Velvet Underground. Organ is nice. Good rolling guitar line. Vocals aren't grabbing me. This is a nice, pleasant listen so far. 3* 5. "Electronic Renaissance" 4:50 - Odd electronic intro, out of keeping with the album so far. Oh , some Accordion! Trying to be edgy towards the end. 3* 6. "I Could Be Dreaming" 5:56 - Atlantic "Sam and Dave" styled intro but then the muted, droning, vocals. The vocals really needed to go somewhere and they didn't. This is a little one paced now. Lacks dynamics. Is it the mix? Because the guitar at the end is rocking. Oh here come the dynamics, lift off? Not really. All nice and pleasant. 3* 7. "We Rule the School" 3:27 - Excellent Piano intro. Suites the vocals. Nice melody. Ahh there's Isabelle Campbell. Best track so far. I really like this. Oh that Flute, beautiful. Echoes of CSN and "Our House". Best rack so far. 5*. 8. "My Wandering Days Are Over" 5:25 - Nice harmonies. Strumming is back but so is a beautiful brass melody. 3* 9. "I Don't Love Anyone" 3:56 - Quirky. A bit more up tempo. Nice vocal hook. 3* 10. "Mary Jo" 3:30 - Nice flute intro, then into a late 60s influenced strum. Nice vocal melody. 3* In isolation, each song is pleasant enough. The vocals lack dynamics and range. This has all the elements that I should like but doesn't quite get me to where I won't to go. It peaks my interest but then doesn't quite fulfil. I can understand why the had/have the following they do. Would I listen again? - Perhaps Would I buy the album - No!

1. "Respect" - Iconic. 5* 2. "Drown in My Own Tears"- Great vocal performance. Bluesy song. 4* 3. "I Never Loved a Man (The Way I Love You)" - 5* 4. "Soul Serenade" - 4* 5. "Don't Let Me Lose This Dream" - Jazzy. Of it's time. Has a Burt Bacharach feel. Nice vocal melodies. 3* 6. "Baby, Baby, Baby" - Again, the voice is great. Nice horns. Bluesy ballad. 3* The end of what was side one. A pleasant listen. 24/30 7. "Dr. Feelgood (Love Is a Serious Business)" - Slow blues. Ok. 3* 8. "Good Times" - Ahh, some boogie woogie. Slightly lifting the tempo. 4* 9. "Do Right Woman, Do Right Man" - Now this is lovely. Superb. 5* 10. "Save Me" - Now, this is brilliant. 5* 11. "A Change Is Gonna Come" - A famous song. 5* End of side two - 22/25 Album score 46/55 Great voice (of course). Soul is not my preferred genre. There's blues here. Much of the Soul genre, does little for me. I like it when it has the R&B backdrop, and not R&B in the modern sense. Again, for someone who isn't a natural listener of this genre, this album started to repeat on itself with tracks 6 & 7. Individually, good to excellent songs, with excellent vocal performances. Side two is better and finishes with three brilliant performances. Would I listen again? No! Would I buy the album? - No.

1. "Take a Bow" 4:35 - A nice intro. A nice blend of electronica. Grand. Dynamics are excellent. 5* 2. "Starlight" 3:59 - Great bass intro. Lovely piano. A super pop tune. The album title is taken from this song. 5* 3. "Supermassive Black Hole" 3:29 - A funky rocker and one hell of an riff and then bang and explosion. Great falsetto vocals. Super pre-chorus before the chorus comes in a lower register. Probably my favourite track on the album. Probably! 5* 4. "Map of the Problematique" 4:18 - Great harmonies. driving electronica rhythms. 5* 5. "Soldier's Poem" 2:03 - Slower paced. A lullaby like melody. Vocally the Queen influence comes through here in the harmonies. 5* 6. "Invincible" 5:00 - Love the military percussion for the intro. 4* 7. "Assassin" 3:31 - And we're rocking again. Great rhythm section again. The harmonies are back. Wonderful riff. 5* 8. "Exo-Politics" 3:53 - Mid tempo. Excellent 'pop' tune. Works in the context of the album. 4* 9. "City of Delusion" 4:48 - Acoustic guitar intro. A nice change from the electronica and guitar riffage. Wonderful rhythms. And then the guitars crash in. Brilliant orchestration and then trumpet! This song is nuts. 5* 10. "Hoodoo" 3:43 - A nice Spanish guitar intro, crooning vocals, evoking a smoky, Jazz night club and then it switches. To have carried on in the vein of the intro would have been wonderful but this is Muse, so the dynamics kick in. Wonderful stuff. 5* 11. "Knights of Cydonia" - Epic. Brilliant. Boy does it rock, it positively gallops. Nice nod to the Tornados and Telstar. Nice horns, evoking the Sergio Leone western films. At 3.21 the vocal interlude leading into the epic guitar solo at 4.13, with the boogie riff. Gives me goosebumps. They opened with this when I saw them on this tour! 5* 53/55 A 5 star album Would I listen again - Yes! Would I buy this album - I did! when it came out. Saw them on the tour as well. They played the whole album but in reverse! Overblown? I would say grandiose. Near perfect. Their last great album? Weird artwork! A brilliant blend of electronica and rock, with a strong pop sensibility. The first four tracks really hit you between the eyes. The rhythm section is brilliant throughout. Hooks galore.

This is my first totally new experience on this list, having not previously heard of Songhoy Blues, or this album, "Music In Exile". Perhaps I have heard them along the way without realising it? 1. Sourbour - Nice bluesy riff. Good vocals. Good percussion. 4* 2. Irganda - Uptempo. Danceable. Nice guitar. 4* 3. Al Hassidi Terei - This has a 60s feel to the guitar lick to it which reminds me of the Slade cover "I Hear You Calling". 3* 4. Sekou Oumarou - Nice swampy opening riff. A subdued number. 3* 5. Nick - A good opening riff again. The guitar reminds me of the 1950s blues, John Lee Hooker or Muddy Waters. 3* 6. Al Tchere Bele - 3*. 7. Wayei - 3*. Pretty guitar melodies. 8. Petit Metier. Ooh acoustic guitar. Very mellow. 3* 9. Jolie. Another melow number. The guitar is rolling along. The backing vocals are excellent, adding some dynamics, with the ending coming to a crescendo and abrupt halt. 4* 10. Desert Melodie - Gives the sense of drifting along, or even day dreaming. 3* 11. Mali. Nice folk style, guitar intro. 3* 36/55. Three stars. Blues mixed with African rhythms. It has a clean, bright sound. A pleasant enough listen. A little low key, perhaps. This didn't grab me. Lacks dynamics, and a little danger and/or despair. They maybe singing of this but it doesn't come through in the sound. At no time did I get the sense that they were in despair because their woman left them, or that they would knock you on your arse if you stole their woman. It could do with a Billy Gibbons or Muddy Waters growl hear and there. Nasty up the guitars a touch. Would I listen again? - Yes. Would I buy this album? - No

You would have to be living under a rock not to be aware of Coldplay. That said, I have not heard this album, or any other album of theirs, apart from their debut album. 1. "Politik" 5:18 - Percussive guitars, in the "yellow" style for the chorus. Trundles along nicely. It's nice. It has the Coldplay guitar flourishes. 3* 2. "In My Place" 3:48 - I recognise this and I don't seek Coldplay music to listen to. Nice guitar riff, simple but effective, dare I say Radiohead inspired (No Surprises). Nice vocal melody for the chorus. I don't want to give half stars, and will try to accentuate the positive, so 4*. 3. "God Put a Smile upon Your Face" 4:57 - Again, like the opening track. Pretty melody, nice, bright guitar riff/run. But, it lacks something. 3* I've heard the next two songs before. They're very well known and popular. 4. "The Scientist" 5:09 -Love the piano intro and accompanying vocal melody. Vocally Chris Martin is excellent on this, instead of the mournful style he has. Nice build. Reminds me of U2 when the guitars come in, and then vocally of Bono. Those are compliments. This is a great song. 5*. 5. "Clocks" 5:07 - Nice piano motif to start things, that then repeats. I struggle with Chris Martin's vocal's. Not that they are poor, but they are so mournful. I might mention that again! I know this is a famous song, and one loved by their fans, but it does little for me beyond the pretty piano hook. 3* 6. "Daylight" 5:27 - Musically, this sounds pretty. Nice orchestration. Doesn't really go anywhere though. 3* 7. "Green Eyes" 3:43 - When I saw the title I instantly thought of the song "Green Eyes" by Nick Cave and the Bad Seeds. This is not that. Again, nice enough, it's not a poor song or a poor performance, but ultimately forgettable. Nothing to grab me, vocally, lyrically or musically. 3* 8. "Warning Sign" 5:31 - Slow paced. Nicely produced. I waited for something to happen, the big reveal or chorus. No, verse two, same again. This is a somewhat dull. 2* (the first time I have issued this). 9. "A Whisper" 3:58 - An improvement from the previous track, but just. These songs aren't really doing anything for me now. Again, nice enough, on its own, but as part of a listening experience for an album it's dull and uninteresting. 2* 10. "A Rush of Blood to the Head" 5:51 - The title track has more dynamics that the previous two. Slow paced verses, with the chorus kicking things up a notch or two, albeit with the stabbing guitars in the vein of "Politik". 3* 11. "Amsterdam" 5:21 - Echoes of U2 here, both vocally and musically. 3* 34/55 Overall a three star album. It's pretty, nice, but somewhat dull. Chris Martin's vocals just don't do it for me. He doesn't stretch himself. They're safe. Tracks 6 onwards just drifted along, and didn't elicit any emotional responses. Would I listen again? No. Would I buy the album? No. I felt the need to add the following, as I felt that after awhile for me this album was dull and bordering on mediocre. 1-2 stars: May signify a song or album that is not particularly enjoyable, possibly disliked, or considered mediocre. 3 stars: Often represents a song or album that is decent, enjoyable, or worth having in a library. 4 stars: Typically indicates a song or album that is well-liked, enjoyable, and perhaps one that the listener would regularly revisit. 5 stars: Usually signifies a song or album that is a favourite, perhaps an all-time favourite, and one that is considered to be of exceptional quality.

I totally get why this is revered as an album and it held my interest as a listening experience. I certainly didn't dislike it. Sparse musically. The spoken word dialogue I found interesting, along with the interspersed sound clips from Martial Arts movies. The last four tracks I found the best, but ultimately this just isn't to my musical taste. 3 stars. Would I buy the album? - No. Would I listen again? - As a whole album, no! The odd track? Possibly! 1. "Bring da Ruckus" 4:10 - 3* 2. "Shame on a Nigga" 2:57 - 3* 3. "Clan in da Front" 4:33 - The intro did nothing for me. A noise. But then morphs into a groove. 3* 4. "Wu-Tang: 7th Chamber" 6:05 - Love the spoken word intro. Love the mournful, spooky piano sample. 3* 5. "Can It Be All So Simple" 6:53 - Change of pace. The music evokes summer. It's a little dull though and too long unless it changes up. It doesn't until it gets to the spoken word narrative. 2* 6. "Da Mystery of Chessboxin'" 4:48 - This kicks in hard. 3* 7. "Wu-Tang Clan Ain't Nuthing ta F' Wit" 3:36 - They've found the bass! Good chorus. 3* 8. "C.R.E.A.M." 4:12 - Nice piano loop. 3* 9. "Method Man" 5:50 - The best track so far. More depth and fuller sound. Bass. There's even a hint of melody. 3* 10. "Protect Ya Neck" 4:52 - 3*. Following in a similar vein to track 9. 11. "Tearz" 4:17 - Nice vocal sample. 3* 12. "Wu-Tang: 7th Chamber - Part II" 6:10 - I found this to be the best track. 4* 36/60

This is a lovely album. I have this, though I first listened to it in my late teens after hearing CSNY on the Woodstock album. I have played this album many times, but I have to be in a 'listening' mood. It has great songs, harmonies and melodies. Vocally superb. I listened to this again, trying not to take it for granted, as I'm familiar with it. It's a 5 star album (just). Would I listen again - Yes. I don't listen to this enough Would I buy it - Yes. I have it. Side one 1. "Suite: Judy Blue Eyes" 7:25 - Wonderful. Great tune and harmonies. 5* 2. "Marrakesh Express" 2:39 Showing Simon and Garfunkel influences. Super song. Very catchy. 5* 3. "Guinnevere" 4:40 Nice song. It doesn't grab you quite as much as the previous two. A nice electric guitar forms the backbone of the song. 4* 4. "You Don't Have to Cry" 2:45 - A nice song, intricate vocal harmonies and lovely acoustic guitar. 3* 5. "Pre-Road Downs" 2:56. A nice pop song. Great guitar. 3* 20/25 4 stars Side 2 1. "Wooden Ships" 5:29 - This is classy. Great guitar. A very laid back tune. Could be a Neil Young song! Absolutely super. 5* 2. "Lady of the Island" 2:39 - Slow, mournful ballad. Beautiful vocals. 3* 3. "Helplessly Hoping" 2:41 - Nice finger picking introduction. This grabs the attention with the vocals. 5* 4. "Long Time Gone" 4:17 - ooh this is good. More of a rock song than folky. Great vocals. A nice bluesy feel. Great guitar. 5* 5. "49 Bye-Byes" 5:16 - A nice song. It has touches of everything from the previous 9 tracks. 4* 22/25 42/50 for the album. It just squeaks 5 stars

An eclectic, sprawling, wonderful double album. Wonderful. 5 stars. Would I buy this album - I did, upon it's original release. Would I listen again? Most certainly. Disc one: Abattoir Blues 1. "Get Ready for Love" 5:05 - Rollicking, sprawling, rocking and loud. This type of Bad Seeds song hasn't been heard for a while. Great backing vocals. What an opener. 5* 2. "Cannibal's Hymn" 4:54 - Slower paced, dissonate sounds, lovely melody. The percussion is great. Great vocals. 5* 3. "Hiding All Away" 6:31 - Another in the line of Bad Seeds story/narrative songs. It sounds desperate, aggressive, dangerous and loud. 5*. 4. "Messiah Ward" 5:14 - Back to the more mellow sounds. Nice groove and melody. Subtle backing vocals. Good chorus. 4* 5. "There She Goes, My Beautiful World" 5:17. - A truly wonderful song. 5* 6. "Nature Boy" 4:54 - This song whizzes by and seems short, but isn't. It's to the point. 5* 7. "Abattoir Blues" 3:58 - Percussive, musically, drums and Piano. slower paced. Nice backing vocals. 4* 8. "Let the Bells Ring" 4:26 - Uplifting and up tempo. 4* 9. "Fable of the Brown Ape" 2:45- Interesting. Great dynamics. 4* 41/45 Disc two: The Lyre of Orpheus 1. "The Lyre of Orpheus" 5:36 - Brilliant. It has that "Bad Seeds" sound. You know it's them before the vocals kick in. 5* 2. "Breathless" 3:13 - This is a super song. Romantic and beautiful. 5* 3. "Babe, You Turn Me On" 4:21 - Another stunning beautiful song. Love the lyrics. 5* 4. "Easy Money" 6:43 - Warren Ellis influenced. Another wonderful song. Languid in its sound, not necessarily lyrically. 5* 5. "Supernaturally" 4:37 A change of mood, tempo and rhythms. Great chorus. 4* 6. "Spell" 4:25 Another slow, atmospheric number with lovely backing from the Bad Speeds and a haunting Violin in the background. 4* 7. "Carry Me" 3:37 Swirling, dramatic introduction that carries on through the verses. Lovely call and response between Nick Cave and the backing vocalists for the chorus. Soulful. 5* 8. "O Children" 6:51 - Ah, what is now known as the 'Harry Potter Song'. Just fantastic. Emotional and beautiful 5* 38/40 79/85

An album I had heard before, as my youngest son has a copy. The Black Keys are played in our house a lot. Nice mix of blues, rock and pop. Dan Auerbach has a distinctive voice that is made for blues. A very good album, with good to excellent songs. But fifteen tracks! 10 tracks or even 12 would give a tighter listening experience, and increase the impact, as the last few tracks were good but my attention drifted. 4 stars. Would I buy this album? Already own it. Would I listen again? Yes. 1. "Everlasting Light" 3:24 - Sounds like T.Rex. That's a good thing. 5* 2. "Next Girl" 3:18 - It's a good song with a great chorus that lifts it. 4* 3. "Tighten Up" 3:31 - A super poppy song. Who doesn't like whistling in a song? 3* 4. "Howlin' for You" 3:12 - Superb. 5* Great guitar hook. Glam Rock drums evoking the days of Suzi Quattro, The Glitter Band et al. 😊Love the solo. One of their best songs. 5. "She's Long Gone" 3:06 - If "Howlin' for You" is sonically a little on the light, poppy side of things, this is a great rock track with an excellent riff. Great solo too. The bass is grooving. 5* 6. "Black Mud" 2:10 - 3*. Good. 7. "The Only One" 5:00 - A soulful song, lovely vocals. The keyboards remind me of Blondie 4* 8. "Too Afraid to Love You" 3:25 - This just sort of drifted along for me. Pleasant enough. 3* 9. "Ten Cent Pistol" 4:29 - The verses have a 60s feel to them. Excellent song. Love the guitar in this. 5* 10. "Sinister Kid" 3:45 - The percussive guitar is a nice touch. 3* 11. "The Go Getter" 3:37 - Nice delay and chorus on the guitars, again giving a 60s vibe. Chorus is good, under pinned by a nice guitar run. 3* 12. "I'm Not the One" 3:49 -Slow blues. Nice keyboards 3* 13. "Unknown Brother" 4:00 - 60s vibe intro. I like this one better than the last few. Nice harmonies. Nice dynamics. Silence! A good old fashioned fade-out. 4* 14. "Never Give You Up" 3:39 - The vocals sound very feminine (a good thing). Good song. 4* 15. "These Days" 5:12 -Slow, subdued. 3*- 57/75 4 stars

I got this to review the day after Brian Wilson died. Spooky! It's a hard album to review in many ways. Firstly the songs are good to great, ignoring the odd interlude numbers. Possibly, it should be rated as a whole, rather than the individual songs? It was a good listening experience. Very much an album out of time, as it retains its essence of the late 60s. Lovely vocal arrangements and beautiful melodies. The second movement was good, pleasant enough but nothing memorable for me, the same for the third. Ultimately I liked this a lot when it had its 'Beach Boy' moments. This album did make me Smile. 3* Would I listen again? Yes Would I buy this album? No. Movement one 1. "Our Prayer"/"Gee" 2:09 - Nice choral introduction. Beautiful harmonies. As a track on it's own 3*. - In the context of this album it fits 4* 2. "Heroes and Villains" 4:53 - This is a well known song and is quite brilliant. 5* 3. "Roll Plymouth Rock" 3:48 - Nice enough. Interesting soundscapes and instrumentation. Harmonies are good. I won't repeat that. Nice repeating melodies. 4* 4. "Barnyard" 0:58 - 3* 5. "Old Master Painter"/"You Are My Sunshine" 1:04 - 3 * 6. "Cabin Essence" 3:27 - 5* This is a great song. Movement two 7. "Wonderful" 2:07 - 3* 8. "Song for Children" 2:16 - 3* 9. "Child Is Father of the Man" 2:18 - 3* 10. "Surf's Up" 4:07 - 3* Movement three 11. "I'm in Great Shape"/"I Wanna Be Around"/"Workshop"1:56 - 4* 12. "Vega-Tables" 2:19 - 3* Silly nonsense. Made me smile! 13. "On a Holiday" 2:36 - 3*. Quirky 14. "Wind Chimes" 2:54 - 3* 15. "Mrs. O'Leary's Cow" 2:27 - Silly nonsense again, to begin with. It then gets interesting. 4* 16. "In Blue Hawaii" 3:00 - 3* 17. "Good Vibrations" 4:36 - 5* all the way. Superb song. Iconic.

A fantastic rock album with an iconic cover. 5 stars all the way. One of my favourite albums. This is such an influential album, and a real change of direction, both musically and vocally, in what was their fourth studio album. They altered course into a Hard Rock sound that didn't really exist before this album. A lot of what became Heavy Metal was influenced by this this album even though Sabbtha get the plaudits for this. This was Ian Gillan and Roger Glover's first studio album in what became known as the Mark 2 line up (Gillan, Glover, Lord, Paice and Blackmore). Vocally, Ian Gillan was night and day from the previous Deep Purple Vocalist Rod Evans. Would I buy this album? Yes, I own a copy Would I listen again? Yes, I do, regularly Side One 1. "Speed King" 5:54 - What an opener. Like nothing that Deep Purple had recorded before. A statement of intent. 5* 2. "Bloodsucker" 4:16 - What a groove. Hard rock but with melody. Those vocals! Great guitar solo and that Hammond Organ. 5* 3. "Child in Time" 10:20 - Stunning. An iconic rock track. Vocally this influenced so many rock and metal singers that came afterwards. Ian Gillan's calling card. The rhythm section of Ian Paice and Roger Glover, hold this song down well when Jon Lord and Ritchie Blackmore take off into the stratosphere. Just wonderful 5* 15/15 Side two 4. "Flight of the Rat" 7:57 - Given the preceding track, a change of sound and feel was required. A great guitar riff. Dare I say, this has a little more of a pop sensibility in the verses until Jon Lord lets loose on the Hammond Organ. Interesting solo from Blackmore, with Hendrix influenced wah. The bass guitar is fantastic. And a drum solo to finish from the wonderful Ian Paice. Brilliant. 5* 5. "Into the Fire" 3:30 - A little more mid tempo. Excellent riff. Ian Gillan's vocal melodies really do sparkle on this album. 4* 6. "Living Wreck" 4:34 - This is a great song but goes under the radar somewhat. This has a great groove, a little funky. 5* 7. "Hard Lovin' Man" 7:11 - A galloping guitar riff and bass guitar (Iron Maiden were listening). Dissonate keyboard solo. Great guitar solo, with hints of what was to come two albums later. This was way out there for the time. 5* 19/20 34/35

This is a nice enough listen but it's not a memorable album. 3* Would I listen again? No. Would I buy this album? No Side One 1. "You Told Me" 2:25 - Love the studio chatter. 3* 2. "I'll Spend My Life with You" 2:26 - Mickey Dolenz has a lovely voice. 3* 3. "Forget That Girl" - 2:25 Davey Jones has a lovely voice. 3* 4. "Band 6" 0:41 - 2* 5. "You Just May Be the One" 2:03 - Mike Nesmith has a good voice. 3* 6. "Shades of Gray" 3:22 - Nice harmonies. 3* 7. "I Can't Get Her Off My Mind" 2:27 - Quirky piano and melody. This is the best song so far, a very good pop song. 4* 21/35 Side two 1. "For Pete's Sake" 2:11 - A pleasant listen. 3* 2. "Mr. Webster" 2:05 - A pleasant listen. 3* 3. "Sunny Girlfriend" 2:33 - A pleasing listen. 3* 4. "Zilch" 1:06 - Oh this was sampled. "Mister Dobalena, Mister Bob Dobalena". 2* 5. "No Time" 2:08 - Old fashioned Rock n Roll. 3* 6. "Early Morning Blues and Greens" 2:35 - An agreeable listen. 3* 7. "Randy Scouse Git" 2:40 - The only song I had previously heard from this album, not including the sample from Zilch! The best song on the album. 4* 21/35 42/70

I probably lose a lot by not understanding the subject matter as I don't speak Spanish, that said, musically, my interest dissipated as the album progressed. It is a solid album but not to my taste. There's little that is poor about the album but there's also little that raises it above "okay" or "decent". 3* Would I listen again? No! Would I buy this album? No! 1. "Plástico" Rubén Blades 6:37 - The orchestration at the beginning was excellent, and I thought we would be taken into something akin to the Philadelphia sound. Instead Salsa rhythms. 3* 2. "Buscando Guayaba" 5:43 - Who knew Cowbell could be so annoying? Once you hear it it, that's it. 3* 3. "Pedro Navaja" 7:21 - A little different to the previous two tracks. Vocally, the singer has a nice enough voice. The cowbell is back! 3* 4. "María Lionza" 5:27 - 3*. Oh some funky bass comes in half way through. "More Cowbell?" The horn section is nice. 3* 5. "Ojos" 4:50 - 3* 6. "Dime" 6:59 - 3*. 7. "Siembra" 5:21 - Now this starts dramatic, almost like a theme tune to an American, 1970s, TV Cop show. Orchestration is nice. Best track on the album. 3* 21/35

The story telling on this album is wonderful. The titles of the songs make you want to listen to the album. I get Bob Dylan is not for everyone and his voice will be like Marmite to some, but vocally I think he's excellent on this album. I particularly like the soaring end to the vocal phrases on the first few numbers. To me this is all at once, a wistful, romantic, and bitter album. The first side of the album is perfect. It's just brilliant. This is one of Dylan's best albums, but don't let anyone tell you that this was his last great album. 5 stars all the way. Would I listen again? Yes. Would I buy the album? I have it. Side One 1. "Tangled Up in Blue" 5:42 - Lovel acoustic guitar introduction and riff. Dylan's vocal phrasing is excellent. The narrative of the song is wonderful. 5* 2. "Simple Twist of Fate" 4:19 - Plaintive, mellow introduction. Again, the vocal phrasing is excellent. The bass guitar is understated and excellent. Again, the story telling is compelling. 5* 3. "You're a Big Girl Now" 4:36 - I'm going to stop mentioning the story telling. 5* 4. "Idiot Wind" 7:48 - There's a bitterness here. Less of a story telling narrative and more of a dissection of an 'ex'. It's compelling. 5* 5. "You're Gonna Make Me Lonesome When You Go" 2:55 - The introduction immediately sounds more upbeat than 'Idiot Wind'. But is it? The lyrics could be interpreted as either complimentary or the exact opposite. A super listen. 5* 25/25 Side Two 1. "Meet Me in the Morning" 4:22 - Bluesy. Excellent. 5* 2. "Lily, Rosemary and the Jack of Hearts" 8:51 - This always had a sea shanty feel to me, probably due to the keyboards. Nick Cave, Shane McGowan and others must have listened to and been influenced by this song. The story is excellent. Musically it doesn't quite grab me as much, especially for a long song, even though it is up-tempo. 4* 3. "If You See Her, Say Hello" 4:49 - Sad and wistful. "Tell her she can look me up if she's got the time". 5* 4. "Shelter from the Storm" 5:02 - Lovely acoustic introduction. Excellent bass guitar, complimenting the song beautifully. Lyrically excellent but also vocally! The story is quite superb. A song of regret? This is probably my favourite track from the whole album. "Beauty walks a razor's edge, someday I'll make it mine, If I could only turn back the clock to when God and her were born. Come in, she said I'll give ya shelter from the storm". 5* 5. "Buckets of Rain" 3:22 - Such a beautiful opening to the song. Again, vocally excellent. Wonderful guitar picking. That subtle bass work is excellent. There's also a degree of humour here, "I like your smile And your fingertips. Like the way that you move your hips. I like the cool way you look at me. Everything about you is bringing me misery" 5* 24/25 49/50

A super album. 5* This album is a great mix of Folk, Rock and Blues. Rod Stewart's vocals are brilliant, and of course very distinctive. He also writes the two best songs on the album, an album that has some excellent cover versions. What a run of albums Rod Stewart had from 1968 to 1976 taking in The Jeff Beck Group , The Faces and his solo albums. Stunning output. Would I listen to this album again? Yes Would I buy this album? Yes, I did. Side One 1. "Every Picture Tells a Story" 6:01 - Oh boy this swings. Lovely acoustic introduction. And Stewart's vocals when they come in really hit you. Soulful backing vocals. 5* 2. "Seems Like a Long Time" 4:02 - Very soulful. Great lead guitar. A bit rough around the edges, which I like. 4* 3. "That's All Right / Amazing Grace" 6:02 - Oh this rocks. Great slide guitar. This arrangement is far from the famous Elvis version, and then a beautiful version of Amazing Grace 5* 4. "Tomorrow Is a Long Time" 3:43 - A good cover, of a good song. The band are on top form. The slide guitar is wonderful. Stewart's vocals elevate the song. 4* 18/20 Side Two 1. "Henry" 0:32 - Beautiful. Doesn't out stay its welcome. 5* 2. "Maggie May" 5:15 - Oh that guitar introduction, and then the drums kick in (crack, crack), "Wake up Maggie". Stunning song that swings and rocks. Lovely guitar solo. Lyrically brilliant. 5* 3. "Mandolin Wind" 5:33 - Stewart's finest song. The best song on the album. 5* 4. "(I Know) I'm Losing You" 5:23 - The Faces at their best. A brilliant cover of a brilliant song. From the funky guitar introduction, to the throbbing bass, the wonderful piano and then Rod Stewart's soulful voice comes in. And then a drum solo! Then it rocks. 5* 5. "(Find a) Reason to Believe" 4:05 - Vocally superb and a wonderful arrangement. Oh that Violin solo. 5* 25/25 43/45

This is a 2 star album for me. Nicely produced, the toe taps occasionally. On the third track it started to struggle to hold my interest. I like electronic music, and dance music, but this is not something that I would listen to again, or would drive me to seek out more from the discography. It is somewhat one paced, and lacking any drama. The album is too long, a common fault at the beginning of the CD era and from track 9 or so it didn't hold my interest. Would I listen to this album again? No. Would I buy this album? No. 1. "Move Any Mountain" (Progen - Beatmasters 7") 3:28 - Fun. This was a single . 3* 2. "Human Nrg (Massey)" 4:39 - This is OK. I like Electronic music and this is easy on the ear, but it is a little dull. 3* 3. "Possible Worlds: Deep PSI" 3:44 - 2*. Somewhat dull. Nice guitar. 4. "Omega Amigo" 4:44 - This drifted along. I started to lose interest. 3* 5. "Evil Is Even [Edit]" 4:23 - Starts promising and different from what has gone before. That said, it doesn't go anywhere. This album is struggling to hold my interest now. 2* 6. "Hyperreal Orbit" (Early Fade) 5:22 - OK. 3* 7. "Lightspan" 4:39 - A brighter sound with the keyboard flourishes. 3* 8. "Make It Mine" (v1.3 Lenny D Vox) 3:32 - Oh some dynamics. Nice guitar. But then the verses don't deliver on the guitar riff. 3* 9. "Oxygen Restriction" 3:49 - I lost interest . 2* 10. "Hear Me" (O My People) (Edit) 5:11 - I do not like the vocals on this track. Over long. 2* 11. "666 Edit" (Move Any Mountain) 4:48 - This does not "bang to the beat of the drums" for me. Is the pace going to pick up? Just. This does nothing for me. Dull and pointless remix. 2* 12. "Make It Minimal" 3:18 - The beginning keyboard riff had me thinking we would launch into something like Freeze's IOU. No. Again doesn't really deliver. 2* 13. "Hyperreal Selector" (Edit) 4:01 - Dull. 2* 14. "Lightspan Soundwave" (Edit) 4:19 - Dull. 2* 15. "Progen 91 [I.R.P. in the Land of Oz]" 5:21 - More of the same. 2* Average 2.4

This was a pleasant surprise. It's a good album but no more than that. It just doesn't have the impact or hold the attention like those first two albums. 3 stars overall. Would I listen again? No Would I buy this album? No Side One 1. "Rise and Fall" 3:16 - 3* 2. "Tomorrow's (Just Another Day)" 3:10 - Excellent tune. 4* 3. "Blue Skinned Beast" 3:22 - A little jarring musically. 3*. 4. "Primrose Hill" 3:36 - This has the 'Madness sound' and references. 4* 5. "Mr. Speaker (Gets the Word)" 2:59 - Quirky. 4* 6. "Sunday Morning" 4:01 - 3* 21/30 Side Two 7. "Our House" 3:23 - 5*. Classic song. A big hit. 8. "Tiptoes" 3:29 - Nice keyboards. Good song. 3* 9. "New Delhi" 3:40 - 3* 10. "That Face" 3:39 - 3* 11. "Calling Cards" 2:19 - 3* 12. "Are You Coming (With Me)" 3:17 - The piano is good on this. 3* 13. "Madness (Is All in the Mind)" 2:53 - One of the better tracks on the album. Jazzy. 4* 24/35

Before listening to this album I had not heard any Iggy Pop beyond the obvious hits. I really enjoyed it. Bowie's influence is all over it. The second side is weaker for me. Nice to have a short and to the point album. 4* Would I listen to this again? Yes Would I buy this album? Yes, probably! Side One 1. "Lust for Life" 5:13 - Hard to listen to this with fresh ears. Excellent. Great drums, bass and guitar. Super build to the opening vocals. 5* 2. "Sixteen" 2:26 - Guitars are razor sharp. It has attitude. Great rock n roll. Yes, I've read the lyrics. I read them as Teenage angst. "Sex, and drugs and rock n roll". 5* 3. "Some Weird Sin" 3:42 - 4*. This is a very good start to the album. 4. "The Passenger" 4:44 - You would have to be born under a rock to have not heard this. Simple riff. Excellent song. 5* 5. "Tonight" 3:39 - Later released by Bowie. This version is better. 4* 23/25 Side Two 1. "Success" 4:25 - I like this. Vocally interesting. Good melodies. Good drum sound. The bridge is excellent. 5* 2. "Turn Blue" 6:56 - Slower paced. OK. 3* 3. "Neighborhood Threat" 3:25 -3* 4. "Fall in Love with Me" 6:30 - Interesting song. I like the keyboards and guitar. Guitar sounds familiar; Earl Slick or Carlos Alomar? 4* 15/20

"We are Motorhead, and we play Rock n Roll". Yes they did. I miss them and they were fantastic. This is the third of three great albums on the spin, and probably their best. It's brilliant from start to finish, with no miss-steps. 5* Would I listen again? I do. Regularly. I've just put it on again. Would I buy this album? Yes. I did. Side One 1. "Ace of Spades" 2:48 - Thundering bass introduction. Then the opening riff kicks in. A tale about the love, and perils, of gambling. Great guitar solo. 2.48 of pure rock n roll. One of my favourite songs. 5* 2. "Love Me Like a Reptile" 3:23 - A love song. ( 😊 ). Fantastic riff. Great melody, yes melody. Great chorus. Wonderful closing solo. 5* 3. "Shoot You in the Back" 2:39 - A tale about Lemmy's love for "Western Movies". Crushing opening riff. A real toe tapper. This rocks. Great drum fills. This swings a little. 5* 4. "Live to Win" 3:37 - Great bass guitar introduction. Motorhead were never afraid to put the bass front and centre. A little slower paced. Believe in yourself, go for it and don't let anyone put you down. Probably one of the lesser known tracks, a deep cut. A change of tone from the 1-2-3 of the first three tracks. 5* 5. "Fast and Loose" 3:23 - Great opening riff. A tale of being horny in the early hours of the morning! "Don't get up, get down instead". 5* 6. "(We Are) the Road Crew" 3:13 - An ode, and thank you, to Motorhead's road crew. Great lyrics, wonderful lyrics and super drums. The wah-wah solo is fantastic. A fantastic first side of music. Side Two 7. "Fire, Fire" 2:44 - Again, probably one of the lesser known cuts. Backing vocals in the chorus. Pure rock n roll. 5* 8. "Jailbait" 3:33 - For as long as rock n roll has been around, the desire for teenage girls has been written about. Yes, it's at best dubious and no doubt some will get in a twist over this. But, this is a great song. 5* 9. "Dance" 2:38 - Great bass guitar underpinning the song. Again, the riff on this song is great. 4* 10. "Bite the Bullet" 1:38 - Fast paced and punky. A song that leads excellently into the next track 11. "The Chase Is Better Than the Catch" 4:18 - A mid-tempo song that swings, and has a real groove to it. The pre-chorus has a wonderful underpinning boogie woogie guitar riff. The song then has a nice break-down before rising to the closing solo. This would be a great album closer, 5*, but.... 12. "The Hammer" 2:48 - And they're going out at 100 mph. They had already influenced what would become "Thrash Metal" before this album but with this track, the influence is clear. 'Philthy Animal' Taylor is fantastic on this. 5* 59/60

Nicely produced. This is a slow, one paced album. Nothing wrong with slow, but it must hold your interest. The last three studio tracks were very good. The less said about the cover of 'Light My Fire' the better! 3 stars. Would I listen again? I have it, and I rarely listen to it. Would I buy this album? I did. For life of me I can't recall doing that. 1 "Protection" Dreamy. Nice sounds. Slow. - 3* 2 "Karmacoma" Good vocals and sounds. Catchy. - 4* 3 "Three" Slow Paced. Nice vocals - 3* 4 "Weather Storm" Lounge music? Didn't hold my interest. - 2* 5 "Spying Glass" A little Dub helps. Nice vocals. The music is a little more intertesting. - 3* 6 "Better Things" Nice vocals. Good bass line. - 3* 7 "Eurochild" Oh this is good. A little faster paced. Best track so far. This grooves. - 4 * 8 "Sly" Lovely smoky vocals. Nice rhythms. - 4* 9 "Heat Miser" Good soundscape. Pulsing electronic sounds, with lovely piano. It threatens to get to a crescendo but doesn't quite get there. 4* 10 "Light My Fire" (live) The version I have doesn't have this track. It's unnecessary and lacks the dynamics of the original. It's not very good. 2* Total Score 32 Average 3.2

Neil Young at the peak of his popularity. The solo songs are excellent and beautifully performed. On the solo side he sings quite superbly (I like his voice!). The Electric side is the weaker of the two, but still has some quite brilliant songs. 5*. Would I listen again? Yes, I do regularly. Would I buy this album? I did. 1 "My My, Hey Hey (Out of the Blue)" 03:45 The acoustic version. Wonderful song, beautifully sung. - 5* 2 "Thrasher" 05:38 Again, a beautifully sung tale. Excellent lyrics. Neil Young's acoustic guitar playing is wonderful to listen to. - 5* 3 "Ride My Llama" 02:29 The narrative on the songs are interesting, including this one. - 5* 4 "Pocahontas" 03:22 A fantastic song. Brilliantly sung. I love the rhythm that you can hear Young slapping/keeping on the guitar. - 5* 5 "Sail Away" 03:46 Excellent. Lovely melody. - 5* 6 "Powderfinger" 05:30 The electric side. This is a great song. Brilliant guitar from Young. The solo is very melodic. - 5* 7 "Welfare Mothers" 03:48 The Horse does Garage Rock. This starts off and I think "Why is this here? Spoiling what has come before." That's partly the point I think. The strange juxtaposition of "D-i-v-o-r-c-eeee" with the music makes me smile. Great guitar. - 4* 8 "Sedan Delivery" 04:40 More Garage Rock. Has much the same effect on me as Welfare Mothers. Riff driven. - 4* 9 "Hey Hey, My My (Into the Black)" 05:18 The electric version. Stunning. Heavy. Brilliant. - 5* Total - 43/45 Average - 4.78

The songs are theatrical, dramatic, romantic, bombastic, full of melody, fun. The last two songs are a little overlong, especially the last track. Meat Loaf and Jim Steinman never quite matched the consistency of this album again. 5* Would I listen again? I do, often. Would I buy this album? I did. 1 "Bat Out of Hell" 09:48 - Wonderful. Superb guitar and great melody. And that's all for the dramatic opening. Builds to a great finale. What an opening track. - 5* 2 "You Took the Words Right Out of My Mouth (Hot Summer Night)" 05:04 - Camp, silly and brilliant. The drum crack after the spoken work introduction is brilliant and then into a quite fantastic song. Phil Spector inspired production. - 5* 3 "Heaven Can Wait" 04:38 - Beautifully sung. Lovely piano. - 5* 4 "All Revved Up with No Place to Go" 04:19 - Great saxophone. A straight ahead rock tune but then that finale. - 5* 5 "Two Out of Three Ain't Bad" 05:23 - Lovely song. - 5* 6 "Paradise by the Dashboard Light" 08:28 - A fun song. Straight rock n roll. Funny interlude. When I first heard this I loved it but over time I find myself favouring other tracks on the album. - 4* 7 "For Crying Out Loud" 08:45 - Beautifully sung. It eventually springs into life, full of bombast. A tad overlong. - 4* Total - 33/35 Average - 4.71

An album that I've never heard before. Sonically very good. Noisy. Great production. Interesting samples. Hip-hop and rap aren't really a 'go to' for me, and with 20 tracks I though this wouldn't hold my attention, but it did. Some good, to very good songs, with a few excellent songs. 4* Would I listen again? Not as a whole album Would I buy this album? No. 1 "Contract on the World Love Jam" (Intro) 01:44 - I like this. I like the audio samples and the groove. - 4* 2 "Brothers Gonna Work It Out" 05:07 - Lively. Toe tapping. - 4* 3 "911 Is a Joke" 03:17 - The pace so far is good. There's an urgency. Vocally good. - 4* 4 "Incident at 66.6 FM" (Interlude) 01:37 - Albums with interludes. Very Frank Zappa! - 4* 5 "Welcome to the Terrordome" 05:25 - Funky. - 4* 6 "Meet the G That Killed Me" (Skit) 00:44 - 3* 7 "Pollywanacraka" 03:52 - Great title. Nice laid back vocals. - 3* 8 "Anti-Nigger Machine" 03:17 - Just as this song was getting dull and repetitive, they switch it up. - 3* 9 "Burn Hollywood Burn" (featuring Ice Cube & Big Daddy Kane) - 02:47 - 4* 10 "Power to the People" 03:50 - Best track so far. The backing vocals are excellent. "Power to the people". Play loud. Woolfie Smith would approve 😉 - 5* 11 "Who Stole the Soul?" 03:49 - Good vocal hook. Rolling percussion is good. - 4* 12 "Fear of a Black Planet" 03:45 - Funky again. That's good. - 4* 13 "Revolutionary Generation" 05:43 - And they up the funk. - 5* 14 "Can't Do Nuttin' for Ya Man" 02:46 - Almost a pop song - 3* 15 "Reggie Jax" (Freestyle) 01:35 - 3* 16 "Leave This Off Your Fuckin' Charts" (Interlude) 02:31 - The title is brilliant. The funkier tunes are appealing to me on this album. The audio samples fit really well. - 4* 17 "B Side Wins Again" (Remix) 03:45 - oooh a guitar sample! 4* 18 "War at 33⅓" 02:07 - Faster paced. - 4* 19 "Final Count of the Collision Between Us and the Damned" (Outro) 00:48 - 3* 20 "Fight the Power" 04:42 Excellent song. Just brilliant. 5 Total - 77 Average - 3.85

This album has a Punk attitude running through it in spades. It's a very good album that in places is excellent. Put it on, turn it up loud. 4 stars. Would I listen to this again? Yes. Would I buy the album? Yes, I did. 1 "Smack My Bitch Up" (featuring Shahin Badar) - 05:42 - What a groove, then the drums kick in. This is a great song. Few at the time thought this was about promoting the physical abuse of women, especially if you watch the music video. At the time I thought this was a drug reference, which I don't care for, but nonetheless this is a brilliant song. - 5* 2 "Breathe" - 05:35 - Two brilliant songs on the bounce. I bought this as a cd single. Keith Flint is excellent on this. This has a punk attitude with great musicality. "Breath with me" - 5* 3 "Diesel Power" (featuring Kool Keith) - 04:17 - The pace drops a little. Again great samples. Rap vocals can be hit or miss for me but this is good. - 3* 4 "Funky Shit" - 05:16 - Great electronica rhythms and samples. This always made me smile. - 4* 5 "Serial Thrilla" - 05:11 - A straight ahead rock song, with a great riff and driving beat. Flint's vocals are excellent. - 4* 6 "Mindfields" - 05:40 - The electronica intro is excellent. - 4* 7 "Narayan" (featuring Crispian Mills) - 09:05 - Ah Crispian Mills of Kular Shakar. I love the chanting in the breakdown. Nice keyboard melody. - 4* 8 "Firestarter" - 04:41 This is an iconic song. A great video accompanied it. Keith Flint's vocals are brilliant, aggressive and menacing. I believed him when he said he was the "Firestarter" 😊 - 5* 9 "Climbatize" - 06:38 An excellent instrumental. - 4* 10 "Fuel My Fire" (L7 cover; featuring Saffron) - 04:19 A good cover. Straight ahead rock. - 3* Total - 41/50 Average - 4.1

Musically, some of this album was interesting. The use of Piano throughout this album really struck me. It was as if they had hired a Saloon piano player from a Cowboy, Western movie. A nice listen. 3 stars. Would I listen again? No Would I buy this album? No 1 "Missing Pieces" - 03:27 - Catchy melody. Jack White's voice always seems to take me by surprise, if I haven't listened to him for a while, and I haven't. It doesn't always rest easy on my ears. Great keyboards/organ. - 3* 2 "Sixteen Saltines"- 02:37 - Good riff. - 3* 3 "Freedom at 21"- 02:51- Interesting song. I don't quite know why but it had less of the Jack White signature sounds, so I guess that's it. - 4* 4 "Love Interruption"- 02:38 - A little more bluesy. Nice melody. - 3* 5 "Blunderbuss"- 03:06 - Oh, nice introduction. Lovely piano. Nice song - 4* 6 "Hypocritical Kiss"- 02:50 - 3* 7 "Weep Themselves to Sleep"- 04:19 - Again, lovely piano introduction. - 3* 8 "I'm Shakin'"- 03:00 - Dramatic. The best song so far. The use of Piano, again, is excellent. If you played me the guitar solo, in isolation, it would have been instantly recognisable as Jack White. - 4* 9 "Trash Tongue Talker"- 03:20 - Rock n Roll. Nice backing vocals. - 3* 10 "Hip (Eponymous) Poor Boy"- 03:03 - Nice jangly piano - 3* 11 "I Guess I Should Go to Sleep"- 02:37 3* 12 "On and On and On"- 03:55 - Part of the vocal and piano melody reminded me of "On Broadway". - 3* 13 "Take Me with You When You Go"- 04:10 - This has a 1960s Burt Bacharach feel to the melody, until the guitars kick in but vocally it jars at this point. - 3* Total - 42 Average - 3.23

What a delight. We have Ella Fitzgerald's beautiful voice and vocal phrasing. Then we have the genius that was Nelson Riddle, for his orchestrations, and his wonderful Orchestra. Lastly, the wonderful songs of George and Ira Gershwin. 5 stars. Originally released as a 5 album Long Player (LP) box-set in 1959. The albums were also released separately, so you could choose to buy them separately, one at a time, as your budget allowed. The orchestration is by the great Nelson Riddle and his Orchestra. For those daunted by listening to all 54 tracks I suggest just reviewing one of the volumes, as there's a lot here to take in. There's a high level of quality across the whole collection but the third volume just shades it for me. Would I listen to this album again? Oh yes! Would I buy this album? Yes. I bought it immediately after listening to it. Vol. 1 1 Sam And Delilah - Wonderful. - 5 Stars 2 But Not For Me - Great lyrics. Oh that voice. - 4 Stars 3 My One And Only - 4 Stars 4 Let's Call The Whole Thing Off - Excellent. - 5 Stars 5 Beginner's Luck - 4 Stars 6 Oh, Lady Be Good! - 5 Stars 7 Nice Work If You Can Get It - 5 Stars 8 Things Are Looking Up - Swing baby! - 5 Stars 9 Just Another Rhumba - 4 Stars 10 How Long Has This Been Going On? - Beautiful. - 5 Stars 46/50 Average 4.6 Vol. 2 1 S Wonderful - Fantastic. - 5 Stars 2 The Man I Love - Just wonderful. What a voice. - 5 Stars 3 That Certain Feeling - Super. - 5 Stars 4 By Strauss - 4 Stars 5 Someone To Watch Over Me - Just beautiful. Romantic. - 5 Stars 6 The Real American Folk Song - Rag time. - 5 Stars 7 Who Cares? - 4 Stars 8 Looking For A Boy - Lyrically brilliant. Nice, gentle swing. - 5 Stars 9 They All Laughed - Like a lot of these songs, instantly recognisable. Brilliant. - 5 Stars 10 My Cousin In Milwaukee - 4 Stars 11 Somebody From Somewhere - Achingly beautiful. - 5 Stars 52/55. Average 4.73 Vol. 3 1 A Foggy Day - The orchestration on this is brilliant. - 5 Stars 2 Clap Yo' Hands - A little more uptempo. Swings. - 5 Stars 3 For You, For Me, For Everymore - Luscious. - 5 Stars 4 Stiff Upper Lip - Delightful. - 5 Stars 5 Boy Wanted - I'm running out of adjectives! - 5 Stars 6 Strike Up The Band - 5 Stars 7 Soon - 4 Stars 8 I've Got A Crush On You - Sultry, romantic and quite brilliant. - 5 Stars 9 Bidin' My Time - Playful. - 4 Stars 10 Aren't You Kind Of Glad We Did? - Blissful. Naughty. Frisky 😉. Goose bumps when the orchestra kicks in, in full swing. - 5 Stars 11 Of Thee I Sing (Baby) - Goose bumps again. Nelson Riddle was a genius. - 5 Stars 53/55. Average 4.82 Vol. 4 1 The Half Of It, Dearie, Blues Bluesy. Ella Fitzgerald's call and response with the Orchestra is brilliant. Oh those horns. So mournful. - 4 Stars 2 I Was Doing All Right Swing baby! Wonderfully sung - 5 Stars 3 He Loves And She Loves I'm running out of things to say….. - 5 Stars 4 Love Is Sweeping The Country - This is so romantic. I wish love was sweeping my country, and indeed the World. - 5 Stars 5 Treat Me Rough Oh my! Naughty and wonderful. - 5 Stars 6 Love Is Here To Stay Such a famous song. Brilliantly sung. - 5 Stars 7 Slap That Bass Indeed. They way the orchestra comes in is superbly done. Jaunty. "zoom, zoom, zoom" - 5 Stars 8 Isn't It A Pity? "let's forget the past, let's both agree, that I'm for you, and you're for me and it's such a pity we never, never met before". What a brilliant song. - 5 Stars 9 Shall We Dance? - 4 Stars 10 Love Walked In - The love songs on this album are fantastic. Ella Fitzgerald's vocals are brilliant but equally the star of the show is Nelson Riddle. - 5 Stars 11 You've Got What Gets Me - It's up tempo again. A little bit of swing. - 4 Stars 52/55. Average 4.73 Vol. 5 1 They Can't Take That Away From Me - A very different interpretation, and arrangement, from Frank Sinatra's. 5 Stars 2 Embraceable You Sultry. - 5 Stars 3 I Can't Be Bothered Now - 4 Stars 4 Boy! What Love Has Done To Me! - The humour in these lyrics are delightful. - 4 Stars 5 Fascinating Rhythm Dramatic opening. - 4 Stars 6 Funny Face - 4 Stars 7 Lorelei Smooth. Wonderful melodies. Lovely clarinet. Beautiful vocals. - 5 Stars 8 Oh, So Nice - Drift along, on a lovely cloud of music with that beautiful voice. Jazzy piano solo. - 5 Stars 9 Let's Kiss And Make Up Frisky. - 5 Stars 10 I Got Rhythm There's a sprinkling of scat Jazz throughout this album, and there's a sprinkle here. A great way to close out the collection. - 5 Stars. 46/50. Average 4.60 Total /265 - 249 Average for whole album - 4.70

Quirky but lacking the cheekiness and fun that say the the B-52's had. The second half of the album was stronger. Musically, this is good, but vocally it's hit and miss for me. This was OK but not something I would listen to again. 3 stars. Would I listen to this again? No. Would I buy this album? No. 1 "Traitor" - 3 Stars 2 "Motorcrash" - 3 Stars 3 "Birthday" - 3 Stars 4 "Delicious Demon" - 3 Stars 5 "Mama" - 3 Stars 6 "Coldsweat" - 3 Stars 7 "Blue Eyed Pop" - Catchy. - 4 Stars 8 "Deus" - On this track Bjork's lead vocals compliment the music and the co-vocals very well. Even the "whoop, whoop"! - 4 Stars 9 "Sick for Toys" - This reminds me of Siouxsie and The Banshees. Best track so far. - 4 Stars 10 "Fucking in Rhythm & Sorrow" - Another very good track. - 4 Stars 11 "Take Some Petrol Darling" (hidden track) - 3 Stars Total /55 - 37 Average - 3.36

An uneven album, that ranges from excellent to bland. 3 stars. Would I listen again? No Would I buy this album? No Side One 1 "Bad" - Lyrically the chorus is a bit naff "really, really bad". "Shamone," is a nice nod to Marvis Staples". Musically, it's very good and catchy. "Who's Bad?" - 4 Stars 2 "The Way You Make Me Feel" - More in the vein of 'Off The Wall', and even 'Thriller'. A very good pop song. The best song on the album. - 5 Stars 3 "Speed Demon" - 3 Stars 4 "Liberian Girl" - 3 Stars 5 "Just Good Friends" - 3 Stars Side Two 6 "Another Part of Me" - 3 Stars 7 "Man in the Mirror" - This is all about the chorus, which is very good, and the chorus carries the song. The drums sound awful. - 3 Stars 8 "I Just Can't Stop Loving You" - 2 Stars 9 "Dirty Diana" - A very good song spoilt by a clunky title and chorus. Steve Stevens guitar is immediately recognisable. - 3 Stars 10 "Smooth Criminal" - Now, this is more like it. - 4 Stars 11 "Leave Me Alone" - 4 Stars Total - 37/55 Average - 3.36

This is a nice enough album. It is dominated by its two most famous songs. The rest of the album is Ok, a pleasant enough listen but it doesn't reach those hights. I found this album difficult to rate overall. I rated each song individually, and to my surprise found it just squeaking in to be a 4 star album, but as an overall experience it felt more like a 3 star album. Would I listen to this album again? Every now and then. Would I buy this album? I did. I rarely play it. 1 "American Pie" - An iconic song. It is quite superb, especially if you like the music of the late 1950s and 1960s, and the story this song tells, with regard to that period of music history, albeit rather cryptically through its lyrics. It's fun guessing who the characters are and trying to catch the references. What often gets overlooked are the dynamics of the song, the performance of the band, the song has a great pop hook, and it is as catchy as it gets. An odd choice to open an album. - 5 Stars 2 "Till Tomorrow" - A lovely song beautifully sung. Hard to follow track one. - 4 Stars 3 "Vincent" - What a wonderful tune. Just sublime. - 5 Stars 4 "Crossroads" - 3 Stars 5 "Winterwood" - 3 Stars 6 "Empty Chairs" - 3 Stars 7 "Everybody Loves Me, Baby" - A little more up tempo but it sounds forced. - 2 Stars 8 "Sister Fatima" - This is an interesting song. Nicely sung and played. 4 Stars 9 "The Grave" - There's more dynamics in this song. Dramatic. 4 Stars 10 "Babylon" - 3 Stars Total - 36/50 Average - 3.6

This is not the type of music that I would actively seek out, so in that regard listening to this album is just the sort of challenging experience that I'm after by doing this exercise. There's nothing unpleasant or inherently bad about this album, and I can appreciate why some folks would find this a fabulous listen, but it just doesn't hit like that for me. 3 stars Would I listen to this again? No. Would I buy this album? No. 1 "Part I" - 3 Stars 2 "Part II a" - A little more up tempo and engaging to begin with. - 3 Stars 3 "Part II b" - 3 Stars 4 "Part II c" - 3 Stars Total - 12 Average - 3

I had completely forgotten about Rocket From The Crypt. "Scream, Dracula, Scream!" is a great title for an album, that conjures up images of the music contained within. Therein is its first issue, as for me it doesn't accurately convey the contents! There's lots of loud guitar and catchy choruses. It's well produced. It's well played. A nice 1990s 'pop punk' album. 3 stars. Would I listen to this album again? No, not as an album. The odd track perhaps. Would I buy this album? No. 1 "Middle" - Loud - 3 Stars. 2 "Born in '69" - Thrashy guitars, there's melody here though. Reminds me of the Hives in the chorus. The chorus makes this. Catchy. - 3 Stars. 3 "On a Rope" - I had forgotten about this song and band. Very good. Again the chorus is as catchy as hell, if a bit repetitive. - 4 Stars. 4 "Young Livers" - 3 Stars. 5 "Drop Out" - 3 Stars. 6 "Used" - 4 Stars. 7 "Ball Lightning" - 3 Stars. 8 "Fat Lip" - 4 Stars. 9 "Suit City" - 3 Stars. 10 "Heater Hands" - 3 Stars. 11 "Misbeaten" - 3 Stars. 12 "Come See, Come Saw" - 3 Stars. 13 "Salt Future" - Great guitar riff underpinning the song but the verses don't match it. - 3 Stars. 14 "Burnt Alive" - A little different from what preceded this track. The best rack on the album for me. - 4 Stars. Total - 46 Average - 3.29

This album still sounds great, it's full of nice, layered harmonies and lush strings. When this album is at its best it is excellent but it's too long, which ultimately detracts from the listening experience. This is a five star single album struggling to get out of a three star double album. Three stars. Would I listen again? - Only the hits. Would I buy this album? Yes, I did, on a whim. Side one 1 "Turn to Stone" - Nice fade in. Lush melodies and strings. Great chorus. Excellent. - 5 Stars. 2 "It's Over" - 3 Stars. 3 "Sweet Talkin' Woman" - Brilliant. Fantastic chorus. - 5 Stars. 4 "Across the Border" - Faster paced. Again, this has all of the elements that ELO are famous for. The Mexican sounding horns are a nice touch. Some of the keyboards sound a little dated. - 4 Stars. Side two 5 "Night in the City" - Nice opening to the song. - 3 Stars. 6 "Starlight" - 3 Stars. 7 "Jungle" - This is interesting and a little different to what has gone before. - 4 Stars. 8 "Believe Me Now" (instrumental) - Pointless? - 3 Stars. 9 "Steppin' Out" - I found this dull.- 2 Stars. Side three (Concerto for a Rainy Day) 1 "Standin' in the Rain" - 4 Stars. 2 "Big Wheels" - 3 Stars. 3 "Summer and Lightning" - 3 Stars. 4 "Mr. Blue Sky" - A brilliant slice of pop. 5 Stars. Side 4 5 "Sweet Is the Night" - 3 Stars. 6 "The Whale" (instrumental) - This just drags on. - 2 Stars. 7 "Birmingham Blues" - 3 Stars. 8 "Wild West Hero" - 4 Stars. Total 59 Average 3.50

A promising first eight or so tracks. The best known songs are front loaded and carry the album as they are very good to excellent. The album ultimately runs out of steam. The last seven tracks are quite dull and lack the impact of the preceding tracks. Three stars. Would I listen again to this album again? No, not as an album. Yes, for selected tracks. Would I buy this album? I did, at the time. I still have it. I don't play it often. 1 "Honey" - The main vocal loop and its repetitive nature loop detracts. The song doesn't go anywhere. It's catchy though. Very good. - 3 Stars. 2 "Find My Baby" - The bass comes in well, and then the keyboards. The repetitive vocal loop is a little more interesting that the first track. - 4 Stars. 3 "Porcelain" - This is dreamy. - 4 Stars. 4 "Why Does My Heart Feel So Bad?" - The male, bluesy, vocal line gets your attention. - 4 Stars. 5 "South Side" - I'm finding the percussion loops and beats a little to similar across these tracks. I actually like Moby's voice on this track, similar to Neil Tennant. - 3 Stars. 6 "Rushing" - 3 Stars. 7 "Bodyrock" - The opening hits like a good rock song but the song then drifts a little and loses its initial impact. - 4 Stars. 8 "Natural Blues" - Again the initial impact is high at the start of the song but the remainder of the song has some variety to it. Excellent. 5 Stars. 9 "Machete" - 3 Stars. 10 "7" - 3 Stars. 11 "Run On" - 3 Stars. 12 "Down Slow" - 2 Stars. 13 "If Things Were Perfect" - This is quite drab. - 2 Stars. 14 "Everloving" - Pretty. - 3 Stars. 15 "Inside" - An ambient loop that takes 2 minutes to do something, when the piano comes in, and then drifts off into nothing. 2 Stars. 16 "Guitar Flute & String" - 2 Stars. 17 "The Sky Is Broken" - 2 Stars. 18 "My Weakness" - 2 Stars. Total - 54 Average - 3.00

I like country music, but with a few exceptions, not sung by male vocalists. Instead I prefer the female vocalists. I just don't like the affected tone of the male country voice. I just might add John Prine to the small list of exceptions. Lyrically this is excellent, and the songs hold your attention from the first track to the last, as each tells its story. Musically, the songs are engaging too. Four stars. Would I listen to this album again? Yes. Would I buy this album? Yes. Side one 1. "Illegal Smile" – 3:10 - What an excellent opener to an album and a great song title too. - 5 Stars. 2. "Spanish Pipedream" – 2:37 - 4 Stars. 3. "Hello In There" – 4:29 - 4 Stars. 4. "Sam Stone" – 4:14 - "With a Purple heart and a monkey on his back". This is a briilliant, tragic, sad song. - 5 Stars. 5. "Paradise" – 3:10 - 4 Stars. 6. "Pretty Good" – 3:36 - This is a superb song. The dry humour in conjunction with the stark subject matter. - 5 Stars. Side two 1. "Your Flag Decal Won't Get You into Heaven Anymore" – 2:51 - My word this is so relevant today. - 5 Stars. 2. "Far from Me" – 3:38 - 4 Stars. 3. "Angel from Montgomery" – 3:43 - 4 Stars. 4. "Quiet Man" – 2:50 - 4 Stars. 5. "Donald and Lydia" – 4:27 - The coda to this song is beautiful. - 4 Stars. 6. "Six O'Clock News" – 2:49 - 4 Stars. 7. "Flashback Blues" – 2:33 - A little honky tonk. - 4 Stars. Total - 56 Average - 4.31

An enjoyable, fun listen. 3 stars. Would I listen to this album again? Yes. Would I buy this album? No. Side one 1 "Medley: Just a Gigolo / I Ain't Got Nobody (and Nobody Cares for Me)" - Joyous. I recognised this immediately. - 5 stars. 2 "(Nothing's Too Good) For My Baby" - 3 stars. 3 "The Lip" - 3 stars. 4 "Body and Soul (instrumental)" - 3 stars. 5 "Oh Marie" - 4 stars. Side 2 6 "Medley: Basin Street Blues / When It's Sleepy Time Down South" - 3 stars. 7 "Jump, Jive, an' Wail" - 4 stars. 8 "Buona Sera" - 4 stars. 9 "Night Train (instrumental)" - 3 stars. 10 "(I'll Be Glad When You're Dead) You Rascal You" - 3 stars. Total - 35 Average - 3.5

The music is atmospheric. This is a very low-key album, too low-key for me at times, and I have to be in the mood to listen to this album all the way through, otherwise it doesn't hold my attention. It's not go-to music for me. That said, Four stars. Would I listen to this album again? Yes. Would I buy this album? Yes, I did. 1 "Mysterons" - Great title. Mysterious noises (Theramin). - 4 Stars. 2 "Sour Times" - Sounds like a 1960s spy tv or film theme. Lovely mournful voice. - 5 Stars. 3 "Strangers" - 3 Stars. 4 "It Could Be Sweet" - 3 Stars. 5 "Wandering Star" 3 Stars. 6 "It's a Fire" - 3 Stars. 7 "Numb" - 4 Stars. 8 "Roads" - 3 Stars. 9 "Pedestal" - 3 Stars. 10 "Biscuit" - 4 Stars. 11 "Glory Box" - Saving the best until last! Excellent, gnarly guitar. - 5 Stars. Total - 40 Average - 3.64

The sum of the parts is greater than the whole? Perhaps! This has never been my favourite Stones album, they have much better albums. That said, 4 stars. Side one 1 "Rocks Off" - 4 stars 2 "Rip This Joint"- And they do "Rip this joint"! - 5 stars 3 "Shake Your Hips"- Sleezy - 5 stars 4 "Casino Boogie" - 3 stars 5 "Tumbling Dice" - The best track on the album. Country tinged. Wonderful opening riff. The guitar positively slurs, a bit like Keith Richards speaking! - 5 stars Side two 1 "Sweet Virginia" - Wonderful. - 5 stars 2 "Torn and Frayed" - 4 stars 3 "Sweet Black Angel" - 3 stars 4 "Loving Cup" - 3 stars Side three 1 "Happy" - Indeed, happy! - 5 stars 2 "Turd on the Run" - 3 stars 3 "Ventilator Blues" - 3 stars 4 "I Just Want to See His Face" - 3 stars 5 "Let It Loose" - 3 stars Side four 1 "All Down the Line" - 3 stars 2 "Stop Breaking Down" - Love this song. - 5 stars 3 "Shine a Light" - Super song.- 5 stars 4 "Soul Survivor" - 3 stars Total - 70 Average - 3.89

A hotch pot of styles, and too many songs, that didn't hold my interest. Two stars. Would I listen to this album again? No. Would I buy this album? No. 1 "Clandestino" - 2 Stars 2 "Desaparecido" - 2 Stars 3 "Bongo Bong" - 2 Stars 4 "Je ne t'aime plus" - 1 Stars 5 "Mentira..." - Nice riff. - 3 Stars 6 "Lágrimas de Oro" - 2 Stars 7 "Mama Call" - Catchy. - 3 Stars 8 "Luna y Sol" - Up tempo. Nice horns. - 3 Stars 9 "Por el Suelo" - 2 Stars 10 "Welcome to Tijuana" - 2 Stars 11 "Día Luna... Día Pena" - 2 Stars 12 "Malegría" - 2 Stars 13 "La vie à 2" - 2 Stars 14 "Minha Galera" - 3 Stars 15 "La Despedida" - 3 Stars 16 "El Viento" - 3 Stars Total - 37 Average - 2.31

I thought that I would like this more than I actually did. It's an ok album, an enjoyable listen, but ultimately not to my taste. Three stars. Would I listen to this album again? Probably not, no. Would I buy this album? No. 1 "The Kid from Red Bank" - 3 Stars. 2 "Duet" - 3 Stars. 3 "After Supper" - 3 Stars. 4 "Flight of the Foo Birds" - 4 Stars. 5 "Double-O" - 3 Stars. 6 "Teddy the Toad" - 4 Stars. 7 "Whirlybird" - 4 Stars. 8 "Midnite Blue" - 3 Stars. 9 "Splanky" - 3 Stars. 10 "Fantail" - 3 Stars. 11 "Li'l Darlin'" - 3 Stars. Total - 36 Average - 3.27

On an album (?) of just two tracks it was two tracks too many. "Mister Follow Follow" hit my ears as an unwelcome noise until the vocals started, which was 7 minutes or so into the song. One star. Would I listen to this album again? No. Would I but the album? No. 1 "Zombie" 2 Stars 2 "Mister Follow Follow" 1 Star Total - 3 stars Average - 1.5 stars

Solomon Burke had great voice, there's no disputing that, and this is a good listen but it's no more than that for me. This album lacks variety, with most of the songs sounding somewhat similar. Also the cover of this album is awful. Three stars. Would I listen to this again? No. Would I buy this album? No. 1. "Cry to Me" (Bert Russell) – 2:27 - 4 Stars. 2. "Just Out of Reach" (Virgil Stewart) – 2:46 - 3 Stars. 3."Goodbye Baby (Baby Goodbye)" (Wes Farrell, Bert Russell) – 3:16 - 3 Stars. 4. "If You Need Me" (Robert Bateman, Wilson Pickett, Sonny Sanders) – 2:29 - 3 Stars. 5. "Can't Nobody Love You" (James Mitchell) – 2:30 - 3 Stars. 6. "Someone to Love Me" (Sonny Burke) – 2:59 - 3 Stars. 7. "You're Good for Me" (Don Covay, Horace Ott) – 2:45 - 3 Stars. 8. "Won't You Give Him (One More Chance)" (Joseph Martin, Winfield Scott) – 2:31 - 3 Stars. 9. "Hard, Ain't It Hard" (Woody Guthrie)[10][12] – 2:45 - 3 Stars. 10. "You Can't Love Them All" (Bert Berns, Jerry Leiber, Mike Stoller, Nugetre) – 2:40 - 3 Stars. 11. "Beautiful Brown Eyes" (Sonny Burke, Bert Russell) – 3:42 - 3 Stars. 12. "He'll Have to Go" (Audrey Allison, Joe Allison) – 3:16 - 3 Stars. Total - 37 Average - 3.08

A great debut album. Just imagine how it would have been to have listened to this album for the first time in early 1969! 5 stars. Would I listen again? Yes, I do regularly. Would I buy this album? I did! Side One 1 "Good Times Bad Times" - A great introduction to the album. It starts, sounding very much of its time but then it veers off. Great drumming. - 5 Stars. 2 "Babe I'm Gonna Leave You" - Lovely introduction. The dissonate acoustic guitar catches the attention after the introduction. - 5 Stars 3 "You Shook Me" - Oh yes they did! Brilliant. Straight blues. The solos of Organ, Harmonica and then guitar are quite wonderful. Robert Plant is the star of this track though. - 5 Stars 4 "Dazed and Confused" - The menacing, spooky opening bass line is iconic. By the time we get to this track we know we are dealing with something special. Great solo , Bonham in the background and then back to the riff. - 5 Stars Side Two 1 "Your Time Is Gonna Come" - Lush organ and keyboards. I've always thought the chorus to be a little off, or clunky, compared to the rest of the song. - 3 Stars 2 "Black Mountain Side" - Nice instrumental with some excellent guitar and bass guitar. Adding some musical diversity to the album and indication of future intent. - 4 Stars 3 "Communication Breakdown" - And we're back! Punky riff. Dazzling guitar solo. - 5 Stars 4 "I Can't Quit You Baby" - Brilliant Blues rock. - 5 Stars 5 "How Many More Times" - What a bass line. My favourite song on the album. - 5 Stars Total - 42 Average - 4.67

I like the Beastie Boys, and have their anthology "The Sound of Science", which I enjoy. This is a good album but ultimately I think the Beastie Boys will remain a "Best of" band for me. Three stars. Would I listen to this album again? Selected tracks. Would I buy this album? No. 1 "Rhymin & Stealin" - Excellent. The reason this resonates is probably the samples from Zeppelin, Sabbath and The Clash. - 5 Stars 2 "The New Style" - 3 Stars 3 "She's Crafty" - Two Zeppelin samples in the first three tracks! - 4 Stars 4 "Posse in Effect" - The vocal delivery is now getting monotonous, with similar vocal melodies. - 3 Stars 5 "Slow Ride" - 3 Stars 6 "Girls" - 2 Stars 7 "Fight for Your Right" - This has humour, dynamics and vocal melodies. Oh and guitar! - 5 Stars 8 "No Sleep till Brooklyn" - One of their best songs. - 5 Stars 9 "Paul Revere" - 3 Stars 10 "Hold It Now, Hit It" - Dull. - 2 Stars 11 "Brass Monkey" - 3 Stars 12 "Slow and Low" - Excellent song. - 5 Stars 13 "Time to Get Ill" - One track too many. - 2 Stars Total - 45 Average - 3.46

A nice enough listen but nothing memorable. 3 stars. Would I listen to this album again? No! Would I buy this album? No! 1 - Squares - 3/5 2 - Al Sharpe - 3/5 3 - Human Being - 3/5 4 - Gone - It's beginning to be a touch monotonous - 3/5 5 - Dragon - These are now all too similar, with the mellow, dreamy sound. - 2/5 6 - Broke - 2/5 7 - Quiet - A little more dynamics provided by the drums! Best track so far. - 3/5 8 - Alleged -A sweet little ditty. - 3/5 9 - Life -2/5 10 - Eclipse - 2/5 Total - 26 Average - 2.6

Old school country and Bluegrass. Musically, this is OK, as I like country Music but the Male Country voice, with a few exceptions, does little for me, and this is a duo harmonising with the Country Music vocal twang and drawl in abundance. Musically, the songs are executed in a similar fashion, with 3/4 time being prevalent. Consequently, there's a lack of variety and dynamics, and the songs end up sounding dull rather than tragic. It's an album very much of its time. 3 stars. Would I listen to this album again? No. Would I buy this album? No. 1 - "Kentucky" – 3/5 2 - "I'll Be All Smiles Tonight" – 3/5 3 - "Let Her Go, God Bless Her" – 4/5 4 - "What Is Home Without Love" – 3/5 5 - "A Tiny Broken Heart" – 3/5 6 - "In the Pines" – 4/5 7 - "Alabama" – 3/5 8 - "Katie Dear" – 3/5 9 - "My Brother's Will" – 3/5 10 - "Knoxville Girl" – 3/5 11 - "Take the News to Mother" – 3/5 12 - "Mary of the Wild Moor" – 3/5 Total - 38 Average - 3.17

For me, this is the first Beatles related album to crop up in this exercise. . I've never been made keen on the production of this album, and the mix now sounds somewhat dated. That said, it's an excellent album with a number of truly great songs on it. The other songs are at worst 3 star songs but being a fan of The Beatles and their solo work I rate them a little higher. This is a 5 star album. Would I listen to this album again? Yes. Would I buy this album? I did. 1. "Imagine" - An iconic song. It's just a lovely, mournful, ballad with a beautiful sentiment. - (5/5) 2. "Crippled Inside" - A Country, Rock a Billy sounding number, that has a jauntiness that cleverly disguises the lyrical meaning. - (5/5) 3. "Jealous Guy" - Arguably the best song on the album. - (5/5) 4. "It's So Hard" - (4/5) 5. "I Don't Wanna Be a Soldier" - This still sounds fantastic. - (5/5) 6. "Gimme Some Truth" - Visceral. - (5/5) 7. "Oh My Love" - (4/5) 8. "How Do You Sleep?" - Was he glad that he got this off his chest? This is a fantastic song. Great slide guitar solo by George Harrison. - (5/5) 9. "How?" - (4/5) 10. "Oh Yoko!" - (4/5) Total - 46 Average - 4.6

A very good album. Very consistent in building up a mood. The percussion is the stand out across the whole album. A 4⭐ album. Would I listen to this album again? Yes Would I buy this album? Possibly, yes. 1 "Spellbound" - Excellent opener. - This was a single at the time. - 5 ⭐ 2 "Into the Light" - 3 ⭐ 3 "Arabian Knights" - 4 ⭐ 4 "Halloween" - 4 ⭐ 5 "Monitor" - 4 ⭐ 6 "Night Shift" - 4 ⭐ 7 "Sin in My Heart" - I loved this. Atmospheric, with great rolling percussion. The vocals are like a manic prayer or enchantment. - 5 ⭐ 8 "Head Cut" - This album is finishing very strongly. Great bass line. - 5 ⭐ 9 "Voodoo Dolly" - Wonderful doomy closing track. Great percussion. 5 ⭐ Total - 38 Average - 4.22

This album came up for review the day after Ozzy Osbourne passed away. I am very familiar with the Black Sabbath and Ozzy solo catalogue. For those interested in exploring further, any of the first six, Ozzy fronted, Black Sabbath albums are worthy of inclusion in this list, as are his first two solo albums. Black Sabbath Vol 4, with its iconic album cover, is one of the best of those first six albums. Vol 4 is a diverse, progressive and heavy album. Yes, in places, this album is supremely heavy, with great riffs abounding. But, there is light and shade too, something that Black Sabbath are not given enough credit for. Tony Iommi and Geezer Butler are fantastic, and rightly lauded for being icons of their respective instruments. But for me, Ozzy Osbourne never got enough credit for his vocal abilities. It is hard to imagine anyone else singing these songs as well as him. His vocal melodies are great on this album. Bill Ward also doesn't get enough credit for his drumming, for me he is up there with the great Rock drummers of this or any other era. This is a wonderful listen. If you can, play loud. This is a 5 ⭐ album. Would I listen to this album again? I do, regularly. Would I buy this album? I did. 1. "Wheels of Confusion"- This has dynamics and was/is very progressive sounding. - 5 ⭐ 2. "Tomorrow's Dream"- A crushingly heavy riff. This is in my top 10 Black Sabbath songs. Oh, and it grooves mid way through, before the riff kicks back in. - 5 ⭐ 3. "Changes"- This song brings variety and shade to the album. This song is now getting the recognition it deserves. When I first listened to this album, many years ago, this was a surprise, an odd surprise. Now I see it as a delightful song. Just wonderful. - 5 ⭐ 4. "FX" (instrumental)- It was not all crash, bang, wallop and crushing riffs as the preceding track and this track testify to. The calm before the storm - 5 ⭐ 5. "Supernaut"- What a riff. Bill Ward's drumming is excellent. What a great groove. - 5 ⭐ 6. "Snowblind"- 'Stoner Rock' before Stoner Rock was coined as a phrase. Brilliantly heavy. - 5 ⭐ 7. "Cornucopia"- This song has a number of excellent riffs and tempo changes. Even a gong! But in places it's jaunty, almost jazzy. - 5 ⭐ 8. "Laguna Sunrise" (instrumental)- And again we have a nice change in mood, with some delicate acoustic guitars in this instrumental. - 4 ⭐ 9. "St. Vitus Dance"- Interesting, poppy, 60's style hook. 4 ⭐ 10. "Under the Sun"- 'Doom Metal' before Doom Metal was coined as a phrase. Superbly heavy, with great changes in tempo. - 5 ⭐ Total - 48 Average - 4.8

The Poet is a nice listen and a 3 ⭐ album. It's a great sounding album, from a mix and production perspective. Bobby Womack had a good voice, not being too smooth, with just a bit of grit to it. The guitar and bass are stand-outs. Some of the guitar fills are quite tasty. Ultimately, there wasn't any tracks on this album that grabbed my attention, got my foot tapping, my head nodding and stirred the soul; nothing to make me want to listen again or explore further. Would I listen to this album again? No. Would I buy this album? No. 1 "So Many Sides of You"- 3 ⭐ 2 "Lay Your Lovin' on Me"- 3 ⭐ 3 "Secrets"- 3 ⭐ 4 "Just My Imagination"- 3 ⭐ 5 "Stand Up"- 3 ⭐ 6 "Games"- 3 ⭐ 7 "If You Think You're Lonely Now"- The best track on the album.- 3 ⭐ 8 "Where Do We Go from Here"- 3 ⭐ Total - 24 Average - 3.00

This is a great debut album. The band are dynamic, aggressive and exciting. Axl Rose is superb, displaying a great vocal range, and interestingly, a different number of voices or tones across the songs. The drum sound on this album is fantastic, it really hits you hard. The album holds your attention all the way through despite the second half of the album not being as strong as the first half. The songs themselves range from good to fantastic. If they had made this a 10 track album it would be a 5 star album. Overall I'm going for 4 ⭐ Would I listen to this album again? Yes. Would I buy this album? I did. 1 "Welcome to the Jungle" - Thrilling. Wonderful introduction and build into a fantastic groove. One of the best opening tracks, to a debut album, ever! - 5⭐ 2 "It's So Easy" - This rocks to high heaven. Axl Rose's lower register is quite sinister. Aggressive. - 5⭐ 3 "Nightrain" - Probably my favourite track on the album. Straight up Rock n Roll. Love the boogie in the guitar riff. - 5⭐ 4 "Out ta Get Me" - This doesn't quite have the immediacy as the preceding tracks. Nonetheless it is a very good rocker with a great vocal performance. - 4⭐ 5 "Mr. Brownstone" - Great riff. Both Izzy Stradlin and Slash are fantastic on this. Vocally this is interesting too, with Axl Rose using a different voice so to peak. Great solo. "Yowzah" indeed. - 5⭐ 6 "Paradise City" - One of three songs on this album that are likely to be well known beyond a Rock audience. Wonderful introductory guitars. The opening lyrics immediately get your attention. This song has a number of great riffs. The change in Tempo is masterful and then it rocks, boy does it rock. Brilliant. Izzy Stradlin's rhythm work is great. Best use of a whistle in a Rock song? - 5⭐ 7 "My Michelle" - Change of mood for the introduction but then into a great riff and groove. I've always liked the 'poppy' chorus. - 5⭐ 8 "Think About You" - 3⭐ 9 "Sweet Child o' Mine" - A brilliant song with one of the most famous guitar riffs in rock history. The guitar solos are spine tingling great. Stunning actually. Lyrically the song is superb. - 5⭐ 10 "You're Crazy" - 3⭐ 11 "Anything Goes" - 3⭐ 12 "Rocket Queen" - Infamous. Great song. 5⭐ Total - 53 Average - 4.42

What a pleasant surprise to see QOTSA represented in this list with their debut album. The intent on this album is clear, and it has has all of the hallmarks that would be more fully formed on later QOTSA albums. This is a fine album, with "Regular John" and "Mexicola" being stand-out tracks for me. I reviewed the 14 track version of this album rather than the 11 track original running order. 4⭐. That said, it's not the album I would pick to represent QOTSA in this list, that would be either "Songs For The Deaf" or "Rated R". If you are new to QOTSA I would start with "Rated R". Would I listen to this album again? - Yes. Would I buy this album? - I did 1 "Regular John" - What a great opening track. Very dramatic with a wall of guitars. It has that distinctive QOTSA sound from track one. - 5⭐ 2 "Avon" - 4⭐ 3 "If Only" - 3⭐ 4 "Walkin' on the Sidewalks" - The riff gets your attention. Vocally this is very good. Then it gets heavy. - 5⭐ 5 "You Would Know" - 3⭐ 6 The Bronze - 3⭐ 7 "How to Handle a Rope" - This has the QOTSA groove and then into a thrashy chorus. - 4⭐ 8 "Mexicola" - 5 ⭐ 9 "Hispanic Impressions" - 4⭐ 10 "You Can't Quit Me Baby" - 4⭐ 11 "These Aren’t the Droids You’re Looking For" - Great title. Off kilter riff, it deliberately jarrs. - 4⭐ 12 "Give the Mule What He Wants" - Nice bass introduction. - 4⭐ 13 "Spiders and Vinegaroons" - 4⭐ 14 "I Was a Teenage Hand Model" - 4⭐ Total - 56.00 Average - 4.00

This is a good album, perhaps not quite so good as the press at the time made it out to be. Clearly influenced by 70s American music such as Iggy & The Stooges, Television and even Blondie. There's little variation on the album, but it does have a certain charm to it and is enjoyable. It just squeaks 4⭐ Would I listen to this album again? Yes, I should play it more. Would I buy this album? I did. 1 "Is This It" - Great bass line. Odd choice to open an album. - 4⭐ 2 "The Modern Age" - 4⭐ 3 "Soma" - 3⭐ 4 "Barely Legal" - 4⭐ 5 "Someday" - 4⭐ 6 "Alone, Together" - 3⭐ 7 "Last Nite" - This is a great song, - 5⭐ 8 "Hard to Explain" - 3⭐ 9 "New York City Cops" - Musically good and interesting compared to what has come before but the chorus spoils what would otherwise be an excellent song. - 4⭐ 10 "Trying Your Luck" - It's as if they suddenly realised that the album needed a touch of variety, and added it to the end of the album. - 3⭐ 11 "Take It or Leave It" - 3⭐ Total - 40 Average - 3.64

The album in which Queen's vision becomes more realised, but isn't quite there, that comes next . If you are only familiar with Queen the icons and their hits, then this album will come as a surprise, even a shock. It's Progressive and Heavy (in places). Ambitious and influential. Its production still holds up today. Brian May is on fire throughout. Seven Seas of Rhye is probably the most well known song on this album, and the hit, reaching #10 in the UK charts. This album is from 1974, so very much of its time, times that were my formative listening years. This is one of my favourite Queen albums, so for me, just qualifies for 5 stars. Would I listen to this album again? Yes, I do, regularly. Would I buy this album? I did. 1 "Procession" - If you're coming at this albums backwards through the Queen catalogue you're going to think "what the hell is this?" Very much a 'Progressive Rock' introduction for a heavy 'Progressive Rock' album. - 4/5 2 "Father to Son" - Gloriously heavy. - 5/5 3 "White Queen (As It Began)" - "A delicate little number". - 5/5 4 "Some Day One Day" - 4/5 5 "The Loser in the End" - This is a real deep cut. This is heavy and features Roger Taylor on vocals. It has a groove about it, with the riff being similar to "Children of the Revolution". Brilliant. - 5/5 6 "Ogre Battle" - Fantastic. Brian May is quite superb as is John Deacon and Roger Taylor. Great riff. Crikey this song is heavy. And a gong! I love a gong. - 5/5 7 "The Fairy Feller's Master-Stroke" - Great title. - 4/5 8 "Nevermore" - 4/5 9 "The March of the Black Queen" - This is where you can really hear where Queen are going to go with their sound. The dynamics and vocals are quite wonderful. The whole band is brilliant. - 5/5 10 "Funny How Love Is" - This has a lovely vocal melody. - 4/5 11 "Seven Seas of Rhye" - What a great song. I wish it was longer! - 5/5 Total -50 Average - 4.55

What a lovely surprise to see this album pop up. This is a fuzzy, hooky album and it's a big step up from their enjoyable debut album. It has a certain sonic swagger about it, and is well crafted. The second half of the album dips a little to my taste, but for an album very much of the CD age (i.e., too many tracks) it holds your interest and is compelling and fun. This is a great listen, and a very good album. 4 stars. If you like this, they have have a good catalogue that is worth exploring. "Thirteen Tales From Urban Bohemia" is probably the album for you to go to next. Oh, and they are a great live band. Check them out. Would I listen to this album again? Yes, I do. Would I buy this album? I did. 1 "Be-In" - Wonderful opener. It's dreamy start into a pulsating groove. - 5/5 2 "Boys Better" - This has a great riff, swing and swagger. Super bridge, bringing dynamics, that then transitions smoothly back into the main riff. Superb. - 5/5 3 "Minnesoter" - The drawl of Courtney Taylor-Taylor is great on this. Again, the swing and swagger on this is great. - 5/5 4 "Orange" - 3/5 5 "I Love You" - Oh I love the simplicity of this song and it's droning qualities. It shouldn't work but it does. - 5/5 6 "Not If You Were the Last Junkie on Earth" - The wry humour in this is wonderful. Great song. - 5/5 7 "Every Day Should Be a Holiday" - Here's a real foot tapper. Wonderful, danceable, 'pop' song. Nice sentiment too if somewhat impractical 😉 - 5/5 8 "Good Morning" - Nice dreamy introduction. Good build into the groove. - 4/5 9 "Whipping Tree" - 3/5 10 "Green" - 3/5 11 "Cool as Kim Deal" - Short and sweet with a punch. Great. This is as cool as Kim Deal. - 5/5 12 "Hard On for Jesus" - 4/5 13 "Pete International Airport" - Weird, in a good way. But is it necessary? - 3/5 14 "The Creep Out" - Slow build. Hypnotic. - 4/5 Total - 59 Average - 4.21

An album that doesn't out stay its welcome, consisting of just 9 tracks. It's an iconic album, for an iconic band. This was the last album with the original line-up. It's a classic Hard Rock album with a pop sensibility sprinkled in. The use of synthesizers caused quite a stir at the time, as it was a marked departure for their sound, which alienated some of their fan base! It's superbly produced, the songs and performances are excellent. For me, Van Halen would never be as good as this again. 5 stars . "Class dismissed" 😊 Would I listen to this album again? Yes. Would I buy this album? Yes, I did. 1-"1984" - The track in which Van Halen let us know that a change was afoot, and that keyboards were now to be expected! It caused a bit of a stir at the time. As did the rather different, for them, following track. - 4/5 2-"Jump"- The track in which Van Halen let us know that can do Pop/Rock. Catchy as hell. - 5/5 3-"Panama"- “Panama” is pure, unadulterated Van Halen. A fabulous hard rocker that still maintains a catchy hook. Great guitar solo. - 5/5 4-"Top Jimmy" - “Top Jimmy” is a tribute to Top Jimmy & The Rhythm Pigs. Great, bluesy guitar work. - 4/5 5-"Drop Dead Legs" - This has a certain groove to it. - 4/5 6-"Hot for Teacher" - A classic. From the drum introduction, to the following guitar introduction, this a wonderful song. Great riff, great harmony vocals and a great chorus. David Lee Roth’s spoken monologues and Eddie Van Halen's guitar runs make for a song that’s both tongue-in-cheek and technically dazzling. It's a fun song, not to be taken seriously. - 5/5 7- "I'll Wait" - Pulsating synth riff. A marked change in style. A wonderful song. This song gives a nod to where the band will go with Sammy Hagar. Great guitar solo. - 5/5 8- "Girl Gone Bad" - This is more in the style of the earlier Van Halen records. Excellent hard rocker, with a nice break down in the bridge. - 5/5 9- "House of Pain" - Again, maintaining their earlier 'Hard Rock' style that then wanders, briefly into the newer sound, before crashing out into classic Van Halen. A great album closer. - 5/5 Total - 42 Average - 4.67

My first reaction was "wow" 69 tracks. A daunting task to review, but I'm doing this in the hope of finding music, that I have not heard before, that I will ultimately revisit time again . This seemed to fit that that bill! Alas, this will not happen with this album. Having completed listening to it, "69 Love songs" is all of the following things; audacious, ambitious, funny, quirky, wry, charming, dull, satirical, excellent, good, awful and for the most part Ok. Towards the end it was tiresome. It's an interesting concept but perhaps a concept taken too far? The vocals are human, and flawed in places, I like that. Musically it is diverse, though somewhat one paced and the album, at times, just drifted from one song into another. Some of the songs I was indifferent to, others were good, some very good, one was awful and there are a few excellent stand out tracks. My wife's comment was "What are you listen to? This is weird" and she's a fan of David Sylvian! Perhaps this album is a case of "The whole is greater than the sum of its parts"? For me this is a 3⭐ album. Would I listen to this album again? No. Would I buy this album? No. Volume One 1 "Absolutely Cuckoo" - 3 2 "I Don't Believe in the Sun" - 3 3 "All My Little Words" I really liked this. This would get quantized to high heaven today to snap the vocals, but I don't care. - 5 4 "A Chicken With Its Head Cut Off" - Funny and catchy. - 5 5 "Reno Dakota" - 3 6 "I Don't Want to Get Over You" - Neil Young'ish introduction. 4 7 "Come Back from San Francisco" - Lovely voice. - 4 8 "The Luckiest Guy on the Lower East Side" - 4 9 "Let's Pretend We're Bunny Rabbits" - 4 10 "The Cactus Where Your Heart Should Be" - 2 11 "I Think I Need a New Heart" - 3 12 "The Book of Love" - I think Peter Gabriel covered this. - 3 13 "Fido, Your Leash Is Too Long" - 3 14 "How Fucking Romantic" - 3 15 "The One You Really Love" - 3 16 "Punk Love" - 2 17 "Parades Go By" - 3 18 "Boa Constrictor" - 3 19 "A Pretty Girl Is Like..." - 3 20 "My Sentimental Melody" - 3 21 "Nothing Matters When We're Dancing" - 3 22 "Sweet-Lovin' Man" - 4 23 "The Things We Did and Didn't Do" - 3 Volume Two 24 "Roses" - 3 25 "Love Is Like Jazz" - 2 26 "When My Boy Walks Down the Street" - 4 27 "Time Enough for Rocking When We're Old" - Great lyrics! - 5 28 "Very Funny" - 4 29 "Grand Canyon" - 3 30 "No One Will Ever Love You" - 3 31 "If You Don't Cry" - 3 32 "You're My Only Home" - 3 33 "(Crazy for You But) Not That Crazy" - 3 34 "My Only Friend" - 3 35 "Promises of Eternity" - 3 36 "World Love" - 3 37 "Washington, D.C." - Naff. - 1 38 "Long-Forgotten Fairytale" - 3 39 "Kiss Me Like You Mean It" - 4 40 "Papa Was a Rodeo" - I really enjoyed this song. Liked the arrangement and lyrics. - 5 41 "Epitaph for My Heart" - 3 42 "Asleep and Dreaming" - 4 43 "The Sun Goes Down and the World Goes Dancing" - 3 44 "The Way You Say Good-Night" - 4 45 "Abigail, Belle of Kilronan" - 3 46 "I Shatter" - 3 Volume Three 47 "Underwear" - 4 48 "It's a Crime" - 3 49 "Busby Berkeley Dreams" - 4 50 "I'm Sorry I Love You" - 4 51 "Acoustic Guitar" - 4 52 "The Death of Ferdinand de Saussure" - 4 53 "Love in the Shadows" - 3 54 "Bitter Tears" - 3 55 "Wi' Nae Wee Bairn Ye'll Me Beget" - 3 56 "Yeah! Oh, Yeah!" - 3 57 "Experimental Music Love" - 3 58 "Meaningless" - 3 59 "Love Is Like a Bottle of Gin" - It gets an extra star for comparing love to Gin. - 4 60 "Queen of the Savages" - 3 61 "Blue You" - This just might be the best song across the collection! - 5 62 "I Can't Touch You Anymore" - 3 63 "Two Kinds of People" - 3 64 "How to Say Goodbye" - 3 65 "The Night You Can't Remember" - 3 66 "For We Are the King of the Boudoir" - 3 67 "Strange Eyes" - 3 68 "Xylophone Track" - In the style of Lee Marvin! - 3 69 "Zebra" - 3 Total - 228 Average - 3.30

I recall listening to this the first time, upon its release, and I was very disappointed. My views on it have mellowed slightly over the years, but not by much. I understand why they did this, but largely I find "Kid A" uninteresting. It's an album I have, but rarely listen to. When I do listen to it I find my attention waning. It's a cold, icy album. At times, it's the sonic equivalent of drifting in Space. It is a well produced and intimate album, so much so that it's as if they don't want you listening. It doesn't thrill like "OK Computer". Overall, a 3⭐ album. Would I listen to this album again? Yes, but the odd track and only every now and then. Would I buy this album? I did. 1. "Everything in Its Right Place" – 3 2. "Kid A" – 3 3. "The National Anthem" – 2 4. "How to Disappear Completely" – 4 5. "Treefingers" – 3 6. "Optimistic" – 3 7. "In Limbo" – 3 8. "Idioteque" – 3 9. "Morning Bell" – 3 10. "Motion Picture Soundtrack" – 3 11. "Untitled" - 3 Total - 33 Average - 3.00

Tina Turner's comeback album, at the age of 44, and a huge album in 1984. This is not an album I would choose to listen to, but overall Private Dancer (the album) is an enjoyable listen, save for "Steel Claw" and a cover version of Bowie's "1984". I wasn't too struck on the cover of "Help" either. The other cover versions on this album, there are 5 in total on a 10 track album, are much better than those two, with one ( "Lets Stay Together") being outstanding. The production is very 80's, that may grate with some. Overall a 3⭐ album. Would I listen to this album again? No. Would I buy this album? No. 1 "I Might Have Been Queen" - 3 2 "What's Love Got to Do with It" - 4 3 "Show Some Respect" - 3 4 "I Can't Stand the Rain" - 4 5 "Private Dancer" - 4 6 "Let's Stay Together" - This is a great song, and this version is performed excellently. - 5 7 "Better Be Good to Me" - 3 8 "Steel Claw" - This just doesn't work or fit with what has come before. - 2 9 "Help!" - 3 10 "1984" - What an odd choice of song to cover! It doesn't work. - 2 Total - 33 Average 3.3

"The Seldom Seen Kid" is a well played, well produced album. At its best it is a dramatic, lush, mellow and soothing experience, with good use of dynamics. My critique of it would be, that over 11 tracks, it is somewhat one paced and sombre to listen to all the way through in one sitting. Unless you're paying attention the songs can drift from one to another. Gus Garvey has a lovely comforting voice. Overall, a good album. 4⭐. Would I listen again? Yes, but I have to be in the mood for it. Would I buy this album? I did? 1 "Starlings" - Good opening track, and use of dynamics. - 4 2 "The Bones of You" - 3 3 "Mirrorball" - 3 4 "Grounds for Divorce" - Cracking track. Love the fuzzy tone on the guitars. - 5 5 "An Audience with the Pope" - 4 6 "Weather to Fly" - 3 7 "The Loneliness of a Tower Crane Driver" - 3 8 "The Fix" (Elbow, Richard Hawley) - 4 9 "Some Riot" - Beautifully sung. - 4 10 "One Day Like This" - The stand out track. Lovely orchestration. This has a great build. - 5 11 "Friend of Ours" - It makes no sense to finish the album with this track, especially given what preceded it! It's a nice song, but finishes the album with a whimper. - 3 Total - 41 Average - 3.73

This album, and this this style of Jazz, isn't to my taste. It doesn't stir any positive emotions or reactions. I found it rather dull. 1⭐ Would I listen again? No. Would I buy this album? No. Side one 1. "Gloria's Step" - 1 2. "My Man's Gone Now" - 1 3. "Solar" - 1 Side two 1. "Alice in Wonderland" (take 2) - 1 2. "All of You" (take 2) - 1 3. "Jade Visions" (take 2) - 1 Total - 6 Average - 1

I like Punk and I like pop, therefore I should like this album to one degree or another but Offspring aren't really to my taste. Too often the songs on "Smash" are 100 mph with little variation, dynamics or colour to them. The dynamics, when there are some, are used like a light switch, 'off and full on'. After a while I found this wearing and I became somewhat indifferent to what I was listening to. This album isn't really for me. I can see it's appeal, and there are a few good tracks on it. 'Smash', gets 2⭐. Would I play this album again? No. Would I buy this album? No. 1 "Time to Relax" - Funny. - 3 2 "Nitro [Youth Energy]" - Frantic. - 3 3 "Bad Habit" - Loud and frantic. Why aren't I enjoying this more? - 3 4 "Gotta Get Away" - 3 5 "Genocide" (Followed by spoken word) - 2 6 "Something to Believe In" - 2 7 "Come Out and Play" - The best track so far. It was the obvious single at the time. - 4 8 "Self Esteem" - 2 9 "It'll Be a Long Time" - 2 10 "Killboy Powerhead" - 2 11 "What Happened to You?" - 3 12 "So Alone" - 2 13 "Not the One" - 2 14 "Smash" - 2 Total - 35 Average - 2.50

"Chemtrails Over The Country Club" is quite a young album, 4 years old as I write, and it is not an immediate album when you first listen to it. You have to want to listen to Lana Del Rey. For new comers or casual listeners of Lana Del Rey I would recommend "Norman Fu*cking Roswell" or "Ultraviolence". The latter album especially if you a fan of Rock music. "Chemtrails Over The Country Club" was the release after "Norman Fu*cking Roswell" and is a departure from the sound and style of that album. It is a much more subtle listening experience, lush sounding, atmospheric and introverted. Beautiful. It is a very good album, that provides a consistent and rewarding listening experience, but only after a few listens. 4⭐ Would I listen to this album again? Yes. Would I buy this album? I did. 1 "White Dress" - Lovely opening song. High, breathy vocals, delicate and vulnerable. - 5 2 "Chemtrails over the Country Club" - Lush melodies coupled with Lana Del Rey’s melancholic voice. It has a soaring chorus. It sounds great. - 5 3 "Tulsa Jesus Freak" - 4 4 "Let Me Love You like a Woman" - 4 5 "Wild at Heart" - Great orchestrations, beautifully sung. Wonderful chorus, that builds dramatically. - 5 6 "Dark but Just a Game" - 4 7 "Not All Who Wander Are Lost" - 4 8 "Yosemite" - I really like this song. The chorus is great. Lush harmonies. - 5 9 "Breaking Up Slowly" - 4 10 "Dance Till We Die" - 4 11 "For Free" - 4 Total - 48 Average - 4.36

This is not to my taste at all. 2⭐ "A Grand Don't Come For Free" was critically adored upon it's release. Aside from "You're fit and you know it" and "Dry Your Eyes", I didn't understand the fuss then, and I don't understand it now. The remaining tracks just don't match up to those two songs. Perhaps its charms are lost on me? I think it's meant to be understated, with just enough musicality to hold the vocal narrative together. But to me it is just uninspired and repetitive. The biggest issue, for me, are the vocals. They just don't appeal to me. Vocally, it's a guy (Mike Skinner) talking in an accent like mine, and I don't even like my voice when I hear it played back! The lyrics/rhymes are largely hackneyed. Musically, it lacks imagination, is one paced, and dull. There is little melody. Would I buy this album? No. Would I listen to this album again? No. 1 "It Was Supposed to Be So Easy" - 1 2 "Could Well Be In" - 1 3 "Not Addicted" - 1 4 "Blinded by the Lights" - 1 5 "Wouldn't Have It Any Other Way" - 2 6 "Get Out of My House" (featuring MC C-Mone) - I much prefer MC C-Mone. - 2 7 "Fit but You Know It" - The best song so far. Some humour matches his vocal styling much better. This has a whiff of New Wave about it, in the style of Jilted John. - 4 8 "Such a Twat" - 1 9 "What Is He Thinking?" (featuring Wayney G) - 1 10 "Dry Your Eyes" - This was the other hit. There's actually some melody, both vocally and musically. - 3 11 "Empty Cans" - 1 Total - 18 Average - 1.64

An absolute classic. Listening to this album makes smile. - 5⭐ “The Chirping Crickets” is an album that influenced a generation of music that immediately followed Rock 'N' Roll. Yes, for some new listeners coming to this album fresh, and used to modern production standards, it will sound dated or even a little twee in places, but this needs to be put into context. Released in 1957, if one listens carefully to the way the songs are arranged, performed and even produced, it is years ahead of its time. That's remarkable, given the technology available when this was recorded. “The Chirping Crickets” contains four absolute bangers, hits of the day. The remaining songs are very good to excellent, two are written by Roy Orbison. Just listen to some of the guitar playing, it is quite fantastic. Buddy Holly’s song writing is melodic and original, while the Crickets perform each song with great energy and musicianship. Would I listen to this album again? Yes. Would I buy this album? Yes, I did. 1- "Oh, Boy!" - An absolute gem of a song. Buddy Holly's vocals have a slight rasp. Joyous. The "dum-dee-dum-dum" piece of the chorus is dated but in a cute way. This was risqué for the day. - 5 2- "Not Fade Away" - Much covered. Years ahead of its time. Wonderful. The percussion is superb with its Bo Diddley beat. - 5 3- "You've Got Love" - A sweet, melodic song. Mid Tempo. This demonstrates Holly's vocal abilities. Lovely arrangement. Written by Roy Orbison! - 4 4- "Maybe Baby" - An absolute classic. A masterclass in song writing, written by Holly. The song has a great shuffling rhythm. The guitars are great. - 5 5- "It's Too Late" - A much covered song. This is a fine arrangement. The chorus and actually the whole song is wonderfully arranged. - 5 6- "Tell Me How" - The guitar lines are sharp and and inventive. Again, written by Holly and brilliantly arranged. - 5 7- "That'll Be the Day" (May 27, 1957 Brunswick version) - A stone cold classic. Iconic. Wonderful guitar solo, in 1957! This song became a chart-topping hit and was a catalyst for the burgeoning rock movement. You may not like Buddy Holly, but a music lover should sure as hell appreciate him. - 5 8- "I'm Looking for Someone to Love" - The guitar on this is brilliant. -4 9- "An Empty Cup (And a Broken Date)" - Another Roy Orbison song. -4 10- "Send Me Some Lovin'" - 4 11-"Last Night" - 4 12-"Rock Me My Baby" - A great way to close the album. - 5 Total - 55 Average - 4.58

Great Odin's Beard! What sonic devilry is this? This was a challenging listen but somehow very captivating, and yes, at times, oddly enjoyable, even compelling. 3⭐ for the audacity of it. Would I buy this album? No Would I listen again? Probably not! 1. "Navvy" – 3 2. "On the Surface" – 3 3. "Dub Housing" – 3 4. "Caligari's Mirror" – 3 5. "Thriller!" – 3 6. "I, Will Wait" – 3 7. "Drinking Wine Spodyody" – 3 8. "(Pa) Ubu Dance Party" – 3 9. "Blow Daddy-O" – 3 10. "Codex" – 3 Total - 30 Average - 3.0

Listening to “Jazz Samba,” I found that, aside from a fleeting interest in the opening track, the album struggled to hold my attention. Its melodies, while pleasant enough, rarely sparked excitement. The experience was neither offensive nor invigorating—, it just unfolded with a gentleness that, for me, bordered on monotony. Having now explored at least half a dozen jazz albums as part of this listening journey, I find myself accepting that jazz, simply doesn’t resonate with my personal tastes. 2 ⭐. Would I listen to this album again? No. Would I buy this album? No. 1. "Desafinado"  — 2 2. "Samba Dees Days"  – 2 3. "O Pato" – 2 4. "Samba Triste" – 2 5. "Samba de Uma Nota Só"  – 2 6. "É Luxo Só" – 2 7. "Bahia" (aka 'Baia') – 2 Total - 14 Average - 2.00

"Fragile” is often cited as being one of Yes's best albums, along with "Close To The Edge". It is representative of Yes's individual brilliance as musicians, and their collective creativity, and for many this record represents the quintessential Yes line-up: Jon Anderson, Chris Squire, Rick Wakeman, Bill Bruford, and Steve Howe. Listening to “Fragile” is an enjoyable experience overall, as when it hits, it is engaging, containing intricate arrangements and spirited performances. Roger Dean’s iconic artwork provides the perfect visual compliment to the music within. That said, not every track here hits its target, but “Fragile” is an example of an album where the whole is greater than the sum of its parts. Even when individual moments falter, the record holds together. The album is not without its challenges. The complexity of the compositions demands attentive listening, and certain instrumental segments could be perceived as filler. At times, the album’s cohesion is tested. Yet, this is ultimately what makes “Fragile” a very good listen, 4⭐. Would I listen to this album again? Yes, but I have to be in the mood for Yes. Would I buy this album? Yes, I did. 1 "Roundabout" - Wonderful acoustic guitar introduction from Steve Howe. Then Chris Squire's brilliant bass line kicks in. Rick Wakeman is on fire. Wonderful vocals from Jon Anderson. This song isn't self indulgent and is just kept in check. Dazzling. - 5 2 "Cans and Brahms" - 4 3 "We Have Heaven" - 3 4 "South Side of the Sky" - And again everything gels into a cohesive, excellent song. - 5 5 "Five per Cent for Nothing"- 4 6 "Long Distance Runaround" - 4 7 "The Fish (Schindleria Praematurus)" - 4 8 "Mood for a Day" - 3 9 "Heart of the Sunrise" - This is musically excellent, being both thrilling and gentle. This really works. - 5 Total - 37 Average - 4.11

Chic's "Risqué" is well produced and put together. At its heart, the powerhouse trio of Nile Rodgers, Bernard Edwards, and Tony Thompson deliver performances of remarkable prowess. The album’s visual presentation matches its musical flair, with stylish photography adorning the cover and hinting at the elegance within. “Good Times” stands tall as a crowning achievement—not only is it celebrated and endlessly sampled, it captures the spirit of an era and continues to influence popular music even to this day. The up-tempo tracks pulse with an energy, and infectious grooves that they invite even the most reluctant listener to move. If there is a criticism to be found, it lies in the album’s lyrics, which can veer towards repetition—yet, within the context of disco, where rhythm and melody reign supreme, this feels almost intentional rather than a misstep. All told, "Risqué" is a thoroughly enjoyable listen: a testament to Chic’s artistry and to the enduring appeal of disco itself. 4⭐ Would I listen to this album again? Yes Would I buy this album? Possibly! Its out of print though! 1 "Good Times" - This is a wonderful song. Iconic and much sampled. Beautifully arranged. Superbly played. What a bass line. Excellent vocals. I defy anyone not to tap their toe at the very least. - 5 2 "A Warm Summer Night" - A slower tempo, more introspective. Lush. Almost spoken word vocals. - 4 3 "My Feet Keep Dancing" - Back to an up tempo beat. Brilliant bass line. - 4 4 "My Forbidden Lover" - Another hit from the time of release. Great song. What a groove. - 5 5 "Can't Stand to Love You" - The song kicks off with a great guitar lick. This is a little funky. That's a good thing! - 5 6 "Will You Cry (When You Hear This Song)" - 4 7 "What About Me?" - 4 Total - 31 Average - 4.43

Going through this exercise, this is my 69th review, I've encountered enough Jazz albums to approach this one with some trepidation. So far, Jazz hasn't been to my taste. For this reason, and to give the album a fighting chance, I reviewed the original 5 tracks released in 1956 and not the much expanded CD version. Pleasantly, the opening track has a big band feel. Second track has a mellow blues feel, ending with the full orchestra coming in. The remainder of the original album continues much in this vein. Pleasant enough and more enjoyable than the prior Jazz albums experienced whilst working through this list, but it still does not convert me into a devotee of the genre, or even someone who wants to explore the genre further. 3 stars. Would I listen to this album again? No. Would I buy this album? No. Original 1956 LP: Ellington at Newport Side A 1. "Festival Junction" - 10:08 - 3 2. "Blues to Be There" - 8:04 - 3 3. "Newport Up" - 5:33 - 3 Side B 1. "Jeep's Blues" - 5:12 - 3 2. "Diminuendo and Crescendo in Blue" - 14:56 - 3 Total - 15 Average - 3

Bad Company’s inaugural album arrives with an impressive pedigree: a supergroup featuring Mick Ralphs (Mott The Hoople), Boz Burrell (King Crimson), and Paul Rodgers and Simon Kirke (Free). Each musician is highly skilled, and Paul Rodgers, in particular, possesses an exceptional, soulful voice. On paper, this record should be an ideal fit for my tastes. Yet, after many years of collecting and listening to albums, I’ve never connected with it enough to revisit it more than once or twice—nor have I felt compelled to purchase it. I first became aware of this album around 1978, during a period when Bad Company was still active. However, at the time, the musical landscape was crowded with acts like Led Zeppelin, Black Sabbath, Deep Purple, and a formative AC/DC. The latter really made an impression with their energy and performances. As my musical journey continued, the emergence of the New Wave of British Heavy Metal drew my attention toward bands such as Iron Maiden, Saxon, Def Leppard, Judas Priest, and Motorhead. To its credit, “Bad Company” is a finely played and well-produced album. Still, for me, it falls just short of entering the upper echelon of rock records. There’s an elusive quality missing—perhaps it’s too polished, or maybe it lacks a spark of excitement. The album doesn’t quite “rock” in the way I hope for; it’s short on truly up-tempo tracks and is missing a certain groove. Even the title track, “Bad Company,” while well-crafted, never fully delivers the energy it promises. Ultimately, this debut is a solid record, but for my personal tastes, it doesn’t go beyond that. A respectable effort, but not essential. I'm probably doing it a disservice but three stars. Would I listen to this album again? Yes. Would I buy this album? I haven't so far, so probably not. 1- Can't Get Enough"- 4 2- "Rock Steady"- 4 3- "Ready for Love" - 3 4- "Don't Let Me Down"- 3 5- "Bad Company"- 4 6- "The Way I Choose"- 3 7- "Movin' On"- 3 8- "Seagull"- 3 Total - 27 Average - 3.375

When I first played this album years ago, I nearly wrote it off as too understated, too modest in its ambitions. It’s not a record that clamours for your attention at first listen; rather, it quietly creeps up on you, gradually revealing its depth. The song writing is sharp, the arrangements finely crafted, and the performances confident. For listeners who take the time to engage and return to these tracks, Tom Petty and the Heartbreakers’ debut proves itself a rewarding listen. Yet, I can’t help but feel there are moments where the album holds back just a little too much. There’s a restraint, a politeness that keeps it from bursting into the upper ranks of great rock albums—moments that could have benefited from more volume, more abandon, a looser edge. Still, what it may lack in wildness, it makes up for with craftsmanship and heart. Four stars. Would I listen to this album again? Yes. Would I buy this album? I did. 1 "Rockin' Around (With You)" - 4 2 "Breakdown" - 4 3 "Hometown Blues" - 4 4 "The Wild One, Forever" - 4 5 "Anything That's Rock 'n' Roll" - 5 6 "Strangered in the Night" - 4 7 "Fooled Again (I Don't Like It)" - 4 8 "Mystery Man" - 4 9 "Luna" - 4 10 "American Girl" -4 Total - 41 Average - 4.1

In terms of song writing, arrangement, performance, and production, “War” is a significant improvement over its predecessor, “October”, which was a somewhat uneven album. “War” contains several outstanding tracks, with “Sunday Bloody Sunday” and “New Year’s Day” standing out as classics that have surpassed the album itself in recognition. That said, it is an album that is still a little rough around the edges in places, lending it a certain charm. Overall, “War” remains a strong album albeit now overshadowed by what followed. As an album it still holds up, and flows nicely. It deserves a rating between four and five stars. Focusing on its strengths, I rate it five stars. Would I listen to this album again? Yes. Would I buy this album? I did. 1 "Sunday Bloody Sunday" - A real statement of intent for the rest of the album. “Sunday Bloody Sunday” is instantly recognisable by its martial drumbeat and jagged violin, setting a sombre and confrontational tone. Bono is earnest and raw. Great guitar solo. - 5 2 "Seconds" - “Seconds” is a short, punchy track. It addresses the threat of nuclear war. I have always loved this song. - 5 3 "New Year's Day" - Arguably one of U2’s most iconic songs, “New Year’s Day” is built around The Edge’s stark piano and Adam Clayton’s driving bassline. Explosive and dynamic. - 5 4 "Like a Song..." - Loud, brash and punky in its delivery. - 5 5 "Drowning Man" - A quieter, more introspective song. Atmospheric and delicate. - 4 6 "The Refugee" - “The Refugee” picks up the tempo again, blending urgent percussion with a slightly chaotic arrangement. Experimental. - 4 7 "Two Hearts Beat as One" - “Two Hearts Beat as One” provides a touch of 'pop' optimism amid the album’s darker themes, and its catchy chorus makes it a standout. - 5 8 "Red Light" - 4 9 "Surrender" - 4 10 "40" - The album closes with “40,” a song adapted from Psalm 40.A simple, spiritual song featuring The Edge on bass and Bono on vocals, with the band members gradually departing the stage as the song fades out. a gentle, uplifting way to end the record. - 5 Total - 46 Average - 4.6

Oh, what a delight this album is. The Small Faces— often unsung, when the great British rock acts of the 60s are mentioned. In "Ogden's Nut Gone Flake" the Small Faces created an album that is unmistakably a product of its era. This is both its greatest asset and, perhaps, its slight flaw. Frequently hailed as a “psychedelic tour de force,” the record, in my view, is just as deeply rooted in the whimsical humour of British music halls and theatrical variety—a tradition that later found a home on BBC Radio and influenced the Small Faces and many of the other British acts of the time. In every sense, this is a wonderfully and unapologetically British collection of songs. The album’s first side demonstrates the Small Faces’ considerable abilities as songwriters and arrangers, revealing their pop and rock sensibilities, the peak of which is probably "Lazy Sunday". The second side of the album embarks on a more adventurous path, built around the fanciful tale of Happiness Stan. Here, narrative and theatrical flair take centre stage, the story stitched together by the surreal narration of Stanley Unwin. "Ogden's Nut Gone Flake" radiates a charm, showcasing the exceptional talents of Steve Marriott, Ian McLagan, Kenny Jones, and Ronnie Lane. Marriott has two distinct voices on this album, - the Cockney on "Rene" and "Lazy Sunday," and the soul singer on "Afterglow (Of Your Love)" and "Song of a Baker". Notably, "Ogden's Nut Gone Flake" stands as their final album before the band dissolved, soon to be reborn as "The Faces" with Steve Marriott forming Humble Pie with Peter Frampton. What a way to go out! This is an album meant to be listened to with care, picking out the intricate arrangements and stellar production. It is, quite simply, a milestone in British rock—nearly flawless in its execution. For me, it easily earns five stars. Note: From side two, starting with track seven, the songs are introduced and interspersed with snippets by Professor Stanley Unwin, a British comic actor of the 1960s who invented the nonsensical language “Unwinese.” The effect is eccentrically British and very surreal. Look him up on YouTube. Would I listen to this album again? Yes! I played it again straight after listening to it... twice more 😊. Would I buy this album again? Yes, I did. The deluxe CD version has the original Mono mix. It's interesting to compare the mono mix with the stereo mix. Side one 1- "Ogdens' Nut Gone Flake" - A fabulous instrumental introduction. The throbbing bass line and excellent drum fills really shine. - 5.00 2- "Afterglow" - A soaring vocal from Steve Marriott, “Afterglow (Of Your Love)” . This shows its British R&B roots. - 5.00 3- "Long Agos and Worlds Apart" - A whimsical transition, highlighting Ian McLagan’s keyboards. - 5.00 4- "Rene" - Oh this is just wonderful. “Rene” introduces the album’s famed concept—the story of Happiness Stan, beginning with a slice of London life set in a music hall atmosphere. Marriott is singing in two other voices to previous tracks. Very much London accents. - 5.00 5- "Song of a Baker" - What a great song. “Song of a Baker” is a bluesy, hard-edged song, set against muscular guitar riffs and pounding drums. Kenney Jones’s percussion is particularly ferocious, driving the song forward with a great energy. - 5.00 6- "Lazy Sunday" This is how songs should be written. Probably, the most famous song on the record, “Lazy Sunday” is a cockney knees-up. Joyous. An irreverent celebration of everyday life. Marriott’s exaggerated vocal inflections and the band’s singalong choruses evoke a pub full of boozed up revellers. The production is brilliant containing birdsong, laughter, and odd sound effects that mesh with the rhythm and piano. It's a classic. - 5.00 Side two (titled "Happiness Stan") 1- "Happiness Stan" - Ah the introduction of Professor Stanley Unwin. - 5.00 2- "Rollin' Over" - One of the album’s rockier numbers. - 5.00 3- "The Hungry Intruder" - A gentle tune that introduces a cast of fantastical characters encountered by Stan. It’s a moment of respite, with acoustic guitar and delicate harmonies painting a scene of rural tranquility. It's a song that is whimsical and childlike, yet tinged with a subtle melancholy. - 5.00 4- "The Journey" - 3.00 5- "Mad John" - 4.00 6- "HappyDaysToyTown" - A romp that wraps up Stan’s journey in exuberant fashion. Absurdly wonderful. - 5.00 Total - 57.00 Average - 4.75

“Mothership Connection” is a joyous, funny, and well crafted album, even if the narrative detours occasionally pull focus from the funky core. When Parliament lets the funk run free, the album really hits home. There were moments when I wanted the groove to simply carry on unimpeded, rather than pausing for the Mothership’s latest transmission. Yet when Parliament unleashes the full force of their funk, the results are delightful, the grooves are undeniable, and the rhythm section, anchored by the incomparable Bootsy Collins on bass, is simply electrifying. Bootsy’s lines "snap, crackle and pop", threading everything together. Overall a 4 star album. Would I listen to this album again? Yes. Would I buy this album? Yes, I might. 1- "P. Funk (Wants to Get Funked Up)"- When it funks, it funks! - 4.00 2- "Mothership Connection (Star Child)"- 4.00 3- "Unfunky UFO"- No mucking about here. Straight in with the beat. Wonderful. - 5.00 4- "Supergroovalisticprosifunkstication"- Nice vocals. Sly groove. - 4.00 5- "Handcuffs"- Slinky 😉 - 5.00 6- "Give Up the Funk (Tear the Roof off the Sucker)"- Funk a plenty. - 5.00 7- "Night of the Thumpasorus Peoples"- 4.00 Total - 31.00 Summary - 4.43

I confess I was pleasantly surprised to see this album appear in this list. Terence Trent D’Arby’s debut album impresses with his remarkable vocal range and strong song writing, though its ambitious mix of genres sometimes leads to inconsistency and a lack of focus. While the 1980s production is evident, it complements his voice and does not detract from the album’s lasting appeal. Overall, it’s a very good album. An occasionally uneven release that remains engaging throughout. I rate this album between 3 and 4 stars, so accentuating the positive 4 stars. Would I listen to this album again? Yes. Would I buy this album? I did. 1. "If You All Get to Heaven" – 4 2. "If You Let Me Stay" – 4 3. "Wishing Well"  – 4 4. "I'll Never Turn My Back on You (Father's Words)" – 3 5. "Dance Little Sister" – 4 6. "Seven More Days" – Great chorus. - 4 7. "Let's Go Forward" – 3 8. "Rain" – 3 9. "Sign Your Name" – Fantastic song. - 5 10. "As Yet Untitled" – 3 11. "Who's Loving You" – Good cover but not really needed. - 4 Total - 41 Average - 3.73

"Bizarre Ride II The Pharcyde" is an energetic and fun album, blending light jazz-inspired melodies with a solid backbeat. The production is polished, and the tracks have a smooth, laid-back vibe that makes it easy to listen to. However, as the album progresses, the sound starts to feel repetitive, and no single track manages to stand out. At nearly an hour long, it could have benefited from some trimming. Ultimately, while it doesn’t quite hit the mark for me, I can still appreciate the craftsmanship. I’ll lean towards a three-star rating, focusing on the positives. Would I listen again? No. Would I Buy this album? No. 1 "4 Better or 4 Worse" (Interlude)- 3 2 "Oh Shit"- 3 3 "It's Jiggaboo Time" (Skit)- 3 4 "4 Better or 4 Worse"- 2 5 "I'm That Type of Nigga"- 3 6 "If I Were President" (Skit)- 2 7 "Soul Flower" (Remix)- 2 8 "On the DL"- 2 9 "Pack the Pipe" (Interlude)- 2 10 "Officer"- 3 11 "Ya Mama"- 3 12 "Passing Me By"- 3 13 "Otha Fish"- 2 14 "Quinton's on the Way" (Skit)- 1 15 "Pack the Pipe"- 3 16 "Return of the B-Boy"- 3 Total - 40 Average - 2.50

"Shake Your Money Maker" is a strong debut—well-produced, well-written, and confidently delivered. Its influences are easy to spot—The Faces, The Rolling Stones, and at times even Led Zeppelin—but rather than mimic them, the album tips its hat with respect and a sense of fun. It’s an enjoyable ride from start to finish. For a long time, I considered it a very good, but not quite great, record—certainly not on the level of The Southern Harmony and Musical Companion. But in hindsight, that might have been a bit unfair. Judged on its own terms, Shake Your Money Maker is an excellent and thoroughly entertaining listen. It's pure rock 'n' roll—nothing more, nothing less—and to my own surprise, it earns a 5 stars rating. Would I listen to this album again? Yes. Would I but this album? Yes, I did. 1 - "Twice As Hard"- Opens with wonderful slide guitar that is reminiscent of Jimmy Page. - 4 2 - "Jealous Again"- I defy you not to move. This is reminiscent of The Faces. Nice dynamics. Interesting guitar solo. - 5 3 - "Sister Luck"- A little change of pace. A well written, soulful tune. - 5 4- "Could I've Been So Blind"- 4 5- "Seeing Things"- 4 6- "Hard to Handle"-A great cover of the Otis Redding tune. This swaggers and struts. - 5 7- "Thick n' Thin"- Rock and Roll! Oh yes. - 5 8- "She Talks to Angels"- What a soulful voice Chris Robinson has. I prefer the acoustic version, but this is great. - 5 9- "Struttin' Blues"- 4 10- "Stare It Cold"- Oh this is wonderful. - 5 11- "Live Too Fast Blues/Mercy, Sweet Moan" (hidden track)"- 4 Total - 50 Average - 4.55

What’s the Story (Morning Glory) is a loud, brash, and unapologetically confident album from a band at the height of its ambition. From the first crashing chords of “Hello” to the soaring climax of “Champagne Supernova,” Oasis delivers a record that is both anthemic and deeply emotive. It’s a melodic album, packed with catchy hooks and sing-along choruses that feel both massive and intimate. Tracks like “Don’t Look Back in Anger” and “Wonderwall” strike a balance between sentimental reflection and uplifting optimism, while “Some Might Say” and “Morning Glory” swagger and strut confidently. There’s a surprising amount of heart beneath the noise and bluster—the album is often affectionate and even dreamy, touching on themes of love, loss, and hope with a melancholic undertone that adds depth to its stadium-sized sound. It’s this mix of emotional honesty and rock-and-roll bravado that makes the album so enduring. Ultimately, What’s the Story (Morning Glory) is more than just a product of its time—it’s a triumphant, era-defining record that still resonates, just ask the folks that are seeing them on their "Oasis Live 2025" tour. In a word: great. Five stars. Would I listen to this album again? Yes. Would I buy this album? I did. 1 – "Hello" A storming opener. Straight out the gate, it sets the swagger and energy of the album perfectly. A real statement of intent. – 5 2 – "Roll with It" Pure rock ’n’ roll. Big chorus, driving rhythm, and attitude to spare. Classic Oasis confidence. – 5 3 – "Wonderwall" Iconic. One of the defining songs of the ’90s and beyond. Simple, emotional, unforgettable. – 5 4 – "Don’t Look Back in Anger" Another anthem. Hearing 90,000 people sing this together is spine-tingling. The Lennon-inspired intro is a lovely nod, and Noel’s guitar solo is spot on. – 5 5 – "Hey Now!" Often overlooked, but it’s a gem. The verses have a hook that sticks in your head for days. – 5 6 – Untitled ("The Swamp Song" Pt. 1) Just a teaser, but what a riff. The full live version (on The Masterplan) is immense. – 5 7 – "Some Might Say" One of Oasis’s finest. The lyrics might not matter, but the sound, the swagger, and Liam’s vocal delivery are all huge. – 5 8 – "Cast No Shadow" Beautiful and understated. Thoughtful lyrics, tender delivery—one of Noel’s most heartfelt moments. – 5 9 – "She’s Electric" Playful, witty, and irresistibly sing-along. Liam nails it with a cheeky, characterful vocal. – 5 10 – "Morning Glory" Explosive. The title track kicks hard, with massive guitars and a chorus that soars. Live, it’s even more powerful. – 5 11 – Untitled ("The Swamp Song" Pt. 2) Another snippet. Frustratingly short—you just want the full version here. – 5 12 – "Champagne Supernova" The perfect closer. Epic, dreamy, and soaring, with Paul Weller’s guitar work adding magic. The lyrics might be abstract, but the vibe is everything. A monumental ending. – 5 Total - 60 Average - 5.00

A dark, brooding, maudlin tale! "The Wall" is Pink Floyd's attempt at a 'Rock Opera', telling the story of Pink, a fictional rock star who builds a metaphorical wall to isolate himself from the world due to a life filled with emotional trauma. The "Bricks" are formed from traumatic events from his childhood and then his later adult life. This culminates in a mental breakdown, where he experiences a fascist dictatorship in his mind. He ultimately realises the need to tear down his wall. All good fun! "The Wall" is an ambitious album. The songs are for the most on the short side, so what might seem like a daunting task to listen to (and review) actually passes by quite quickly. It is not like any previous Pink Floyd album. "The Wall" is well produced, in the main, by Bob Ezrin, and as an album concept it somehow works. Along the way Roger Waters forgot, or failed to acknowledge, that the whole is greater than the sum of its parts. It was essentially the straw that broke the camels back in terms of band dynamics. "The Wall" is not an uplifting album, it requires attentive listening. I'm not sure a casual listener will recognise the concept from listening alone, not without referencing other material. It is not going to be for everyone, even Pink Floyd fans disagree on this album. This is the first album that I'm not going to rate track by track. I think it needs to be rated as a whole, and as a whole I find it an engaging listen, but I do have to be in the mood to sit down and listen. The stand out tracks for me are: "In the Flesh?", "Another Brick in the Wall, Part 2", "Young Lust", "Comfortably Numb", "In the Flesh" and "Run Like Hell". This is the last "great" Pink Floyd album but in my view it's not as great as Roger Waters thinks it is, and it's not Pink Floyd's greatest album! It does however, just rate five stars! Though I did nearly dock a star for the criminal fade out on "Comfortably Numb". That has irritated me for years. Would I listen to this album again? Yes. Would I buy this album? I did.

I admire the ambition behind Soft Machine's "Third" and the passion of those who love it, but I find it to be a challenging listen. The album, for the most part, is devoid of structure and meanders its way through four lengthy tracks. It's a one-star album in my book, but I can respect its legacy. 1- "Facelift" - 1 2- "Slightly All the Time" - 1 3- "Moon in June" - 2 4- "Out-Bloody-Rageous" - 1 Total - 5 Average - 1.25 80/1001

Sometimes too much of a good thing can lead to taking it for granted. That's how I've been treating U2's "Achtung Baby" over the years. I've listened to it so many times that I put it to one side, and if I did play anything from it, it was the "Hits". I forgot how good it is. "Achtung Baby" marked a radical and deliberate reinvention, moving away from the earnest, anthemic sound of "The Joshua Tree" towards a darker, more experimental, and industrial aesthetic. The result is a dense album that sounds unlike anything they had done before. It's a creative high point for the band, full of excellent songs. Five stars. Would I listen to this album again? Yes Would I buy this album? I did. 1- "Zoo Station"- The distorted introduction tells you that this album is very different to its predecessor. Thrilling. - 5 2- "Even Better Than the Real Thing"- A real dance, club feel. A Great riff. The remixed single is great too. - 5 3- "One"- Iconic. Just wonderful. U2's most recognisable song? Timeless. - 5 4- "Until the End of the World"- Lyrically oblique. Lovely guitar solo. - 4 5- "Who's Gonna Ride Your Wild Horses"- 3 6- "So Cruel"- An under appreciated track from "Achtung baby" and always one of my favourites. Raw and stripped down, especially compared to what comes next! - 5 7- "The Fly"- Bold and noisy. The lead single before the album was released. A great riff, great guitar and a great rock song. It was the introduction of Bono's "Fly" persona. This was the sign post that U2 had transformed their sound. - 5 8- "Mysterious Ways"- A funky, dance-oriented single that brought a fresh sound to U2 and rock music. Larry Mullen Jr.'s drumming and Adam Clayton's bassline are the stars of this track. - 5 9- "Tryin' to Throw Your Arms Around the World"- Gentle and melancholic . Again, a track I've underappreciated over the years. - 5 10- "Ultraviolet (Light My Way)"- A little more "old school" U2. 4 11- "Acrobat"- I had forgotten how much I liked this song; the brooding feel and a quite fantastic guitar solo. - 5 12- "Love Is Blindness"- Sombre and atmospheric. - 5 Total - 56 Average - 4.7 81/1001

Peter Gabriel's third self-titled album, also known as "Melt", is a landmark in his career and a highly innovative work. The album is characterized by its dark, haunting, and progressive sound, with strong themes of guilt, paranoia, and psychological unease running throughout the lyrics. The production is particularly notable for its ground breaking use of gated reverb on drums, a technique pioneered by engineer Hugh Padgham and producer Steve Lillywhite. This gives the album a unique, percussive quality that is both powerful and atmospheric. Gabriel's vocal performances are superb, conveying a range of emotions from chilling vulnerability to dramatic intensity. Songs like "Intruder," "Games Without Frontiers," and "Biko" are iconic and showcase the album's lyrical depth and musical complexity. Despite its challenging themes and unconventional song structures, Melt is often considered one of Gabriel's most accessible works, drawing listeners in with its compelling storytelling. It stands as a near-perfect album that, at the time, pushed the boundaries of rock music, influencing countless artists. Five stars. Would I listen again? Yes. Would I buy this album? I did. Side one 1- "Intruder"- Menacing both musically and vocally. The sense of dread and unease is palpable. - 5 2- "No Self Control"- A manic and tense song. The percussion is splendid. Backing vocals from Kate Bush. - 5 3- "Start"- An instrumental interlude. - 4 4- "I Don't Remember"- A song about memory loss and identity. It features an urgent guitar riff from Paul Weller, and a driving rhythm. Great vocals. - 5 5- "Family Snapshot"- dramatic, dark and theatrical narrative that showcases Gabriel's storytelling ability.- 5 6- "And Through the Wire"- Wonderful vocal. - 5 Side two 1- "Games Without Frontiers"- Probably the most famous song on the album. A playful synth melody, iconic French backing vocals from Kate Bush, and wonderful lyrics superbly describe the absurdity of geopolitical conflicts. - 5 2- "Not One of Us"- Unsettling. This song tackles themes of prejudice and xenophobia. Excellent chorus. It has a new-wave feel to it. We're still dealing with these issues 45 years later. - 5 3- "Lead a Normal Life"- Both quiet and beautiful . It compliments the following album closer wonderfully. - 5 4- "Biko"- Bold. Opens with a sense of dread. Solemn defiance against apartheid. Haunting. A great vocal. - 5 Total - 49 Average - 4.9 82/1001

Donald Fagen's 1982 debut solo album, "The Nightfly", is a concept album set in the late 1950s and early 1960s, a period of optimism and futuristic vision, with Fagen assuming the persona of a late-night DJ broadcasting from a fallout shelter. "The Nightfly" is certainly a well crafted and executed album, but there's nothing here that grabbed my interest, excited me or thrilled me beyond the concept itself. I found it too mellow, laid-back and low key for my taste, showing it's 'smooth' Jazz influences. All said, it was a tad dull. I rate this at 2 stars. Would I listen to this album again? No. Would I buy this album? No. Side one 1- "I.G.Y."- 3 2- "Green Flower Street"- 2 3- "Ruby Baby"- 2 4- "Maxine"- 2 Side two 1- "New Frontier"- 3 2- "The Nightfly"- 2 3- "The Goodbye Look"- 2 4- "Walk Between Raindrops"- 3 Total - 19 Average - 2.4 83/1001

Having come to Todd Rundgren's music through his work with other artists, most notably Meat Loaf's "Bat Out of Hell" and XTC's "Skylarking", it's fascinating to finally experience one of his own albums for the first time. The journey begins with the album's stunning artwork, which sets a grand and imaginative tone before the music even starts. The first side of "A Wizard, A True Star" is a compelling listen. It grabs your attention immediately with its fun, oddball, and unconventional style. It’s utter madness, and thoroughly enjoyable in its quirky and experimental nature. The one critique is that the sonic landscape can be overwhelming at times, verging on a bit of a sonic onslaught, which necessitated a break before continuing. Side two presents a different experience. It begins in a surprisingly conventional and soulful manner, a stark and mad contrast to the first side. This soulful, pop-oriented direction continues until the "Medley," with the track "Hungry For Love" serving as a slight call back to the first side's more frenetic energy, albeit in a calmer way. The latter half of the side returns to a more conventional rock sound. Overall, the album is a testament to Rundgren’s talent. The guitar work is great, the production is wonderful, and the arrangements are expertly handled. It displays a grand vision and great imagination, all of which is well performed. The listening experience feels like two distinct albums, but it is thoroughly enjoyable from start to finish. Based on this first listen, it is an easy four-star album. Would I listen to this album again? Yes. Would I buy this album? Possibly! Side one – "The International Feel (in 8)" 1- "International Feel"- 4 2- "Never Never Land" - 4 3- "Tic Tic Tic It Wears Off"- 4 4- "You Need Your Head"- 4 5- "Rock and Roll Pussy"- 4 6- "Dogfight Giggle"- 4 7- "You Don't Have to Camp Around"- 4 8- "Flamingo"- 4 9- "Zen Archer"- 4 10- "Just Another Onionhead; Da Da Dali"- 3 11- "When the Shit Hits the Fan; Sunset Blvd."- 4 12- "Le Feel Internacionale"- 4 Side two – "A True Star" 1- "Sometimes I Don't Know What to Feel"- 4 2- "Does Anybody Love You?"- 3 3- "Medley"- 3 1. "I'm So Proud" (Curtis Mayfield) 2. "Ooh Baby Baby" (Smokey Robinson, Warren "Pete" Moore) 3. "La La Means I Love You" (William Hart, Thom Bell) 4. "Cool Jerk" (Donald Storball)" 4- "Hungry for Love"- 4 5- "I Don't Want to Tie You Down"- 4 6- "Is It My Name?"- 4 7- "Just One Victory"- 4 Total - 73 Average - 3.8 84/1001

My relationship with Stevie Wonder's music is an unconventional one. Growing up, my younger brother was a devout fan of his classic period, while my own tastes leaned heavily towards rock. This meant that on weekends, our shared "Music Centre" would become a sonic battleground. He would have control on Saturday mornings, and me on Sunday morning. The following weekend this would be reversed. More often than not, I would be awakened on my brother's day by the sounds of classic soul and R&B, and so I became intimately, if reluctantly, familiar with albums like "Fulfillingness' First Finale". Despite my personal leanings, it's impossible to deny the brilliance of "You Haven't Done Nothin'". This track is a masterclass in politically charged funk, its powerful chorus and driving rhythm proving it a timeless classic. It's so compelling that if the entire album matched its intensity and innovation, "Fulfillingness' First Finale" would undoubtedly be a five-star masterpiece. While the album doesn't maintain that level of raw energy throughout, there are other standout moments. "Boogie On Reggae Woman" is a fantastic track, showcasing Wonder's versatility and unique melodic sense. The closing track, "Please Don't Go," also impresses, offering a beautifully poignant and soulful farewell. However, the remaining tracks don't resonate with me as strongly. While I can appreciate the artistry and craftsmanship that went into this album, as a cohesive body of work, much of it falls into the realm of being merely "okay" for my taste. I can certainly understand why many people consider "Fulfillingness' First Finale" to be a cornerstone of Stevie Wonder's discography and a landmark of 1970s soul. It is a work of undeniable quality, but for me, the magic is concentrated in a few key tracks. Therefore, while I respect its place in music history, and also why it's included on this list, I can't rate it higher than three stars. Would I listen to this album again? No. Would I buy this album? No. Side one 1. "Smile Please" – 2 2. "Heaven Is 10 Zillion Light Years Away" – 3 3. "Too Shy to Say" – 2 4. "Boogie On Reggae Woman" – 4 5. "Creepin'" – 3 Side two 1. "You Haven't Done Nothin'" – Funky brilliance. A critique of Richard Nixon. - 5 2. "It Ain't No Use" – 3 3. "They Won't Go When I Go" – 3 4. "Bird of Beauty" – 2 5. "Please Don't Go" – 4 Total - 31 Average - 3.1 Review 85/1001

Nitin Sawhney's "Beyond Skin" is an album that starts with promise. It initially catches your attention with its meticulous production, creating a lush atmosphere, and certainly for the first few tracks, the intricate soundscape is engaging and draws you into its world. However, as the album progresses, a sense of monotony begins to set in. The initial intrigue wanes as the lack of dynamic range and variation becomes apparent. The album's consistent slow tempo and mellow mood, while initially soothing, ultimately results in a largely one-paced experience that struggled to maintain my interest over its 12-tracks. The carefully crafted soundscape, which began as a strength, becomes dull. I rate this at two stars. Would I listen to this album again? No. Would I buy this album? No. 1. "Broken Skin" - 3 2. "Letting Go"- 3 3. "Homelands" - 3 4. "The Pilgrim" - 2 5. "Tides"- 3 6. "Nadia" - 2 7. "Immigrant" - 2 8. "Serpents" - 3 9. "Anthem Without Nation" - 2 10. "Nostalgia" - 2 11. "The Conference" - 2 12. "Beyond Skin" - 2 Total - 29 Average - 2.42 86/1001

Portishead's 2008 comeback album, "Third", is a challenging, yet ultimately rewarding, listening experience. The album's opening tracks, "Silence," "Hunter," and "Nylon Smile," are slow burners. It's on the fourth track, "The Rip," that the album truly finds its footing. This song is a mesmerizing blend of Beth Gibbons' haunting vocals with a krautrock-inspired electronic pulse that builds to a captivating crescendo. Throughout the album, Portishead masterfully crafts a cinematic, film noir-like experience. The industrial, almost militaristic beat of "Machine Gun" provides a stark, regimental backdrop for Gibbons' ethereal voice, creating a powerful contrast that is both unnerving and brilliant. "Plastic" and "We Carry On" are equally dramatic, with the latter being a standout track for its relentlessly unsettling atmosphere, a true testament to the band's ability to evoke profound emotions. Beyond the electronic textures, Third reveals surprising influences. "Small," a personal highlight, showcases a surprising nod to early 1970s progressive rock, especially in its brilliant switch-up following the initial haunting vocal passage. The album closes with "Threads," a track that, to my ears, echoes the psychedelic rock of Jefferson Airplane, with Gibbons' vocals channelling the spirit of Grace Slick. Third is not an easy listen but I did enjoy it more than their debut! This album rated four stars for me, although I expect with more plays the rating will improve, especially for the first three tracks. My rating for Portishead's "Third" is four stars. Would I buy this album? Absolutely. Would I listen to this album again? Yes, and I likely will. 1 -"Silence" - 3/5 2 - "Hunter" - 3/5 3 - "Nylon Smile" - 3/5 4 - "The Rip" - 4/5 5 - "Plastic" - 4/5 6 - "We Carry On" - 5/5 (Unsettling and brilliant.) 7 - "Deep Water" - 5/5 (Beautiful.) 8 - "Machine Gun" - 5/5 (A regimental soundscape beneath Beth Gibbon's beautiful voice.) 9 - "Small" - 5/5 (A brilliant electronic switch-up and a personal favourite.) 10 - "Magic Doors" - 4/5 11 - "Threads" - 5/5 (Reminiscent of Jefferson Airplane and Grace Slick.) Total - 46 Average - 4.2 87/1001

Recorded in just 24 hours, Black Sabbath's self-titled 1970 debut is a cornerstone of rock and metal. While the band would fully hone their sound on their next album, "Paranoid", this record is a raw and thunderous statement that has influenced countless artists. Overall, "Black Sabbath" is an essential listen and it is rightly seen as a foundational album for heavy metal, and while the band's sound would evolve, their debut is a powerful first attempt. I've owned a version of this album since 1979 or so, and even though I wouldn't place it in my top five Ozzy fronted Sabbath albums (it's arguably the "weakest" of their first six albums), it's a testament to the band's incredible early output that this is still an excellent listen and a wonderful debut. Four stars. Would I listen to this album again? - I do, regularly Would I buy this album? I did. "Black Sabbath" From its ominous intro to the crushing main riff, it is full of menace and foreboding. An instant classic, it remains one of the heaviest songs ever recorded and set the stage for metal. 5/5 "The Wizard" This bluesy, harmonica-driven track shows a different side of the band. Often overlooked, this song highlights the band's versatility right from the start. 5/5 "Behind the Wall of Sleep" With a galloping rhythm section and psychedelic undertones, this song feels very much of its time. Ozzy Osbourne's vocals are particularly eerie here. 4/5 "N.I.B." This is simply a classic rock song, heavy yet with a melodic swing. It features a great riff and memorable lyrics, making it one of Sabbath's best songs ever. 5/5 "Evil Woman" 3/5 "Sleeping Village" 4/5 "Warning" This sprawling blues jam, which originally closed the album, is a showcase for Tony Iommi's impressive guitar work, letting him improvise and shine. 4/5 "Wicked World" Like "Warning," this is another improvisational blues jam that lets Iommi's guitar loose. This wasn't on my original copy of the album. I first heard this on the compilation album, "We Sold Our Souls for Rock 'n' Roll", and it's a fantastic, energetic track. 5/5 Total - 35 Average - 4.4 88/1001

Eighty-nine albums in, and "Hard Again" by Muddy Waters is my first blues review. The album hits the ground running with the one-two-three punch of "Mannish Boy," "Bus Driver," and "I Want to Be Loved," and the quality is pretty much maintained throughout. Produced by a dedicated Johnny Winter, this comeback album is pure, blues—gritty, powerful, and thoroughly enjoyable from start to finish. A solid four stars. Would I listen to this album again? Yes. Would I buy this album? Possibly! 1- "Mannish Boy" - An iconic, famous tune. First recorded in 1955 on the Chess label.- 5 2- "Bus Driver" - Just wonderful. - 5 3- "I Want to Be Loved" - Classic Willie Dixon song. - 5 4- "Jealous Hearted Man" - 4 5 "I Can't Be Satisfied" - 3 Side two 1- "The Blues Had a Baby and They Named It Rock and Roll, Pt. 2" - Great guitar solos. - 5 2- "Deep Down in Florida" - 4 3- "Crosseyed Cat" - This is sublime. Boogie, swing and the Blues. 5 4- "Little Girl" - 4 Total - 40 Average - 4.44 89/1001

With "Like a Prayer", Madonna seemingly set out to create her 'serious' album. The album gets off to a stellar start with the title track being one of the best pop singles of the 1980s. "Express Yourself" is a dance anthem that showcases what Madonna does better than anyone, while "Cherish" is buoyant classic pop. All three tracks were undeniable hits, and for good reason. Beyond these iconic singles, however, the album is somewhat fragmented. The stylistic leaps—from balladry to the folk-tinged pop and funk collaborations, contribute towards a lack of cohesiveness and for me get in the way of the album’s flow. As a product of its time, the 80s production holds up quite well. However, after not listening to it for a long while, the sound, particularly the vocals, can feel a little thin in places, a contrast to the fuller sound my memory recalled. I much prefer Nile Rodgers production on "Like A Virgin". In the end, Like a Prayer is a good album with some excellent peaks and is a pivotal moment in Madonna's discography. Four stars. Would I listen to this album again? Yes. Would I buy this album? I did. 1- "Like a Prayer" (5/5) 2- "Express Yourself" (5/5) 3- "Love Song" (4/5) 4- "Till Death Do Us Part" (3/5) 5- "Promise to Try" (3/5) 6- "Cherish" - (5/5) 7- "Dear Jessie" - (3/5) 8- "Oh Father" - (3/5) 9- "Keep It Together" - (4/5) 10- "Spanish Eyes" - (3/5) 11- "Act of Contrition" - (3/5) Total - 41 Average - 3.73 90/1001

Joni Mitchell's "Blue", confessional song-writing at its best. The album begins with "All I Want," where Mitchell's percussive acoustic guitar and her distinctive voice immediately take centre stage. Her vocals are the album's primary focus, and they convey a wide range of emotions with minimal accompaniment. The production is intentionally sparse, creating an intimate listening experience. The songs on "Blue" are a direct and honest exploration of love, loss, and the often-painful search for connection. Standout tracks like the heart breaking "Little Green," a song about the daughter she gave up for adoption, the title track "Blue" and the enduring beauty of "A Case of You" are prime examples of the album's lyrical depth and power. Blue stands as a defining work of the singer-songwriter genre. A five-star classic. Side One 1- "All I Want" – 5/5 2- "My Old Man" – 4/5 3 - "Little Green" – 5/5 4 - "Carey" – 5/5 5 - "Blue" – 5/5 Side Two 6 - "California" – 5/5 7 - "This Flight Tonight" – 3/5 8 - "River" – 5/5 9 - "A Case of You" – 5/5 10 - "The Last Time I Saw Richard" – 4/5 Total - 46 Average - 4.6 91/1001

Elliott Smith's "Either/Or" was my first full listen to his work. The album is well produced, with each song meticulously arranged and performed. It moves seamlessly between intimate, acoustic-driven tracks and moments of indie-style electric guitar. The music often feels understated, almost a quiet observation of the world rather than a loud statement. "Cupid's Trick" was the album's most powerful track for me. Its intensity stood out from the others. Other highlights included "Pictures of Me," "No Name No. 5," "Rose Parade," and "Punch and Judy." The song "Rose Parade" reminded me of The Dandy Warhols, a band I much admire. Overall, "Either/Or" is a very enjoyable listen. It's a strong album that earns a solid 4 out of 5 stars. Would I listen to the album again? Yes. Would I buy the album? No. 1- "Speed Trials" - 3/5 2- "Alameda" - 3/5 3- "Ballad of Big Nothing" - 3/5 4- "Between the Bars" - 3/5 5- "Pictures of Me" - 4/5 6- "No Name No. 5" - 3/5 7- "Rose Parade" - 4/5 8- "Punch and Judy" - 4/5 9- "Angeles" - 3/5 10- "Cupid's Trick" - 5/5 11- "2:45 AM" - 3/5 12- "Say Yes" - 4/5 Total - 42 Average - 3.50 92/1001

Ah, The Undertones, with "Hypnotised". The album kicks off smartly with with "Chocolate and Girls", a song that is a direct nod to their critics, referring back to their first album and singles such as "Teenage Kicks", "Jimmy Jimmy", and "Mars Bars". The first side of the album, tracks one to eight, are all good to very good, although the cover of "Under the Boardwalk" is unnecessary. Indeed this is my main critique of the album, I feel that side one would have benefited from a little more quality control, improving its impact and flow. There are none of these problems with Side two, it is perfect. There are a number of excellent tracks, but if I had to highlight a few it would be the wonderful and funny single "My Perfect Cousin", "Hard Luck" and "The Way Girls Talk". "Hypnotised" is a five-star album for me and brings back memories of my teenage years. Would I listen to this album again? Yes Would I buy this album? Yes Side one 1- "More Songs About Chocolate and Girls"- 5/5 2- "There Goes Norman"- 4/5 3- "Hypnotised"- 5/5 4- "See That Girl"- 4/5 5- "Whizz Kids"- 3/5 6- "Under the Boardwalk"- 3/5 7- "The Way Girls Talk"- 5/5 8- "Hard Luck"- 5/5 Side two 1- "My Perfect Cousin"- 5/5 2- "Boys Will Be Boys"- 5/5 3- "Tearproof"- 5/5 4- "Wednesday Week"- 5/5 5- "Nine Times Out of Ten"- 5/5 6- "Girls That Don't Talk"- 5/5 7- "What's With Terry?"- 5/5 Total - 69 Average - 4.60 93/1001

Rod Stewart's second solo album, "Gasoline Alley", is a strong mix of folk, blues, and rock that highlights his developing sound at that time. While it's not as polished as his later work, its 'rough around the edges' appeal works in its favour, which often makes it a critic's choice for lists such as this one! Of course, Stewart's signature raspy, soulful voice is central to the album's appeal. The album's stand out is the title track, an excellent song written by Stewart and Faces bandmate Ronnie Wood. The record also features five covers that showcase Stewart's ability to reinterpret other artists' work. The best of these is a powerful version of "All Over Now" with "Only a Hobo" and "You're My Girl" also being standout tracks. Gasoline Alley is a key part of the incredible streak of albums Stewart recorded, both solo and with The Faces, during the early 1970s. It stands as one of the "very good" entries in that fantastic run. I rate this album four out of five stars. Would I listen to this album again? Yes. Would I buy this album? I did. 1- "Gasoline Alley" - (5/5) 2- "It's All Over Now" - (5/5) 3- "Only a Hobo" - (5/5) 4- "My Way of Giving" - (3/5) 5- "Country Comfort" - (4/5) 6- "Cut Across Shorty" - (4/5) 7- "Lady Day" - (3/5) 8- "Jo's Lament" - (4/5) 9- "You're My Girl (I Don't Want to Discuss It)" - (5/5) Total - 38 Average - 4.22 94/1001

Green Day had passed me by until "American Idiot" was released, I was aware of them and of course "Dookie", but I hadn't really listened to them. It was my youngest song who wanted the album when we were out shopping shortly after its release. "Buy this Dad, you'll like it". I bought it and he was right! We followed that up by seeing them at Hammersmith Odeon on the UK tour - the main set was the whole album played in full. One of the best gigs I've seen. The album opens with the thunderous title track and that magnificent riff. Of course, the politics will alienate some, that can be seen in some of the reviews for this album on here, but this album is even more relevant now than it was then. I guess few were listening or taking heed. The rest of the album is equally magnificent. As an album, "American Idiot" was a statement, its vision huge, akin to a cinematic experience. A rock opera for the 21st century. The album blends political anthems with ballads. Every song serves a purpose. Five stars. It is a perfect album "Can I get another Amen (Amen)" Would I listen to this album again? - Yes, I should listen to it more often. Would I buy this album - I did. If there's a remaster, I might buy that. 1- "American Idiot" - (5/5) 2- "Jesus of Suburbia" - (5/5) I. "Jesus of Suburbia" II. "City of the Damned" III. "I Don't Care" IV. "Dearly Beloved" V. "Tales of Another Broken Home" 3- "Holiday"- (5/5) 4- "Boulevard of Broken Dreams"- (5/5) 5- "Are We the Waiting"- (5/5) 6- "St. Jimmy"- (5/5) 7- "Give Me Novacaine"- (5/5) 8- "She's a Rebel"- (5/5) 9- "Extraordinary Girl"- (5/5) 10- "Letterbomb"- (5/5) 11- "Wake Me Up When September Ends"- (5/5) 12- "Homecoming"- (5/5) I. "The Death of St. Jimmy" II. "East 12th St." III. "Nobody Likes You" IV. "Rock and Roll Girlfriend" V. "We're Coming Home Again" 13- "Whatsername" - (5/5) Total - 65 Average - 5.00 95/1001

"Bridge Over Troubled Water" is a bittersweet and highly listenable album. Despite its diverse musical styles, the production and mix create a sound that is both rich and full. The vocals are exceptional, especially when the harmonies are featured. The album has a generally mellow and soothing feel. The best tracks are the title song, "The Only Living Boy in New York," and "The Boxer," which could be considered the duo's greatest song. The album is an enduring classic, right down to its famous cover art. It earns a rating of four stars. Would I listen to the album again? Yes, I do. It's not my favourite album of theirs but still a great listen. Would I buy the album? Yes, I did. Side one 1 "Bridge Over Troubled Water"- (5/5) 2 "El Condor Pasa (If I Could)"- (4/5) 3 "Cecilia"- (4/5) 4 "Keep the Customer Satisfied"- (4/5) 5 "So Long, Frank Lloyd Wright"- (4/5) Side two 1 "The Boxer"- (5/5) 2 "Baby Driver"- (4/5) 3 "The Only Living Boy in New York"- (5/5) 4 "Why Don't You Write Me"- (4/5) 5 "Bye Bye Love"- (3/5) 6 "Song for the Asking"- (4/5) Total - 46 Average - 4.18 96/1001

The "Twelve Dreams of Dr. Sardonicus" is a competent album. The performances and arrangements are solid, and the vocals are strong. Produced by David Briggs, known for his work with Neil Young, the album’s sound quality remains impressive for a nearly 55-year-old recording. However, the album struggles to live up to its ambitious title. The "Twelve Dreams of Dr. Sardonicus" promises a journey into the strange or psychedelic, yet the music is surprisingly conventional and polished for its time. It lacks the harder edge that could have made it truly memorable. For me, the highlights are the tracks "When I Touch You" and "Morning Will Come." The standout song, however, is "Red Light Roll On" from the extended album, which hints at the creativity the rest of the album lacks. Overall, while there’s little to fault, there’s also nothing that truly captivates. The album is good, but it doesn't do enough to earn more than a three-star rating. Would I buy or listen to this album again? No! I wouldn't buy or listen to this album again. Side one 1 "Prelude – Nothin' to Hide"- (3/5) 2 "Nature's Way"- (3/5) 3 "Animal Zoo"- (3/5) 4 "Love Has Found a Way"- (3/5) 5 "Why Can't I Be Free"- (3/5) 6 "Mr. Skin"- (3/5) Side two 7 "Space Child" (instrumental)- (3/5) 8 "When I Touch You"- (4/5) 9 "Street Worm"- (3/5) 10 "Life Has Just Begun"- (3/5) 11 "Morning Will Come"- (4/5) 12 "Soldier"- (3/5) Total - 38 Average - 3.17 97/1001

Bob Marley and the Wailers' "Exodus" is a wonderful album in all aspects: song-writing, arrangement, and performance. The self-produced album feels both warm and inviting, a testament to its craftsmanship. The original vinyl release is an album of two distinct halves. Side one delves into political and spiritual themes with tracks like the sublime opener, “Natural Mystic,” and the equally compelling “The Heathen.” Side two transitions to focus on love and romance, featuring standouts like the soulful “Waiting in Vain” and the optimistic classic “Three Little Birds.” The album's original track list culminates with the uplifting anthem, “One Love/People Get Ready.” While every song is a rewarding listen, tracks like “Natural Mystic,” “The Heathen,” and the iconic title track “Exodus” are especially powerful. The album's lighter side shines on the wonderful “Jamming” and the heartfelt “One Love/People Get Ready.” With so many exceptional songs, it's no surprise that a significant portion of the album's tracks stand out as true classics. The extended version of the album includes the energetic and playful “Punky Reggae Party.” This track was a positive response to The Clash's cover of Junior Murvin's “Police and Thieves” on their debut album, and it celebrates the synergy between reggae and the emerging punk and new wave scenes in the UK of that time. With its clever lyrics and name-checking of contemporary punk/new wave acts, the song perfectly captures the vibrant musical spirit of the era. In short, "Exodus" is a nearly perfect album that rates at five stars. Side One 1- "Natural Mystic"- (5/5) 2- "So Much Things to Say"- (4/5) 3- "Guiltiness"- (5/5) 4- "The Heathen"- (5/5) 5- "Exodus"- (5/5) Side Two 6- "Jamming"- (5/5) 7- "Waiting in Vain"- (5/5) 8- "Turn Your Lights Down Low"- (5/5) 9- "Three Little Birds"- (5/5) 10- "One Love/People Get Ready"- (5/5) Total - 49 Average - 4.9 98/1001

In 1982, my musical world was dominated by rock, heavy metal, hist still keeping an interest in punk and new wave. Then Prince's "1999" dropped. As my first Prince album, it was an electrifying introduction to the music of Prince. This double album is a masterclass in genre-bending, flawlessly blending funk, rock, synth pop, new wave, and straight up pop. Every track showcases Prince's virtuosic skills, from his masterful instrumentation to his impeccable self-production, which still sounds incredible today. "1999" isn't an album that tries to please everyone; its themes of hedonism and its long, progressive song structures are unapologetically unique. But that's exactly why it works. I loved it on first listen back in '82 and I still love it today. A timeless classic, five stars. Side one 1- "1999" (5/5) 2- "Little Red Corvette" (5/5) 3- "Delirious" (5/5) Side two 4- "Let's Pretend We're Married" (5/5) 5- "D.M.S.R." (5/5) Side three 6- "Automatic" (5/5) 7- "Something in the Water (Does Not Compute)" (4/5) 8- "Free" (4/5) Side four 9- "Lady Cab Driver" (5/5) 10- "All the Critics Love U in New York" (5/5) 11- "International Lover" (3/5) Total - 51 Average - 4.64 99/1001

I first encountered Fleet Foxes after seeing their performance on "Later with Jools Holland", a BBC TV show in the UK, and was immediately impressed by their musicianship and vocal arrangements. The band's self-titled debut album delivers a full, layered sound that blends folk, pop, and gospel influences. The production is consistently strong, creating a timeless, pastoral feel. The vocal harmonies are impeccable and are a core part of the album's identity, often evoking the sounds of Crosby, Stills & Nash and The Beach Boys. The band also uses dynamics to great effect, allowing songs to build from quiet, intimate moments to sweeping crescendos. While every song is well-crafted, several tracks stand out, including "Sun It Rises," "White Winter Hymnal," "Ragged Wood," "He Doesn't Know Why," "Your Protector," and "Blue Ridge Mountains." Overall, the album is a consistently good and beautiful listen. While it may not resonate with me as strongly as it did with critics at the time, it is undeniably a very good album that successfully achieves its ambitious, grand sound. Four stars. 1- "Sun It Rises" - (5/5) 2- "White Winter Hymnal" - (5/5) 3- "Ragged Wood" - (5/5) 4- "Tiger Mountain Peasant Song" - (3/5) 5- "Quiet Houses" - (3/5) 6- "He Doesn't Know Why" - (5/5) 7- "Heard Them Stirring" - (3/5) 8- "Your Protector" - (5/5) 9- "Meadowlarks" - (4/5) 10- "Blue Ridge Mountains" - (5/5) 11- "Oliver James" - (5/5) Total - 48 Average - 4.36 100/1001

Pet Sounds is an album I've tried to love over the years, but it's never fully clicked for me. While I respect its legendary reputation and understand its impact, I don't feel the same connection to it that so many others do. There’s no denying the album's technical brilliance. The harmonies are gorgeous, and the intricate production is a testament to Brian Wilson's genius. And for an album nearly six decades old, the mix holds up surprisingly well, even if the percussion can occasionally sound a little thin. Yet, despite its artistry, I often find the album to be a bit one-paced. With "Pet Sounds" it feels like The Beach Boys traded their joyous, "Fun, Fun, Fun" sun-soaked sound for something more sombre and less engaging. That said, three truly exceptional songs manage to pull the entire album to a four-star rating, and one of them, to me, is "Sloop John B." I know, I'm a musical heathen! "Sloop John B." is often criticized as an outlier on "Pet Sounds", but for me its bright harmonies and spirited feel offer a welcome burst of life and energy that the rest of the album sometimes lacks. Four stars. Side One 1. "Wouldn't It Be Nice" (5/5) 2. "You Still Believe in Me" (3/5) 3. "That's Not Me" (3/5) 4. "Don't Talk" (3/5) 5. "I'm Waiting for the Day" (4/5) 6. "Let's Go Away for Awhile" (4/5) 7. "Sloop John B" (5/5) Side Two 1. "God Only Knows" (5/5) 2. "I Know There's an Answer" (3/5) 3. "Here Today" (3/5) 4. "I Just Wasn't Made for These Times" (3/5) 5. "Pet Sounds" (3/5) 6. "Caroline, No" (3/5) Total - 47 Average - 3.62 101/1001

AC/DC are second only to The Beatles in my musical affections and "Highway to Hell" holds a special place in my collection. It was the first studio album I bought from AC/DC back in 1979, and even 46 years later, I still consider it a nearly perfect record. It's 100% pure rock 'n' roll. While some might argue that all AC/DC songs sound the same, this album proves that this isn't true, especially when compared to their earlier work. This is due to the production and arranging skills of Mutt Lange. The mix by Tony Platt also deserves credit. Lange's influence polished their sound, and the mix remains outstanding even today. There isn't a bad song on the album, with the standout songs being "Shot Down in Flames", "Beating Around The Bush", "Touch Too Much," "Walk All Over You," and "If You Want Blood (You've Got It)." . The only exception for me, is "Love Hungry Man", though it's not a bad track and still fits the album's sound it doesn't quite hit for me like the other tracks on the album. "Touch Too Much" is a great example of how the band's songs don't all sound alike. It's such a great Rock track. Lastly, the album art is brilliant and the best of AC/DC's releases. "Highway to Hell" is a classic, fun record. As another famous band once said, "It's Only Rock 'n' Roll but I like it!" A definite five stars. Side One 1 "Highway to Hell" (5/5) 2 "Girls Got Rhythm" (5/5) 3 "Walk All Over You" (5/5) 4 "Touch Too Much" (5/5) 5 "Beating Around the Bush" (5/5) Side Two 6 "Shot Down in Flames" (5/5) 7 "Get It Hot" (5/5) 8 "If You Want Blood (You've Got It)" (5/5) 9 "Love Hungry Man" (3/5) 10 "Night Prowler" (5/5) Total - 48 Average - 4.8 102/ 1001

This was my introduction to Ghostface Killah with his album "Fishscale". It wasn't a successful introduction. The album's concept didn't resonate with me and I found the skits to be an annoying intrusion, adding little value. But the real disappointment was the music itself. I was left wondering how the music was supposed to make me feel because listening to it caused elicited almost no emotional response. The lyrics, which I found to be clichéd and unimaginative, also failed to create any emotional impact. The album never surprised me or moved me. As an album "Fishscale" didn't connect with me at all. Two stars. 1 "The Return of Clyde Smith" (skit) (1/5) 2 "Shakey Dog" (2/5) 3 "Kilo" (featuring Raekwon) (2/5) 4 "The Champ" (3/5) 5 "Major Operation" (skit) (2/5) 6 "9 Milli Bros." (2/5) 7 "Beauty Jackson" (3/5) 8 "Heart Street Directions" (skit) (1/5) 9 "Columbus Exchange (skit) / Crack Spot" (1/5) 10 "R.A.G.U." (3/5) 11 "Bad Mouth Kid" (skit) (1/5) 12 "Whip You With a Strap" (2/5) 13 "Back Like That" (3/5) 14 "Be Easy" (2/5) 15 "Clipse of Doom" (1/5) 16 "Jellyfish" (2/5) 17 "Dogs of War" (2/5) 18 "Barbershop" (2/5) 19 "Ms. Sweetwater" (skit) (2/5) 20 "Big Girl" (3/5) 21 "Underwater" (2/5) 22 "The Ironman Takeover" (skit) (1/5) 23 "Momma" (2/5) 24 "Three Bricks" (3/5) Total - 48 Average - 2.00 103/1001

Coming into The Triffids' "Calenture" with no prior knowledge of the album, I was immediately struck by its romantic and dramatic flair. The record displays very good pop songcraft, filled with rich melodies and a lush production that makes excellent use of string arrangements. The songs are well-arranged, creating a sound that is both grand and intimate. The vocals, in particular, stand out. The singer's delivery has a similar gravitas to Jim Kerr of Simple Minds, with moments of darkness and theatricality that bring to mind Nick Cave. This is perhaps where the album's main criticism lies; its sound, while excellent, feels a little derivative of its time. It echoes the influence of bands like Simple Minds and The Bad Seeds, rather than pioneering a new sound itself. Despite this, I found "Calenture" to be an engaging listen. My initial impressions, on listening to "Calenture", were so strong that I'm sure my appreciation will strengthen with repeated plays. This is an album I'm seriously considering buying. Four stars. 1 "Bury Me Deep in Love" (4/5) 2 "Kelly's Blues" (4/5) 3 "Trick of the Light" (4/5) 4 "Hometown Farewell Kiss" (4/5) 5 "Unmade Love" (4/5) 6 "Open for You" (3/5) 7 "Holy Water" (3/5) 8 "Blinder by the Hour" (5/5) 9 "Vagabond Holes" (3/5) 10 "Jerdacuttup Man" (4/5) 11 "Calenture" (4/5) 12 "Save What You Can" (4/5) Total - 46 Average - 3.83 104/1001

Seven years on from their prior album "Nonsuch", XTC's penultimate album, their 1999 album, "Apple Venus, Volume 1", is a bit of an outlier in their discography. While it may lack the more immediate sound of classics like "Skylarking" or "English Settlement", this is where its strength lies. "Apple Venus, Volume 1" has an acoustic- and orchestra-driven sound that is a radical departure from prior XTC albums, something that caused tension within the band. The lush arrangements of horns and strings create a rich, pastoral world that feels both intimate and grand. "Apple Venus, Volume 1" offers a mix of emotion, wit, and beauty. It starts with a gentle build. The quiet, cohesive nature of the album makes it a whole that is greater than the sum of its parts, a rewarding listen that grows more with each listen. The standout moments for me include "Frivolous Tonight", "Greenman", "Your Dictionary", and "I Can't Own Her". I was familiar with the album prior to listening/reviewing for this exercise, and for me, when I first listened to it a good number of years ago, I didn't find it an immediate album. Instead, this was an album that crept up on me after repeated listens, and even then I was slightly under-valuing it! This was an album that I had tagged as four stars but I did it a disservice. For me there are other albums albums in XTC's catalogue that I prefer over this, but to my surprise this rated at five stars. They really do have an excellent back catalogue. 1 "River of Orchids" (5/5) 2 "I'd Like That" (4/5) 3 "Easter Theatre" (5/5) 4 "Knights in Shining Karma" (4/5) 5 "Frivolous Tonight" (5/5) 6 "Greenman" (5/5) 7 "Your Dictionary" (5/5) 8 "Fruit Nut" (5/5) 9 "I Can't Own Her" (5/5) 10 "Harvest Festival" (4/5) 11 "The Last Balloon" (4/5) Total - 51 Average - 4.64 105/1001

The Red Hot Chili Peppers' album "Blood Sugar Sex Magik" has been part of my life for years, ever since I bought it for my wife when it was first released. The album is a blend of rock, funk, and rap. While this fusion works incredibly well on certain tracks, for me, this combination can become tiresome at times, especially for an album of this length, which gives the album an uneven feel. The musicianship is what truly shines. The ensemble of Flea, Chad Smith, and John Frusciante is top-notch, something I saw first-hand when we saw them perform live. To me, John Frusciante is the standout member of the band. His guitar work is exceptional, and the band's sound suffers when he isn't a part of it. Anthony Kiedis's vocals, however, are something I can take or leave. For me, that's probably the heart of the matter with the RHCPs, musically they are great but I struggle with the vocals. A good example of this tension is "Naked in the Rain". The band is on fire, there is a searing guitar solo from John Frusciante, quite wonderful, but the vocal melodies don't quite live up to this. Ultimately, I find "Blood Sugar Sex Magik" to be overly long, but nonetheless a good album with moments of brilliance that just raises its rating to four stars. 1- "The Power of Equality" (3/5) 2- "If You Have to Ask" (3/5) 3- "Breaking the Girl" (3/5) 4- "Funky Monks" (3/5) 5- "Suck My Kiss" (3/5) 6- "I Could Have Lied" (4/5) 7- "Mellowship Slinky in B Major" (4/5) 8- "The Righteous & the Wicked" (4/5) 9- "Give It Away" (5/5) 10- "Blood Sugar Sex Magik" (5/5) 11- "Under the Bridge" (5/5) 12- "Naked in the Rain" (4/5) 13- "Apache Rose Peacock" (3/5) 14- "The Greeting Song" (3/5) 15- "My Lovely Man" (3/5) 16- "Sir Psycho Sexy" (4/5) 17- "They're Red Hot" (2/5) Total - 61 Average - 3.59 106/1001

Much has been written by "Highway 61 Revisited" by much esteemed music journalists, and by far greater writers than I. This is the first Bob Dylan album that I bought for myself, back in the early 1980s. It is a wonderful Rock album. It's my most played Bob Dylan album and remains my favourite album of Dylan's to this day. I instantly liked it, and find it perfect. Five stars. "It Takes a Lot to Laugh, It Takes a Train to Cry" remains my favourite track on the album closely followed by the sneering take down of "Ballad of a Thin Man", the humorous 'love song' "From a Buick 6" and of course the iconic "Like a Rolling Stone". Incidentally, the live version of that song on The Bootleg Series live album, Vol. 4, "The Royal Albert Hall Concert" is incendiary. But in truth, every track hits the mark for me. It's the eclectic mix of energy (it 'Rocks'), its weariness, its humour and caustic wit, the surrealism of the lyrics but lastly the brilliant musicianship and that also includes Bob Dylan's vocals! A great album. Side One 1 "Like a Rolling Stone" (5/5) 2 "Tombstone Blues" (5/5) 3 "It Takes a Lot to Laugh, It Takes a Train to Cry" (5/5) 4 "From a Buick 6" (5/5) 5 "Ballad of a Thin Man" (5/5) Side Two 1 "Queen Jane Approximately" (5/5) 2 "Highway 61 Revisited" (5/5) 3 "Just Like Tom Thumb's Blues" (5/5) 4 "Desolation Row" (5/5) Total - 45 Average - 5 107/1001

I've learned that jazz and I don't typically get along. So, when this music generator suggested "Hot Rats" by Frank Zappa, I was a bit wary. Zappa's catalogue is famously diverse and can be intimidating. My experience with his work is limited to "Sheik Yerbouti", which is very good, and "Joe's Garage", which I find excellent. So, what about "Hot Rats"? I was pleasantly surprised. I enjoyed it. The musicianship is great, the lead guitar is wonderful, and the tunes are melodic, well-paced and don't out stay their welcome. "Willie the Pimp" and "Son of Mr. Green Genes" were the two tracks that really struck me. It wouldn't be an everyday listen for me but I could pull this album out, once in a while, and really enjoy it. Four stars. Side one 1 "Peaches en Regalia" (4/5) 2 "Willie the Pimp" (5/5) 3 "Son of Mr. Green Genes" (5/5) Side two 4 "Little Umbrellas" (4/5) 5 "The Gumbo Variations" (4/5) 6 "It Must Be a Camel" (4/5) Total - 26 Average - 4.33 108/1001

Arcade Fire's debut album, "Funeral", is a big sounding record. It’s well produced, with rich layers of instrumentation that build to a series of powerful crescendos. The album is filled with dramatic shifts in tone, from quiet melancholy to explosive, anthemic rock. It’s consistently catchy, with interesting melodies. The album’s influences are, for me, clearly rooted in Indie Rock and Post-Punk. The opening track, "Neighborhood #1 (Tunnels)," shares a similar sense of sweeping, romantic drama with the early work of The Killers. Meanwhile, the second track, "Neighborhood #2 (Laïka)," with its jittery rhythms, guitars, and slightly off-kilter energy, evokes the quirky Post-Punk of The Talking Heads. I found "Funeral" to be a very consistently high quality and enjoyable album. It just floated right over me in a very nice way. With a few more listens I could really get into it. Four stars. 1 "Neighborhood #1 (Tunnels)" (4/5) 2 "Neighborhood #2 (Laïka)" (4/5) 3 "Une année sans lumière" (4/5) 4 "Neighborhood #3 (Power Out)" (4/5) 5 "Neighborhood #4 (7 Kettles)" (4/5) 6 "Crown of Love" (4/5) 7 "Wake Up" (4/5) 8 "Haiti" (4/5) 9 "Rebellion (Lies)" (4/5) 10 "In the Backseat" (4/5) Total - 40 Average - 4 109/1001

Elvis Costello has been in my life a long time, since this debut was released and I saw him perform "Watching The Detectives" on BBC TVs Top Of The Pops. I was twelve years old and punk was morphing into New Wave. In truth Elvis Costello was neither of these things. Incidentally, "Watching The Detectives" wasn't on the original UK release of "My Aim Is True", which is a quite wonderful debut album. The songs are concise and memorable. The hallmarks of Costello's best work are present in this debut; lyrical wit, a distinctive vocal delivery and great melodies. The production and mix holds up well for a 48 year old album. The standout track is "Alison" a song that Costello has said was inspired by a beautiful checkout girl he saw at a supermarket. He imagined her past as being full of promise and her present as being trapped in a disappointing life with a "ruffian who told her convenient lies." "My Aim Is True" is a clear five star album for me. For those interested; Costello's run of albums, from this release up to "Imperial Bedroom" in 1981 are quite stunning, and there more delights to be found, across his catalogue, beyond those run of releases, right up to the present day. Side one 1. "Welcome to the Working Week" – (5/5) 2. "Miracle Man" – (5/5) 3. "No Dancing" – (4/5) 4. "Blame It on Cain" – (5/5) 5. "Alison" – (5/5) 6. "Sneaky Feelings" – (4/5) Side two 1. "(The Angels Wanna Wear My) Red Shoes" – (5/5) 2. "Less Than Zero" – (5/5) 3. "Mystery Dance" – (4/5) 4. "Pay It Back" – (4/5) 5. "I'm Not Angry" – (4/5) 6. "Waiting for the End of the World" – (5/5) 7. "Watching The Detectives" - (5/5) Total - 60 Average - 4.62 110/1001

I'm surprised at this selection, pleasantly so, not because The Sensational Alex Harvey Band aren't worthy of inclusion in this list, they are, but because their 'Live' album is typically the recommended album. They really were a fantastic live band. Nonetheless, "Next.." was a very enjoyable listen, my first time hearing the album. The first side of the album is very good. It opens with the excellent "Swampsnake", followed by "Gang Bang" and "Faith Healer". That latter being somewhat progressive. A very good first side of rock music. The second side contains two covers: A fun but throw away cover of "Giddy Up A Ding Dong" (Originally by Freddie Bell and The Bell Boys) and a theatrical cover of "Next" ( a Jacques Brel song), that's quite wonderful. I'm familiar with the song "Next", and Jacques Brel, through Scott Walker's excellent albums. This cover is every bit as good as any Jacques Brel cover that Scott Walker released. "Vambo Marble Eye" is an excellent rock track with a wonderful guitar solo by the underrated Zal Cleminson and the album closes with the excellent "The Last of the Teenage Idols". A fun album, very much of its time, that with another track or two of original material, dropping the Freddie Bell cover, could have made five stars. As it is, an enjoyable four star listen. I bought this album after listening! Side one 1 "Swampsnake" (5/5) 2 "Gang Bang" (4/4) 3 "The Faith Healer" (4/4) Side two 1 "Giddy Up a Ding Dong" (4/4) 2 "Next" (5/5) 3 "Vambo Marble Eye" (5/5) 4 "The Last of the Teenage Idols" (5/5) Total - 31.00 Average - 4.43 111/1001 58/111 albums reviewed were new to me.

It's pleasing to see Japan on this list, as they were undeniably an influential band. They left a lasting mark on both music and fashion, shaping the new romantic and synth-pop scenes. Their sound and image influenced a host of bands, including Duran Duran, who were clearly paying attention to tracks like the title song of of 1979's "Quiet Life". That said, the choice of "Quiet Life" as their sole representation on this list is an interesting one. While a very good album, I would have expected to see "Tin Drum," included instead. As a casual listener, I've always found Japan's music to be fascinating and musically excellent, but I've sometimes struggled to connect with David Sylvian's distinct baritone vocals. For me, his voice occasionally disrupts the listening experience, particularly, on this album, on tracks like "Despair," "In Vogue," and their cover of The Velvet Underground's "All Tomorrow's Parties." However, when it all comes together, it's very good, such as on the title track and "Other Side of Life." Overall, I find "Quiet Life" to be a strong, enjoyable album that's a worthy listen. I'd give it four stars. Side one 1 "Quiet Life" (5/5) 2 "Fall in Love with Me" (4/5) 3 "Despair" (3/5) 4 "In Vogue" (3/5) Side two 5 "Halloween" (4/5) 6 "All Tomorrow's Parties" (3/5) 7 "Alien" (4/5) 8 "The Other Side of Life" (4/5) Total - 31.00 Average - 3.88 112/1001 59/112 albums reviewed were new to me.

DJ Shadow's "Endtroducing.....", an album I struggled to connect with on any level. I found it to be a monotonous and tiresome listen that felt more like a chore than a pleasure. By the fourth track, the experience became a test of endurance, and I found myself just waiting for it to end. I found it to be a long and difficult listen. One star. 1 "Best Foot Forward" (3/5) 2 "Building Steam with a Grain of Salt" (2/5) 3 "The Number Song" (1/5) 4 "Changeling" (1/5) 5 "Transmission 1" (1/5) 6 "What Does Your Soul Look Like (Part 4)" (1/5) 7 "Untitled" (1/5) 8 "Stem/Long Stem" (1/5) 9 "Transmission 2" (1/5) 10 "Mutual Slump" (1/5) 11 "Organ Donor" (1/5) 12 "Why Hip Hop Sucks in '96" (1/5) 13 "Midnight in a Perfect World" (2/5) 14 "Napalm Brain/Scatter Brain" (1/5) 15 "What Does Your Soul Look Like (Part 1 – Blue Sky Revisit)" (1/5) 16 "Transmission 3" (1/5) Total - 20 Average - 1.25 113/1001 60/113 albums reviewed were new to me.

In a week that has also included a review of Frank Zappa's "Hot Rats", today's attention is turned to Zappa's 'classic album', 1968's "We're Only In It For The Money". While it's widely regarded as one of Zappa's finest, my personal reaction to it varies from indifference to outright intolerance, with today's listen falling into the former category. For me, the album's satirical humour has not aged well. What was once hailed as brilliant social commentary now comes across as a series of unfunny skits. While I acknowledge the immense creativity and skill required to produce such deliberately off-kilter music, the joke wears thin and quickly becomes tiresome. The album begins promisingly, if a bit strange, but soon descends into what feels like a farce. Perhaps the fault is mine, though Zappa himself would likely dismiss such a critique by saying, "You're too stupid to get it!". Despite owning the album, I rarely listen to it. It was the first of Zappa's albums that I listened to many years ago, and probably the primary reason why I'm wary of dipping into his large catalogue of music. In my opinion, the album's most enduring quality is the album art, which remains genuinely funny. Lastly, the single, sustained note that fades out at the end of the last track, 'Chrome Plated Megaphone of Destiny', is a great joke at the expense of the massive final chord of the Beatles' 'A Day in the Life', It makes me smile if I make it that far into the album. Two stars. Side one 1 "Are You Hung Up?" (3/5) 2 "Who Needs the Peace Corps?" (3/5) 3 "Concentration Moon" (2/5) 4 "Mom & Dad" (3/5) 5 "Telephone Conversation" (included in "Bow Tie Daddy" on the original LP) (3/5) 6 "Bow Tie Daddy" (3/5) 7 "Harry, You're a Beast" (3/5) 8 "What's the Ugliest Part of Your Body?" (3/5) 9 "Absolutely Free" (2/5) 10 "Flower Punk" (2/5) 11 "Hot Poop" (1/5) Side two 1 "Nasal Retentive Calliope Music" (1/5) 2 "Let's Make the Water Turn Black" (2/5) 3 "The Idiot Bastard Son" (2/5) 4 "Lonely Little Girl" (listed as "It's His Voice on the Radio" on the original LP sleeve) (2/5) 5 "Take Your Clothes Off When You Dance" (2/5) 6 "What's the Ugliest Part of Your Body? (Reprise)" (1/5) 7 "Mother People" (2/5) 8 "The Chrome Plated Megaphone of Destiny" (1/5) Total - 41 Average - 2.16 114/1001 60/114 albums reviewed were new to me.

Many people, including some fans of Rock music, unfairly dismiss KISS, echoing old criticisms that have become somewhat tired. But at their core, KISS was, and remains, a great rock and roll band, especially live. While their catalogue gets spotty from "Dynasty" onward, their earlier albums are consistently very good to excellent. "Destroyer" is one of those earlier albums, and the only KISS album on this list, and it's a very good one, although I would have personally chosen their self-titled debut or even "Alive". "Destroyer" was a stylistic departure from the albums that preceded it, thanks to producer Bob Ezrin. He encouraged them to expand their sound with a more polished production, including sound effects, orchestration, and a ballad. These touches were often subtle, like the tubular bells on "Do You Love Me" or the children's voices on "God of Thunder." Speaking of "God of Thunder," it's a fantastic track, unusually sung by Gene Simmons despite being written by Paul Stanley. Then there's the hit ballad "Beth," written and sung by Peter Criss. The album's standouts: "Detroit Rock City", "King of the Night Time World", "God of Thunder", "Shout It Out Loud" "Beth" and "Do You Love Me" are all five-star tracks that would become core staples of KISS's live shows. The remaining songs: "Great Expectations", "Flaming Youth" and "Sweet Pain" are solid album tracks, though they don't quite reach the same level. The album's final track, "Rock and Roll Party," is a throwaway outro. Overall, "Destroyer" is a very good and fun album. Four stars. Side one 1 "Detroit Rock City" (5/5) 2 "King of the Night Time World" (5/5) 3 "God of Thunder" (5/5) 4 "Great Expectations" (3/5) Side two 5 "Flaming Youth" (4/5) 6 "Sweet Pain" (3/5) 7 "Shout It Out Loud" (5/5) 8 "Beth" (5/5) 9 "Do You Love Me" (5/5) 10 "Rock and Roll Party" (3/5) Total - 43 Average - 4.3 115/1001 60/115 albums reviewed were new to me.

ABBA's reputation is built on superb vocals, unforgettable melodies, and expert production. Their greatest hits, compiled on "Gold," are undeniably fantastic. But after listening to the studio album "Arrival" for the first time, I was curious: is there more to ABBA than their chart-toppers? The non-singles on "Arrival" were a mixed bag. "When I Kissed The Teacher," despite its questionable lyrics, is a solid pop song. "My Love, My Life" is a beautifully performed ballad. I wanted to dislike "Dum Dum Diddle" for its silly nonsense, but its annoyingly catchy chorus got stuck in my head all day—it's surprisingly charming. "That's Me" is another good pop song elevated by the incredible harmonies of Agnetha Fältskog and Anni-Frid Lyngstad. "Why Did It Have to Be Me?" is a straight-up rock 'n' roll number that's incredibly catchy and sneaks up on you. It's Ok. The best non-single track, however, is "Tiger." The album's final track, the instrumental "Arrival," was a pleasant surprise with its Celtic feel. Unsurprisingly, the singles "Dancing Queen," "Money, Money, Money," and especially "Knowing Me, Knowing You" are the highlights. The album's standout track is undoubtedly "Knowing Me, Knowing You." It's a truly majestic pop song—a "sad banger" that masterfully blends a brilliant melody and production with a heartbreakingly honest portrayal of a breakup. It marked a crucial evolution in their song-writing. I remember buying the 7-inch single back in 1977 from Woolworths in Stoke Newington (London), along with The Stranglers' "Peaches/Go Buddy Go." "Knowing Me, Knowing You" was still coming down from its number-one spot on the charts at the time." "Arrival" was a good listen. Four stars. Side one 1 "When I Kissed the Teacher" (3/5) 2 "Dancing Queen" (5/5) 3 "My Love, My Life" (4/5) 4 "Dum Dum Diddle" (4/5) 5 "Knowing Me, Knowing You" (5/5) Side two 1 "Money, Money, Money" (5/5) 2 "That's Me" (3/5) 3 "Why Did It Have to Be Me?" (3/5) 4 "Tiger" (4/5) 5 "Arrival" (instrumental) (3/5) Total - 39 Average - 3.9 116/1001 61/116 albums reviewed were new to me.

"After The Gold Rush" is a fantastic album, wonderfully written, arranged and performed. From the opening track it's clear this a different album from its predecessor - "Everybody Knows This Is Nowhere". Whereas that album is a more aggressive and rugged listen, "After The Gold Rush" is a more subtle affair. The production is cleaner, more precise and still holds up well all these years later. For me the stand out tracks are: - "Tell Me Why". A simple, acoustic folk song. Its harmonies and melody set a gentle tone that serves as a perfect introduction to the album. - "After the Gold Rush" , is a haunting ballad that is arguably the stand out track of the album. The lyrics are surreal, touching on environmental decay and the apocalyptic end of the world. Not much has changed in 55 years then! - "Only Love Can Break Your Heart" is a beautiful ballad. The lyrics make it one of Young's most enduring songs - "Southern Man", a misunderstood song? It's a politically charged protest song. - "Oh, Lonesome Me". A cover version. Neil Young's version is a country-tinged version that fits well with the album. - "Don't Let It Bring You Down" is a sombre track with dark imagery and a haunting melody. "When You Dance I Can Really Love" is one of the two 'Rock' songs, it provides an uplifting energy. It's almost a pop song! "After the Gold Rush" is now probably Neil Young's most critically celebrated album, with the acoustic folk ballads and rock tracks complementing each other nicely. It remains a cornerstone of Neil Young's discography. It is a quintessential classic of the folk-rock genre, and for me it's a 5 star album, but I am an unabashed fan of Neil Young. Side one 1. "Tell Me Why" (5/5) 2. "After the Gold Rush" (5/5) 3. "Only Love Can Break Your Heart" (5/5) 4. "Southern Man" (5/5) 5. "Till the Morning Comes" (4/5) Side two 1. "Oh, Lonesome Me" (Don Gibson) (5/5) 2. "Don't Let It Bring You Down" (5/5) 3. "Birds" (4/5) 4. "When You Dance I Can Really Love" (5/5) 5. "I Believe in You" (4/5) 6. "Cripple Creek Ferry" (4/5) Total - 51 Average - 4.64 117/1001 61/117 albums reviewed were new to me.

Brian Eno's "Before and After Science", an album that I had not previously listened to or been aware of. I was expecting the experimental, often challenging sound he's known for. Instead, I found an album that's surprisingly accessible. It's a journey through different moods, from the catchy and upbeat "Backwater" to the gentle, mellowness of "Here He Comes" and "Julie With...". Even when things get a bit more sombre on "Through Hollow Lands," Eno's slightly off-kilter sensibility shines through without ever veering into the mainstream. The second side of the album, in particular, is stronger, even with its low-key vibe. While I can't say it's an album I'll be revisiting constantly, it was a genuinely pleasant listen — a nice, unobtrusive listen for an afternoon. It's a solid, good-to-very-good record that lands right on the cusp of a three or four star rating for me. I'll give it three stars, it was a pleasant surprise from an artist whose music I have not previously found this straightforward but it hasn't sparked enough of an interest for me to listen again. Side one 1 "No One Receiving" (3/5) 2 "Backwater" (4/5) 3 "Kurt's Rejoinder" (3/5) 4 "Energy Fools the Magician" (3/5) 5 "King's Lead Hat" (3/5) Side two 6 "Here He Comes" (4/5) 7 "Julie With..." (4/5) 8 "By this River" (4/5) 9 "Through Hollow Lands" (for Harold Budd) (4/5) 10 "Spider and I" (3/5) Total - 35 Average - 3.5 118/1001 62/118 albums reviewed were new to me.

The year 1980 was a landmark year for rock and metal, marked by the release of several seminal albums. Among them was Judas Priest's "British Steel", a record that solidified their place as one of the most influential bands in metal. Judas Priest’s impact on the genre goes beyond their music. The band's pioneering leather-and-chains image, which they fully embraced in 1980, became a visual template for countless metal acts. While their lyrical and sonic approach differs from Black Sabbath, Judas Priest is arguably just as critical to the development of heavy metal. The album’s production is clean and powerful, highlighting the rhythm section (Ian Hill and Dave Holland) and the legendary dual-guitar attack of Glenn Tipton and K.K. Downing. This sound, combined with Rob Halford's brilliant vocals, created a formula that many bands would try to emulate. Halford is, in my opinion, one of the top three metal vocalists of all time, alongside both Bruce Dickinson and Ronnie James Dio. Highlights are: "Rapid Fire" - Aggressive and thrilling opening . "Metal Gods" - is a classic Priest song - it has a great melody. Imaginative use of sound affects with a sci-fi theme. "Breaking The Law" - A hit single of the time, with a radio friendly catchy chorus and great riff. Along with "Living After Midnight" both were real cross overs into mainstream awareness and airwaves. "Grinder" - Heavy and percussive riff. A great track. Great lead work. "Living After Midnight" - What a song. Great intro, great riff, great lead breaks. Catchy as hell. "The Rage" - A truly wonderful song that stands out from the rest of the album. It starts with a surprisingly funky bassline from Ian Hill before exploding into a powerful, classic metal riff, demonstrating the band's dynamic range. "Steeler" - The album's closer is a heavy and powerful track. It features a thunderous rhythm and a classic, galloping guitar riff that provides a perfect conclusion to the album While "British Steel" isn't my personal favourite Judas Priest album (that would be Killing Machine), and I don't consider it their musical peak, it is an excellent and important album. It was the first time the band's sound became more concise, direct, and immediate, a shift that proved to be hugely influential. Five stars. If you’re looking to buy or stream this album, I highly recommend the 30th Anniversary edition. It includes a fantastic live album recorded at The Seminole Hard Rock Arena, where Priest performs "British Steel" in its entirety, along with other tracks - it's quite fabulous and could have been a stand-alone release in its own right. Side one 1 "Rapid Fire" (5/5) 2 "Metal Gods" (5/5) 3 "Breaking the Law" (5/5) 4 "Grinder" (5/5) 5 "United" (3/5) Side two 1 "You Don't Have to Be Old to Be Wise" (4/5) 2 "Living After Midnight" (5/5) 3 "The Rage" (5/5) 4 "Steeler" (5/5) Total - 42 Average - 4.67 119/1001 62/119 albums reviewed were new to me.

Prior to listening, I was unfamiliar with both The War on Drugs and their album, "Lost in the Dream". I found it to be a pleasant, unobtrusive listen. The album meandered through its 10 tracks, but nothing truly grabbed my attention. Rather than recognizing a clear identity, each song had me reaching for its influences. For example, "Under the Pressure" immediately brought to mind the vocal inflections of Bob Dylan, a resemblance that surfaced at other points on the album. Later, "Eyes to the Wind" vocally reminded me of Tom Petty. The music was pretty, with an indie guitar sound and soundscapes reminiscent of the Eno era of U2. At times, there was an impassioned, heartfelt delivery, that had a Springsteen-esque quality. The album continued in this vein, never causing an allergic reaction and occasionally offering some nice guitar flourishes, but it failed to evoke an emotional reaction in me. By the fifth track, I was waiting for something to happen, wondering what the build-up was for. "The Haunting Idle" provided an atmospheric soundscape that didn't really go anywhere, morphing seamlessly into "Burning," which, despite being a bit more up-tempo, felt like more of the same. A wasted opportunity? Ultimately, "Lost in the Dream" just meandered to its conclusion. I can recognise why some folks would really love this album, and I can also recognise why some would loath it. For me, I'm indifferent to it - Three stars. 1 "Under the Pressure" (3/5) 2 "Red Eyes" (3/5) 3 "Suffering" (3/5) 4 "An Ocean in Between the Waves" (3/5) 5 "Disappearing" (3/5) 6 "Eyes to the Wind" (3/5) 7 "The Haunting Idle" (3/5) 8 "Burning" (3/5) 9 "Lost in the Dream" (3/5) 10 "In Reverse" (3/5) Total - 30 Average - 3 120/1001 63/120 albums reviewed were new to me.

What an odd, hotchpotch of an album the The Electric Prunes' debut album is, a distinct product of the 1960s, it is is an inconsistent and disjointed listen that lacks any clear identity. For me, "Try Me on for Size" was the standout track. However, three other songs stood out for all the wrong reasons. The rest of the album was inoffensive and OK. My track-by-track rating gives the album an overall rating of three stars. Side One 1 "I Had Too Much to Dream (Last Night)" (3/5) 2 "Bangles" (3/5) 3 "Onie" (3/5) 4 "Are You Lovin' Me More (But Enjoying It Less)" (3/5) 5 "Train for Tomorrow" (3/5) 6 "Sold to the Highest Bidder" (1/5) Side Two 7 "Get Me to the World on Time" (3/5) 8 "About a Quarter to Nine" (3/5) 9 "The King Is in the Counting House" (2/5) 10 "Luvin'" (3/5) 11 "Try Me on for Size" (4/5) 12 "The Toonerville Trolley" (1/5) Total - 32 Average - 2.67 121/1001 64/121 albums reviewed were new to me.

Emmylou Harris's "Red Dirt Girl" is a quiet, reflective album filled with lovely melodies and her signature, beautiful voice. It's an album that requires dedicated listening and for which I have to be in the right mood, and the timing isn't quite right today. While the album is a fine piece of work, its length feels a bit excessive, and the songs, while individually strong, can be sonically too similar from track to track. A little more dynamic contrast would have provided a more engaging experience for me. That said, my opinion of this album is still evolving. Albums like this tend to grow on me over time, so I find it difficult to give a definitive rating after just a day or two but as this generator requires a rating I will go with three stars. 1 "The Pearl" (3/5) 2 "Michelangelo" (4/5) 3 "I Don't Wanna Talk About It Now" (4/5) 4 "Tragedy" (4/5) 5 "Red Dirt Girl" (4/5) 6 "My Baby Needs a Shepherd" (3/5) 7 "Bang the Drum Slowly" (4/5) 8 "J'Ai Fait Tout" (3/5) 9 "One Big Love" (3/5) 10 "Hour of Gold" (3/5) 11 "My Antonia" (4/5) 12 "Boy from Tupelo" (3/5) Total - 42 Average - 3.50 122/1001 65/122 albums reviewed were new to me.

Dire Straits self-titled debut album is a landmark for what it wasn't in 1978. I bought this at the age of 13, and it served as an essential lesson that "Rock" music extended far beyond the realm of heavy hitters like Zeppelin, Sabbath, and Purple. This album is an accomplished and stylish record that introduced a sound so distinct it remains instantly recognizable today. From the first few bars, it's clear Dire Straits were very different and immediately established the core elements that defined the band: - Mark Knopfler's Guitar: His finger-picked tone is clean, fluid, and entirely original. There's no bombast. - Knopfler's Vocals: His singing is unconventional, almost a husky, spoken narrative, but it perfectly suites the storytelling. - Rhythm Section: The backbone of the band is magnificent. The rhythm section is tight, with John Illsley's bass line being especially prominent and addictive, contributing to the album's wonderfully warm, groovy sound. - Production: Produced by Muff Winwood, the album possesses a warm, clean sonic quality that has aged well, giving the music its characteristic laid-back atmosphere. Of course the standout track is the quite magnificent "Sultans of Swing". Others would be "In the Gallery", "Wild West End" and "Down to the Waterline". As a whole, the album is a testament to subtlety and class in what was a loud era. For me the second side of the album is stronger, with the first side of the album having a couple of tracks that just lower the overall score. Although this is a favourite album of mine (I can recall exactly where I bought it!) objectively I would give it a rating of 4 stars. Side one 1 "Down to the Waterline" (5/5) 2 "Water of Love" (5/5) 3 "Setting Me Up" (3/5) 4 "Six Blade Knife" (3/5) 5 "Southbound Again" (4/5) Side two 1 "Sultans of Swing" (5/5) 2 "In the Gallery" (5/5) 3 "Wild West End" (5/5) 4 "Lions" (5/5) Total - 40 Average 4.44 123/1001 65/123 albums reviewed were new to me.

Oddly enough, despite Hard Rock being my favourite genre, Aerosmith has never truly captured my attention beyond a handful of tracks, one of which, admittedly, appears on "Toys in the Attic". I own a few of their records, and this 1975 album is one of them. My core issue with Aerosmith has always been that they sound derivative. They have always struggled to forge a distinct identity for me, leaving them feeling like a collection of influences rather than an original force. "Toys in the Attic" is a very solid Rock album, there are no duds on it, but it just does not connect with me completely. 'Big Ten Inch Record' feels stylistically jarring. The record’s shining moments are 'Uncle Salty', the ubiquitous 'Walk This Way', and, above all, 'Sweet Emotion'; which is easily the album's best track. I first encountered its excellence on a compilation album called "Axe Attack", bought for me by my parents one Christmas, many years ago. It opens with Tom Hamilton’s instantly recognizable, haunting bass line before Joe Perry’s iconic talk-box effect kicks in. The track is a slow-burn, effortlessly shifting from a funky, laid-back opening groove into full-throttle heavy rock. I do not think Aerosmith have ever topped it, well not from anything I have heard of theirs. “Toys in The Attic” just earns a four-star rating. Side one 1 "Toys in the Attic" (4/5) 2 "Uncle Salty" (5/5) 3 "Adam's Apple" (4/5) 4 "Walk This Way" (5/5) 5 "Big Ten Inch Record" (3/5) Side two 1 "Sweet Emotion" (5/5) 2 "No More No More" (3/5) 3 "Round and Round" (3/5) 4 "You See Me Crying" (3/5) Total - 35 Average - 3.89 124/1001 65/124 albums reviewed were new to me.

The cover of Ray Price's 1963 album, "Night Life", is pure, iconic early '60s country, setting an expectation the first two tracks immediately subvert. Instead of a steel-guitar twang, we're greeted with a quaint "Introduction and Theme" followed by the surprisingly bluesy shuffle of the title track, "Night Life," and then a similarly moody "Lonely Street." The album truly settles into its rhythm with "Wild Side of Life." While I know the song best through Status Quo's 1970's excellent cover, Price's version establishes the country foundation on the album. The instrumentation, the slide guitar and fiddles, are used with subtlety, and Ray Price's voice avoids the exaggerated vocal affectations often found in the country genre. The true highlight of "Night Life" is undoubtedly "Pride." It's a cracking song and a performance that stands head and shoulders above the rest. From this point on, the song writing and performances generally solidify, raising the album's standard significantly before a slight dip in quality toward the final two tracks. Price himself possesses a strong, appealing voice. The entire album is well-arranged and played, benefiting from Don Law's early '60s production, which sounds classy and clear today. It's a testament to the high-quality musicianship of the era. Despite its overall quality and enjoyment, the album's place on an "essential" list is debatable. While it's a good listen and good fun, its significance isn't immediately clear enough to warrant an automatic spot among the 1001 Albums. Regardless of its legacy status, it remains a surprisingly engaging listen. Four stars. 1. "Introduction and Theme / Night Life" - (3/5) 3. "Night Life" - (3/5) 2. "Lonely Street" (Carl Belew, Kenny Sowder, W.S. Stevenson) - (3/5) 3. "The Wild Side of Life" (Arlie Carter, William Warren) - (4/5) 4. "Sittin' and Thinkin'" (Charlie Rich) - (3/5) 5. "The Twenty-Fourth Hour" (Ray Price) - (3/5) 6. "A Girl in the Night" (Hank Thompson) - (4/5) 7. "Pride" (Wayne P. Walker, Irene Stanton) - (5/5) 8. "There's No Fool Like a Young Fool" (Bette Thomasson) - (4/5) 9. "If She Could See Me Now" (Hank Cochran) - (4/5) 10. "Bright Lights and Blonde Haired Women" (Eddie Kirkland) - (4/5) 11. "Are You Sure" (Buddy Emmons, Willie Nelson) - (3/5) 12. "Let Me Talk to You" (Don Stewart Davis, Danny Dill)- (3/5) Total - 46 Average - 3.54 125/1001 66/125 albums reviewed were new to me.

Sleater-Kinney's "Dig Me Out" was a completely new listen for me. While it was a solid listen and featured some genuinely good moments, the overall impression was simply "okay." The energy is certainly high, it's loud and full of urgency in places. By the fifth track, the sound started to become wearing. Specifically, I found the shouty, almost shrill, vocal delivery, from Corin Tucker, grating rather than engaging. I didn't find anything particularly ground breaking or influential within its thirteen tracks. Musically competent, yes. Three stars. 1 "Dig Me Out" (3/5) 2 "One More Hour" (3/5) 3 "Turn It On" (4/5) 4 "The Drama You've Been Craving" (3/5) 5 "Heart Factory" (2/5) 6 "Words and Guitar" (3/5) 7 "It's Enough" (4/5) 8 "Little Babies" (4/5) 9 "Not What You Want" (2/5) 10 "Buy Her Candy" (3/5) 11 "Things You Say" (3/5) 12 "Dance Song '97" (3/5) 13 "Jenny" (3/5) Total - 40 Average - 3.08 126/1001 67/126 albums reviewed were new to me.

While acknowledging its status as a highly regarded historical and cultural touchstone for hip-hop, I found "Ready to Die" difficult to engage with. Its' seventeen tracks, and nearly 70-minute runtime, felt excessive, and the overall musical experience, while competent, became monotonous. Ultimately, the album's vocal delivery, grim subject matter and lyrical content were simply not to my taste. Two stars. 1 "Intro" (2/5) 2 "Things Done Changed" (2/5) 3 "Gimme the Loot" (2/5) 4 "Machine Gun Funk" (3/5) 5 "Warning" (3/5) 6 "Ready to Die" (2/5) 7 "One More Chance" (2/5) 8 "#!*@ Me (Interlude)" (1/5) 9 "The What" (featuring Method Man) (2/5) 10 "Juicy" (2/5) 11 "Everyday Struggle" (2/5) 12 "Me & My Bitch" (1/5) 13 "Big Poppa" (3/5) 14 "Respect" (1/5) 15 "Friend of Mine" (2/5) 16 "Unbelievable" (2/5) 17 "Suicidal Thoughts" (2/5) Total - 34 Average - 2.00 127/1001 68/127 albums reviewed were new to me.

Todd Rundgren’s "Something/Anything?", my second encounter with his solo work for the 1001 Albums list, is an ambitious, genre-hopping double LP. The original album was structured into four distinct sides: 1) - The initial side, "A Bouquet of Ear-catching Melodies," is a primarily R&B and Soul-inspired, a style I don't usually gravitate towards, though the infectious, Stax inspired stomp of "Wolfman Jack" is truly superb. 2 - "The Cerebral Side" trades R&B for a softer, quirkier rock sound, full of varied noises and a psychedelic undertone ("Song of the Viking"). The most compelling track here is the finale, "I Went to the Mirror," featuring some fantastic slide guitar. 3 - My anticipation was highest for "The Kid Gets Heavy." It delivers a heavier sound, stylistically nodding to Neil Young and Crazy Horse; the opening track, "Black Maria," is a powerful rocker. Despite the momentum-breaking "One More Day," it features the excellent pop/rock song "Couldn't I Just Tell You" with its great guitar work. 4- The final side, "Baby Needs a New Pair of Snakeskin Boots (A Pop Operetta)," shifts to live in the studio recordings with a full band, with the non-Rundgren composition "Dust in the Wind" serving as the standout. While I respect the technical genius behind this record; a virtuoso production, with Rundgren solo on the first three sides, that was lauded widely by critics of the time, the songs themselves, though well-executed and melodic, didn't personally resonate or leave a lasting impression. Rating: Three stars. Side one: A Bouquet of Ear-catching Melodies 1 "I Saw the Light" (3/5) 2 "It Wouldn't Have Made Any Difference" (3/5) 3 "Wolfman Jack" (5/5) 4 "Cold Morning Light" (3/5) 5 "It Takes Two to Tango (This Is for the Girls)" (3/5) 6 "Sweeter Memories" (3/5) Side two: The Cerebral Side 1 "Intro" (3/5) 2 "Breathless" (3/5) 3 "The Night the Carousel Burned Down" (3/5) 4 "Saving Grace" (3/5) 5 "Marlene" (3/5) 6 "Song of the Viking" (3/5) 7 "I Went to the Mirror" (4/5) Side three: The Kid Gets Heavy 1 "Black Maria" (5/5) 2 "One More Day (No Word)" (3/5) 3 "Couldn't I Just Tell You" (4/5) 4 "Torch Song" (4/5) 5 "Little Red Lights" (4/5) Side four: Baby Needs a New Pair of Snakeskin Boots (A Pop Operetta) 1 "Overture–My Roots" (3/5) "Money (That's What I Want)" (Janie Bradford, Berry Gordy Jr.) "Messin' with the Kid" (Mel London)" 2 "Dust in the Wind" (Mark Klingman) (4/5) 3 "Piss Aaron" (4/5) 4 "Hello It's Me" (3/5) 5 "Some Folks Is Even Whiter Than Me" (3/5) 6 "You Left Me Sore" (3/5) 7 "Slut" (4/5) Total - 86 Average - 3.44 128/1001 68/128 albums reviewed were new to me.

Morrissey's solo career was launched confidently on "Viva Hate." The opening track, "Alsatian Cousin," immediately announces a bold new intent. While the overall sound remains close to The Smiths' final album, "Strangeways, Here We Come", the key sonic departure is the unexpected inclusion of synthesizers, a surprising choice given The Smiths' famous aversion to keyboards. The production is excellent, showcasing Morrissey's voice in fine form, backed by his signature lyrical wit and sharp barbs. The album largely explores themes of sexual jealousy, uncertainty, desolation, and the frustrations of isolated youth. All good cheery stuff! The most contentious track, and this is an album with "Margaret on the Guillotine" on it, is "Bengali in Platforms." Though musically bright and upbeat, the lyrics are controversial: does it express a sympathetic but pessimistic view about an Asian immigrant's struggle for assimilation in Britain, or is it a calculated criticism of an anti-immigrant sentiment? Listeners will fall one way or the other on this. At the time, I was of the former opinion. The album is front-loaded with classic material such as "Suedehead," , "Everyday Is Like Sunday," "Late Night, Maudlin Street," and the final act of political rebellion, "Margaret on the Guillotine", which controversially calls for the execution of Prime Minister Margaret Thatcher. In terms of rating I'm an unabashed fan of Morrisey's music, so for the casual listener you may want to deduct one star from my rating. I'm also reviewing the music and not the person. For me, "Viva Hate" sits on the cusp of a four or five-star rating, but, as I have done with other artists in this situation, I'll lean positively towards the higher score, in this case five stars. Side One 1 "Alsatian Cousin" (5/5) 2 "Little Man, What Now?" (3/5) 3 "Everyday Is Like Sunday" (5/5) 4 "Bengali in Platforms" (4/5) 5 "Angel, Angel Down We Go Together" (5/5) 6 "Late Night, Maudlin Street" (5/5) Side Two 7 "Suedehead" (5/5) 8 "Break Up the Family" (5/5) 9 "The Ordinary Boys" (5/5) 10 "I Don't Mind If You Forget Me" (3/5) 11 "Dial-a-Cliché" (4/5) 12 "Margaret on the Guillotine" (5/5) Total - 54 Average - 4.50 129/1001 68/129 albums reviewed were new to me.

Cream's second album, "Disraeli Gears," is a classic that grabs you right away. Its presentation is superb, from the wonderfully odd title to the instantly famous, brightly coloured artwork that perfectly captures the psychedelic spirit of 1967. This visual appeal is perfectly matched by the sound quality, which is clear and powerful thanks to Felix Pappalardi’s excellent production. "Disraeli Gears" marks a significant departure from the band's blues-heavy debut, embracing a more eclectic and in some places heavier sound. The album starts with a legendary one-two knockout: "Strange Brew" and the iconic "Sunshine of Your Love" . Standout tracks also include "Tales of Brave Ulysses," which is a showcase for Clapton's wah-pedal guitar virtuosity, and the raw, hard-charging power of the cleverly titled "SWLABR" ("She Was Like a Bearded Rainbow"). While Cream deserves a five-star rating for the massive influence they had on countless bands that followed, this album rating should reflect the album as a standalone experience. "Disraeli Gears" is a highly enjoyable record, packed with great tracks and first-rate performances but there are a couple of tracks that contribute to drop the overall rating to four stars. Side one 1 "Strange Brew" (5/5) 2 "Sunshine of Your Love" (5/5) 3 "World of Pain" (4/5) 4 "Dance the Night Away" (4/5) 5 "Blue Condition" (3/5) Side two 1 "Tales of Brave Ulysses" (5/5) 2 "SWLABR" (5/5) 3 "We're Going Wrong" (3/5) 4 "Outside Woman Blues" (5/5) 5 "Take It Back" (5/5) 6 "Mother's Lament" (4/5)... (I don't care I like this 😊) Total - 48 Average - 4.36 130/1001 68/130 albums reviewed were new to me.

Released in 1968, at the hight of psychedelia, the Kink's "The Kinks Are the Village Green Preservation Society" eschews that sound and trend, and instead focusses on songs based around the concept of the vanishing, idealised English pastoral life. Musically, it is quite eclectic and draws on British music hall and folk influences. The production could be a little crisper and full, and the album artwork is truly awful, almost daring you to buy the album! Apparently, this was a deliberate artistic choice to contrast to albums released just prior, the most notable ones being "Sgt. Pepper's", "Disraeli Gears", and "Axis: Bold as Love". On that front it succeeds greatly, but I think it's a shame. Stand out tracks for me are "The Village Green Preservation Society" , "Do You Remember Walter", "Picture Book", "Animal Farm" and "Phenomenal Cat" . But really just listen to the whole album from start to finish. It flows excellently. "The Kinks Are the Village Green Preservation Society" is Ray Davies's and The Kinks finest album, and a double album to boot! It is a quite delightful listen, and one of the finest albums of the 1960s and indeed beyond. The whole album has a wistful and nostalgic hue to it, without that ever being over-bearing or saccharine. Oh, and the wonderful song "Days" was a non-album single from this time! Superb - Five stars. Side one 1. "The Village Green Preservation Society"  (5/5) 2. "Do You Remember Walter"  (5/5) 3. "Picture Book" (5/5) 4. "Johnny Thunder"  (4/5) 5. "Last of the Steam-Powered Trains"  (5/5) 6. "Big Sky"  (4/5) 7. "Sitting by the Riverside" (5/5) Side two 1. "Animal Farm"  (5/5) 2. "Village Green" (5/5) 3. "Starstruck" (4/5) 4. "Phenomenal Cat"  (5/5) 5. "All of My Friends Were There" (5/5) 6. "Wicked Annabella" (5/5) 7. "Monica"  (3/5) 8. "People Take Pictures of Each Other"  (5/5) Total - 70 Average - 4.67 131/1001 68/131 albums reviewed were new to me.

Gang of Four's 1979 debut, "Entertainment!", a favourite of the music press and publications like Sounds in the UK at that time. "Entertainment!" is fundamentally a British album, providing a sharp reflection of its era, saturated with biting social and political commentary. Today's mainstream is devoid of this challenging and provocative music. The production on "Entertainment!" is excellent, providing direct crystal clear sound, allowing every angular guitar stab to cut through. While many of the tracks are intentionally jarring, the band proved they could write a hook, with tracks like "I Found That Essence Rare", which offers a more accessible and catchy chorus. Jon King's vocals are delivered in a direct, often colloquial English, functioning less as traditional singing and delivered more as urgent, spoken-word declarations. Despite being an album focused on social and political commentary "Entertainment" delivers an irresistible urge to move and dance. With standout tracks like the "At Home He's a Tourist" and the brilliant, "Love Like Anthrax," "Entertainment!" remains a most enjoyable and essential listen. Four stars. Side one 1 "Ether" (5/5) 2 "Natural's Not in It" (4/5) 3 "Not Great Men" (3/5) 4 "Damaged Goods" (5/5) 5 "Return the Gift" (5/5) 6 "Guns Before Butter" (3/5) Side two 1 "I Found That Essence Rare" (5/5) 2 "Glass" (3/5) 3 "Contract" (3/5) 4 "At Home He's a Tourist" (5/5) 5 "5.45" (4/5) 6 "Love Like Anthrax" (5/5) Total - 50 Average - 4.17 132/1001 68/132 albums reviewed were new to me.

Despite the tumultuous period surrounding its creation, The Rolling Stones' "Sticky Fingers" is a surprisingly cohesive album. It's a true five-star effort, packed with great tunes, magnificent performances, and a brilliant production that showcases the band's stellar musicianship. Paired with its iconic album artwork, Sticky Fingers stands as a high point in the Stones' legendary run of essential albums, which stretched from Beggars Banquet through to Exile On Main St. Five stars. Side one 1 "Brown Sugar" (5/5) 2 "Sway" (5/5) 3 "Wild Horses" (5/5) 4 "Can't You Hear Me Knocking" (5/5) 5 "You Gotta Move" (5/5) Side two 6 "Bitch" (5/5) 7 "I Got the Blues" (4/5) 8 "Sister Morphine" (4/5) 9 "Dead Flowers" (5/5) 10 "Moonlight Mile" (4/5) Total - 47 Average - 4.7 133/1001 68/133 albums reviewed were new to me.

It's fitting to review Nirvana's Unplugged in New York right now, as it coincides with MTV's announcement that they're discontinuing their last dedicated music channels. This album is a monument to what MTV once was: a channel that could launch a culturally impactful event like the MTV Unplugged series. Originating in 1989 with acts such as Squeeze, these televised concerts, including this one by Nirvana, were defining cultural moments that the network promoted at its peak. Nirvana recorded their performance on November 18, 1993, the album was released November 1st 1994, nearly seven months after Cobain's death. My relationship with Nirvana's catalogue has always been a little uneven; I never disliked their music, but I didn't connect with it as universally as many others did. In a sense, I feel the same about "Unplugged in New York." It's a very good live album from a band whose output can sometimes leave me indifferent. Do I consider it a five star essential album? No, but I certainly appreciate its quality and why it resonates so deeply with others. Four stars. 1 "About a Girl" (5/5) 2 "Come as You Are" (5/5) 3 "Jesus Doesn't Want Me for a Sunbeam" (4/5) 4 "The Man Who Sold the World" (5/5) 5 "Pennyroyal Tea" (3/5) 6 "Dumb" (4/5) 7 "Polly" (5/5) 8 "On a Plain" (4/5) 9 "Something in the Way" (4/5) 10 "Plateau" (Meat Puppets cover) (3/5) 11 "Oh Me" (Meat Puppets cover) (4/5) 12 "Lake of Fire" (Meat Puppets cover) (4/5) 13 "All Apologies" (5/5) 14 "Where Did You Sleep Last Night" (4/5) Total - 59 Average - 4.21 134/1001 68/134 albums reviewed were new to me.

Tom Waits's "Heartattack and Vine" is a four-star album that showcases his versatility. Defying easy categorization, the record is a mix of Blues, Jazz, and Rock that serves as a crucial bridge to his later, more experimental work. Its brilliance lies in the stark contrast between its elements: the rough-and-ready, gravelly vocals and abrasive guitar are balanced by moments of startling, beautifully arranged tenderness (e.g. "Ruby's Arms"). The crisp production binds this unique collection of mostly excellent songs together, allowing the murky subject matter to shine. I think I will buy this album! Side one 1 "Heartattack and Vine" (5/5) 2 "In Shades" (Instrumental) (3/5) 3 "Saving All My Love for You" (4/5) 4 "Downtown" (3/5) 5 "Jersey Girl" (5/5) Side two 1 "'Til the Money Runs Out" (5/5) 2 "On the Nickel" (5/5) 3 "Mr. Siegal" (5/5) 4 "Ruby's Arms" (5/5) Total - 40 Average - 4.44 135/1001 69/135 albums reviewed were new to me.

Laibach's "Opus Dei", was a first-time listen that I found loud and dark. The album delivers a dramatic, cinematic experience, with clearly pronounced martial musical influences. While initially interesting, it's not a relaxing listen, as evidenced by jarring moments like "Trans-National", and the interest doesn't last until the end. For me the album functioned more as a curious novelty than a collection of standout tracks, with the last four tracks, and in particular "Herz-Felde" and "Jägerspiel", testing my patience. Despite finding the experience intriguing, I don't anticipate listening to the album again". Three stars. 1 "Leben heißt Leben" (Live Is Life) (Opus)  (4/5) 2 "Geburt einer Nation" (Birth of a Nation) (Queen) (4/5) 3 "Leben – Tod" (Life – Death) (Laibach) (3/5) 4 "F.I.A.T." (Laibach) (3/5) 5 "Opus Dei" (Opus) (4/5) 6 "Trans-National" (Laibach) (3/5) 7 "How the West Was Won" (Laibach)  (3/5) 8 "The Great Seal" (Laibach)  (3/5) 9 "Herz-Felde" (Heartfield) (Laibach) (1/5) 10 "Jägerspiel" (Hunters' Game) (Laibach)  (1/5) 11 "Koža" (Skin) (Laibach)  (2/5) 12 "Krst" (Baptism) (Laibach)  (1/5) Total - 32 Average - 2.67 136/1001 70/136 albums reviewed were new to me.

I found 3 Feet High and Rising to be a very good listen, especially since hip-hop isn't usually my go-to genre. The sound is notably mellow, rich in melody and groove, with rhythms that are far from monotonous or predictable. The vocals are excellent and never get tiresome. While the album starts strong with "The Magic Number," the following few tracks are merely good. The album truly hits its stride and takes off starting with "Eye Know" and continues to deliver from there, making for an overall happy vibe and an enjoyable listen. Even the skits didn't bother me! Four stars. 1 "Intro" (4/5) 2 "The Magic Number" (5/5) 3 "Change in Speak" (3/5) 4 "Cool Breeze on the Rocks" (3/5) 5 "Can U Keep a Secret" (3/5) 6 "Jenifa Taught Me (Derwin's Revenge)" (3/5) 7 "Ghetto Thang" (3/5) 8 "Transmitting Live from Mars" (3/5) 9 "Eye Know" (5/5) 10 "Take It Off" (4/5) 11 "A Little Bit of Soap" (5/5) 12 "Tread Water" (5/5) 13 "Potholes in My Lawn" (4/5) 14 "Say No Go" (5/5) 15 "Do as De La Does" (3/5) 16 "Plug Tunin' (Last Chance to Comprehend)" (4/5) 17 "De La Orgee" (3/5) 18 "Buddy" (featuring Jungle Brothers and Q-Tip) (4/5) 19 "Description" (3/5) 20 "Me Myself and I" (5/5) 21 "This Is a Recording 4 Living in a Fulltime Era (L.I.F.E.)" (4/5) 22 "I Can Do Anything (Delacratic)" (3/5) 23 "D.A.I.S.Y. Age" (3/5) Total - 87 Average - 3.78 137/1001 71/137 albums reviewed were new to me.

The album artwork to "Want One" is superb, with a front cover so striking it demands attention and prompts immediate curiosity about the music. As for the music, "Want One" is a nice listen, well written, performed, arranged and produced. Rufus Wainwright has a lovely voice, very soothing. Across the albums fourteen tracks "Go or Go Ahead", "14th Street", "Natasha", "Beautiful Child", "11:11" (Wainwright sounds similar to Thom Yorke here) and "Dinner at Eight" stood out as excellent tracks. The constraint of a rapid, high-volume listen (like the 1001 albums project) makes deep immersion difficult. This feels like a record that would slowly reveal itself and become a comfortable favourite over time, enveloping the listener like a warm hug. Based on this initial experience, "Want One" is good, intriguing, and certainly warrants further listens, earning it an initial three star rating. 1. "Oh What a World" – (3/5) 2. "I Don't Know What It Is" – (3/5) 3. "Vicious World" – (3/5) 4. "Movies of Myself" – (3/5) 5. "Pretty Things" – (3/5) 6. "Go or Go Ahead" – (4/5) 7. "Vibrate" – (3/5) 8. "14th Street" – (4/5) 9. "Natasha" – (4/5) 10. "Harvester of Hearts" – (3/5) 11. "Beautiful Child" – (4/5) 12. "Want" – (3/5) 13. "11:11" – (4/5) 14. "Dinner at Eight" – (4/5) Total - 48 Average - 3.43 72/138 albums reviewed were new to me.

This is a perfectly timely review, coinciding with the impending release of the 'Nebraska' box set (which includes 'Electric Nebraska') and the debut of the Springsteen bio-pic, which covers the era leading right up to this album’s release. I bought "Nebraska" the week it came out. While the album wasn't what I expected on that first listen, I loved it immediately, and nothing has changed in the 43 years since. "Nebraska" stands as an utterly brilliant and essential album. Its power lies in the compelling storytelling and the stark, bare arrangements that highlight the excellent performances. It is, without a doubt, among Bruce Springsteen's finest work and remains one of my all-time favourites. Five stars. Perfect to these ears. Side one 1 "Nebraska" (5/5) 2 "Atlantic City" (5/5) 3 "Mansion on the Hill" (5/5) 4 "Johnny 99" (5/5) 5 "Highway Patrolman" (5/5) 6 "State Trooper" (5/5) Side two 1 "Used Cars" (5/5) 2 "Open All Night" (5/5) 3 "My Father's House" (5/5) 4 "Reason to Believe" (5/5) Total - 50 Average - 5 139/1001 72/139 albums reviewed were new to me.

"Arthur (Or the Decline and Fall of the British Empire)" is a 1969 concept album by The Kinks. It tells a story that uses the life of an ordinary working-class man as a metaphor for the sweeping changes in post-war Britain and the end of the British Empire. It follows in a consecutive line of excellent Kinks studio albums that starts with "Face to Face" in 1966 and arguably ends with "Lola Versus Powerman and the Money-go-round, Part One" in 1970. The key tracks are "Victoria", "Some Mother's Son", and "Shangri-La" but "Arthur (Or the Decline and Fall of the British Empire)" should really be listened to as a whole, as "the whole is greater than the sum of its parts". The album's quality overcame its commercial weaknesses, it had no major hits and the artwork failed to capture its brilliance. Nevertheless, for me it just warrants a five star rating, which is, admittedly, influenced by love of The Kinks' catalogue. Side one 1 "Victoria" (5/5) 2 "Yes Sir, No Sir" (4/5) 3 "Some Mother's Son" (5/5) 4 "Drivin'" (4/5) 5 "Brainwashed" (5/5) 6 "Australia" (5/5) Side two 1 "Shangri-La" (5/5) 2 "Mr. Churchill Says" (5/5) 3 "She's Bought a Hat Like Princess Marina" (4/5) 4 "Young and Innocent Days" (5/5) 5 "Nothing to Say" (4/5) 6 "Arthur" (4/5) Total - 55 Average - 4.58 140/1001 72/140 albums reviewed were new to me.

When I first bought Radiohead's "Amnesiac", upon its initial release, it was largely a disappointment. My view has mellowed over the intervening years, but it remains a mixed bag. For me, the album is anchored by three stand-out tracks: "Pyramid Song," "You and Whose Army?," and "I Might Be Wrong." The remainder of the material ranges from decent but somewhat dull to outright poor. Three stars. No. Title 1 "Packt Like Sardines in a Crushd Tin Box" (2/5) 2 "Pyramid Song" (5/5) 3 "Pulk/Pull Revolving Doors" (2/5) 4 "You and Whose Army?" (5/5) 5 "I Might Be Wrong" (4/5) 6 "Knives Out" (3/5) 7 "Morning Bell/Amnesiac" (3/5) 8 "Dollars and Cents" (3/5) 9 "Hunting Bears" (3/5) 10 "Like Spinning Plates" (3/5) 11 "Life in a Glasshouse" (3/5) Total - 36 Average - 3.27 141/1001 72/141 albums reviewed were new to me.

For me 1978's "This Year's Model" is unequivocally a five-star album. Elvis Costello's vocals may not be to everyone's taste but they are very distinctive. "This Year's Model" immediately showcases this, kicking off with the wonderful a cappella opening of "No Action" before The Attractions join the fray. This album marks The Attractions' first outing with Costello, and they are simply a superb band, musically tight and extremely talented. The rhythm section of Pete Thomas (drums) and Bruce Thomas (bass), coupled with the musicality of Steve Nieve (keyboards), adds a crucial, dynamic "certain something" to the overall sound. This synergy is a clear step up from the band (Clover) that backed Costello on his excellent debut, "My Aim Is True". The improved vocal harmonies also significantly enhance the album's quality and overall experience. Producer Nick Lowe delivers a mix that is crystal clear and holds up perfectly all these years later. "This Year's Model" is a quite wonderful album, one that has been a constant in my life, in one form or another, since its initial 1978 release. The original track listing flows effortlessly. While the casually acquainted might point to the hit single "(I Don't Want to Go to) Chelsea" as a highlight, there are many gems here. The absence of "Radio, Radio" from the original UK release is a minor footnote, as its inclusion on later versions only makes an outstanding album even better. If forced to pick a single track, the urgent, punky "Pump It Up" has long been my favourite Elvis Costello song. For reviewers and new listeners wondering why Elvis Costello belongs on any '1001 Albums' list, the answer lies in his excellent run of consecutive classics from 1977 to 1980: "My Aim Is True", "This Year's Model", "Armed Forces", and "Get Happy!!". This foundation was followed by essential works like "Imperial Bedroom", "King of America", and "Blood & Chocolate". Beyond the sheer quality of his work, Costello has been a huge influence on the music scene for approaching 50 years. He now commands a large and varied body of music, but for newcomers, I would suggest starting with those initial four albums. Side one 1. "No Action"  (5/5) 2. "This Year's Girl" (5/5) 3. "The Beat" (5/5) 4. "Pump It Up" (5/5) 5. "Little Triggers"  (5/5) 6. "You Belong to Me"  (5/5) Side two 1. "Hand in Hand" (5/5) 2. "(I Don't Want to Go to) Chelsea" (5/5) 3. "Lip Service" (5/5) 4. "Living in Paradise" (5/5) 5. "Lipstick Vogue" (5/5) 6. "Night Rally" (5/5) 7. "Radio, Radio" (5/5) Total - 65 Average - 5.00 142/1001 72/142 albums reviewed were new to me.

My first listen to "Histoire De Melody Nelson" reveals a subtle, laid-back album. While the excellent orchestrations provide a lush backdrop, it's the standout guitar work of Vic Flick (famous for the James Bond theme) that truly cuts through. The use of spoken word vocals, though never tiresome, does begin to lose its novelty after the initial tracks. Even without understanding French, I thoroughly enjoyed the album, and that iconic cover perfectly sets the mood. The closing track "Cargo culte" is the highlight. I'm sure that "Histoire De Melody Nelson" is the type of album that you appreciate more with repeated listens. But, after an initial first couple of listens I rate this at three stars. No. Title 1 "Melody" (4/5) 2 "Ballade de Melody Nelson" (Gainsbourg, Jean-Claude Vannier) (3/5) 3 "Valse de Melody" (3/5) 4 "Ah ! Melody" (Gainsbourg, Vannier) (3/5) 5 "L'Hôtel particulier" (3/5) 6 "En Melody" (Gainsbourg, Vannier) (3/5) 7 "Cargo culte" (5/5) Total - 24 Average - 3.43 143/1001 73/143 albums reviewed were new to me.

My first listen to The Isley Brothers' 1973 album, "3+3". The production is remarkably crisp for a 52-year-old record, with well layered harmonies and vocals throughout. The album cover perfectly captures the '70s vibe with those unforgettable outfits! The band is in peak form, especially on the more funky tracks. Ernie Isley's guitar work is fabulous, but particularly on the classic "That Lady, Pts. 1 & 2" and the fantastic covers, "Summer Breeze" and the funky take on "Listen to the Music." While the slower R&B/Soul cuts, like "Don't Let Me Be Lonely Tonight," are expertly performed, they weren't entirely to my taste. Overall, it's a thoroughly enjoyable album and a very good listen. 4/5 Stars. Side one 1 "That Lady" (5/5) 2 "Don't Let Me Be Lonely Tonight" (3/5) 3 "If You Were There" (3/5) 4 "You Walk Your Way" (3/5) 5 "Listen to the Music" (4/5) Side two 6 "What It Comes Down To" (4/5) 7 "Sunshine (Go Away Today)" (4/5) 8 "Summer Breeze" (5/5) 9 "The Highways of My Life" (4/5) Total - 35 Average - 3.89 144/1001 74/144 albums reviewed were new to me.

The album cover for "Sunshine Hit Me" is frankly awful and doesn't set a good first impression. The opening track, "Punchbag," is pleasantly mellow, but its slow pace makes it an odd choice to lead an album. As the record progresses, it becomes clear that this mellow sound is the reigning aesthetic. Tracks like "Angryman" and "No Trophy" follow suit. While "No Trophy" injects a slight, jaunty Ska influence, it remains distinctly low-key. By the time the listener reaches "Binnel Bay," the fourth track, the consistently sedate and one-paced nature of the album begins to struggle to hold interest. However, the middle section offers some much-needed variety. The cover of "A Minha Menina" brings a refreshing change of pace with its driving rhythm and a sharp, high-in-the-mix guitar hook that stands out completely from the preceding tracks. Similarly, "Sweet Like a Champion" distinguishes itself with its sombre, melancholic, bass vocals and delicate acoustic guitar work. Ultimately, while the album is well-performed and features a pleasant mix, "Sunshine Hit Me" is largely one-paced and lacking in dynamics. For me, it fails to offer the necessary variety to stay engaging and, as a result, didn't stir an emotional reaction of any kind. It's not a disagreeable album, just nice and forgettable. Rounding up, it just rates three stars. 1. "Punchbag"  (3/5) 2. "Angryman"  (3/5) 3. "No Trophy"  (3/5) 4. "Binnel Bay"  (2/5) 5. "Sunshine"  (2/5) 6. "A Minha Menina"  (4/5) 7. "This Town" (2/5) 8. "Sweet Like a Champion"  (4/5) 9. "Lying in the Snow" (3/5) 10. "Zia" (2/5) 11. "Sky Holds the Sun" (3/5) Total - 31 Average - 2.82 145/1001 75/145 albums reviewed were new to me.

I can understand why Tracey Chapman's self-titled album is so beloved. The music is well-crafted and her voice is warm, inviting and captivating. Oddly, though, it doesn't translate into an album I seek out. By all logical measures, given my enjoyment of this musical style, it should resonate with me, yet there's a certain undefinable spark that I can't quite detect, preventing me from fully connecting with the record. I enjoyed listening to it but I doubt that I will revisit it. Overall a good listen, just reaching a four star rating. Stand out tracks - "Fast Car", "Mountains o' Things" . 1 "Talkin' 'bout a Revolution" (4/3) 2 "Fast Car" (5/3) 3 "Across the Lines" (3/3) 4 "Behind the Wall" (3/3) 5 "Baby Can I Hold You" (4/3) 6 "Mountains o' Things" (4/3) 7 "She's Got Her Ticket" (4/3) 8 "Why?" (3/3) 9 "For My Lover" (3/3) 10 "If Not Now…" (3/3) 11 "For You" (3/3) Total - 39 Average - 3.55 146/1001 76/146 albums reviewed were new to me.

My interest was immediately piqued when is saw the list of songwriters who contributed to "Punishing Kiss", each of whom I like and admire. "Little Water Song" is a delightful opening track. A lovely sweeping arrangement, lush orchestrations and beautifully sung. The remainder of the album pretty much follows suite, maintaining a consistently high quality throughout. A thoroughly enjoyable, delightful album. With repeated listens this could make a five star rating, but on first impressions it achieves four stars. 1 "Little Water Song" (5/5) 2 "The Case Continues" (4/5) 3 "Passionate Fight" (4/5) 4 "Tango Ballad" (5/5) 5 "Couldn't You Keep That to Yourself" (4/5) 6 "Streets of Berlin" (4/5) 7 "The Part You Throw Away" (3/5) 8 "Split" (3/5) 9 "Punishing Kiss" (4/5) 10 "Purple Avenue" (4/5) 11 "You Were Meant For Me" (5/5) 12 "Scope J" (4/5) Total - 49 Average - 4.08 147/1001 77/147 albums reviewed were new to me.

As a non-Hip-Hop listener, "The College Dropout" was a challenging 2/5 listening experience. The album's bloated length and packed track list were immediate turn-offs; frankly, I'm ready to permanently retire the Hip-Hop skit. While I found the music sonically rich, well-produced, and competently arranged, the repetitive nature of the beats became a significant hurdle. My greatest barrier, however, was the unengaging and dull lead vocal performances, which not even the strength of the choruses or guest artists could successfully camouflage. My patience ran out around "Slow Jamz," but I persevered on, and I'm glad I did, as that led me to "Two Words," easily the strongest track on the album. It's a genuine commentary on the album's structure when the pleasant attention-grabber, eighteen tracks deep, is a simple drum fill. Let's finish on a positive note; I really liked the album artwork, it's a striking image that's instantly eye-catching. 1 "Intro (Skit)" (2/5) 2 "We Don't Care" (3/5) 3 "Graduation Day" (2/5) 4 "All Falls Down" (featuring Syleena Johnson) (2/5) 5 "I'll Fly Away" (3/5) 6 "Spaceship" (featuring GLC and Consequence) (3/5) 7 "Jesus Walks" (4/5) 8 "Never Let Me Down" (featuring Jay-Z and J. Ivy) (2/5) 9 "Get Em High" (featuring Talib Kweli and Common) (3/5) 10 "Workout Plan (Skit)" (2/5) 11 "The New Workout Plan" (3/5) 12 "Slow Jamz" (Twista featuring Kanye West and Jamie Foxx) (2/5) 13 "Breathe In Breathe Out" (featuring Ludacris) (2/5) 14 "School Spirit (Skit 1)" (2/5) 15 "School Spirit" (3/5) 16 "School Spirit (Skit 2)" (2/5) 17 "Lil Jimmy (Skit)" (2/5) 18 "Two Words" (featuring Mos Def, Freeway and The Boys Choir of Harlem) (4/5) 19 "Through the Wire" (2/5) 20 "Family Business" (2/5) 21 "Last Call" (2/5) Total - 52 Average - 2.48 148/1001 78/148 albums reviewed were new to me.

Despite their distinctive sound and an excellent name, Echo and The Bunnymen never secured a place in my early 1980s collection. My listening habits were then dominated by rivals like The Cure, Joy Division, The Smiths, Simple Minds and early U2. "Ocean Rain" is an undeniable four-star effort. Its strength lies in its cohesion: the song writing, arrangement, and performances, across the record, are largely excellent. Furthermore, the album production is timeless, successfully sidestepping the decade's pervasive sonic trends. Yet, for me, it falls short of a five-star rating. The album’s grandiose ambition to be a haunting, epic work is only partially realized. The opening tracks, "Silver" and "Nocturnal Me," immediately establish the new sonic palette, the former with its bright orchestral clarity, the latter with a dark, martial mood. However, the quality dips dramatically mid-album. While "Crystal Days" and "The Yo Yo Man" are fine enough tracks, "Thorn of Crowns" is the primary flaw. Even for a listener like myself, who prioritizes sound over lyrical content, the track's absurd and nearly risible lyrics severely undermine the album’s mood and very nearly achieved a 2/5 rating. Only on "The Killing Moon" does the Bunnymen’s vision achieve flawless execution. This five-star track fuses mysterious lyrics, a magnificent arrangement, superb dynamics, Ian McCulloch’s towering vocal, and Will Sergeant’s signature guitar flourishes into a perfect whole. It is echoed closely in quality by the single "Seven Seas" and the equally powerful title track. 1. "Silver" (5/5) 2. "Nocturnal Me" (4/5) 3. "Crystal Days" (3/5) 4. "The Yo Yo Man" (3/5) 5. "Thorn of Crowns" (3/5) 6. "The Killing Moon" (5/5) 7. "Seven Seas" (5/5) 8. "My Kingdom" (4/5) 9. "Ocean Rain" (5/5) Total - 37 Average - 4.11 149/1001 79/149 albums reviewed were new to me.

The Everly Brothers were, for me, the kings of the hit single, so finding their 1960 effort, "A Date With The Everly Brothers", on an album list was unexpected. To appreciate it, you must accept it as a product of its era - the production and arrangements scream 1960. Without doing this you will be disappointed. When viewed through that lens, and appreciating the Everly Brothers signature harmonies, that inspired everyone from The Beatles, The Beach Boys, the Hollies to Simon & Garfunkel, the album (just) earns a four-star rating. The clear standouts for me were: - "Cathy's Clown": A magnificent, structurally unconventional track written by Don Everly and their career best-seller. Truly brilliant. - "Love Hurts": Making its debut here before becoming a widely covered standard. - "Baby What You Want Me to Do": A Jimmy Reed blues cover that works surprisingly well for The Everly's but it's worth checking out in Elvis’s '68 special version later! The remaining songs are solid, though I question the inclusion of their cover of Little Richard’s "Lucille." Side One 1 "Made to Love" (3/5) 2 "That's Just Too Much" (4/5) 3 "Stick With Me Baby" (4/5) 4 "Baby What You Want Me to Do" (5/5) 5 "Sigh, Cry, Almost Die" (3/5) 6 "Always It's You" (4/5) Side Two 1 "Love Hurts" (5/5) 2 "Lucille" (3/5) 3 "So How Come (No One Loves Me)" (4/5) 4 "Donna, Donna" (3/5) 5 "A Change of Heart" (3/5) 6 "Cathy's Clown" (5/5) Total - 46 Average - 3.83 150/1001 80/150 albums reviewed were new to me.

My exploration of the 1001 Albums list is currently being guided by artists like Steely Dan, those I've somehow managed to skip over until now. The question with "Pretzel Logic" is whether it qualifies as a five-star omission from my album collection. My conclusion: no! It just earns a rating of four stars. While the opening track, "Rikki Don't Lose That Number", is a familiar radio staple from my youth, at that time it didn't resonate as strongly with me as other acts of the day such as Bowie, Elton John, or the UK Glam Rock scene. The album truly shines on two tracks: the irresistible groove of "Night by Night" and the title track, both highlighted by exceptional lead guitar. Outside of those moments, "Pretzel Logic" remains firmly in the realm of pleasant, safe soft rock, characterized by crisp production, subtle jazz influences, and capable vocals, but ultimately too reserved to leave a lasting mark. Side one 1 "Rikki Don't Lose That Number" (3/5) 2 "Night by Night" (5/5) 3 "Any Major Dude Will Tell You" (3/5) 4 "Barrytown" (4/5) 5 "East St. Louis Toodle-Oo" (3/5) Side two 6 "Parker's Band" (3/5) 7 "Through with Buzz" (3/5) 8 "Pretzel Logic" (5/5) 9 "With a Gun" (4/5) 10 "Charlie Freak" (3/5) 11 "Monkey in Your Soul" (4/5) Total - 40 Average - 3.64 151/1001 81/151 albums reviewed were new to me.

Roxy Music are another rock band that I really should like more than I do and it's hard to put my finger on why I don't. I find them Ok, more than Ok actually, but aside from a greatest hits compilation, that I owned on vinyl many years ago, I now only posses their debut album, and rarely play it. I had never heard "Country Life" before today and it's a very good album (4/5) that marks a noticeable, if occasionally jarring (schizophrenic), shift from their early Art Rock toward a smoother Pop/Rock sound. The standout tracks for me were: - "All I Want Is You": A high-energy rocker featuring great lead guitar, prominent saxophone, and a stomping drum beat that perfectly fit the 1974 UK glam scene. - "Out of The Blue": Shares a similar powerful, driving vein with "All I Want Is You." - "Bitter-Sweet": is a dramatic song, cabaret influenced, partly sung in German. Decadent and dark. It's right up my Straße so to speak! - "Casanova": A hard-rocking tune defined by sharp guitar work and a signature sneering Bryan Ferry vocal. Side one 1 "The Thrill of It All" (4/5) 2 "Three and Nine" (3/5) 3 "All I Want Is You" (5/5) 4 "Out of the Blue" (5/5) 5 "If It Takes All Night" (3/5) Side two 1 "Bitter-Sweet" (5/5) 2 "Triptych" (3/5) 3 "Casanova" (5/5) 4 "A Really Good Time" (3/5) 5 "Prairie Rose" (4/5) Total - 40 Average - 4 152/1001 82/152 albums reviewed were new to me.

My journey into Stephen Stills' solo career begins today with "Manassas," as I've surprisingly never heard any of his solo albums, despite knowing the names CSN(&Y). Stills’ reputation as a great lead player is well-earned, and he showcases it effectively right from the first track, "Song of Love." This 1970s studio double album is conceptually divided into four separate sides. Sonically, the record is very good; the production and mix are surprisingly clear and well-crafted, demonstrating superior musicianship throughout. While the songs are well-written and performed, they often lack an immediate, defining impact. After a very strong opening, the middle sections (Sides 2 and 3) felt slightly disappointing in retrospect. The entire experience leans toward being an overwhelming collection of high-quality, pleasant rock rather than a required listen. Is it essential? No, not in my view. I'd rate it three stars. Side one – The Raven 1 "Song of Love" (4/5) 2 "Medley (4/5) Rock & Roll Crazies Cuban Bluegrass" 3 "Jet Set (Sigh)" (5/5) 4 "Anyway" (5/5) 5 "Both of Us (Bound to Lose)" (3/5) Side two – The Wilderness 6 "Fallen Eagle" (2/5) 7 "Jesus Gave Love Away for Free" (3/5) 8 "Colorado" (4/5) 9 "So Begins the Task" (3/5) 10 "Hide It So Deep" (3/5) 11 "Don't Look at My Shadow" (3/5) Side three – Consider 12 "It Doesn't Matter" (3/5) 13 "Johnny's Garden" (3/5) 14 "Bound to Fall" (3/5) 15 "How Far" (3/5) 16 "Move Around" (3/5) 17 "The Love Gangster" (4/5) Side four – Rock & Roll Is Here to Stay 18 "What to Do" (3/5) 19 "Right Now" (3/5) 20 "The Treasure (Take One)" (4/5) 21 "Blues Man" (in tribute: Jimi Hendrix, Al Wilson, Duane Allman) (4/5) Total - 72 Average - 3.43 153/1001 83/153 albums reviewed were new to me.

Santana's "Abraxas" is a classic album that I regrettably overlooked for years, my loss entirely! This album is superbly written, arranged, and performed, featuring an excellent mix that marries Latin rhythms with Rock and Jazz. The guitar work and overall instrumentation are wonderful, showcasing a superb use of dynamics throughout. This dynamic range is crucial, especially given that five of the nine tracks are instrumentals, yet the album maintains excellent melodies and a cohesive flow. A near-perfect blend of rock, blues, and Latin jazz. A wonderful listen (5/5). Side one 1 "Singing Winds, Crying Beasts" (Instrumental) (4/5) 2 "Black Magic Woman/Gypsy Queen" (5/5) 3 "Oye Cómo Va" (5/5) 4 "Incident at Neshabur" (Instrumental) (5/5) Side two 1 "Se a Cabó" (Instrumental) (4/5) 2 "Mother's Daughter" (5/5) 3 "Samba Pa Ti" (Instrumental) (5/5) 4 "Hope You're Feeling Better" (5/5) 5 "El Nicoya" (Instrumental) (5/5) Total - 42 Average - 4.67 154/1001 84/154 albums reviewed were new to me.

Some critics dismiss live albums, suggesting they don't belong on definitive lists like 1001 Albums. To them, I argue that certain live recordings can be as vital, influential, and sonically superior to their studio counterparts. Robert Dimery's inclusion of The Who's "Live At Leeds" proves this point, it captures the band at their absolute peak. Initially released as a concise six-track LP, the album has seen many reissues. I highly recommend the 2001 release, which finally presented the full concert, including the electrifying performance of "Tommy" as the second half of the set, and it features delightful, between song, stage introductions. While I personally champion the 2001 expanded version for its completeness, the original track listing remains a phenomenal, condensed snapshot of their power. From the thunderous opening of "Heaven and Hell" (originally the B-side to "Summertime Blues"), raw, loud, and live, to the final track, "Live At Leeds" is brilliant. It perfectly encapsulates an era when rock acts toured globally, fiercely competing to be crowned the best live band in the world. The Who truly earned that title here. (Rating: 5/5) The standout moments included "I Can't Explain," a powerful rendition of "Substitute," "Happy Jack," "I'm a Boy," a fantastic take on "A Quick One, While He's Away," "Shakin' All Over," an epic, extended version of "My Generation," the main set closer "Magic Bus," and a near complete performance of "Tommy" (which I reviewed as a single piece). Side One - Original Track Listing 1 "Young Man Blues" (4/5) 2 "Substitute" (5/5) 3 "Summertime Blues" (5/5) 4 "Shakin' All Over" (5/5) Side Two - Original Track Listing 1 "My Generation" (5/5) 2 "Magic Bus" (5/5) Total - 29 Average - 4.83 Disc 1 - Act 1: Full Original Set List (2001 Deluxe Edition ) 1 "Heaven And Hell" (5/5) 2 "I Can't Explain" (5/5) 3 "Fortune Teller" (4/5) 4 "Tattoo" (4/5) (4/5) 5 "Young Man Blues" (4/5) 6 "Substitute" (5/5) 7 "Happy Jack" (5/5) 8 "I'm a Boy" (5/5) 9 "A Quick One, While He's Away" (5/5) 10 "Summertime Blues" (5/5) 11 "Shakin' All Over" (5/5) 12 "My Generation" (5/5) 13 "Magic Bus" (5/5) Disc 2 - Act 2: Full Original Set List, Tommy In Full (2001 Deluxe Edition ) 1 "Overture" (5/5) 2 "It's a Boy" (5/5) 3 "1921" (5/5) 4 "Amazing Journey" (5/5) 5 "Sparks" (5/5) 6 "Eyesight To The Blind (The Hawker)" (5/5) 7 "Christmas" (5/5) 8 "The Acid Queen" (5/5) 9 "Pinball Wizard" (5/5) 10 "Do You Think It’s Alright?" (5/5) 11 "Fiddle About" (5/5) 12 "Tommy, Can You Hear Me?" (5/5) 13 "There’s A Doctor" (5/5) 14 "Go to the Mirror!" (5/5) 15 "Smash the Mirror" (5/5) 16 "Miracle Cure" (5/5) 17 "Sally Simpson" (5/5) 18 "I'm Free" (5/5) 19 "Tommy’s Holiday Camp" (5/5) 20 "We're Not Gonna Take It" (5/5) Total - 162.00 Average - 4.91 155/1001 84/155 albums reviewed were new to me.

"Songs From A Room" marks my first full introduction into Leonard Cohen's catalogue. I found it a stark album, with stripped-back production, placing the emphasis squarely on his voice, or, more precisely, his lyrics. The vocal delivery will undoubtedly be the defining characteristic for most listeners; it's unconventional and far from 'pretty,' which perfectly mirrors the sparse musical arrangements. Personally, I liked the vocals. Despite the minimalism, the songs successfully command attention. I classify "Songs From A Room" as a "Listening Album," one that demands multiple spins for its full qualities to emerge. I enjoyed "Songs From A Room", and would certainly revisit it. Its inclusion on this list is clearly down to Cohen's massive influence as a songwriter, which is evident in tracks that foreshadow artists like Nick Cave. However, I felt the overall quality was inconsistent. Ultimately, it was a good listen, well worth repeat plays, which in time might improve its overall rating, but for now it rates at (3/5). My last point would be on the album artwork, it tries to mirror the starkness of the contents within and I understand that, but it is truly awful. Side one 1 "Bird on the Wire" (4/5) 2 "Story Of Isaac" (3/5) 3 "A Bunch Of Lonesome Heroes" (4/5) 4 "The Partisan" (3/5) 5 "Seems So Long Ago, Nancy" (4/5) Side two 6 "The Old Revolution" (3/5) 7 "The Butcher" (4/5) 8 "You Know Who I Am" (3/5) 9 "Lady Midnight" (3/5) 10 "Tonight Will Be Fine" (3/5) Total - 34 Average - 3.4 156/1001 85/156 albums reviewed were new to me.

Coincidentally, I have now spent two consecutive days listening to Leonard Cohen's early work, as part of working through this list: yesterday with his second album, "Songs From A Room", and today with his 1967 debut, "Songs of Leonard Cohen". Overall, the debut is an agreeable listen, characterized by plaintive, minimalistic tracks gently adorned with swells of orchestration here and there. The guitar work, both acoustic and electric, serves mainly to add subtle colour. Cohen's vocal delivery is purely utilitarian, designed solely to articulate the lyrics. "So Long, Marianne" was probably the stand out song for me. That said, the backing vocals sounded somewhat twee and out of keeping, otherwise a fine song. While I recognize the considerable influence Leonard Cohen's song writing has had, as evidenced by the familiar covers, this album doesn't strike me as essential listening for my personal taste. Between the first two, I marginally prefer "Songs From A Room". (3/5). On a final note, the visual presentation of the debut seems as questionable as Cohen's second album; I find the cover art for this album equally poor. Side one 1 "Suzanne" (4/5) 2 "Master Song" (3/5) 3 "Winter Lady" (3/5) 4 "The Stranger Song" (3/5) 5 "Sisters of Mercy" (4/5) Side two 6 "So Long, Marianne" (4/5) 7 "Hey, That's No Way to Say Goodbye" (3/5) 8 "Stories of the Street" (3/5) 9 "Teachers" (4/5) 10 "One of Us Cannot Be Wrong" (3/5) Total - 34 Average - 3.4 157/1001 86/157 albums reviewed were new to me.

I made the mistake of drifting away from New Order after "Power, Corruption & Lies", a lapse I struggle to explain especially as I found "Low-Life" to be a five-star album; I was immediately compelled to play it through multiple times. Side one is near-perfection, loaded with tracks that are, frankly, stonkingly good (that's a valid musical term!): - "Love Vigilantes" sets a brilliant tone with its immediate, melodic hook. - "The Perfect Kiss" is Please-era Pet Shop Boys before the fact, all pulsing synthesisers and driving dance rhythms. - "This Time of Night" is my favourite; it’s the quintessential fusion of stark post-punk dread and compelling electronic pulse. - "Sunrise" is an absolute banger, showcasing that fantastic, raw guitar tone and bass lines worthy of legend, a song that flirts powerfully with the Joy Division sound. Side two starts more introspectively with the subdued elegance of "Elegia." The album finds its full, upbeat momentum again on "Sub-Culture," where all the disparate sonic elements click into the peak groove established on Side One. "Low-life" concludes with the quirky, up-beat "Face Up". At its height, Low-Life is the definitive New Order statement: the inimitable bass, meticulous rhythmic programming, throbbing electronics and dance beats, unforgettable melodies, and those evocative guitar flashes reminiscent of their past. Sumner’s voice, always a point of debate, is one of my favourite elements. I appreciate the bravery in its fragility; he purposefully embraces sounds that are imperfect or rough, successfully navigating the fine line away from Ian Curtis while still suiting the music perfectly. A fabulous album. Side one 1 "Love Vigilantes" (5/5) 2 "The Perfect Kiss" (5/5) 3 "This Time of Night" (5/5) 4 "Sunrise" (5/5) Side two 1 "Elegia" (5/5) 2 "Sooner Than You Think" (4/5) 3 "Sub-culture" (5/5) 4 "Face Up" (5/5) Total - 39 Average - 4.88 158/1001 87/158 albums reviewed were new to me.

My experience with metal began in the late 1970s, giving me a view of the genre's evolution, notably the emergence of Thrash and Death Metal, styles that I've witnessed live but am not a dedicated enthusiast of. What I primarily look for in Metal are hooks, a touch of melody and groove, along with compelling dynamics (light and shade). Speed can be fun when used right. A crucial dealbreaker for me is the presence of highly distorted or growling vocals, which I find off-putting. Despite acknowledging some good guitar work and riffs, my overall experience with Sepultura's "Arise" was one of quick indifference, and I won't be returning to it. For me, the main flaws were the monotonous, unimaginative drumming and the constant onslaught of noise and power, which collectively robbed the sound of any desired groove. The vocals were also unengaging. As a whole, the album felt tediously long; a low point was realizing I was only three tracks in, at "Desperate Cry", just before "Murder" began. While I can respect the album's merits, and why some folks would enjoy this album, it was ultimately not for my taste (2/5 stars). 1 "Arise" (2/5) 2 "Dead Embryonic Cells" (2/5) 3 "Desperate Cry" (2/5) 4 "Murder" (2/5) 5 "Subtraction" (1/5) 6 "Altered State" (2/5) 7 "Under Siege (Regnum Irae)" (2/5) 8 "Meaningless Movements" (2/5) 9 "Infected Voice" (1/5) Total - 16 Average - 1.78 159/1001 88/159 albums reviewed were new to me.

As a newcomer to Snoop Dogg, I found "Doggystyle" to be surprisingly accessible. The album's G-funk style, characterized by funky, laid-back grooves and a smoother rap flow, provided a distinctive and low-key introduction. The strong production, featuring excellent sonic hooks and samples, enhanced the relaxed atmosphere and gave the music a welcome Pop sensibility, making it an easier listen than expected. I genuinely enjoyed Snoop's vocal delivery and the album's striking artwork makes a great first impression. However, the album is overly long and frequently interrupted by unnecessary skits. Is there a Hip-Hop/Rap album without skits? Overall, I found "Doggystyle" to be a solid and enjoyable listen, but ultimately Hip-Hop/Rap is not for me and it's not an album I anticipate revisiting. (3/5). 1 "Bathtub" (3/5) 2 "G Funk Intro" (featuring The Lady of Rage) (2/5) 3 "Gin and Juice" (featuring Dat Nigga Daz) (3/5) 4 "W Balls" (interlude) (3/5) 5 "Tha Shiznit" (4/5) 6 "Domino Intro" (interlude) (2/5) 7 "Lodi Dodi" (featuring Nancy Fletcher) (3/5) 8 "Murder Was the Case (DeathAfterVisualizingEternity)" (featuring Dat Nigga Daz) (3/5) 9 "Serial Killa" (featuring The D.O.C., Tha Dogg Pound, and RBX) (3/5) 10 "Who Am I? (What's My Name?)" (3/5) 11 "For All My Niggaz & Bitches" (featuring Tha Dogg Pound and The Lady of Rage) (3/5) 12 "Ain't No Fun (If the Homies Can't Have None)" (featuring Nate Dogg, Warren G, and Kurupt) (3/5) 13 "Chronic Relief Intro" (interlude) (2/5) 14 "Doggy Dogg World" (featuring Tha Dogg Pound and The Dramatics) (3/5) 15 "Class Room Intro" (interlude) (2/5) 16 "Gz and Hustlas" (3/5) 17 "Checkin'" (interlude) (2/5) 18 "Gz Up, Hoes Down" (3/5) 19 "Pump Pump" (featuring Lil Malik) (2/5) Total - 52 Average - 2.74 160/1001 89/160 albums reviewed were new to me.

"Beauty and the Beat" is a very good Pop/Rock album that radiates with energy, delivering a collection of strong tunes and melodies. The record captures a vibrant, "sound of summer" quality, characterized by excellent lead vocals and tight harmonies. It is a thoroughly enjoyable and foot-tappingly good listen from start to finish. (Rating - 4/5). Key Highlights: Standout tracks that define the album's brilliance include: "Our Lips Are Sealed," "We Got the Beat," and "Automatic." Side one 1 "Our Lips Are Sealed" (5/5) 2 "How Much More" (4/5) 3 "Tonite" (3/5) 4 "Lust to Love" (4/5) 5 "This Town" (4/5) Side two 6 "We Got the Beat" (5/5) 7 "Fading Fast" (4/5) 8 "Automatic" (5/5) 9 "You Can't Walk in Your Sleep (If You Can't Sleep)" (4/5) 10 "Skidmarks on My Heart" (3/5) 11 "Can't Stop the World" (4/5) Total - 45 Average - 4.09 161/1001 90/161 albums reviewed were new to me.

Iron Maiden's self titled debut album is a fine debut, and an incredibly influential album, boasting some truly mighty tracks. The energy is front-loaded, particularly with the first five songs (including "Sanctuary"). While the quality dips slightly on side two with tracks like "Charlotte The Harlot" . The album was recorded with the late Paul Di'Anno on lead vocals. I had the pleasure of seeing him front Iron Maiden live on their 1981 "Killers" Tour, and he was a brilliant singer, blending a raw punk sensibility with powerful rock delivery. The undeniable standout track on the album is "Phantom Of The Opera." It is a stunning, foundational masterpiece. Brutal in its execution, yet absolutely epic in its storytelling, this track is the template for Iron Maiden's long-form epics that would follow. It features incredible tempo changes, great drumming, frenetic riffing, blistering guitar solos, and phenomenal bass work. The tempo switch at 4 minutes 34 seconds, leading into the stunning guitar solos still gives me 'the chills' to this day. This is a song that clearly influenced the thrash metal bands that followed a few years later. The one drawback is the production. The overall mix could be crisper and sharper, a flaw bassist Steve Harris agreed with, which is why he brought in the legendary Martin Birch to rectify the engineering on their second album "Killers". Despite this one technical issue, and though this is not my favourite Iron Maiden album, it is a five-star debut that laid the groundwork for a legendary career. A final mention must be made of Derek Riggs’ stunning artwork. Across seventeen studio albums (as of 2025), Iron Maiden has famously never appeared on any of these covers, instead opting for the iconic presence of their enduring mascot, "Eddie The Head", in various guises. 1 "Prowler" (5/5) 2 "Sanctuary" (5/5) 2 "Remember Tomorrow" (5/5) 3 "Running Free" (5/5) 4 "Phantom of the Opera" (5/5) 5 "Transylvania" (instrumental) (5/5) 6 "Strange World" (4/5) 7 "Charlotte the Harlot" (4/5) 8 "Iron Maiden" (5/5) Total - 43 Average - 4.78 162/1001 90/162 albums reviewed were new to me.

I'm always chuffed when an album I know absolutely nothing about pops up on this list, especially if it's in a genre I enjoy. I found "Darkdancer" to be competently put together and performed, but overall I found it somewhat soulless, evoking little to no emotional reaction in me whilst listening. The second track, "Music Makes You Lose Control", is a prime example, it certainly didn't convey that feeling at all. Instead, I just sipped my coffee and dunked my Bourbon biscuit, it was more "Music Makes You Want To Act Responsibly". "Hypnotise", "(Hey You) What's That Sound?", "Jacques Your Body (Make Me Sweat)" and "Sometimes" were okay/decent tracks, mind you. My son reminded me that "Jacques Your Body (Make Me Sweat)" was used in the Citroen C4 car advertisement in 2004. This album is simply not for me, but I did find it difficult to rate. I rated it at (2/5), but for some tracks, it was a fine line between a 2-star rating and a 3-star rating. I can understand why some people might really like it and give it a higher rating, but overall, "Darkdancer" lacked a clear identity or theme; for me it comes across like a collection of tracks on a compilation album, but without any clear stand-out tracks. 1 "Dreamin'" (2/5) 2 "Music Makes You Lose Control" (2/5) 3 "Soft Machine" (featuring Thomas Ribeiro) (2/5) 4 "Hypnotise" (3/5) 5 "(Hey You) What's That Sound?" (3/5) 6 "Take a Little Time" (featuring Shannon) (2/5) 7 "From: Disco to: Disco" (2/5) 8 "Brothers" (2/5) 9 "Jacques Your Body (Make Me Sweat)" (3/5) 10 "About Funk" (2/5) 11 "Sometimes" (featuring Nik Kershaw) (3/5) 12 "Damaged People" (featuring Thomas Ribeiro) (2/5) Total - 28 Average - 2.33 163/1001 91/163 albums reviewed were new to me.

"The Piper at the Gates of Dawn" is, unequivocally, an album very much of its time. Everything, from the iconic kaleidoscopic cover to the studio production, arrangements, and performances, captures the atmosphere of 1967 right at the forefront of the psychedelic rock movement. Sonically, it’s like 1967 captured in a bottle. For listeners new to Pink Floyd, or those only familiar with their later, globally renowned work ("The Dark Side of the Moon", "Wish You Were Here", "Animals", "The Wall"), this initial listen can be quite jarring, it is certainly an eclectic and uncompromising debut. Having owned a copy since the early '80s and grown up with it, I find that while it doesn't quite match the conceptual heights of those 1970s epics, it is undoubtedly a fine listen and a very good debut effort (4/5). For a complete picture, I'd strongly recommend listening to "The Piper at the Gates of Dawn" in conjunction with the 1971 compilation album, "Relics"; this collects the non-album 'A' and 'B' sides from the period, which contain some equally brilliant tracks that flesh out Syd Barrett's creative tenure, of which this was his only full studio album, though he did contribute, in part, to their second album "A Saucerful of Secrets" in 1968. Standout tracks were: "Astronomy Domine": A magnificent album opener and one of my favourite early Pink Floyd tracks. It instantly drops the listener into a space-rock vortex. It begins with the spoken word introduction, echoing a spaceship’s inter-communications system, before a descending guitar riff and Richard Wright's organ lead the way. It’s simply brilliant. "Interstellar Overdrive": Just wonderful, though certainly not for everyone! This is an essential avant-garde track and one of the best psychedelic improvisations ever recorded. Starting with a simple, memorable riff, it quickly dissolves into nearly eight minutes of sustained, improvisational noise, feedback, and sound manipulation. It’s daring, ground-breaking, and brilliantly captures the frenetic energy of their early live gigs. While this track might well deter a lot of new listeners, it will undoubtedly win over others. "The Gnome": The immediate shift to "The Gnome" is delightful; a gentle, musical nursery rhyme that follows the sheer cacophony of "Interstellar Overdrive". "Bike": Quirky, peculiar, and utterly whimsical. A love song of sorts. This closer describes a bizarre list of gifts (a bike, a mouse named Gerald, a cloak, gingerbread men) offered to a girl, culminating in the infamous sound collage of ducks, clocks, and swirling effects in the "room full of musical tunes." To my mind, the track is clearly inspired by the surreal humour and poetry of figures like Spike Milligan, quintessentially British! Side One 1 "Astronomy Dominé" (5/5) 2 "Lucifer Sam" (4/5) 3 "Matilda Mother" (4/5) 4 "Flaming" (3/5) 5 "Pow R. Toc H." (3/5) 6 "Take Up Thy Stethoscope and Walk" (3/5) Side Two 1 "Interstellar Overdrive" (5/5) 2 "The Gnome" (5/5) 3 "Chapter 24" (4/5) 4 "The Scarecrow" (4/5) 5 "Bike" (5/5) Total - 45 Average - 4.09 164/1001 91/164 albums reviewed were new to me.

"Meat Is Murder" captures The Smiths in the midst of an evolution away from their debut sound, which, while progressive, results in a collection of songs that feels less clearly defined than their other records. That said, the album contains some truly magnificent tracks and offers a very rewarding listening experience. (4/5) Note "How Soon Is Now?" wasn't on the original UK release but it's been included for years so I'm including on this review. Standout tracks: - "The Headmaster Ritual" - A blistering opener. A driving a critique of corporal punishment and the repressive British school system. - "That Joke Isn't Funny Anymore" - A beautiful, melancholic ballad built around an echoing guitar line. Morrissey's voice is at its most vulnerable. - "How Soon Is Now?" - Defined by its unique sonic landscape. It completely departs from the signature guitar jangle sound of The Smiths. The song is a brilliant portrayal of crippling social anxiety and loneliness. The narrator goes out to a club, hoping to meet someone, but his shyness keeps him marooned, watching everyone else. Stunning. - "Barbarism Begins at Home" - Funky guitar from Marr and a stunning bassline from Rourke. Morrissey's lyrics are an attack on child abuse and domestic violence. Side one No. Title 1 "The Headmaster Ritual" (5/5) 2 "Rusholme Ruffians" (4/5) 3 "I Want the One I Can't Have" (4/5) 4 "What She Said" (4/5) 5 "That Joke Isn't Funny Anymore" (5/5) Side two 6 "How Soon Is Now?" (5/5) 7 "Nowhere Fast" (4/5) 8 "Well I Wonder" (4/5) 9 "Barbarism Begins at Home" (5/5) 10 "Meat Is Murder" (4/5) Total - 44 Average - 4.40 165/1001 91/165 albums reviewed were new to me.

The writing, arranging, and performance on "Feast of Wire" are all very accomplished, but it struggles sonically. The first four tracks immediately establish a very downcast mood, and the album essentially sticks to this template throughout. Over its running time of nearly 50 minutes and sixteen tracks, it failed to fully grip me. There are some very good moments, though: the 'James Bond' style strings in 'Black Heart' add a touch of drama, and 'Close Behind' evokes a clear 'Magnificent Seven' soundtrack vibe. A good, pleasant, but ultimately unremarkable listen. Maybe I just wasn't in the right frame of mind for this today? (3/5). 1 "Sunken Waltz" (3/5) 2 "Quattro (World Drifts In)" (3/5) 3 "Stucco" (3/5) 4 "Black Heart" (3/5) 5 "Pepita" (3/5) 6 "Not Even Stevie Nicks..." (3/5) 7 "Close Behind" (3/5) 8 "Woven Birds" (3/5) 9 "The Book and the Canal" (3/5) 10 "Attack el Robot! Attack!" (3/5) 11 "Across the Wire" (3/5) 12 "Dub Latina" (3/5) 13 "Güero Canelo" (3/5) 14 "Whipping the Horse's Eyes" (3/5) 15 "Crumble" (3/5) 16 "No Doze" (3/5) Total - 48 Average - 3 166/1001 92/166 albums reviewed were new to me.

Stevie Wonder isn't normally an artist I'd gravitate towards, but my younger brother is a big fan. Growing up in the seventies, he managed the Soul and R&B side of our record collection, while my tastes were more aligned with Rock and Blues. Consequently, I've heard this album countless times! "Talking Book" opens with the sentimental, smooth track "You Are the Sunshine of My Life," but I much prefer the more abrasive, funky cuts, such as "Maybe Your Baby" and the stand-out, superb track, "Superstition", or even the folky "Big Brother". The entire album possesses that classic 70s Stevie Wonder sound. Expertly written, arranged, performed, and produced. "Talking Book" is a mighty fine record, and I can appreciate why, for some, it's considered an essential album. For me, it registers as a very good four-star effort, though not one I'd ever personally own or listen to regularly. Side one 1 "You Are the Sunshine of My Life" (4/5) 2 "Maybe Your Baby" (5/5) 3 "You and I (We Can Conquer the World)" (4/5) 4 "Tuesday Heartbreak" (4/5) 5 "You've Got It Bad Girl" (3/5) Side two 1 "Superstition" (5/5) 2 "Big Brother" (5/5) 3 "Blame It on the Sun" (3/5) 4 "Lookin' for Another Pure Love" (3/5) 5 "I Believe (When I Fall in Love It Will Be Forever)" (4/5) Total - 40 Average - 4 167/1001 92/167 albums reviewed were new to me.

I caught the Kings of Leon on the tour for this album, at the Hammersmith Apollo in London, and what a superb gig it was. I took my son along, too. Back then, the band still had their signature grittier, rock sound, possessed attitude in spades and they rocked. "Aha Shake Heartbreak" is a better arranged and produced album than their debut ("Youth & Young Manhood"), and is the more consistent of the two, showing a notable degree of variety. The songs are tighter, and the quality remains high throughout. Their first two albums still remain my favourites of theirs. I’ve noticed that the vocals have received a lot of stick on the reviews for this '1001' generator, though not from me! They are certainly distinctive: raw and raspy, with a great Southern drawl from Caleb Followill, but they perfectly suit the music, and nobody else sounds quite like him. I’ve always considered the rhythm section to be one of the finest, and Matthew Followill’s lead guitar work is exceptional, featuring catchy riffs throughout. This is a fine album, with stand-out tracks including "Slow Night, So Long", "King of the Rodeo", "Taper Jean Girl", "The Bucket", "Soft", "Day Old Blues", and a wonderfully unhinged "Four Kicks". It easily rates at four stars, just missing a five star rating. 1 "Slow Night, So Long" (5/5) 2 "King of the Rodeo" (5/5) 3 "Taper Jean Girl" (5/5) 4 "Pistol of Fire" (4/4) 5 "Milk" (4/4) 6 "The Bucket" (5/5) 7 "Soft" (5/5) 8 "Razz" (4/4) 9 "Day Old Blues" (5/5) 10 "Four Kicks" (5/5) 11 "Velvet Snow" (3/5) 12 "Rememo" (4/4) 13 "Where Nobody Knows" (4/4) Total - 58 Average - 4.46 168/1001 92/168 albums reviewed were new to me.

"The Man-Machine"" is a stone-cold classic and a foundational document of modern electronic music. Sonically, it is defined by its superb production, it sounds incredibly clean and cold, which paradoxically underpins a set of wonderfully catchy melodies, reflecting a greater Pop aesthetic (e.g. "The Model" and "Neon Lights"). The electronic beats across the album are very danceable. The use of eerie, processed vocals reinforces the core concept of the human-machine fusion. Superbly produced, written, arranged, and performed, this album is highly influential on an enormous range of genres, from synth-pop and new wave to techno and hip-hop. A wonderful album that doesn't outstay its welcome, containing just six tracks across 36 minutes. Decades later, the album's sound remains remarkably fresh and futuristic, a testament to Kraftwerk's technical mastery and vision. For me, it's just perfect. 5/5. Side one 1 "The Robots" ("Die Roboter") (5/5) 2 "Spacelab" (5/5) 3 "Metropolis" (5/5) Side two 4 "The Model" ("Das Model") (5/5) 5 "Neon Lights" ("Neonlicht") (5/5) 6 "The Man-Machine" ("Die Mensch-Maschine") (5/5) Total - 30 Average - 5 169/1001 92/169 albums reviewed were new to me.

"Floodland" is a dramatic and strikingly produced record. The album maintains a lean runtime of just eight songs across 45 minutes, a concise structure that prevents the music from feeling overextended. The centrepiece is "This Corrosion," which encapsulates the album's finest qualities: it is catchy, dramatic, and monumental in scale. Famously produced by Jim Steinman, this collaboration yielded a gloriously overblown, theatrical anthem, complete with a choir. While "This Corrosion" takes the spotlight, the other material is also strong. The opener, "Dominion" / "Mother Russia," brilliantly establishes the mood, and "Lucretia My Reflection" stands as a quintessential track of The Sisters' sound. The piano ballad "1959" offers a sharp, contrasting moment of quiet amongst the albums eight tracks. "Floodland" is a very good album. Though the production might sound somewhat dated today, it remains a thrilling and worthwhile listen, earning it a rating of Four stars. Side one 1 "Dominion" / "Mother Russia" (5/5) 2 "Flood I" (4/5) 3 "Lucretia My Reflection" (5/5) 4 "1959" (5/5) Side two 5 "This Corrosion" (5/5) 6 "Flood II" (4/5) 7 "Driven Like the Snow" (4/5) 8 "Never Land" (a fragment) (3/5) Total - 35 Average - 4.375 170/1001 92/170 albums reviewed were new to me.

"Dusty In Memphis" highlights Dusty Springfield's famously expressive and soulful voice. Backed by the era's premier song writing talent, including Goffin & King, Bacharach & David, Mann & Weil, and Randy Newman, the tracks are elevated by lush string and horn arrangements, achieving a rich, elegant fusion of R&B and pop. The album maintains a strong sense of cohesion, with the material flowing together well. The only minor interruption is "The Windmills of Your Mind," which, despite its quality, momentarily breaks the album's established mood, and is a little out of place. "Dusty In Memphis" is a fine listen. Four stars. Side One 1 "Just a Little Lovin'" (4/5) 2 "So Much Love" (4/5) 3 "Son of a Preacher Man" (5/5) 4 "I Don't Want to Hear It Anymore" (5/5) 5 "Don't Forget About Me" (4/5) 6 "Breakfast in Bed" (5/5) Side Two 7 "Just One Smile" (4/5) 8 "The Windmills of Your Mind" (4/5) 9 "In the Land of Make Believe" (4/5) 10 "No Easy Way Down" (5/5) 11 "I Can't Make It Alone" (4/5) Total - 48 Average - 4.36 171/1001 92/171 albums reviewed were new to me.

If you listen to music, and listen to musicians and read about music I don't think that you can go through life without hearing of John Coltrane. He is spoken about in reverent terms, as is his album "A Love Supreme". Jazz and learning more about Jazz is one of the reasons why I started this exercise of listening to 1001 albums. What I have discovered so far, is that Jazz, on the whole, is just not for me. I found "A Love Supreme" to be a far from relaxing listening experience, off putting and sonically jarring. I was not at ease listening to it at any time. I didn't find it thrilling, moving or beautiful. At best I was indifferent, finding it somewhat monotonous, and at worst I disliked it. Did I like anything? The drumming of Elvin Jones was impressive, particularly during "Pursuance" but during that track it was effectively a drum solo, laid back a little in the mix until 7 minutes 30 seconds or so when he cuts loose. But we then move into a dull double bass guitar solo. If I find myself reaching for the definition of the 5 star rating system, that I use, the album I'm listening to is getting a rating of no greater than three stars. That is the case here. I realise that for some my rating will be a sacrilege but for me this is a two star album. 1 Part 1: "Acknowledgement" (2/5) 2 Part 2: "Resolution" (2/5) 3 Part 3: "Pursuance" (2/5) 4 Part 4: "Psalm" (1/5) Total - 7 Average - 1.75 172/1001 93/172 albums reviewed were new to me.

In the early 80s, Hanoi Rocks generated considerable hype that, frankly, I never bought into. I haven't revisited the band since that decade, and I went into "Back to Mystery City" having no memory of ever hearing it. Its inclusion on this list of 1001 albums was a genuine surprise. While it’s a pleasant listen, a solid, good rock album, it’s certainly not brilliant or earth-shatteringly original. The music’s biggest disservice is its thin production; the sound demands a fuller treatment than it receives here. As a result, "Back to Mystery City" is a straightforward three-star record: neither poor nor essential. 1 "Strange Boys Play Weird Openings" (3/5) 2 "Malibu Beach Nightmare" (3/5) 3 "Mental Beat" (3/5) 4 "Tooting Bec Wreck" (3/5) 5 "Until I Get You" (3/5) 6 "Sailing Down the Tears" (3/5) 7 "Lick Summer Love" (3/5) 8 "Beating Gets Faster" (3/5) 9 "Ice Cream Summer" (3/5) 10 "Back to Mystery City" (3/5) Total - 30 Average - 3 173/1001 94/173 albums reviewed were new to me.

My initial impression of "Home Is Where The Music Is" was promising, especially the opening track 'Part of a Whole' that starts with some lovely piano work. However, this appeal quickly faded. By the three-minute mark, the track felt aimless and overextended. This trend continued with subsequent tracks, like 'Minawa', where the shift from piano to trumpet failed to capture my interest. At 76 minutes, the album's lack of brevity made the listening experience attritional rather than engaging; a feeling of indulgence that soon became tiresome, reinforcing my suspicion that Jazz is not my genre. Apologies to the Jazz aficionados but for me this was a disappointing two-star experience. 1 "Part of a Whole" (2/5) 2 "Minawa" (2/5) 3 "The Big Apple" (2/5) 4 "Unhomé" (1/5) 5 "Maseru" (2/5) 6 "Inner Crisis" (2/5) 7 "Blues for Huey" (1/5) 8 "Nomali" (2/5) 9 "Maesha" (2/5) 10 "Ingoo Pow-Pow" (Children's Song) (1/5) Total - 17 Average - 1.7 174/1001 95/174 albums reviewed were new to me.

Röyksopp's "Melody A.M." initially held promise. The opening track, "So Easy", immediately appealed with its lovely, mellow tone, pairing charming vocal melodies with a subtle, pulsing electronic rhythm. However, by the third track, a low-key vibe had firmly established itself. While pleasant, this sustained relaxation verged on the inert, lacking an essential edge needed to sustain interest. This absence caused a sharp dip; by the time "In Space" arrived, the album was drifting into dull and uninteresting territory. The mood shifted decisively with "Poor Leno", which delivered a much-needed jolt of energy via its catchy, driving bass line and accelerated tempo. The album's dynamic potential was finally realized around the 2:44 mark of "A Higher Place," providing the track with a vital, soaring lift. This upward trajectory continued brilliantly into the danceable and funky "Röyksopp's Night Out", a clear highlight and the album's strongest moment since the opener. Unfortunately, the latter section of the album, comprising "Remind Me", "She's so", and "40 Years Back\Come", marked a return to the preceding mellowness. "Melody A.M." began with genuine promise but, save for these sporadic exceptions, ultimately sank into a sea of placid soundscapes, narrowly achieving a three-star rating 1 "So Easy" (4/5) 2 "Eple" (3/5) 3 "Sparks" (3/5) 4 "In Space" (2/5) 5 "Poor Leno" (3/5) 6 "A Higher Place" (3/5) 7 "Röyksopp's Night Out" (4/5) 8 "Remind Me" (2/5) 9 "She's So" (2/5) 10 "40 Years Back\Come" (2/5) Total - 28 Average - 2.8 175/1001 96/175 albums reviewed were new to me.

From the moment the The Pretenders' eponymous debut album kicks off with the track "Precious," it establishes itself as a high-quality record, utterly devoid of any dull moments or weak tracks. I admit that I previously hadn't considered it "essential", perhaps because its effortless quality and clarity of production make it so easy to listen to. The band is exceptional, the production is crystal clear, and the vocals are singularly distinctive and intriguing. However, approaching this album now with a critical ear, I realize I’ve been doing it a disservice. It firmly sits on the cusp of a 4 or 5-star rating. As my reviews lean toward accentuating the positive, and given that this album introduced us to the wonderful Chrissie Hynde, I have no quibbles allocating the full 5 stars. Chrissie Hynde possesses one of the most unique voices in rock, showcasing a remarkable ability to shift between extremes: alluring yet self-assured, tough yet vulnerable, playful yet half-spoken, sultry, sweet, and wistful. Aside from "Brass in Pocket" my favourite track is "Lovers of Today" and it's primarily because of Hynde's vocals - they are captivating. It is a simply wonderful voice that brings a smile to my face. Side one 1 "Precious" (4/5) 2 "The Phone Call" (4/5) 3 "Up the Neck" (5/5) 4 "Tattooed Love Boys" (4/5) 5 "Space Invader" (5/5) 6 "The Wait" (4/5) 7 "Stop Your Sobbing" (5/5) Side two 1 "Kid" (5/5) 2 "Private Life" (4/5) 3 "Brass in Pocket" (5/5) 4 "Lovers of Today" (5/5) 5 "Mystery Achievement" (5/5) Total - 55 Average - 4.58 176/1001 96/176 albums reviewed were new to me.

A well-written, performed, and produced effort, "Too-Rye-Ay" is a fine pop album. What moves it beyond the level of a simply "good" record are the select, standout tracks that are exceptional, just earning it a four-star rating rather than a three-star rating. I don't see it as an an essential listen but that's just personal taste. Side One 1 "The Celtic Soul Brothers (More, Please, Thank You)" (5/5) 2 "Let's Make This Precious" (3/5) 3 "All in All (This One Last Wild Waltz)" (3/5) 4 "Jackie Wilson Said (I'm in Heaven When You Smile)" (5/5) 5 "Old" (3/5) Side Two 6 "Plan B" (4/5) 7 "I'll Show You" (3/5) 8 "Liars A to E" (3/5) 9 "Until I Believe in My Soul" (3/5) 10 "Come On Eileen" (5/5) Total - 37 Average - 3.7 177/1001 97/177 albums reviewed were new to me.

Paul Simon's 1972 self-titled album presents a confident and wonderfully diverse collection of songs. Though undeniably low-key and relaxed, the album is also fun. The record's enduring appeal rests on its standouts: "Mother and Child Reunion", an infectious track infused with reggae and recorded with Jimmy Cliff's band, and the truly sublime "Me and Julio Down by the Schoolyard", a playful, samba-rhythm pop song that epitomizes light-hearted fun. What did the "Mama and Papa" see? But the album runs deeper than its hits. I especially appreciate the blues-drenched "Peace Like a River", anchored by truly wonderful acoustic guitar work. The track "Duncan", a beautifully crafted acoustic tale of a fisherman's son traveling Canada, and the album’s beautiful, sarcastically titled closing statement, "Congratulations", are equally brilliant deep cuts. Visually, the iconic portrait photograph by Edie Baskin is a perfect complement. The masterful framing and muted colours brilliantly capture the album's intimate and reflective contents. Packed with essential songs, "Paul Simon" remains a very good to great album. Four stars. Side one 1 "Mother and Child Reunion" (5/5) 2 "Duncan" (5/5) 3 "Everything Put Together Falls Apart" (3/5) 4 "Run That Body Down" (4/5) 5 "Armistice Day" (3/5) Side two 6 "Me and Julio Down by the Schoolyard" (5/5) 7 "Peace Like a River" (5/5) 8 "Papa Hobo" (4/5) 9 "Hobo's Blues" (4/5) 10 "Paranoia Blues" (4/5) 11 "Congratulations" (5/5) Total - 47 Average - 4.27 178/1001 97/178 albums reviewed were new to me.

From the outset Franz Ferdinand's eponymous album has a great use of dynamics, it's full of melody, driving rhythms and dramatic, jagged guitar riffs. The vocals suit the music perfectly. The production is tight and polished, allowing each instrument to cut through clearly, showcasing the band's musical precision. The result is a collection of songs that are both clever and for the most part, irresistibly catchy, punchy and fun. Four-stars. Stand out tracks "Jacqueline", "Take Me Out", "The Dark of the Matinée", "Darts of Pleasure" and "Michael". 1 "Jacqueline" (5/5) 2 "Tell Her Tonight" (4/5) 3 "Take Me Out" (5/5) 4 "The Dark of the Matinée" (5/5) 5 "Auf Achse" (4/5) 6 "Cheating on You" (3/5) 7 "This Fire" (4/5) 8 "Darts of Pleasure" (5/5) 9 "Michael" (5/5) 10 "Come on Home" (4/5) 11 "40'" (4/5) Total - 48 Average - 4.36 179/1001 97/179 albums reviewed were new to me.

Django Django’s eponymous debut, both the band and the album were new to me. For a first effort, it sounds remarkably confident and playful. The album thrives on a delightful blend of genres: electronica, rock, and '60s-influenced pop, managing to sound simultaneously retro and 'current'. The production and mix is clear. The vocal work is a key element of the album's identity. The delivery is generally understated, relying on doubled tracks to create harmonies and utilising intriguing vocal effects to add texture rather than just volume. A brilliant example of this is "Waveforms". Vocally, the track is reminiscent of The Dandy Warhols, possessing that same cool, detached, yet highly melodic swagger. "Silver Rays" also features that distinctive 'Dandys' vocal aesthetic. The record is melodic but is also peppered with charming eccentricities. A prime example is "Zumm Zumm", which captures the band's quirky side. Standout tracks were: "Default" (a real foot tapper), and "WOR" (great surf rock guitar sound). Django Django's debut is an enjoyable listen that I may be delving into again. Four stars. 1. "Introduction" (3/5) 2. "Hail Bop" (4/5) 3. "Default" (5/5) 4. "Firewater" (4/5) 5. "Waveforms" (3/5) 6. "Zumm Zumm" (3/5) 7. "Hand of Man" (3/5) 8. "Love's Dart" (4/5) 9. "WOR" (5/5) 10. "Storm" (4/5) 11. "Life's a Beach" (4/5) 12. "Skies Over Cairo"  (3/5) 13. "Silver Rays" (4/5) Total - 49 Average - 3.77 180/1001 98/180 albums reviewed were new to me.

My journey through the 1001 Albums has highlighted a distinct preference for Jazz vocal over the purely instrumental Jazz reviewed thus far. While I've always appreciated live recordings, and enjoy them greatly, a truly great live album must offer something transcendent beyond its studio equivalent, be it exceptional performance quality, innovative arrangements, historical significance, or palpable atmosphere. In this respect, "At Mister Kelly's" feels somewhat subdued and one-paced. Ultimately, I found it to be a good, but not great, live recording. Neither Sarah Vaughan's performance, her band's playing, nor the selection of songs provided the crucial spark needed to elevate it above a solid three-star rating. Side one 1 "September In The Rain" (3/5) 2 "Willow Weep for Me" (3/5) 3 "Just One of Those Things" (3/5) 4 "Be Anything But Darling Be Mine" (3/5) Side two 1 "Thou Swell" (3/5) 2 "Stairway to the Stars" (3/5) 3 "Honeysuckle Rose" (3/5) 4 "Just a Gigolo" (3/5) 5 "How High the Moon" (3/5) Total - 27 Average - 3.00 181/1001 99/181 albums reviewed were new to me.

"Junkyard" released as the second and final album by The Birthday Party before Nick Cave and Mick Harvey pivoted to form Nick Cave and the Bad Seeds. For a long-time admirer of Cave's extensive body of work; from his solo material to the enduring legacy of The Bad Seeds, Grinderman and his collaborations with Warren Ellis, this is the first time I have listened to "Junkyard" in full, finding it an experience of extremes and a far cry from an "easy listen" . The record begins with the menacing track "She's Hit". This opener immediately establishes the album's atmosphere, weaving a narrative of sleazy, sexual danger and destruction. Here, the instruments, guitars and drums, are deployed less for conventional melody and more for atmosphere and effect, creating a backdrop for Cave's unique performance. The track is not entirely unfamiliar territory for Bad Seeds fans; its passionate and raucous energy foreshadows some of the more primal cuts in their later discography. "Junkyard" is, in a word, ferocious. It is a distinctive and often abrasive album, defined by a sound that is noisy and loud, making it sonically challenging at times. The album thrives on dark themes, delivered with a surprising dash of humour that underscores the chaos rather than lightening it. The conventional rules of 'popular' music are challenged and for some of the tracks here, it is hard to discern a conventional song structure. This requires effort from the listener; "Junkyard" is genuinely exhausting in its intensity, demanding the listeners full attention. Ultimately, this is an imaginative and brave album. It is a necessary listen for understanding the foundations of Nick Cave's career, showcasing the nascent creative forces that would later evolve into The Bad Seeds. It is not for the faint of heart. It's an album I can respect, and admire to some degree, but not an album I will be listening to again anytime soon. Three stars. 1 "She's Hit" (4/5) 2 "Dead Joe" (3/5) 3 "The Dim Locator" (2/5) 4 "Hamlet (Pow, Pow, Pow)" (4/5) 5 "Several Sins" (4/5) 6 "Big-Jesus-Trash-Can" (3/5) 7 "Kiss Me Black" (3/5) 8 "6" Gold Blade" (3/5) 9 "Kewpie Doll" (2/5) 10 "Junkyard" (5/5) Total - 33 Average - 3.3 182/1001 100/182 albums reviewed were new to me.

For me, The White Stripes' 2001 album, "White Blood Cells", while perhaps not reaching the arbitrary status of "essential" listening, is a very good collection of songs. The defining characteristic of "White Blood Cells" is its striking simplicity and raw, guitar-driven sound. The instrumentation is intentionally sparse, yet powerfully effective. The album is dominated by Jack White's guitar work, which ranges from driving, rhythmic passages (sometimes feeling percussive in nature) to moments of thick, sonically fuzzy distortion. Meg White's drumming is a lesson in simple but effective percussion. Her playing is distinctive, providing the perfect, often rudimentary, backbone that serves the songs without ever overcomplicating them. Jack White's distinctive vocals are also central to the album's identity. His delivery is often 'strained' but this perfectly suits the music, and the vocal melodies are consistently well-crafted and engaging. The tracks pull from a compelling blend of influences, rooted firmly in garage rock but incorporating touches of country, folk, and blues. This eclectic mix gives the album a broader sonic palette than its minimal setup might suggest. A hallmark of the album is its brevity. Many of the tracks are concise, punchy statements, contributing to the album's energetic pace and reinforcing the "less is more" ethos. This structural simplicity adds to the fun, playful atmosphere that surfaces throughout, perhaps most notably in tracks like "Little Room." The individual songs on White Blood Cells vary in quality, but at their best, they reach an "Excellent" level of raw, stripped-down rock. Even the "fine/good" tracks contribute positively to the overall feel. It's an album that commands respect for its uncompromising vision and influential sound, successfully proving that musical power doesn't require complexity. It may not be essential (IMHO), but it is a fun, enjoyable listen. Four stars. Standout tracks - "Dead Leaves and the Dirty Ground", "Fell in Love with a Girl", "The Same Boy You've Always Known" Side one 1 "Dead Leaves and the Dirty Ground" (5/5) 2 "Hotel Yorba" (5/5) 3 "I'm Finding It Harder to Be a Gentleman" (4/5) 4 "Fell in Love with a Girl" (5/5) 5 "Expecting" (3/5) 6 "Little Room" (3/5) 7 "The Union Forever" (4/5) 8 "The Same Boy You've Always Known" (5/5) Side two 9 "We're Going to Be Friends" (4/5) 10 "Offend in Every Way" (4/5) 11 "I Think I Smell a Rat" (4/5) 12 "Aluminum" (3/5) 13 "I Can't Wait" (3/5) 14 "Now Mary" (4/5) 15 "I Can Learn" (4/5) 16 "This Protector" (4/5) Total - 64 Average - 4 183/1001 100/183 albums reviewed were new to me.

"Definitely Maybe" is, quite simply, one of the finest debut albums in rock 'n' roll history. There, I've said it! This may be a challenging statement for the critics who habitually sneer at Oasis as mere Beatles imitators, but the album’s enduring power speaks for itself. I bought this record upon its release 31 years ago, and its impact was immediate and explosive. Today, it remains just as loud and thrilling. From the opening, swaggering statement of intent, "Rock 'n' Roll Star", "Definitely Maybe" introduced the world to Oasis with an unapologetically brash and cocky roar. The album is a perfect storm of melodic song writing and raw energy. It’s packed with memorable, anthemic tunes that make you want to rock and groove in equal measure. Crucially, the spirit of the record is wonderfully optimistic and idealistic. Even if Noel Gallagher had stopped writing after this debut, tracks like "Live Forever" and "Slide Away" would have cemented his legacy. These are five-star-plus, stellar tunes. The guitar solo in "Live Forever" is a moment of pure, stunning melody. Equally breath-taking is "Slide Away," which stands out as the showcase for Liam Gallagher's vocal brilliance. In my opinion, this track contains his finest-ever vocal performance. Liam is, of course, a great and iconic frontman, but his true vocal identity and underrated abilities often get overlooked. He possesses a clear, instantly identifiable voice that is central to the album's sound. The album has that rare, magic ingredient of relatability that connects with listeners on a visceral level. If you've ever been in the crowd at one of their gigs, you'll understand. Oasis somehow manage to transform a huge venue, like Wembley Stadium, into an intimate space where every single song is sung back, word-for-word, by thousands. It's a phenomenon I'm glad I witnessed. While the album flows perfectly as a whole, the standout tracks truly define its excellence: "Rock 'n' Roll Star", "Live Forever", "Columbia", "Supersonic", "Bring It On Down", "Cigarettes & Alcohol" and "Slide Away". In short, "Definitely Maybe" is a fun, thrilling, wonderful record that remains one of the most exciting debuts ever recorded - well for me anyway. Five stars. "Biblical" to quote LG. 1 "Rock 'n' Roll Star" (5/5) 2 "Shakermaker" (5/5) 3 "Live Forever" (5/5) 4 "Up in the Sky" (5/5) 5 "Columbia" (5/5) 6 "Supersonic" (5/5) 7 "Bring It On Down" (5/5) 8 "Cigarettes & Alcohol" (5/5) 9 "Digsy's Dinner" (4/5) 10 "Slide Away" (5/5) 11 "Married with Children" (4/5) Total - 53 Average - 4.82 184/1001 100/184 albums reviewed were new to me.

"Pink Mood" is a record is built on the foundation of Nick Drake, his acoustic guitar, and his voice. The only notable deviation is the title track, which includes a brief, melodic piano overdub that complements the main guitar line. This extremely sparse arrangement is consistent throughout the eleven tracks. Drake’s vocals are generally soft, breathy, and subdued. This delivery provides an intimate and personal feel to the material. The album’s central musical strength lies in Drake’s sophisticated fingerstyle guitar work. He employs an intricate picking style and, significantly (I discovered), utilizes alternate tunings extensively, which results in unique harmonic voicings and textures across the tracks. His control over guitar dynamics is a crucial element, providing variation and emphasis within the solo performances. The mood of Pink Moon is sad and melancholic. The songs are gentle and melodic. While the album’s sound is subtle, it's a compelling listen. For me, personally, this is not casual listening, I would have to be in the mood for really listening; perhaps, in a reflective, plaintive mood, sitting alone, one winter's evening, with a glass of wine. Four stars. Side one 1 "Pink Moon" (5/5) 2 "Place to Be" (4/5) 3 "Road" (5/5) 4 "Which Will" (4/5) 5 "Horn" (4/5) 6 "Things Behind the Sun" (5/5) Side two 1 "Know" (4/5) 2 "Parasite" (5/5) 3 "Free Ride" (4/5) 4 "Harvest Breed" (4/5) 5 "From the Morning" (4/5) Total - 48 Average - 4.36 185/1001 101/185 albums reviewed were new to me.

This debut album from The Byrds, released in 1965, is an album that is now decades old, yet its sound remains instantly recognizable and enduringly influential. The album starts on a high note with the title track, Bob Dylan's "Mr. Tambourine Man". This track is a quintessential example of a cover song that seemingly elevates the original, it's often cited as being superior to Dylan's own version - I enjoy Dylan's version just as much. The true legacy of "Mr. Tambourine Man" lies in the sound it pioneered: the distinctive, shimmering jingle-jangle of Roger McGuinn's Rickenbacker 12-string guitar. This sound, combined with the band's precise and excellent vocal harmonies and arrangements, creates an influential sonic template. It is this influence on subsequent genres and bands that earns the album its place on "must-listen" lists. While its influence is undoubtedly five-star, the album's contents range from "good to excellent," making it a fine and pleasant listen overall. The track listing is neatly split: five songs are original compositions (primarily penned by Gene Clark), and the remaining seven are covers, including four different tracks from Bob Dylan. The album’s consistent sound and quality make it a solid experience, defining the style of the mid-60s American rock scene. It's an album that gets five stars for its influence but as an album, musically, it achieves four stars. Side one 1 "Mr. Tambourine Man" (5/5) 2 "I'll Feel a Whole Lot Better" (5/5) 3 "Spanish Harlem Incident" (4/5) 4 "You Won't Have to Cry" (3/5) 5 "Here Without You" (3/5) 6 "The Bells of Rhymney" (4/5) Side two 1 "All I Really Want to Do" (4/5) 2 "I Knew I'd Want You" (3/5) 3 "It's No Use" (3/5) 4 "Don't Doubt Yourself, Babe" (3/5) 5 "Chimes of Freedom" (5/5) 6 "We'll Meet Again" (3/5) Total - 45 Average - 3.75 186/1001 102/186 albums reviewed were new to me.

808 State a forgotten name from the late 80's and some Acid House/Techno. Their album "90" starts with the track "Magical Dream", containing bright, complex programmed electronic rhythms, all underpinned by a heavy, pulsating dance beat. Though this initial track intrigued me and "Pacific 202" sparked a clear memory, the momentum couldn't be sustained throughout the album and my interest expired by the time the record reached "Donkey Doctor". Not my cup of Tea so to speak. Two stars. 1. "Magical Dream" (3/5) 2. "Ancodia" (2/5) 3. "Cobra Bora" (2/5) 4. "Pacific 202" (2/5) 5. "Donkey Doctor" (1/5) 6. "808080808" (1/5) 7. "Sunrise" (1/5) 8. "The Fat Shadow" (Pointy Head Mix) (1/5) Total - 13 Average - 1.625 187/1001 103/187 albums reviewed were new to me.

"American IV: The Man Comes Around" is the fourth volume in the "American" series, a celebrated collaboration between Johnny Cash and producer Rick Rubin. This highly regarded series includes six main albums and the comprehensive five-disc outtakes collection, "Unearthed". While the 1994 debut, American Recordings, remains my preferred album from the series for its consistent selection of contemporary covers and Cash's original songs, "American IV" is still a significant release. The album features a track list where the quality ranges from good to excellent. The arrangements are deliberately sparse and stripped-back, a style that complements Cash's mature, low voice effectively. The most notable tracks on the album include: - Cash's Originals: The title track, "The Man Comes Around", is an important, Cash-penned song. His performance of "Give My Love to Rose" is also strong. - The Covers: The album features compelling reinterpretations of modern songs. Cash's widely noted version of Nine Inch Nails' "Hurt" is emotionally direct, and his take on Depeche Mode's "Personal Jesus" is an interesting contrast to the original. Other highlights include a duet with Nick Cave on Hank Williams’ "I'm So Lonesome I Could Cry" and his cover of Sting's "I Hung My Head". American IV: The Man Comes Around is a very good listen and warrants a four-star rating. It stands as a powerful demonstration of Cash’s ability to interpret material late in his career. My main critique concerns the album's length. With fifteen tracks, the sequencing could be tighter. Trimming the track list back to ten or twelve songs would have likely focused the listening experience, eliminating a few three-star performances and resulting in an even stronger, five-star album. Interestingly, there are several better tracks on the "Unearthed" collection that might have served as more compelling substitutions for the 'weaker' tracks on this volume. "We'll Meet Again" is the poignant last track. It shouldn't work but it does. This was Cash's last studio album before he died. No. Title Writer(s) 1 "The Man Comes Around" - Johnny Cash - (5/5) 2 "Hurt" - Trent Reznor - (5/5) 3 "Give My Love to Rose" - Johnny Cash - (5/5) 4 "Bridge Over Troubled Water" (with Fiona Apple) - Paul Simon - (3/5) 5 "I Hung My Head" - Sting - (5/5) 6 "The First Time Ever I Saw Your Face" - Ewan MacColl - (4/5) 7 "Personal Jesus" - Martin Gore - (5/5) 8 "In My Life" - Lennon–McCartney - (3/5) 9 "Sam Hall" - Tex Ritter - (4/5) 10 "Danny Boy" - Frederic Weatherly - (3/5) 11 "Desperado" (with Don Henley) - Glenn Frey/Don Henley - (5/5) 12 "I'm So Lonesome I Could Cry" (duet with Nick Cave) - Hank Williams - (5/5) 13 "Tear Stained Letter" - Johnny Cash - (4/5) 14 "Streets of Laredo" - Traditional - (4/5) 15 "We'll Meet Again" (with The Whole Cash Gang) - Hughie Charles/Ross Parker - (4/5) Total - 64 Average - 4.27 188/1001 103/188 albums reviewed were new to me.

There is no question as to the brilliance of Janis Joplin’s voice, it is undeniably great, a masterful blend of blues, soul, and pure power. While "Pearl" sits comfortably within genres I typically enjoy; blues-rock and female vocalists, there's something that doesn't quite click with me that would make me want to add this album to my collection or indeed listen to it again. There is a strong soul influence, that flows through the album, perhaps it is that? "Pearl's" true highlights for me were the stylistic shifts found in "Me and Bobby McGee" and the raw, a cappella charm of "Mercedes Benz". However, the inclusion of 'Buried Alive in the Blues' felt jarring and out of place with the other tracks. Ultimately, Pearl is a fine album featuring a five-star voice; but while the talent is undeniable, the album as a whole earns a solid four stars for my personal taste. Side one 1 "Move Over" (5/5) 2 "Cry Baby" (5/5) 3 "A Woman Left Lonely" (4/5) 4 "Half Moon" (3/5) 5 "Buried Alive in the Blues" (3/5) Side two 1 "My Baby" (4/5) 2 "Me and Bobby McGee"(5/5) 3 "Mercedes Benz" (5/5) 4 "Trust Me" (4/5) 5 "Get It While You Can" (4/5) Total - 42 Average - 4.2 189/1001 104/189 albums reviewed were new to me.

"Stonemilker,” the opening track of Björk’s "Vulnicura", features sumptuous, flowing orchestration that swells beautifully, set against sharp, stuttering electronic beats. It’s bold and intriguing, yet ultimately, for me, somewhat off-putting. The remainder of the album continues in much the same vein. This is not a relaxing listen; it is the sound of a woman in pain and despair. It is a deeply sad, melancholic album. There is beauty here, particularly in Björk’s voice, a beauty I can admire, even if the music itself doesn't quite resonate with me. What impressed me most, however, was the sheer clarity of the production, crystalline, like an icy winter pool. It would be easy to dismiss this record with a glib remark but it deserves a little more respect than that. I usually rate albums track by track, but in this case, I’ll make an exception and judge it as a complete experience. For me, it’s a three-star album: I appreciate the artistry and imagination poured into expressing the anguish of a painful break-up, yet as something to listen to, it’s not for me; it's an uncomfortable and disturbing listen and I won’t be returning to it. Three stars. 190/1001 105/190 albums reviewed were new to me.

This debut by Garbage is a polished alternative rock album that serves as a showcase for the distinct vocal talents of Shirley Manson. To me it feels less like a ground-breaking, influential album and more like a very well-executed pop-rock affair. The album’s strength lies in its mid-tempo and slow-burning grooves. Tracks like "Queer" and "As Heaven Is Wide" succeed through a combination of sequenced grooves, hushed vocals, and standout bass lines. The production is a point of contention for me. Despite Butch Vig’s pedigree, the "sound" of the record can feel surprisingly over-polished and, in places, cluttered. A bit more sonic edge or abrasive "grit" would have provided a welcome contrast to the brightness of the mix. The album oscillates between standard "three-star" fare and genuine moments of excellence where the song-writing and Manson's vocals align. The focal point of this album is Shirley Manson. Her vocals are instantly recognizable, shifting from breathy and hushed to authoritative, and they elevate the material. While the "production clutter" on tracks like "Supervixen" or "Dog New Tricks" can be distracting, the album finds itself perfectly when it strips away the noise. For me "Milk" is the stand out track on the album, demonstrating that the band is at its most powerful when the production stays out of the way of Manson’s voice. Four stars. No. Title 1 "Supervixen" (3/5) 2 "Queer" (4/5) 3 "Only Happy When It Rains" (3/5) 4 "As Heaven Is Wide" (4/5) 5 "Not My Idea" (3/5) 6 "A Stroke of Luck" (4/5) 7 "Vow" (4/5) 8 "Stupid Girl" (5/5) 9 "Dog New Tricks" (3/5) 10 "My Lover's Box" (3/5) 11 "Fix Me Now" (4/5) 12 "Milk" (5/5) Total - 45 Average - 3.75 191/1001 106/191 albums reviewed were new to me.

"Madman Across the Water" is a mighty fine album and a rewarding listen. While the absence of a "radio-ready" single may have dampened its initial reception, it now holds status as a classic album and rightly so. Throughout the record, Elton’s vocals are soulful and bluesy, bolstered by Gus Dudgeon’s sophisticated production and lush arrangements. The album opens with the formidable "1-2 punch" of "Tiny Dancer" and "Levon", two tracks that find the John/Taupin song writing partnership at the absolute peak of its powers. It remains a curious historical footnote that the album produced no UK hits and was originally dismissed as a commercial flop. Aside form the opening two tracks, other highlights include the brooding title track, which features a stellar vocal performance from Elton John (though fans should also seek out the version featuring Mick Ronson on lead guitar). Furthermore, "Indian Sunset" continues Taupin’s fascination with the American West. A very strong four star listen. Side one 1 "Tiny Dancer" (5/5) 2 "Levon" (5/5) 3 "Razor Face" (4/5) 4 "Madman Across the Water" (5/5) Side two 5 "Indian Sunset" (5/5) 6 "Holiday Inn" (4/5) 7 "Rotten Peaches" (4/5) 8 "All the Nasties" (4/5) 9 "Goodbye" (4/5) Total - 40 Average - 4.44 192/1001 106/192 albums reviewed were new to me.

With "1989", Taylor Swift completes a definitive pivot into pop. The album is full of programmed electronic rhythms and synth-pop textures, trading her country roots for a radio-friendly sheen. While the shift to digital instrumentation is absolute, the record remains grounded by a relentless commitment to infectious hooks. Throughout the track listing, Swift demonstrates an uncanny knack for crafting melodies that linger. She has a particular gift for the "momentary elevation" - those instances where a transcendent chorus rescues a standard pop song and transforms it into something better. Her mastery of dynamics is on full display here, as she builds tension in the verses before releasing it in euphoric payoffs. This is best heard on tracks like "Out of the Woods," "All You Had To Do Was Stay," and "How You Get The Girl." The sonic environment is unapologetically synthetic. From the opening notes of "Welcome to New York," the vocals are shimmering and heavily processed. Paired with exclusively programmed percussion, the album feels meticulously curated. Rather than a flaw, this processing suits the material perfectly. Even when the tempo drops for the album’s sole out-and-out ballad, "This Love", Swift refuses to abandon the formula. The song is anchored by a characteristically catchy chorus, preventing it from feeling adrift among its high-energy neighbours. Stand-out moments include: "Blank Space", "Shake It Off" , and "Wildest Dreams" - a atmospheric highlight that echoes the moody, sultry tones of Lana Del Rey. At its core, 1989 is a vibrant, accessible, and infectious pop record. It is the kind of album that is simply hard to dislike, even for the most cynical or curmudgeonly listener. Four stars. 1 "Welcome to New York" (4/5) 2 "Blank Space" (5/5) 3 "Style" (4/5) 4 "Out of the Woods" (3/5) 5 "All You Had to Do Was Stay" (3/5) 6 "Shake It Off" (5/5) 7 "I Wish You Would" (4/5) 8 "Bad Blood" (3/5) 9 "Wildest Dreams" (5/5) 10 "How You Get the Girl" (3/5) 11 "This Love" (4/5) 12 "I Know Places" (3/5) 13 "Clean" (4/5) Total - 50 Average - 3.85 193/1001 106/193 albums reviewed were new to me.

American Music Club was a new discovery for me. My reaction to their album "California" was ultimately a bit flat. It wasn't offensive to the ear, but it didn't grab my attention either. It was a tad bland and was largely an unmemorable experience, earning two stars. Note - This album isn't on Spotify. It's on YouTube here https://www.youtube.com/watch?v=RUmXZEPwsTE 1 "Firefly" (3/5) 2 "Somewhere" (3/5) 3 "Laughingstock" (2/5) 4 "Lonely" (2/5) 5 "Pale Skinny Girl" (2/5) 6 "Blue and Grey Shirt" (2/5) 7 "Bad Liquor" (3/5) 8 "Now You're Defeated" (2/5) 9 "Jenny" (2/5) 10 "Western Sky" (2/5) 11 "Highway 5" (2/5) 12 "Last Harbor" (2/5) Total - 27.00 Average - 2.25 194/1001 107/194 albums reviewed were new to me.

It is one of Rock’s great paradoxes: an album can be historically "perfect" and ticking all your favourite boxes, yet still fail to truly "click." This friction is what I feel listening to "Raw Power". It is a record that should, by all logic, be right up my Strasse, yet it remains an object of curiosity rather than obsession. For many, "Raw Power" is the Big Bang of punk rock, and I can hear that to some extent. Despite the band's legendary status, there is a certain something about Iggy and the Stooges that doesn't always translate into an immediate desire to listen to their discography. That said, "Raw Power" is a very good album, but not one I am going to reach for on many occasions beyond this exercise. There are two mixes of the album: 1. The 1973 David Bowie Mix: Brash, thin, and dominated by treble. 2. The 1997 Iggy Pop Mix: A bit easier on the ear and fuller in the low end, but arguably less impactful because it loses some of that original, jagged edge. Ultimately, neither mix provides the "magic key" to unlock the album for me. The Bowie mix is the punkier of the two! I have to mention the cover art - Mick Rock’s stunning photograph is so definitive that the absence of a band name or an album title only adds to its impact. I respect "Raw Power" and consider it a very good album, but I don't quite love it. I recognize its importance, individual tracks like "Search and Destroy" are undeniably influential, and I enjoy the listen, yet the tracks don't hit home enough to make it an essential part of my regular listening or even my collection. For me, it remains a four-star record that I admire from a distance. Side one 1 "Search and Destroy" (4/5) 2 "Gimme Danger" (4/5) 3 "Your Pretty Face Is Going to Hell" (3/5) 4 "Penetration" (4/5) Side two 5 "Raw Power" (4/5) 6 "I Need Somebody" (4/5) 7 "Shake Appeal" (3/5) 8 "Death Trip" (3/5) Total - 29 Average - 3.63 195/1001 109/195 albums reviewed were new to me.

"Highly Evolved" is a decent Rock album. No more and no less than that. Three stars. 1 "Highly Evolved" (3/5) 2 "Autumn Shade" (3/5) 3 "Outtathaway" (3/5) 4 "Sunshinin" (3/5) 5 "Homesick" (4/5) 6 "Get Free" (4/5) 7 "Country Yard" (3/5) 8 "Factory" (3/5) 9 "In the Jungle" (3/5) 10 "Mary Jane" (3/5) 11 "Ain't No Room" (3/5) 12 "1969" (4/5) Total - 39 Average - 3.25 196/1001 109/196 albums reviewed were new to me.

I often find trip-hop to be a hit-and-miss genre. That said, Massive Attack’s "Blue Lines" begins with promise. "Safe from Harm" is a sonically moody opener anchored by a throbbing bassline, and Shara Nelson’s vocals. Unfortunately, the momentum falters quickly. "One Love" feels sparse and dull, hampered by a sluggish tempo that fails to engage. This lethargy carries into the title track, where a repetitive backbeat and vocals from Tricky result in a listening experience that is more "languid" than "atmospheric." Technically, the album is well-produced and executed with precision, yet it lacks a certain spark. By the fourth track, the repetitive nature of the arrangements began to grate. "Five Man Army" offers a brief reprieve; its solid bassline provides a better canvas for Tricky, whose delivery aligns with the track’s mood. Even the iconic "Unfinished Sympathy", unquestionably the standout, is a track I admire more for invoking memories of that time than as a personal favourite. The album concludes in a familiar vein: "Daydreaming" and "Lately" return to sparse, repetitive structures. On "Daydreaming," Tricky’s performance is the sole element saving the track from mediocrity. Ultimately, Blue Lines is a fragmented and inconsistent journey. It earns a three-star rating, but only just! 1 "Safe from Harm" (3/5) 2 "One Love" (2/5) 3 "Blue Lines" (2/5) 4 "Be Thankful for What You've Got" (2/5) 5 "Five Man Army" (3/5) 6 "Unfinished Sympathy" (4/5) 7 "Daydreaming" (3/5) 8 "Lately" (2/5) 9 "Hymn of the Big Wheel" (2/5) Total - 23 Average - 2.56 197/1001 110/197 albums reviewed were new to me.

Perfect timing! This arrives for review on Christmas Day 2025. Lovely. There are some great Christmas albums such as those by by Frank Sinatra, Nat King Cole, Ella Fitzgerald and Elvis Presley. This is a great Christmas album too. It has the full Phil Spector 'Wall Of Sound' and some of the arrangements and performances of songs on this album are now pretty much definitive. It's a fun, enjoyable album. Four stars. Side one 1 "White Christmas" - Darlene Love - (4/5) 2 "Frosty the Snowman" - The Ronettes - (5/5) 3 "The Bells of St. Mary's" - Bob B. Soxx & the Blue Jeans - (4/5) 4 "Santa Claus Is Coming to Town" - The Crystals - (5/5) 5 "Sleigh Ride" - The Ronettes - (5/5) 6 "Marshmallow World" - Darlene Love - (4/5) Side two No. Title Artist 1 "I Saw Mommy Kissing Santa Claus" - The Ronettes - (4/5) 2 "Rudolph the Red-Nosed Reindeer" - The Crystals - (5/5) 3 "Winter Wonderland" - Darlene Love - (5/5) 4 "Parade of the Wooden Soldiers" - The Crystals - (4/5) 5 "Christmas (Baby Please Come Home)" - Darlene Love - (5/5) 6 "Here Comes Santa Claus" - Bob B. Soxx & the Blue Jeans - (4/5) 7 "Silent Night" - Phil Spector and Artists - (3/5) Total - 57 Average - 4.38 198/1001 110/198 albums reviewed were new to me.

Funkadelic's third studio outing, "Maggot Brain", took me a little by surprise, in a nice way, I found it to be a brave, genre-blurring album that feels less like a traditional funk record and more like a rock album. While George Clinton’s fingerprints are all over the production, the soul of this album belongs to guitarist Eddie Hazel. The album opens with the title track, and it is nothing short of audacious. To start an album with a ten-minute, sprawling, weeping guitar solo is a move of pure confidence - it is the standout track. For me, Hazel remains the MVP throughout. While the album is anchored by two instrumentals, the visceral opener and the heavy, distorted, nonsense of "Wars of Armageddon", his presence ensures a consistent level of excellence across every track. Despite the band's name, "Maggot Brain" leans much harder into rock than standard funk. It isn't until the third track, "Hit It and Quit It," that we truly get to lean into the groove. Driven by a great repeating riff and Bernie Worrell’s searing organ work, it provides the "funky" energy fans might expect, but it’s still seasoned with a gritty, soulful edge. The album is a fun, consistent trip throughout. If there is a point of contention, it is the packaging. The album artwork is, frankly, disturbing. It is a jarring, visceral image that fails to convey the sophisticated musicianship found within the grooves. Unlike the "soulful" and "audacious" sounds on the vinyl, the cover doesn’t necessarily invite a first-time listener in, or represent the "genre-blurring" brilliance of the band. "Maggot Brain" is a brave statement that proved funk could be as heavy and heady as any rock record of the era. While the cover might be off-putting, the contents are a four-star fun album and bravo, Eddie Hazel. Side one 1 "Maggot Brain" (5/5) 2 "Can You Get to That" (4/5) 3 "Hit It and Quit It" (4/5) 4 "You and Your Folks, Me and My Folks"(4/5) Side two 1 "Super Stupid" (4/5) 2 "Back in Our Minds" (3/5) 3 "Wars of Armageddon" (3/5) Total - 27 Average - 3.86 199/1001 111/199 albums reviewed were new to me.

When it comes to Metal, my tastes generally require a melodic vocal counterweight to balance out the sonic onslaught. I’ve always struggled with the harsher delivery favoured by Corey Taylor and similar vocalists; for me, it often impairs the enjoyment of the instrumentation. While I respect this as a deliberate stylistic choice, it isn't one I personally enjoy, which is why I’ve remained largely unfamiliar with Slipknot’s catalogue. However, listening to "All Hope Is Gone", I discovered a compelling duality. Occasionally, like a shaft of sunlight breaking through a thunderstorm, Taylor’s "clean" singing voice emerges, and it’s genuinely great. Tracks like "Dead Memories," "Gehenna," and "Snuff" are standout examples. Even on "Vendetta," where Taylor retains a gritty rasp, he keeps the aggression enough in check for me to truly connect with the song. I realize this perspective likely puts me at odds with the "hardcore" Slipknot fanbase. While I admire the band’s craft, this is the first time I have ever managed to finish one of their albums in its entirety. Ultimately, "All Hope Is Gone" was a mixed and difficult experience to rate. I can appreciate why fans love it, but for my personal palate, it’s a two-star experience that just narrowly misses the three-star mark. 1 ".execute." (3/5) 2 "Gematria (The Killing Name)" (1/5) 3 "Sulfur" (2/5) 4 "Psychosocial" (2/5) 5 "Dead Memories" (3/5) 6 "Vendetta" (4/5) 7 "Butcher's Hook" (2/5) 8 "Gehenna" (3/5) 9 "This Cold Black" (2/5) 10 "Wherein Lies Continue" (2/5) 11 "Snuff" (3/5) 12 "All Hope Is Gone" (2/5) Total - 29 Average - 2.42 200/1001 112/200 albums reviewed were new to me.

"Faust IV" is undoubtedly a bold and ambitious album, yet it ultimately sits on the cusp of a "one-off" curiosity rather than a record built for repetitive listening. The experience begins with "Krautrock," an 11-minute, 47-second exercise in avant-garde patience. While its steady build is ambitious, it only just manages to retain interest until the drums finally kick in at the seven-minute mark. It is a striking piece of music, but one I doubt I will ever consciously select to hear again. The rest of the first side is defined by jarring contrasts. "The Sad Skinhead" is a complete pivot, jaunty, brief, and almost childlike in its delivery. This is followed by "Jennifer," which begins with a melancholic beauty before morphing into an experimental soundscape and concluding with plaintive piano. The sheer lack of sonic connectivity between these three tracks is both the album's greatest strength, and its most exhausting trait. The second half of the album continues the band's habit of "bait-and-switch" song-writing. "Just a Second" starts as a conventional rock track with a chugging riff, only to dissolve into electronic bird tweets, interference, and ambient noise. Similarly, "Picnic on a Frozen River" and "Giggy Smile" flirt with jaunty nonsense and conventional structures before resolving into a repetitive, jazzy motif and ending on a plaintive acoustic guitar. The album winds down with "Läuft...Heißt Das Es Läuft," a largely ambient and plaintive soundscape, followed by the closer, "It's a Bit of a Pain." The final track is underpinned by lovely, delicate guitar work and a soft vocal delivery, but even here, the melody is rudely interrupted by harsh electronic noise and a loud, fuzzy guitar solo, a final reminder of the band's refusal to be "pleasant." "Faust IV" is a challenging listen that occupies a strange space between two and three stars. There's a "push-and-pull" that I'm assuming Faust intended, they want the listener to feel both charmed and slightly perturbed at the same time. While I respect the boldness of their approach and the flashes of pretty melody, it fails to justify a return visit. It works well as a one-off experimental experience, but it lacks the cohesion required for repeat listens. Bold, but not for me. Two stars. Side one 1 "Krautrock" (3/5) 2 "The Sad Skinhead" (2/5) 3 "Jennifer" (3/5) Side two 1 "Just a Second" (3/5) 2 "Picnic on a Frozen River, Deuxieme Tableau" (2/5) 3 "Giggy Smile" (2/5) 4 "Läuft...Heißt Das Es Läuft Oder Es Kommt Bald...Läuft" (2/5) 6 "It's a Bit of a Pain" (3/5) Total - 20 Average - 2.50 201/1001 113/201 albums reviewed were new to me.

"Songs From The Big Chair" is a wonderful album, and in my view is one of the best-sounding albums ever put to tape. It serves as a testament to the era’s unique intersection of analogue warmth and digital precision. Musically, "Songs From The Big Chair" features global anthems that have become part of the cultural DNA: the defiant, stadium-filling "Shout," the ubiquitous and shimmering "Everybody Wants To Rule The World," and the masterfully catchy "Head Over Heels." However, it is how these hits sit alongside its deeper cuts, that make this album so good. The album draws from a fascinating range of genres; from jazz-fusion undertones to progressive rock structures, making it a highly infectious and fascinating listen. It is a record that demands your full attention while simultaneously being impossible not to hum along to. For those who want to explore further, I highly recommend seeking out the versions of the album that include the original 12-inch mixes. While extended versions from the 1980s can often feel like repetitive afterthoughts, the remixes here genuinely add to the narrative of the songs. They provide more room for the arrangements to breathe and showcase the intricate production layers. Specifically, the UK Extended Version of "Shout" is fantastic; it is so well-constructed that it arguably surpasses the standard album version in terms of impact and atmosphere. A wonderful, eclectic and ambitious five star album. Side one 1 "Shout" (5/5) 2 "The Working Hour" (5/5) 3 "Everybody Wants to Rule the World" (5/5) 4 "Mothers Talk" (4/5) Side two 1 "I Believe" (5/5) 2 "Broken" (4/5) 3 "Head over Heels / Broken (live)" (reprise) (5/5) 4 "Listen" (5/5) Total - 38 Average - 4.75 202/1001 113/202 albums reviewed were new to me.

The first thing that struck me about Barry Adamson’s 1996 release was the title, "Oedipus Schmoedipus", it’s an immediate laugh. The second was the Primal Scream-style stomp of the opening track, "Set the Controls for the Heart of the Pelvis." Its title, a cheeky pun on a classic Pink Floyd track, gave me a second laugh before the music even started. The album is built on a fascinating concept: a soundtrack to an imaginary film. It’s a dense, stylish cocktail of genres, blending Film Noir and Spy Jazz (reminiscent of 1960s thrillers) with Trip-Hop, Electronica, Lounge, and Soul. To bring this "film" to life, Adamson casts a series of collaborators to embody his characters. Jarvis Cocker perfectly channels a sleazy lounge singer on the opener, Nick Cave is a mourning balladeer on "The Sweetest Embrace", Billy MacKenzie delivers a haunting performance on "Achieved in the Valley of the Dolls" and Miranda Gooch, provides a theatrical narration on "Vermillion Kisses" that feels like a dark, twisted bedtime story. Ultimately, while "Oedipus Schmoedipus" is a bold concept delivered with immense skill, it isn't an album I see myself reaching for again in a hurry. It’s a singular experience; I’m glad I heard it, and even gladder that artists like Barry Adamson are brave enough to put work like this into the world. It's an intriguing three stars. No. Title 1 "Set the Controls for the Heart of the Pelvis" (4/5) 2 "Something Wicked This Way Comes" (3/5) 3 "The Vibes Ain't Nothin' but the Vibes" (3/5) 4 "It's Business as Usual" (3/5) 5 "Miles" (3/5) 6 "Dirty Barry" (3/5) 7 "In a Moment of Clarity" (3/5) 8 "Achieved in the Valley of Dolls" (4/5) 9 "Vermillion Kisses" (4/5) 10 "The Big Bamboozle" (4/5) 11 "State of Contraction" (3/5) 12 "The Sweetest Embrace" (4/5) 13 "Set the Controls Again" (4/5) Total - 45 Average - 3.46 203/1001 114/203 albums reviewed were new to me.

How does one describe Kate Bush's seminal album, "Hounds of Love", especially when it has been a personal soundtrack since its initial release? It remains astounding that an album so fiercely experimental achieved such massive critical and commercial success. Central to this is Bush herself. Her vocal delivery is identifiable and utterly unique, less a traditional "pop" voice and more a versatile instrument. At times, on this album, her voice is a haunting whisper; at others, a powerful, rhythmic force. While her style may not be for everyone, her boldness is undeniable. Side One: The Hounds of Love This is a collection of expansive, "accessible" progressive-pop. These tracks explore the "hunt" of love and the vulnerability of relationships. Here, her voice is at its most melodic and soaring, driving songs like "Running Up That Hill" with a grounded, soulful intensity. It is, quite simply, a near-perfect side of music. Side Two: The Ninth Wave The second side is where the album transcends into the cinematic. "The Ninth Wave" is a conceptual suite following a woman drifting alone in the dark Atlantic ocean after falling overboard. (In later live performances, it was revealed the ship, Celtic Deep, was in distress). In this suite, Bush’s voice becomes a survival tool. She uses vocal layering to create a sense of disorientation, switching from icy, detached tones of a ghost to the frantic, warm desperation of someone fighting to stay awake. It is a compelling listen that demands to be heard as a single, uninterrupted piece. If you are only looking for "Spotify saves" or isolated singles, you are missing the power of the narrative. As a whole, "Hounds of Love" is exquisitely written, arranged, produced and performed. For me, it is a near-perfect album. Five stars. Side one: Hounds of Love 1 "Running Up That Hill (A Deal with God)" (5/5) 2 "Hounds of Love" (5/5) 3 "The Big Sky" (5/5) 4 "Mother Stands for Comfort" (4/5) 5 "Cloudbusting" (5/5) Side two: The Ninth Wave 6 "And Dream of Sheep" (5/5) 7 "Under Ice" (5/5) 8 "Waking the Witch" (5/5) 9 "Watching You Without Me" (4/5) 10 "Jig of Life" (5/5) 11 "Hello Earth" (5/5) 12 "The Morning Fog" (5/5) Total - 58 Average - 4.83 204/1001 114/204 albums reviewed were new to me.

"Fresh Fruit for Rotting Vegetables" is a high-energy album of hardcore punk. Perhaps the highest compliment I can pay the album is that it captures the specific, snarling spirit of British punk from the same era. The undisputed highlight is "Holiday in Cambodia." It stands as the best track by a wide margin, featuring an excellent surf-rock influenced guitar line that provides a glimpse of the band’s true musical potential. Vocally, Jello Biafra is a mixed bag. He is at his most effective in his lower register; however, when the tempos accelerate and he shifts into his signature high-pitched warble, the effect can become grating over the course of the album. The record’s biggest hurdle, however, are its sonics. To put it bluntly: the production and mixing are awful. The sound is tinny, thin, and abrasive. While some argue this was an intentional aesthetic choice or a by product of a DIY budget, it makes for a difficult listen. One can’t help but wonder what this album could have been if it had been handled by someone with the technical prowess of Chris Thomas and Bill Price. The "wall of sound" those producers achieved for the Sex Pistols is sorely missing here. Ultimately, the Dead Kennedys are not quite for me, but I can recognize why they are considered iconic and why this album maintains its place on the "must-listen" lists. Three stars. Side one 1 "Kill the Poor" (4/5) 2 "Forward to Death" (3/5) 3 "When Ya Get Drafted" (3/5) 4 "Let's Lynch the Landlord" (3/5) 5 "Drug Me" (1/5) 6 "Your Emotions" (3/5) 7 "Chemical Warfare" (3/5) Side two 1 "California Über Alles" (4/5) 2 "I Kill Children" (3/5) 3 "Stealing People's Mail" (2/5) 4 "Funland at the Beach" (3/5) 5 "Ill in the Head" (2/5) 6 "Holiday in Cambodia" (5/5) 7 "Viva Las Vegas" (3/5) Total - 42 Average - 3.00 205/1001 115/205 albums reviewed were new to me.

I found "Lady Soul" to be a somewhat inconsistent experience. While the album contains some exceptional 60s R&B, I found myself far more drawn to the grit of the R&B tracks than the more grandiose, soulful arrangements like 'People Get Ready' and '(You Make Me Feel Like) A Natural Woman'. My main reservation lies with the vocal delivery. It may be considered musical sacrilege, but I often find that even the greatest singers fall into the trap of 'over-singing', showcasing vocal power simply because they can. In the cover of 'People Get Ready' (a great song), the slowed tempo and overwrought gospel gymnastics feel forced and performative, which personally takes me out of the music. This occurs again on 'Good to Me As I Am To You'; despite the brilliant instrumentation, the vocals are belted at a constant high volume that feels exhausting rather than evocative. 'Come Back Baby' narrowly escapes the same fate. I much prefer the restraint shown on 'Groovin’', 'Ain’t No Way', or the standout 'Chain of Fools', where a more subtle delivery allows the song to breathe. For me it's a decent album but not one I will be revisiting. Three stars. A Side 1 "Chain of Fools" (5/5) 2 "Money Won't Change You" (4/5) 3 "People Get Ready" (2/5) 4 "Niki Hoeky" (3/5) 5 "(You Make Me Feel Like) A Natural Woman" (3/5) B Side 1 "(Sweet Sweet Baby) Since You've Been Gone" (3/5) 2 "Good to Me As I Am To You" (2/5) 3 "Come Back Baby" (3/5) 4 "Groovin'" (4/5) 5 "Ain't No Way" (4/5) Total - 33 Average - 3.3 206/1001 116/206 albums reviewed were new to me.

In July 2003, "Permission to Land" arrived as an outlier in a rock scene defined by dourness. The album split opinion down the middle; while some saw a backward-looking parody that bordered on a novelty act, others found a refreshing antidote to the rock music of the time, a record that wore its glam-rock influences with pride and flamboyant sincerity I was and am in the latter camp, "Permission to Land" is an unapologetically fun hard rock album, bursting with melody, massive hooks, and infectious choruses. While it is fundamentally a hard rock record, it masterfully weaves in influences from glam rock and heavy metal, all underpinned by a sharp pop sensibility and a brilliant sense of humour. The latter often sees the band unfairly dismissed as a "novelty" act—which they certainly are not. Their DNA is clearly a blend of the theatricality of Queen, the grit of AC/DC, and the melodic twin-guitar attack of Thin Lizzy. The album opens with "Black Shuck", featuring a riff straight out of the Malcolm and Angus Young playbook. It’s a track that showcases great imagination and a clever use of dynamics, and then you have Justin Hawkins’ vocals! Love them or hate them, and I personally love them, they are the band's calling card. This is followed by "Get Your Hands Off My Woman", a high-energy track that stands out as perhaps the heaviest moment on the record. The hits continue with "Growing on Me", a song famously about genital warts, and the fabulous "I Believe in a Thing Called Love". On the latter, the Thin Lizzy influence truly shines during the exceptional lead guitar break. The band also proves they can nail a power ballad with "Love Is Only a Feeling", a sweeping track that balances the album's earlier frantic energy. Even when tackling darker themes, they don’t lose their spark. "Givin’ Up" deals with heroin addiction, proving they can handle serious subject matter without sacrificing the "AC/DC-esque" riffs and soaring choruses that initially mask the song's grim reality. While "Stuck in a Rut" is arguably the weakest link, it isn’t a poor song by any means; it simply feels a bit more "hard-edged" and stylistically distinct from its surroundings. In contrast, "Friday Night" is a wonderfully catchy pop song with a chorus that stays with you long after it’s over. The mid-tempo, stomping "Love on the Rocks with No Ice" is a highlight that arguably should have served as the album closer, but that honour goes to "Holding My Own", a slower track that, in classic Darkness fashion, carries a cheeky double meaning. The production throughout is crisp, and the arrangements are performed brilliantly. While Justin’s larger-than-life persona often steals the spotlight, his brother Dan Hawkins is frequently overlooked; his rhythm and lead guitar work here is quite fabulous. Having followed The Darkness for years and seen them live (a must-see experience, by the way), I revisited this album expecting to give it a solid four stars. However, the sheer infectious quality makes it such an effortless, joyful listen that I realised I’d slightly underestimated it. It sits right on the cusp of four and five stars but, as I like to accentuate the positive, I’m landing on a full five. I’m perfectly cool with that. An excellent debut album. 1 "Black Shuck" (5/5) 2 "Get Your Hands off My Woman" (5/5) 3 "Growing on Me" (4/5) 4 "I Believe in a Thing Called Love" (5/5) 5 "Love Is Only a Feeling" (5/5) 6 "Givin' Up" (5/5) 7 "Stuck in a Rut" (3/5) 8 "Friday Night" (4/5) 9 "Love on the Rocks with No Ice" (5/5) 10 "Holding My Own" (4/5) Total - 45 Average - 4.5 207/1001 116/207 albums reviewed were new to me.

"Street Signs" by Ozomatli is a mix of genres, but I found myself less keen on the hip-hop elements. It was an okay experience overall, but not one I’ll be adding to my regular rotation. Somewhat safe and nice. Three stars. This is the the second album on this list was a challenge to find in full. YouTube had most of the tracks. 208/1001 117/208 albums reviewed were new to me.

The Cocteau Twins' "Heaven Or Las Vegas" is an accomplished dream-pop record. It possesses a brighter, more polished production than their earlier, harder-edged work, offering a tapestry of beautiful melodies and Elizabeth Fraser’s peerless vocals. While its ethereal atmosphere is undeniably pleasant, the album ultimately lacks the necessary grit or variety to maintain my interest throughout. For my tastes, it doesn't quite possess the substance required to push it into the four-star category. Three stars. 1 "Cherry-Coloured Funk" (3/5) 2 "Pitch the Baby" (3/5) 3 "Iceblink Luck" (3/5) 4 "Fifty-Fifty Clown" (3/5) 5 "Heaven or Las Vegas" (4/5) 6 "I Wear Your Ring" (3/5) 7 "Fotzepolitic" (4/5) 8 "Wolf in the Breast" (3/5) 9 "Road, River and Rail" (3/5) 10 "Frou-Frou Foxes in Midsummer Fires" (3/5) Total - 32 Average - 3.2 209/1001 118/209 albums reviewed were new to me.

Reviewing TV On The Radio’s "Desperate Youth, Blood Thirsty Babes" shortly after a bout of the flu may have tested my patience a little too far, but I simply found the album uninspiring. As my wife remarked while listening in: 'I think it's one of those albums that you have to be in the right frame of mind for.' Indeed! While "Desperate Youth, Blood Thirsty Babes" isn't musically poor, the experience felt one-paced and failed to hold my interest. Dull. Very dull. One star. 1. "The Wrong Way" – (2/5) 2. "Staring at the Sun" – (2/5) 3. "Dreams" – (1/5) 4. "King Eternal" – (1/5) 5. "Ambulance" – (1/5) 6. "Poppy" – (1/5) 7. "Don't Love You" – (1/5) 8. "Bomb Yourself" – (1/5) 9. "Wear You Out" – (1/5) Total - 11 Average - 1.22 210/1001 119/210 albums reviewed were new to me.

From the outset of Supergrass’s second album, "In It For The Money", the title track sets the tone with its excellent use of dynamics, melody, and infectious vocal hooks. This level of craftsmanship defines the record; track by track, it is a more thoughtfully constructed album than its predecessor, and it is all the better for it. It is a rare beast: a second album that improves upon a massive debut by embracing complexity without sacrificing the playful energy of their earlier work. Standout moments include the snarling 'Richard III' (complete with that iconic 'wooooh!'), the superb 'Late in the Day', the effervescent 'Sun Hits the Sky', the gritty, funky 'Cheapskate' and the moody "You Can See Me" with excellent vocals from Gaz Coombes. "In It For The Money" proved that Supergrass were arguably the most musically gifted and versatile band of the Britpop era. It remains an essential 1990s classic that has aged far more gracefully than many of its contemporaries. Four stars. 1. "In It for the Money" – (4/5) 2. "Richard III" – (5/5) 3. "Tonight" – (4/5) 4. "Late in the Day" – (5/5) 5. "G-Song" – (4/5) 6. "Sun Hits the Sky" – (5/5) 7. "Going Out" – (4/5) 8. "It's Not Me" – (4/5) 9. "Cheapskate" – (5/5) 10. "You Can See Me" – (5/5) 11. "Hollow Little Reign" – (4/5) 12. "Sometimes I Make You Sad" – (3/5) Total - 52 Average - 4.33 211/1001 119/211 albums reviewed were new to me.

It has been a long time since I listened to "Music For The Jilted Generation" from start to finish. Both of my sons are huge fans, so a few years back, I was fairly familiar with the band, I didn't really have a choice! Re-visiting it now, my opinion remains unchanged: it’s just 'OK'. It lacks the immediate impact and shock of "The Fat Of The Land". On paper, it has all the elements I usually enjoy: it's loud, throbbing basslines, driving processed beats, and sharp electronic textures, but for some reason, they fail to spark. While it captivates others, it just doesn't excite or engage me. Ultimately, the album lacks the variety and surprise I expect from a band marketed as 'dangerous' and 'exciting'. After a few tracks, the novelty wears thin, and at 78 minutes, it is far too long to sustain my interest. It does, however, have a fantastic album cover! Two stars. 1 "Intro" (3/5) 2 "Break & Enter" (3/5) 3 "Their Law" (featuring Pop Will Eat Itself) (2/5) 4 "Full Throttle" (1/5) 5 "Voodoo People" (3/5) 6 "Speedway (Theme From Fastlane)" (3/5) 7 "The Heat (The Energy)" (2/5) 8 "Poison" (2/5) 9 "No Good (Start the Dance)" (4/5) 10 "One Love (Edit)" (2/5) 11 "The Narcotic Suite: 3 Kilos" (2/5) 12 "The Narcotic Suite: Skylined" (2/5) 13 "The Narcotic Suite: Claustrophobic Sting" (3/5) Total - 32 Sum - 2.46 212/1001 119/212 albums reviewed were new to me.

"Purple Rain" is tight, expertly paced, and contains absolutely no "filler." Having owned this album since its original release during my "Hard Rock and Metal" phase, its tracks are deeply etched in my memory. To find a fresh perspective, I revisited the "deep cuts" first to see if the record still holds up. - "The Beautiful Ones": A moody, wonderful ballad featuring a brilliant vocal performance. - "Computer Blue": Funky and driven by a catchy keyboard riff. The exceptional guitar work is exactly why I, a 1984 metalhead, first gravitated toward Prince. - "Darling Nikki": Infamous and masterly; the vocal delivery remains top-tier. The remainder of the album consists of what are now familiar Prince standards. "Purple Rain" succeeded in making Prince a global superstar because it refused to stay in one lane. It effortlessly traversed multiple genres, from Pop, Funk, R&B, Electronic, and Rock. The album's brevity is also one of its greatest strengths; with only nine tracks, there is no room for error. Prince’s arrangements feel timeless due to the sheer quality of the song writing and the raw, live energy of The Revolution. Brilliant. Stunning. Perfect. Five stars. I miss Prince and his music. Side one 1 "Let's Go Crazy" (5/5) 2 "Take Me with U" (5/5) 3 "The Beautiful Ones" (5/5) 4 "Computer Blue" (5/5) 5 "Darling Nikki" (5/5) Side two 1 "When Doves Cry" (5/5) 2 "I Would Die 4 U" (5/5) 3 "Baby I'm a Star" (5/5) 4 "Purple Rain" (5/5) Total - 45 Average - 5.00 213/1001 119/213 albums reviewed were new to me.

I have never listened to Randy Newman beyond his songs appearing in films and on TV. In particular, I love the theme tune to Monk, 'It’s a Jungle Out There'. Having never heard "Sail Away" or any other Newman album, my interest was thoroughly piqued. Before diving in, I spent ten minutes researching the record, so I was aware that each song is performed from the perspective of a different character or an 'unreliable narrator'. Sonically, the album is a pleasant and fascinating experience. The arrangements of strings, wind instruments, and piano, combined with Newman’s distinctive voice, hit the ear beautifully. I am not normally one for lyrics, but knowing the subject matter beforehand felt essential. Unless you are paying close attention, the music could easily carry you off without you realising the weight of the lyrics. This track-by-track depth is incredibly interesting, and in some cases, such as 'Political Science', it feels more relevant than ever. The title track is a perfect example too: a soaring 'sales pitch' from a 19th-century slave trader trying to lure Africans onto his ship. Then there is the well-known and much-covered 'You Can Leave Your Hat On', which, in this original form, feels far more predatory and sleazy than the cover versions we are used to. I listened to this album from start to finish three times and genuinely enjoyed it. In terms of a rating, my first listen was a clear four-star experience. However, on subsequent listens, my appreciation deepened as I picked up on the nuances of specific tracks. For now four stars but I'm sure that with repeated listens it will become a firm five star favourite. Side one 1 "Sail Away" (5/5) 2 "Lonely at the Top" (4/5) 3 "He Gives Us All His Love" (4/5) 4 "Last Night I Had a Dream" (4/5) 5 "Simon Smith and the Amazing Dancing Bear" (4/5) 6 "Old Man" (5/5) Side two 1 "Political Science" (5/5) 2 "Burn On" (4/5) 3 "Memo to My Son" (4/5) 4 "Dayton, Ohio – 1903" (5/5) 5 "You Can Leave Your Hat On" (5/5) 6 "God's Song (That's Why I Love Mankind)" (4/5) Total - 53 Average - 4.42 214/1001 120/214 albums reviewed were new to me.

While I admire Mariah Carey’s stunning vocal ability and generally enjoy great Pop music, I find myself less drawn to modern, R&B-leaning Pop. "Butterfly" features undeniably lush production, but I feel that even a voice this gifted cannot save uninspired material. At times, Carey falls into the trap of 'over-singing', using excessive vocal runs and belts to compensate for the lack of a strong hook. The track list is dominated by slow-to-mid-tempo songs that lack an uplifting energy, resulting in a listening experience that feels somewhat dull. It lacks soul. "Butterfly" just doesn't excite or interest me in any way, and simply put this album isn't for me. Two stars. 1 "Honey" (1/5) 2 "Butterfly" (1/5) 3 "My All" (1/5) 4 "The Roof (Back in Time)" (2/5) 5 "Fourth of July" (1/5) 6 "Breakdown" (featuring Krayzie Bone and Wish Bone) (1/5) 7 "Babydoll" (2/5) 8 "Close My Eyes" (3/5) 9 "Whenever You Call" (2/5) 10 "Fly Away" (Butterfly Reprise) (3/5) 11 "The Beautiful Ones" (Prince cover) (featuring Dru Hill) (3/5) 12 "Outside" (1/5) Total - 21 Average - 1.75 215/1001 121/215 albums reviewed were new to me.

After the opening salvo of the thunderous "Immigrant Song", replete with otherworldly vocals from Robert Plant, you could be forgiven for thinking that Led Zeppelin III was simply a continuation of its predecessor. It is not. Instead, it is a far more subtle and eclectic affair. While the hard rock DNA remains, the album breathes with folk and blues influences that showcase a band in truly wonderful form. Those folk influence were born largely from Robert Plant and Jimmy Page’s retreat to Bron-Y-Aur (pronounced ‘Bron-er-ire’), a remote cottage in North Wales, and their inclusion of "Gallows Pole" is probably the pinnacle of their folk-rock songs. Even decades later, the sonic quality of the recording remains impeccable. For me, the standout has always been the superb blues masterpiece, "Since I've Been Loving You". For those with their hearing still intact (alas, not me!), I recommend donning a pair of headphones; you can actually hear the audible squeak of John Bonham’s bass drum pedal! For a further treat, the live version from The Song Remains The Same soundtrack is quite stellar. A special mention must go to the artwork. The original sleeve is stunningly creative, and for the vinyl collectors out there, it is well worth sourcing an original pressing to appreciate the rotating "volvelle" wheel. Led Zeppelin III is a personal favourite. One could argue there are "better" albums in their discography—II, IV, or Physical Graffiti—but that is really splitting hairs. This is a five-star record through and through. It was also a joy to see Robert Plant recently with Saving Grace; hearing him revisit tunes from this era made for a truly wonderful night. Side one 1 "Immigrant Song" (5/5) 2 "Friends" (5/5) 3 "Celebration Day" (5/5) 4 "Since I've Been Loving You" (5/5) 5 "Out on the Tiles" (4/5) Side two 1 "Gallows Pole" (5/5) 2 "Tangerine" (4/5) 3 "That's the Way" (5/5) 4 "Bron-Y-Aur Stomp" (5/5) 5 "Hats Off to (Roy) Harper" (4/5) Total - 47 Average - 4.7 216/1001 121/216 albums reviewed were new to me.

"The Joshua Tree" is heralded by the iconic opening track, 'Where the Streets Have No Name' (inspired by the sectarian geography of Belfast), and that stunning, driving bass line. From the very first listen 39 years ago, it was clear that U2’s sound had shifted. They moved towards a more robust 'rock' foundation, with a sharp definition between the guitar, drums, and bass that provided a solid anchor for the songs. Bono’s vocals felt more controlled, softer and more soulful than before. Compared to its ethereal predecessor, "The Unforgettable Fire", this was a more conventional rock record. Lyrically, Bono's writing took on a sharper contrast; it was far more apparent that the band was grappling with politics (six of the eleven tracks are political in one way or another). For me, this era marked the beginning of the wider critiques of U2, and Bono in particular. He began to polarise people on a much larger scale. Those criticisms continue to this day and, admittedly, some are deserved (the Apple Music debacle, for instance), but many have now become like an urban myth. People often make up their minds about the man without actually listening to the music first - you only have to look at some of the modern reviews of this album to see that bias in action. Side one of "The Joshua Tree" is, for me, a perfect side of music. It is difficult to pick a favourite as the quality is so consistent, but if pushed, I would choose 'I Still Haven't Found What I'm Looking For'. It is a gospel-infused track that showcases a newfound maturity in their song writing, admitting to a persistent, human sense of spiritual hunger and unfulfillment. Side two is darker, and less consistent. It certainly lacks the "instant" appeal of the first half. However, my favourite track on side two, and a personal highlight of the entire album, is 'Exit'. Inspired by Norman Mailer’s The Executioner’s Song, it is a frightening, "creepy" track that attempts to get inside the mind of a religious fanatic driven to murder. It feels much more in keeping with the raw energy of their earlier work. The album reaches a solemn conclusion with 'Mothers of the Disappeared'. It is a wonderful, beautifully sung piece, a stark, chilling closer about the mothers in Argentina and Chile whose children were abducted by military dictatorships. I have always felt this track evokes Peter Gabriel's 'Biko' (from his third album, Melt), both in its sombre tone and its placement as a final, haunting statement. "The Joshua Tree" was a monumental turning point for U2. It became their biggest-selling album and saw them headlining stadiums worldwide for the first time. It is a great album, although the slight dip in quality on side two, specifically with 'In God's Country' and 'Trip Through Your Wires', means it just achieves a five-star rating. Side one 1 "Where the Streets Have No Name" (5/5) 2 "I Still Haven't Found What I'm Looking For" (5/5) 3 "With or Without You" (5/5) 4 "Bullet the Blue Sky" (5/5) 5 "Running to Stand Still" (5/5) Side two 1 "Red Hill Mining Town" (5/5) 2 "In God's Country" (3/5) 3 "Trip Through Your Wires" (3/5) 4 "One Tree Hill" (4/5) 5 "Exit" (5/5) 6 "Mothers of the Disappeared" (5/5) Total - 50 Average - 4.55 217/1001 121/217 albums reviewed were new to me.

The XX’s self-titled debut features muted, introverted vocals paired with a distinctive, sparse indie-twang guitar. While the production and arrangements are impeccably executed, the downcast vocal delivery lacks the dynamic range needed to truly command attention. There is nothing offensive or disappointing to the ears in this album but neither is there anything remarkable. It is a pleasant listen, though it occasionally struggles to stay engaging. Of the eleven tracks "Infinity" was oddly compelling and stood out the most, closely followed by "Heart Skipped a Beat". Three stars but not an album I will be revisiting. 1 "Intro" (3/5) 2 "VCR" (3/5) 3 "Crystalised" (3/5) 4 "Islands" (3/5) 5 "Heart Skipped a Beat" (3/5) 6 "Fantasy" (3/5) 7 "Shelter" (3/5) 8 "Basic Space" (3/5) 9 "Infinity" (4/5) 10 "Night Time" (3/5) 11 "Stars" (3/5) Total - 34 Average - 3.09 218/1001 122/218 albums reviewed were new to me.

My first impressions of "Cee-Lo Green... Is The Soul Machine" were of a varied, interesting, and occasionally funky record. However, that initial intrigue failed to sustain itself, and the album eventually devolved into an inconsistent listening experience. The production is serviceable, yet often marred by harshly programmed beats that sit too forward in the mix. On tracks like "Living Again," the percussion is aggressive to the point of distraction. Even on "All Day Love Affair", arguably one of the album's highlights, the percussion (whether sampled or programmed) feels "off." This lack of cohesion is likely a symptom of having a bloated roster of producers; one wonders how many hands are truly necessary to steer a single project. Vocally, Cee-Lo fluctuates between excellence and the annoyingly comical, particularly on "Childz Play". The hip-hop elements feel largely unsuccessful and clumsy, especially when Cee-Lo handles them himself. A track like "When We Were Friends" is a prime example of a solid song ruined by an unnecessary rap verse that disrupts the flow entirely. Clocking in at over an hour, the album outstays its welcome by a good 15 to 20 minutes. There is charm to be found here, and had the weaker tracks in the second half been trimmed, this could have been a tight three- or even four-star album. While it has its moments, its inconsistent production choices and the lack of focus means it ultimately isn't for me. Two stars. 1 "Intro" (3/5) 2 "Soul Machine" (3/5) 3 "The Art of Noise" (featuring Pharrell) (3/5) 4 "Living Again" (3/5) 5 "I'll Be Around" (featuring Timbaland) (2/5) 6 "The One" (featuring Jazze Pha and T.I.) (3/5) 7 "My Kind of People" (featuring Jazze Pha and Menta Malone) (3/5) 8 "Childz Play" (featuring Ludacris) (2/5) 9 "I Am Selling Soul" (2/5) 10 "All Day Love Affair" (3/5) 11 "Evening News" (featuring Chazzie and Sir Cognac The Conversation) (3/5) 12 "Scrap Metal" (featuring Big Rube and G-Rock) (2/5) 13 "Glockappella" (2/5) 14 "When We Were Friends" (2/5) 15 "Sometimes" (1/5) 16 "Let's Stay Together" (featuring Pharrell) (3/5) 17 "Die Trying" (2/5) 18 "What Don't You Do? (Outro)" (2/5) Total - 44 Average - 2.44 219/1001 123/219 albums reviewed were new to me.

"Electric Ladyland" is an excellent four-star album featuring several truly five-star moments. While many view it as a flawless masterpiece, I have never quite seen it as the perfect, cohesive work that others do. Maintaining consistency across a double album is notoriously difficult; for me, "Electric Ladyland" doesn't quite achieve total perfection, but by crikey, it has a brilliant go at it. It is nothing if not ambitious. For a 57-year-old record, the production and mix hold up remarkably well, and the musicianship throughout is superb. As noted, the album is punctuated by genuine standouts such as 'Crosstown Traffic', 'Voodoo Chile', 'Gypsy Eyes', 'Burning of the Midnight Lamp', 'Rainy Day, Dream Away', and 'Voodoo Child (Slight Return)'. There is certainly enough top-tier material here to form a flawless five-star single album. Furthermore, 'All Along the Watchtower' remains, quite possibly, the greatest cover of another artist’s song ever recorded. Four stars. Side A 1 "... And the Gods Made Love" (3/5) 2 "Have You Ever Been (To Electric Ladyland)" (4/5) 3 "Crosstown Traffic" (5/5) 4 "Voodoo Chile" (5/5) Side B 1 "Little Miss Strange" (Noel Redding) (3/5) 2 "Long Hot Summer Night" (3/5) 3 "Come On (Part 1)" (Earl King) (4/5) 4 "Gypsy Eyes" (5/5) 5 "Burning of the Midnight Lamp" (5/5) Side C 1 "Rainy Day, Dream Away" (5/5) 2 "1983... (A Merman I Should Turn to Be)" (4/5) 3 "Moon, Turn the Tides....Gently Gently Away" (4/5) Side D 1 "Still Raining, Still Dreaming" (4/5) 2 "House Burning Down" (4/5) 3 "All Along the Watchtower" (Bob Dylan) (5/5) 4 "Voodoo Child (Slight Return)" (5/5) Total - 68 Average - 4.25 220/1001 123/220 albums reviewed were new to me.

Somehow, both Beach House and their album "Teen Dream" had completely passed me by until now. My initial impressions were positive; the opening track is gentle and dreamy, with a sonically broad, 'full' scope. The vocals are restrained and pleasant, underpinned by lovely harmonies. However, this isn't an album for toe-tapping or head-shaking; it is a 'listening' record that demands you sit down and truly take it in. It is subtle and low-key, but as the tracks progressed, I found it somewhat one-paced. While inoffensive to the ear, it lacked the drama, variety or dynamic shifts needed to keep me engaged. I doubt I’ll be revisiting it. Three stars. (And a final thought: the artwork is truly awful.) 1 "Zebra" (4/5) 2 "Silver Soul" (3/5) 3 "Norway" (3/5) 4 "Walk in the Park" (3/5) 5 "Used to Be" (4/5) 6 "Lover of Mine" (3/5) 7 "Better Times" (3/5) 8 "10 Mile Stereo" (3/5) 9 "Real Love" (3/5) 10 "Take Care" (3/5) Total - 32 Average - 3.2 221/1001 124/221 albums reviewed were new to me.

"A Little Deeper" is a fusion of different genres, most of which aren't really my thing, nonetheless they were performed well. I found the opening of the album quite pleasant, especially the breezy vibes of 'Dy-Na-Mi-Tee'. However, there are some really nice pop melodies to be found, particularly on 'Put Him Out'. The vocals are certainly distinctive - Ms. Dynamite has a very specific sound in her upper register that feels almost 'helium-infused' at times. Overall, the production and mix are high quality. If this is your preferred style of music, you’d likely rate it higher, but I’m not hearing anything truly ground-breaking here. The album is a tad over long as well. Three stars. 1 "Natural High (Interlude)" (3/5) 2 "Dy-Na-Mi-Tee" (4/5) 3 "Anyway U Want It" (featuring Keon Bryce) (3/5) 4 "Put Him Out" (3/5) 5 "Brother" (2/5) 6 "It Takes More" (Bloodshy Main Mix) (3/5) 7 "Sick 'n' Tired" (3/5) 8 "Afraid 2 Fly" (3/5) 9 "Watch Over Them" (2/5) 10 "Seed Will Grow" (featuring Kymani Marley) (3/5) 11 "Krazy Krush" (3/5) 12 "Now U Want My Love" (3/5) 13 "Too Experienced" (featuring Barrington Levy) (3/5) 14 "Gotta Let U Know" (3/5) 15 "All I Ever" (3/5) 16 "A Little Deeper"/"Get Up, Stand Up" (Pregap Track) (3/5) Total - 47 Average - 2.94 222/1001 125/222 albums reviewed were new to me.

What is there left to say about Little Richard and his debut masterpiece, "Here’s Little Richard"? Simply put: it should be required listening in schools across the country. This record is the foundational blueprint for Rock ’n’ Roll, the "Beat" music of the sixties (including The Beatles), and virtually every evolution of Rock and Pop that followed. The track list is a roll-call of legends: "Tutti Frutti", "Ready Teddy", "Slippin' and Slidin'", "Long Tall Sally", "Rip It Up", "Jenny, Jenny" and "She's Got It". These weren't just songs; they were seismic shifts, covered relentlessly by his contemporaries and every generation of artists since. The music is infectious, high-energy, and brilliantly executed. As a pianist, Richard stands shoulder-to-shoulder with the likes of Jerry Lee Lewis and Fats Domino, pounding the keys with a percussive fury. Then there is that voice - unmatched whether he is crooning in his lower register or absolutely belting it out in his soaring, trademark upper register. Technically, while much of the album is built on the 12-bar blues, it is the delivery that marks Little Richard out as a pioneer. He famously altered the rhythmic nature of the genre; where traditional blues often utilised a "shuffle" or "swing" feel, Richard pushed towards a driving, straight eighth-note rhythm. This "even" drumming and piano style served as the primary catalyst that transformed the blues into what we now recognise as Rock ’n’ Roll. For an album recorded across 1955 and 1956, the production holds up remarkably well, capturing a raw power that still feels modern. When you factor in his flamboyant, outrageous stage persona, it’s clear why he remains a legend of the music world. Five stars. Side one 1 "Tutti Frutti" (5/5) 2 "True, Fine Mama" (5/5) 3 "Can't Believe You Wanna Leave" (4/5) 4 "Ready Teddy" (5/5) 5 "Baby" (4/5) 6 "Slippin' and Slidin'" (5/5) Side two 7 "Long Tall Sally" (5/5) 8 "Miss Ann" (4/5) 9 "Oh Why?" (3/5) 10 "Rip It Up" (5/5) 11 "Jenny, Jenny" (5/5) 12 "She's Got It" (5/5) Total - 55 Average 4.58 223/1001 125/223 albums reviewed were new to me.

Despite owning "The Velvet Underground & Nico" for years, my visits to it remain sporadic. Every playback leaves me struck by its quality, prompting a vow to return more often that I seldom fulfil. I often question this distance. It may be the record's inherent eclecticism. Even now, tracks like 'Venus in Furs' and 'All Tomorrow’s Parties' feel peerless and 'unpinnable,' resisting any specific mood or genre. There is also the matter of the production; the rawness of tracks such as 'Run Run Run' lends it an unpolished charm frequently dismissed as 'proto-punk'—a term that feels far too reductive for what is happening here. The album's gravitational centre is 'Heroin,' a track that captures the harrowing oscillations of addiction with haunting accuracy. Ultimately, a four-star rating may seem conservative for such a landmark, but it reflects my relationship with an album that, for all its quality, remains strangely out of reach. Side one 1 "Sunday Morning" (5/5) 2 "I'm Waiting for the Man" (5/5) 3 "Femme Fatale" (4/5) 4 "Venus in Furs" (5/5) 5 "Run Run Run" (4/5) 6 "All Tomorrow's Parties" (5/5) Side two 1 "Heroin" (5/5) 2 "There She Goes Again" (3/5) 3 "I'll Be Your Mirror" (5/5) 4 "The Black Angel's Death Song" (Reed, John Cale) (3/5) 5 "European Son"4/5) Total - 48 Average - 4.36 224/1001 125/224 albums reviewed were new to me

Elvis Costello’s output between 1977 and 1990 remains staggering. It was a remarkably prolific period where, with the singular exception of "Goodbye Cruel World", his hit rate was almost flawless, particularly across his first four career-defining records. While "Goodbye Cruel World" marked his first true misstep, he staged a magnificent recovery in 1986 by releasing two contrasting albums: the refined, Americana-inflected "King of America" and the visceral, jagged "Blood & Chocolate". "Blood & Chocolate" is a spikey, abrasive affair. It is loud, distorted, and raw; a dark record that feels as though Costello was finally purging something from his system. Reunited with producer Nick Lowe, the band recorded together in one room to capture a dense, thundering "big sound". Yet, for all the instrumental chaos, Lowe’s true triumph lies in the vocal production. Costello’s voice is captured with a stark, dry clarity that strips away any artifice - it is arguably his finest vocal performance on tape. The album’s dual nature was famously reflected in the naming of its sides: - The "Blood" Side (Side One): Dominated by aggressive, "bleeding" tracks, this side captures the record's rawest and most vitriolic energy. - The "Chocolate" Side (Side Two): While the grit remains, this side leans into slightly more melodic structures, offering a bitter-sweet counterpoint to the carnage of side one. The album’s pillars are undoubtedly the searing "I Hope You're Happy Now", the sprawling travelogue of "Tokyo Storm Warning", the harrowing obsession of "I Want You", and the punchy, soulful "Blue Chair". Critically, "Blood & Chocolate" was revered upon its release, and its reputation has largely endured. While perhaps less immediate than the pop-infused brilliance of his earlier work, it remains a vital, compelling piece of his discography. It is a dense, challenging, and ultimately excellent record. Four stars. Side one: Blood 1 "Uncomplicated" (4/5) 2 "I Hope You're Happy Now"  (5/5) 3 "Tokyo Storm Warning"(5/5) 4 "Home Is Anywhere You Hang Your Head" (4/5) 5 "I Want You" (5/5) Side two: Chocolate 6 "Honey, Are You Straight or Are You Blind?" (3/5) 7 "Blue Chair"  (5/5) 8 "Battered Old Bird" (4/5) 9 "Crimes of Paris"  (4/5) 10 "Poor Napoleon" (4/5) 11 "Next Time Round" (4/5) Total - 47 Average - 4.27 225/1001 125/225 albums reviewed were new to me

This is the quintessential sound of a post-punk band finding their Funk and (some) Disco. I was pleasantly surprised to see this appear for review; sonically, it is an expansive record that, to these old ears, still sounds remarkably fresh and musically diverse. The song-writing, arrangement, and performance are all top-tier, with the title track remaining the undisputed standout. "Louise Louise" is a nod back to their 'Indie' jingle jangly sound. Collins’ unique baritone lends the album real character and charm. A thoroughly good listen that stands the test of time, just tipping the scales to four stars 1 "Rip It Up" – (5/5) 2 "A Million Pleading Faces" – (4/5) 3 "Mud in Your Eye" – (3/5) 4 "Turn Away" – (3/5) 5 "Breakfast Time" – (3/5) 6 "I Can't Help Myself" – (4/5) 7 "Flesh of My Flesh" – (3/5) 8 "Louise Louise" – (4/5) 9 "Hokoyo" – (3/5) 10 "Tenterhook" – (4/5) Total - 36 Average - 3.6 226/1001 126/226 albums reviewed were new to me

"Wish You Were Here" is that rare occurrence; an album tasked with following a cultural behemoth like "The Dark Side of the Moon", yet one that manages to equal its predecessor without ever mimicking it. While many debate which is superior, for me, the distinction lies in the atmosphere of each. To me, "Wish You Were Here" feels inherently more human and soulful; it possesses a warmth and vulnerability that its predecessor doesn't quite have in comparison. It captures Pink Floyd at the absolute zenith of their powers, masterfully balancing technical experimentation with profound emotion as they grapple with the pressures of fame, the cynicism of the music industry, and the haunting ghosts of their past. My own journey with the record began in late 1978, hearing "Shine On You Crazy Diamond (Parts I–V)" on the BBC’s Friday Rock Show. I was immediately captivated. It was a revelation to my younger self that rock music didn't need to be loud or fast; it could be expansive, patient, and atmospheric. Without realising it at the time, this was my formal introduction to the world of Progressive Rock. The album is a breath-taking achievement, rich with drama and pathos. Across five varied and captivating tracks, there is not a single misstep or wasted note. From the industrial dread of the synthesizers to the iconic, longing guitar riffs and motifs, the production and arrangements remain peerless. Sonically, it was years ahead of its time and as an album it remains timeless. Five stars. Side one 1 "Shine On You Crazy Diamond" (Parts I–V)" (5/5) 2 "Welcome to the Machine" (5/5) Side two 1 "Have a Cigar" (5/5) 2 "Wish You Were Here" (5/5) 3 "Shine On You Crazy Diamond" (Parts VI–IX) (5/5) Total - 25 Average - 5 227/1001 126/227 albums reviewed were new to me

I’ve long been aware of Wilco but had never actually sat down to listen to them. As someone who loves both rock and country, "Being There" should be right up my street - and by George, it was. Wilko's influences are apparent as the album progresses; you can hear the DNA of The Byrds, Gram Parsons, Neil Young, The Stones, and The Faces woven throughout. Across the two CDs, the band proves incredibly eclectic, backed by excellent production and clever arrangements. It’s an excellent rock record that eventually won me over with its sheer charm and melodic hooks. While it does feel a touch over-long in places, you have to admire the sheer bravado and ambition of such a sprawling work. I suspect that with a few more spins, these tracks will really get under my skin, but first impressions are overwhelmingly positive. Four stars. Disc One 1 "Misunderstood" (4/5) 2 "Far, Far Away" (4/5) 3 "Monday" (4/5) 4 "Outtasite (Outta Mind)" (4/5) 5 "Forget the Flowers" (4/5) 6 "Red-Eyed and Blue" (4/5) 7 "I Got You (At the End of the Century)" (5/5) 8 "What's the World Got in Store" (4/5) 9 "Hotel Arizona" (5/5) 10 "Say You Miss Me" (4/5) Disc Two 1 "Sunken Treasure" (4/5) 2 "Someday Soon" (4/5) 3 "Outta Mind (Outta Sight)" (4/5) 4 "Someone Else's Song" (4/5) 5 "Kingpin" (5/5) 6 "(Was I) In Your Dreams" (4/5) 7 "Why Would You Wanna Live" (4/5) 8 "The Lonely 1" (4/5) 9 "Dreamer in My Dreams" (5/5) Total - 80 Average - 4.21 228/1001 127/228 albums reviewed were new to me

Paul Simon is an artist I really ought to listen to more often; his work often has to fight for my attention against the louder rock and blues that dominates my collection. His music is intricate, precise, and occasionally delicate - always deeply considered. However, having been born in the 1960s, I’ve found his music has been a constant presence throughout my life. It may not always have been at the forefront, but it was always there on the radio and TV, quietly influencing me while competing with the louder trends of the 70s and 80s. Similarly, "Graceland" is an album that I find myself thoroughly enjoying every time I put it on. Simon’s wonderful voice is paired here with some slightly "odd" vocal melodies that offer a refreshing departure from his earlier solo work. The accompanying harmonies, of course, bring a completely different texture, with African influences shining through most brilliantly on the introductions to "Diamonds on the Soles of Her Shoes" and "Homeless". Underpinning it all are those infectious rhythms; the percussion and bass work, in particular, are standout elements that really make the record shine. The album wasn't without controversy upon its release, and as evidenced by some of the more recent commentary in the reviews on this site, that debate clearly persists. Personally, I’ve never agreed with the critics. At best, the "cultural appropriation" critiques are well-meant but misplaced; at worst, as seen in some vitriolic reviews, they are little more than nonsense. "Graceland" is an excellent album. While I’ve never quite subscribed to the "masterpiece" label, a term I tend to avoid in any case, it is a high-calibre piece of work. For me, "Crazy Love, Vol. II" is the weakest link; it’s a good song, but it feels slightly out of step with the rest. Similarly, while the final two tracks are very strong, they don't quite possess the same cohesion as the opening eight. Four stars. Side one 1 "The Boy in the Bubble" (5/5) 2 "Graceland" (5/5) 3 "I Know What I Know" (with General MD Shirinda and the Gaza Sisters) (4/5) 4 "Gumboots" (with the Boyoyo Boys) (4/5) 5 "Diamonds on the Soles of Her Shoes" (with Ladysmith Black Mambazo) (5/5) Side two 6 "You Can Call Me Al" (5/5) 7 "Under African Skies" (5/5) 8 "Homeless" (with Ladysmith Black Mambazo) (5/5) 9 "Crazy Love, Vol. II" (with Stimela) (3/5) 10 "That Was Your Mother" (with Good Rockin' Dopsie and the Twisters) (4/5) 11 "All Around the World or the Myth of Fingerprints" (with Los Lobos) (4/5) Sum 49 Average 4.45 229/1001 127/229 albums reviewed were new to me

While "The Velvet Underground" is undoubtedly charming, it fails to resonate with me quite enough to warrant the classic status others bestow upon it. It is certainly a pleasant listen, headlined by the standout brilliance of 'Candy Says', but it lacks a consistent identity. The inclusion of 'The Murder Mystery' is a particular sticking point; though it’s an audacious piece of avant-garde experimentation, it feels jarringly out of place against the hushed, melodic backdrop of the rest of the album. This album sits right on the cusp between three and four stars, but as I prefer to accentuate the positive and acknowledge its clear merits, I’m leaning towards the higher mark. Side one 1 "Candy Says" (5/5) 2 "What Goes On" (4/5) 3 "Some Kinda Love" (3/5) 4 "Pale Blue Eyes" (4/5) 5 "Jesus" (4/5) Side two 1 "Beginning to See the Light" (3/5) 2 "I'm Set Free" (3/5) 3 "That's the Story of My Life" (3/5) 4 "The Murder Mystery" (3/5) 5 "After Hours" (4/5) Total - 36 Average -3.6 230/1001 127/230 albums reviewed were new to me

"Unknown Pleasures" is a stark, visceral, and desolate debut, pulsing with both passion and despair. It is brought to life by the paradox of Martin Hannett’s production: a sound that is famously "thin" yet remains incredibly heavy. A particular standout is the drum sound; it is nothing short of fantastic, providing a cold, metronomic heartbeat to the record. Upon its release in 1979, nothing else sounded quite like this, and arguably, nothing has since. The song-writing is of a consistently excellent quality throughout. For me, the "heavy as hell" 'Day of the Lords' is a particular highlight, alongside the now-iconic 'She’s Lost Control' and the frenetic 'Shadowplay'. I can certainly understand why this album polarises opinion, as it is by no means for everyone. Firstly, there is the tone of the music itself - this is not a "happy" listen. Secondly, there is the deep, dark baritone of Ian Curtis’s vocals, which perfectly complements the atmospheric gloom. On "Unknown Pleasures", his delivery is distinctly more refined and haunting than the raw, snarling style found on the band's earlier releases as Warsaw. The artwork is arguably as famous as the music itself. Designed by Peter Saville, it is a masterclass in minimalism and has become one of the most iconic images in pop culture history. Even now, it always pleases me to see a young person wearing the pulsar image on a T-shirt, carrying that legacy forward into a new generation. "Unknown Pleasures" made an instant impact on me during my early teenage years when it was first released, and it remains as fresh today as it did back then. In that respect, it is truly timeless. Five stars. Side one (Outside) 1 "Disorder" (5/5) 2 "Day of the Lords" (5/5) 3 "Candidate" (4/5) 4 "Insight" (5/5) 5 "New Dawn Fades" (5/5) Side two (Inside) 6 "She's Lost Control" (5/5) 7 "Shadowplay" (5/5) 8 "Wilderness" (5/5) 9 "Interzone" (4/5) 10 "I Remember Nothing" (5/5) Total - 47 Average - 4.7 231/1001 127/231 albums reviewed were new to me

I must confess that John Grant was previously unknown to me. "Queen of Denmark" is a pleasant folk-rock and soft-rock affair, superbly produced with crystal-clear clarity. It feels like an album out of its time; it would sit quite comfortably within the 1970s Laurel Canyon aesthetic. Musically, it puts me in mind of Father John Misty, although Grant arrived first - albeit I find myself preferring Misty’s output. This is very much a 'listening album,' and it is clear that the lyrics are the focal point here. Generally, however, lyrics are not what grab my attention when exploring new music. With the additional tracks from the bonus disc (the last four tracks of sixteen) the "Queen of Denmark" is an overly long listen. Perhaps I simply wasn’t in the right frame of mind to fully absorb this album, but I found this to be a perfectly decent, 'okay' record. It is by no means a poor album, but nothing truly stood out frequently enough to push it beyond a three-star rating. Lastly, the artwork is dreadful - it looks like a still from a low-budget 1980s science fiction film. 1 "TC and Honeybear" (3/5) 2 "Marz" (3/5) 3 "Where Dreams Go to Die" (3/5) 4 "Sigourney Weaver" (3/5) 5 "Chicken Bones" (3/5) 6 "Silver Platter Club" (3/5) 7 "It's Easier" (3/5) 8 "Outer Space" (3/5) 9 "Jesus Hates Faggots" (4/5) 10 "Caramel" (3/5) 11 "Leopard & Lamb" (3/5) 12 "Queen of Denmark" (4/5) 13 "That’s the Good News" (4/5) 14 "Supernatural Defibrillator" (3/5) 15 "Fireflies" (3/5) 16 "What Time?" (3/5) Total - 51 Average - 3.19 232/1001 128/232 albums reviewed were new to me.

From the opening bars, "Smokers Delight" promises a chilled, dreamy odyssey, but it fails to hold the attention for long. The primary hurdle is the sheer scale: at 74 minutes, with eight tracks exceeding the five-minute mark, the album’s downbeat nature begins to test one’s patience by the fifth track. 'Pipes Honour', for instance, feels unnecessarily bloated. While pleasant enough initially, the album is, by design, the antithesis of music that I prefer. I value energy and shifting dynamics; this record is deliberately repetitive, static, and passive. Ultimately, it lacks the variety and beauty required to sustain its runtime. Two Stars. 1 "Nights Introlude" (3/5) 2 "Dreddoverboard" (3/5) 3 "Pipes Honour" (3/5) 4 "Me + You" (3/5) 5 "Stars" (2/5) 6 "Wait a Minute/Praying for a Jeepbeat" (2/5) 7 "Groove St." (2/5) 8 "Time (To Listen)" (2/5) 9 "(Man) Tha Journey" (2/5) 10 "Bless My Soul" (2/5) 11 "Cruise (Don't Stop)" (2/5) 12 "Mission Venice" (2/5) 13 "What I'm Feelin (Good)" (2/5) 14 "Rise" (2/5) 15 "Rise (Reprise)" (2/5) 16 "Gambia Via Vagator Beach" (2/5) Total - 36 Average - 2.25 233/1001 129/233 albums reviewed were new to me.

What a delight. The songs on this album are of a high standard, and it is no surprise that many have become widely covered classics. In its delivery, "Gunfighter Ballads and Trail Songs" is very much a product of its time. Marty Robbins’ smooth 'Nashville Sound' vocals, combined with the Glaser Brothers' backing harmonies, create a polished, sophisticated atmosphere. Refreshingly, Robbins avoids the heavy 'country twang' employed by many male country artists, a style I often find off-putting. Instead, the record reflects the production ethics and vocal purity of the late 1950s. There will be those who might dismiss the album because of its age, but that would be a mistake. To do so is akin to a modern film buff refusing to watch black-and-white cinema from the 1940s or 50s, wrongly deeming it inferior simply because of the medium. While it is a very good, easy-breezy listen, the lyrics deserve your full attention; they often hide a darker edge. The standout track for me is 'They're Hanging Me Tonight', but "Big Iron", "Cool Water", "Running Gun" , "El Paso" and the "The Hanging Tree" are also worthy of mention. A solid four stars. 1 "Big Iron" (5/5) 2 "A Hundred and Sixty Acres" (4/5) 3 "They're Hanging Me Tonight" (5/5) 4 "Cool Water" (5/5) 5 "Billy the Kid" (4/5) 6 "Utah Carol" (3/5) 7 "The Strawberry Roan" (4/5) 8 "The Master's Call" (4/5) 9 "Running Gun" (5/5) 10 "El Paso" (5/5) 11 "In the Valley" (4/5) 12 "The Little Green Valley" (3/5) 13 "The Hanging Tree" (5/5) 14 "Saddle Tramp" (4/5) 15 "El Paso" (full length version) (5/5) Total - 65 Average - 4.33 234/1001 130/234 albums reviewed were new to me.

Cypress Hill’s debut is an impressively consistent listen. Even as someone who doesn't typically gravitate towards hip-hop, I found the album’s rhythmic swing and funk-heavy sampling compelling. The vocals are sharp and distinctive, maintaining a momentum that never flags. A four-star album. 1 "Pigs" (3/5) 2 "How I Could Just Kill a Man" (4/5) 3 "Hand on the Pump" (5/5) 4 "Hole in the Head" (4/5) 5 "Ultraviolet Dreams" (3/5) 6 "Light Another" (3/5) 7 "The Phuncky Feel One" (3/5) 8 "Break It Up" (3/5) 9 "Real Estate" (3/5) 10 "Stoned Is the Way of the Walk" (4/5) 11 "Psycobetabuckdown" (3/5) 12 "Something for the Blunted" (3/5) 13 "Latin Lingo" (3/5) 14 "The Funky Cypress Hill Shit" (5/5) 15 "Tres Equis" (4/5) 16 "Born to Get Busy" (4/5) Total - 57 Average - 3.56 235/1001 131/235 albums reviewed were new to me.

"Marquee Moon" is another album that is great, and one that I should listen to more. From the opening track, 'See No Evil', which feels like it belongs in the grainy, black-and-white opening to a 1960s TV detective show, to its closing track, it is a compelling and engaging listen. That last song, 'Torn Curtain', is arguably the most theatrical and cinematic moment on the entire album. Radiohead and many, many others were clearly taking notes. It's a five-star listen. Side one 1 "See No Evil" (5/5) 2 "Venus" (5/5) 3 "Friction" (5/5) 4 "Marquee Moon" (5/5) Side two 1 "Elevation" (5/5) 2 "Guiding Light" (4/5) 3 "Prove It" (4/5) 4 "Torn Curtain" (5/5) Total - 38 Average - 4.75 236/1001 131/236 albums reviewed were new to me.

"They Were Wrong, So We Drowned" simply isn’t to my taste. It is disjointed, abrasive, and brash, featuring a soundscape that is practically devoid of melody. I found it entirely unenjoyable. One star. 237/1001 132/237 albums reviewed were new to me.