I actually listened to the first half of it was amazed how much I liked the first four or tracks. Fun and funky. Thought it was going to be a 4….until it descended into generic rap that just isn’t for me. I’ll quit while I’m ahead and call it a 3.

Back to form with Simon & Garfunkel. Grew on me more and more as it went on. A solid 4 for me, Clive.

There’s some truth in Stevo’s assessment. “Filler” might be a bit much, but the second half is certainly less accessible and geared more towards the purists. But the start is unreal and the impact of the album and some of those individual tracks is unquestionable. A reshuffle of the tracks would make this a pretty seamless top score - and I agree with Joe G that it’s probably a 4.5 - but I gave Elliott Smith a 3, so I think this needs to be a 5.

Pleasant and inoffensive. Unlike yer ma.

Almost a five just because I don’t know if I could listen to anything else for 3 hours and not get bored.

Never listened to a Who album before and really enjoyed that. It’s a shame I was reminded of failed Nu Metal band Staind towards the end, but that in turn reminded me of Limp Bizkit, so it evened out.

I’m confident that every single Joni Mitchell album will be 3/5.

I spent 90% of this album convinced I’d give it a 4. Satisfyingly bluesy from start to finish and, irrespective of your music preference, almost impossible to dislike. But blues’ strength is also its weakness. It’s so generically wonderful that it’s surprisingly hard to find blues that has enough of an edge or uniqueness to take it to the highest level. But then I listened to Layla, and I was reminded, 55 years after its release, what a beautiful, timeless and unique/edgy piece of music it was. Arguably one of the greatest songs ever written from a “popular music” perspective. So, I decided that I can’t have this the same as Simon and Garfunkel or below Nirvana. It’s a 5 from me.

I love Janis. I could listen to her wail like a banshee to the background of blues music for hours on end (Zena has previously complained about that actually happening). I enjoyed this so much, I’d like to officially change my ratings of Nirvana and Derek & the Dominoes (Layla is a bit overrated in my opinion) to four stars. This is the new five star standard.

Essentially the same song twelve times. I didn’t like the song.

This is a 5-star album

Even John Thomson’s character in the Fast Show Jazz Club sketches would struggle to put a positive spin on this incoherent, self-important, prog-rocky jazz nonsense.

The music is a 3, the vocals/lyrics are a 1, so I think a 2 is fair. Also, unlike Scott Walker, it has something about it. I don’t know / understand what that is, but I feel like that’s my problem.

Don’t mind me a bit of punk so long as it’s the right dose at the right time. This toed the line pretty well and verged on a 4 at times, but was ultimately a bit too raw for me.

Really not for me. Even the initial redeeming qualities faded into meh by the end.

Never understood the fascination with Ozzy Osborne. Terrible voice. Music is solid, though. Hard to dislike if you like anything even slightly heavy. Very much a 3 from me.

On the too cheesy side of fine, so just fell into the 2 zone at the end.

The issue with this album is that some of the songs are so overplayed that it waters down the impact of listening to them in album form. But (a) it’s not their fault I was born 8 years after its release and (b) I’m not willing to mark down for good songwriting.

One of the most fascinating things I’ve heard since Joe Graham told me he knew a guy who thought Savage Garden were better than the Beatles. It was unique, quirky and really quite beautiful in places. Listening to it, I didn’t know if I’d been transported to a spa or the waiting room for the afterlife. It turned out that I was still just in my office, but I thoroughly enjoyed the journey nonetheless.

Probably a really good version of that type of music. Just doesn’t float my boat enough.

Enjoyed that. Don’t really know what I was expecting (echoes of early 60s Beatles?) but I was pleased with what I got (echoes of late 60s Beatles?)

This is the second Police album that I’ve listened to, and the second time I’ve been massively disappointed. A couple of good songs surrounded by uninspiring and/or pretentious pseudo-jazz/reggae. Don’t get it. Don’t like it.

I was excited about this one because I’d never listened to Sonic Youth before. It didn’t disappoint. Loved the overall sound and feel to it. I’d always assumed they were mid-90’s grunge and similar to Smashing Pumpkins (possibly because they both appeared in the Simpson’s episode where Homer has a cannonball fired at his gut), so it was heavier than I expected, but that was a positive. It drifted a little bit in the middle, but a strong start and a strong finish (particularly the last track) make this a strong four.

Would have preferred the instrumental version, but overall fine.

I really wanted to give this a 4, but it just didn’t do it for me. Maybe a victim of its age, but I enjoyed Ella Fitzgerald a lot more - and that was three hours’ worth.

Enjoyed that. Great sound - especially for a live album. Vocals and riffs on point. Made me want to go to a Motörhead gig….until I remembered that I’d be very out of place and scared….and that Lemmy is dead.

Fresh and funky. Impossible not to jig along to. Way better than angry rap. A good example of this process broadening my horizons (even though I’ll almost certainly never listen to it again). And a beneficiary of my decision to award Elliot Smith 3 stars. All signs point to a 4.

Lovely to hear the start of Electioneering again. 5 for that alone.

I really don’t like jazz. It genuinely sounds like anti-music to me at times. Maybe that’s the point. And if it is, ‘tis a silly point. This was very tough to listen to at times, and in a shrill, offensive way rather than an insipid, pathetic way. And the highlights of the album were when the saxophone wasn’t playing and some geezer was essentially just softly tapping a cymbal and some other geezer was playing Grade 1 double bass, which is pretty damning for poor old Miles. It’s hard scoring a musical “great/pioneer/major influence” so poorly, but, as a friend once said to me, the winner of The Biggest Loser is still a fat c*nt. And by that logic, jazz by one of the greatest jazz musicians ever is still jazz. It’s a 1 from me.

A shit version of the Stereophonics. Plus some unnecessary shouting.