1001 Albums Summary

Was already in my collection. Nice chilling vibes, start to become a bit dull/repetitive towards the end, but overall, good listen for Sunday mornings :-). 3.5/5

In my collection, of course, no doubt about this record, the best "songs to make love to"' record. An all time classic! 5/5

Never interested in Billy Joel or any of his (mainstream, polished) music, but I was quite surprised by this album. Undeniable seventies pop, but well executed and with some well known songs. Tracks like "Just the Way You Are," "Movin' Out," and "Vienna" became standards for a reason, they're just really well-written pop songs with memorable melodies and relatable lyrics. Not my personal favorite, and not sure that I have should listened to it before I die, but I don't mind it either. 3/5

In my collection. A lesser known album by me, because my dad didn't had this record. But I can clearly hear the transition from rock'n'roll to more crafted songs. Also the use of non traditional instruments, foreshadow what will come. My personal favorites are "Girl" (so damn sweet) and Norwegian Wood. 4/5

Had this album already in my collection. Still a beautifully crafted folk album. One of my first encounters with this genre 40 years ago. Tender and melancholic songs when you're in the mood for it. 4/5

Always a pleasure to return to one of the essential records in my ever-expanding collection (14,000 albums and counting). When this masterpiece was released, I was just five years old, but during my rebellious teenage punk phase, while exploring the anarcho- and Oi! movements of the late seventies, I was completely captivated by Joy Division's intensely somber, bleak, and haunting sound. A perfect riot teenager nightmare. Favourite songs: Disorder, She's lost control 5/5

Interesting, never thought they would turn up in the list of 1001 albums. Of course, I was very well familiar with their hit Rip it up, but other than that, never took or had the desire to listen to anything more of this band. After listening to the whole record I just can say my prejudice was justified. Talking Heads meets Culture Club or worse. No idea how this album ended up in this list, nor why Wikipedia labels this as "post-punk". It's utterly 80's rubbish. 1/5

I've never been country-committed, with Johnny Cash being no exception. Sure, "A Boy Named Sue" had me chuckling at its absurd brilliance, and yes, there was that brief late-90s moment when appreciating the Man in Black became the cultural equivalent of wearing vintage band tees—but I never jumped on that particular bandwagon. So here I am, fashionably late to Cash's final album, discovering what turns out to be a musical autobiography wrapped in black. This album swings between devastating highs ("Hurt," "Personal Jesus," "We'll Meet Again", "Desperado") and soul-crushing lows ("Bridge Over Troubled Water," "In My Life," "Danny Boy"), with a few forgettable covers thrown in just because - like life itself, really. Despite my chronic indifference to the genre, I find myself unexpectedly moved by this record. It's impeccably crafted and achingly intimate, as if Cash could hear the clock ticking and decided to leave us with one last, perfectly timed gut punch. The man clearly knew how to make an exit. 4/5 - turns out you don't need to be a lifelong fan to recognize a masterpiece when it's staring mortality in the face.

Can't stand the bloke, his views, his ego, and his shitty tunes.

Proper classic this one! Right, I'm not exactly what you'd call a massive hip-hop head - don't have it on rotation daily or anything - but I know quality when I hear it, and this album is absolutely mental in the best possible way. Already had my head turned by their debut "It Takes a Nation of Millions," but bloody hell, this follow-up proper blew me away. It's like they took everything that worked and cranked it up to eleven. So what's all the fuss about then? The way they've chopped up and flipped those samples is just mad skillful. Not just nicking bits here and there, but properly reimagining them into something completely fresh. Chuck D's still spitting fire - his lyrics are sharp as anything and still bang on today. The bloke's got this way of laying down serious political chat without being preachy about it. Proper articulate anger, you know? And then Flavor Flav - mental as a box of frogs, but in the best way. His random outbursts and general nuttiness shouldn't work alongside Chuck's serious stuff, but somehow it's perfect. Like having your mate cracking jokes during a heated pub debate - keeps things from getting too heavy. The bangers on this record: "Welcome to the Terrordome" kicks off like a proper statement of intent. Aggressive as you like, but with a point to make. Gets your attention straight away. "Power to the People" - does exactly what it says on the tin. Proper rallying cry that gets the blood pumping. Shows hip-hop can be a right powerful tool when it wants to be. "Fear of a Black Planet" is the big one though. Tackles the uncomfortable stuff head-on, no messing about. The production's all dark and brooding - fits the subject matter perfectly. This isn't just another hip-hop album - it's proper boundary-pushing stuff. The thing still sounds fresh decades on, which says everything really. These days everyone's sampling everything, but back then this was revolutionary stuff. Changed the game completely. It's one of those albums that opened doors - showed hip-hop could tackle the big subjects without losing its edge. Still relevant today, which is pretty impressive when you think about it. Quality always stands the test of time, doesn't it?

This is a really solid album that shows off what made Otis Redding such a respected artist. His voice is powerful and the backing musicians do a good job supporting him throughout. What I like most about this record is how it covers different moods. You get the harder, grittier songs like "Down in the Valley" and "Shake" that really rock, and then you have the softer tracks like "My Girl" and "I've Been Loving You Too Long" where Redding shows his more gentle side. He handles both styles well. Redding's vocals are the main attraction here. He can go from really intense and passionate to smooth and tender, sometimes even within the same song. The performances feel genuine rather than overly polished, which works well for this style of music. The album flows nicely from track to track and doesn't feel like just a collection of random songs. It's clear that some thought went into how it was put together. Overall, this is quality soul music that holds up well. If you're into this genre, it's definitely worth checking out. I'd give it a solid 5/5 stars.

Well, that was a first. Although I was 14 when this record came out, I didn't bother listening to pop music, with the exception of Prince - partly due to his uncompromising reinvention of funk/pop music and his sublime guitar playing. That said, I can clearly hear Prince's influences on this album, not surprisingly, since it was produced by Lewis and Jam, members of a Prince spin-off band, The Time. It's not an album I'll listen to again anytime soon, but I found it surprisingly comforting to hear the New Jack Swing of the late '80s/early '90s. Apart from the ballads, these are considerable tracks, so I'll rate it 3/5.

Always a pleasure to play a record of Nick cave & The Bad Seeds, and this is absolutely one of my personal favourites. After the dark madness on " Murder ballads", here Cave goes into the depth of his own soul. From the joy of finding true love in 'Into my Arms" to the quest of faith, love, and the search for meaning after a break up in "Brompton Oraty", this is Cave at his finest. The religious imagery throughout isn't just decorative - it's Cave genuinely wrestling with faith as both comfort and torment, particularly evident in "Brompton Oratory" where the cathedral becomes a place of both seeking and emptiness. "(Are You) The One That I've Been Waiting For?" is perhaps the album's most devastating track, with Cave's voice cracking with genuine emotion over the simplest piano melody. The way he delivers "I've been waiting for you" is heartbreaking. Musically, it spans from swampy blues with jazzy touches with the piano in the center and a sober instrumentation of violins, slow tempered drums and Conway Savage's understated organ which creates a confessional intimacy that makes you feel like you're eavesdropping on Cave's private thoughts. Personal favourites: "Into my Arms", "People Ain't No Good" , "idiot Prayer" and the forementioned "(Are You) The One That I've Been Waiting For?" A solid 5/5

Wow, how the hell does this belong to the list? Now, I'm not into hip hop but I'm not even sure you'll have to, to appreciate this album. I don't. Totally unlistenable. 20.000 plays on Spotify says it all. 1/1

What a joy to revisited one of my favourite records of the early 2000's. I remember very well when this came out, 21 years ago. It reminded me a lot of Dead Moon at the time, albeit less raw and edgy. What I truly appreciate about this album is the diversity of the tracks. No need to mention the instant classic "Seven Nation Army" with it's classic bassline and the neat clean drums, but also where it's going from garage rock ("Black Math"), blues and guitar explosions ("Ball and Biscuit", Little Acorns) to tender ballads ("You've Got Her in Your Pocket") with lyrics that are pretty dark in most cases. What's particularly striking about the album is how Jack White's guitar work evolves across different tracks. The fuzz-heavy, almost primitive sound on "Black Math" contrasts beautifully with the more nuanced playing on something like "I Want to Be the Boy to Warm Your Mother's Heart." And Meg's drumming, often criticized for its simplicity, actually provides this perfect foundation that lets Jack's guitar and vocals really breathe and take center stage. A solid 5/5!

Never thought I would listen to this album ever again since my teenage years, and although I never really liked it, apart from the noise and punk attitude of the songs, I took great pleasure in horrifying my parents ears, playing this as loud as possible over my first stereo equipment. Even so, giving it a relisten after 35 years or so, I can't say I really dislike it, but now my kids are coming into my man cave , asking if I please can play something else or at least, not that loud....

I do not dislike neo-soul or temporary r'n'b, but why this album with its autotune vocals, mediocre lyrics, pussy this, dick that, is in the list, and not, for example, Alicia's Keys' "Songs in A Minor" is a complete mystery to me, maybe I'm too old, (gen x), but this is not my cup of tea.

Well, I guess there's a first for everything. Never ever listened to a whole album of Sinatra, and I don't think I will ever do again. But, in the right mood and on the right time, like on a sunny Sunday morning, it isn't that bad. But still, prefer the space age orchestras from the late 50's and early sixties a lot more than these crooner ballads which sound pretty much all the same. 2/5

Wow, what was I doing in 2002? Well, in retrospective, I was a neo hippy punk on dope, drowned in the rave and clubbing scene of Amsterdam in the late nineties. A perilous time of illegal substitutes abuse, expanding horizons, and never ending nights, so no wonder that this album never came to my attention. Now in my fifties, with my feet on the ground but my head still in the clouds, I've got to say, this record was a pleasant surprise. From Mersey beat to East coast and Brit-pop psychedelia to middle Eastern influences, what an eclectic album! I generally enjoyed it, and will add this to my collection, ready to spin again. 5/5!

Oh yes, hard bop and bebop were always my favourite jazz genres (and later fusion too), but I completely understand the concept of "cool jazz" after listening to this record. Nine musicians, diligently playing together and never overtaking, it certainly is cool. Where improvisational jazz , bepop and big band come altogether in a perfect blend of smoothness. It's a perfect bridge between the complex arrangements of big band era and the more intimate small group formats that would dominate jazz in the following decades. Brilliant! 5/5

Never was much of a Dylan head, and apart from some classic albums as "Blonde on Blonde", "Desire" and "Blood on the tracks" never bothered to listen to his later work either. But this album got me by surprise, it's pretty good! I love the bluesy and swampy sound, the work of Daniel Lanois, which accompanies Dylan's aging voice well. His gravelly, world-weary tone perfectly matches the album's themes of mortality, love lost, and spiritual searching. Songs like "Not Dark Yet", "Standing in the Doorway" and (the by now classic cover song) "Make You feel my Love" are my personal favourites. As far for the lyrics, Dylan still had the craft! Got my whiskey out and gave it a relisten at night. Did only appreciated it more. 4/5

Is there anything to say about this album that hasn't been said? One of my stable records in my collection, and my favourite next to Sabotage, this album is Black Sabbath at their finest, with "Supernaut", "Snowblind" and of course, "Changes" (now immaculately covered by Yungblud on his tribute and final live performance) as my favourite songs. But that doesn't do right to any of the other songs, where Vol. 4 pushed heavy metal into new territories. The production is heavier, the songwriting more adventurous, and you can hear them influencing everything from doom to stoner rock. Long live Black Sabbath, R.I.P Ozzy! \m/ 5/5 what else?

Although some of the productions on this album sounds a bit dated today, ("Holding on", "African Dance") it certainly has it charms as one of the first electronic/dance albums. Furthermore the vocals on this album are sublime, and the classics "Keep on Movin" and of course the cracker "Back to life" made this album a very enjoyable listen. Caron Wheeler's vocals really are the star here - her voice gives the electronic elements real warmth and humanity. And Jazzie B's vision of combining club culture with soul tradition was genuinely innovative for 1989. 3/5

I had to relisten this album, and also, had to forget the already written reviews on this album, to form an unbiased opinion, so I waited a few weeks for this relisten. Is it accessible, no, but it's surely interesting. I like the diversity of sounds, beats and electronics and the ethereal sensuality of her voice. In particular I liked "Two weeks" which does reminds me in a distance of later Kate Bush's works and the song "Closer" which almost sounds like a pop song. But then again, the more obscure and darker songs like "numbers" are just as interesting as the spacious, moody songs like "Kicks" or "lights On". It truly foreshadowed her talents as later being displayed by her albums "MAGDALENE" and her latest album "EUSEXUA". 4/5

I'm not really into vocal jazz, and apart from early Billie Holiday's early records, this albums makes not much of an exception to me. But I've got to admit her voice is truly impressive and the ambience of this live recording, makes it very intimate. So, 3/5 for me.

An absolute classic for me! Daydream Nation was my first SY album, and I couldn't be more thrilled when this album came out, more catchy, consistent and more room for Kim Gordon's songs was what made this album even better! 5/5

Always had mixed feelings about this album, it's packed with incredible ideas, sharp social commentary, and musical innovation, but it's also deliberately abrasive and exhausting. Although I can appreciate the satire, the psychedelic songs and soundscapes and the obvious sixties pop/rock sound, I never could listen to the whole album in once, and still can't today. Zappa's vision was often more intellectually impressive than emotionally engaging, and so it was with this album. But I did it, once, and never again. 4/5

Always my favourite jazz musician, and this is by all means his Magnus Opus, the one where everything he was capable of just comes together perfectly. It's got that same kind of epic, complex beauty as Beethoven's symphonies, except it's pure jazz through and through. The first thing that hits you is how ambitious this thing is. Mingus wrote it as one long piece - basically a ballet that runs through four parts like movements in a symphony. He takes you from these incredibly tender, almost heartbreaking moments to these wild, chaotic improvisations where everyone's going mental together. It's like he's showing off everything jazz can do in one album. And then, the emotions in this music. One minute you're feeling this deep sadness that Mingus is pouring out, the next minute the whole band explodes into this joyful madness that makes you want to move. It's intensely personal - you can hear Mingus working through his own demons - but somehow it speaks to everyone. This is an essential album not just for jazz enthusiasts, but for anyone interested in 20th-century artistic achievement. It stands as proof that jazz, at its highest level, can match any art form for emotional depth, and pure creative brilliance.

It's a great album, just not for now, or any time later, since I'm over my depression.

I prefer their second and third albums, If You're Feeling Sinister, and The Boy with the Arab Strab, but I can hear their humble beginnings of what later would define their sound. Stuart's literate, melancholy songwriting and the band's gentle indie pop sensibilities are all there, just not as fully formed or well-produced yet. Songs as "Electronic Renaissance" are not to be memorised, but there are definitely some jewels on this album, like the openings track "The State I'm in " and "She's Losing It" and "I Could Be Dreaming". Unfortunately, the production doesn't sound very clear, it's quiet muddy, and it effects the songs. 3/5

While overall not a bad album, it mostly reminded me of other bands or songs (most notably "Jupiter and Teardrop" which is almost a copy of David Bowie's "Moonage Daydream", "Grace" which could easily be a U2 song, or "America Snoring" which could be made by any other grunge band of that time). There were some tracks I already knew and liked ("Fuzzy", You Just Have To Be Crazy") but never realized it was made by GLB, and there were also some songs which I couldn't stand ("Soft Wolf Tread"). All in all, a pretty incoherent album, with too many similarities to other artists to be original, so once again not entirely sure why it's on this list. I guess it's what they say: better a good copy than a bad original... 3/5

I always had a weak spot for The Boss. it started back in 1984, when I was only ten, with Born in the USA. my next album (or actually box) were his live recordings from 1975-1985. From here my journey to his older work began, and although this is not my personal favourite album of the early seventies, it shows his master craft and his determination to make that one million record selling album. Which he did. Still, a great listen to me, albeit sometimes a little to overproduced for my liking, but still with great tracks, like "Jungleland" or the little hidden gem "meeting Across the River" apart from of course "Born to Run" itself. 4/5

Wow, those lovely nineties! Somehow I forgot about this album, while I played it over and over again, together with Dee-Lite's "Groove is in the Heaaaaart", when it came out back in the day. Nice crossover tunes, danceable, slightly erotic, sensual and of course Björk's own characteristic voice, it made it one of my favourite albums of the early nineties. Björk's voice on this album is just incredible, she manages to be both ethereal and earthy, vulnerable and powerful. Songs like "Human Behaviour," "Venus as a Boy," and "Big Time Sensuality" still sound absolutely fresh today. Relistened the whole album and enjoyed it as much as I did 32 years ago. 5/5

Now, I really tried, but I just don't like Neil Young, his whining, his lyrics and especially, his voice. The only time it worked for me was on "Deja Vu" with Crosby, Still and Nash, and that's probably because he's not so prominent on that album. So, sorry, but not sorry. 1/1

What the hell? I mean, I like The jam, I like quite a few solo albums of Paul Weller, but this? Half a side with lazy jazz that can easily be categorized as muzak which feels like cocktail lounge music rather than anything genuinely adventurous... I mean, I know better jazz records that should belong to this list, better pop albums too, not to mention the song "The Gospel" which is maybe the worst white-boy attempt to rap. Then comes an utterly crap attempt to make a funk song (Strength of Your Nature), just to be followed up by a horrible sugarcoated 80's love ballad (You're the Best Thing) that with it's right belongs to a "Now This Is What I Call Music" compilation. but certainly not on this list. Terrible. 1/1

Ha! After two 1/5 star albums in a row, finally an album again that I can appreciate! Recorded 24 years ago, it sounds surprisingly fresh. I wasn't very familiar with the whole album, apart from their hits, but I'm genuinely impressed by this record. Surely, the first two tracks are with out a doubt Albarn's songs, but from then, the album makes an interesting turn, introducing hiphop and triphop influences to their songs ("Tomorrow comes Today", "New Genius (Brother)", and "Man Research") and return to Blur alike rock songs ("Punk", "M1 A1.") to be continued with a mixture of these styles in the following songs. The contributions of Del the Funky Homosapien's especially doesn't feel out of place, but is fitting in the whole eclectic approach of this album. Overall, a pleasant and joyful listen! 4/5

Never heard or listened to this album, but being very familiar with "Deja VU" by CSNY, this sounds quite like a decent follow up, albeit a bit more bluesy than CSNY were. I didn't liked the opening track, but after that it became a lot more interesting with "Cowboy Movie" which is a standout, an 8-minute epic that really shows Crosby at his most adventurous, and the layered vocals and guitars is truly mesmerizing. it gets into more familiar territory with tracks like "Tamalpais High (At About 3)", "Laughing" and Song with No Words (tree with no leaves)". It does indeed sound at times as a jam with friends along a campfire ('What Are Their names") but considering the guest list on this album when you dig into it like members of the Grateful Dead, Jefferson Airplane, Santana, Joni Mitchel and more, it feels justified. it never feels like showing off; it genuinely sounds like friends making music together. A nice listen altogether! 4/5

Well, let me say this first, I've never been into hiphop, and I wasn't thinking this album was going to convert me, which it didn't. But I do like that old school G- funk, and the West Coast grooves. Lyrically, well, same old gangsta hip hop nonsense, with a few well know exemptions. Only 60 minutes listening to this is way too long for my liking, musically and lyrically. 2/5

This isn't unpleasant, it also isn't very interesting, just a nice folk album, with some decent songs and some others easily to forget. 3/5

Never heard of the band nor this album, so I was quite interested, but oh man, that voice! It makes this otherwise listenable indie album totally awful. The instrumentation really is quite sophisticated, the intricate rhythms and angular guitar work show some real craft but the singer's falsetto completely ruins it. Such a waste of good instrumentation and nice ideas. 2/5

Yeah, I remember when this came out, loved the energy and the raw beats, but if only I could hear what the hell he was rapping about... Never could sit through the whole album though, not then, and not now. Too much of the same and too chaotic. I do get why it's on this list though: a groundbreaking grime album bringing this (then) new style to the masses is quite an achievement. 3/5

While nothing can beat my early childhood memories of music due to my father's seventies-rock record collection and my own interest in contemporary pop and later new wave and indie-music of the eighties, the second half of the nineties where musically just as interesting exploring new kinds of music. Especially with the coming of electronic music and the different styles that emerged from there. The days of Underworld, The Prodigy, Aphex Twin, Orbital, Autechre, Massive Attack and Portishead, to name a few. This album fits right well in that list. A very pleasant journey of low-fi beats and cinematic soundscapes made it a must play on every afterparty and chill out zone of the raves I visited in the late nineties. 5/5

Funny, I do reckon myself at times as a walking music encyclopedia, but being only human, I do get it wrong sometimes. As for this band, somehow I convinced myself that they were a new band at the time of their record "Everything Now" in 2017. To my surprise, I just learned today that they had been active since 2004. Oops, never mind, I did like "Everything Now" when it came out, and although this album is less electronic, it's undeniably Arcade Fire. The tone is definitely more somber, and the arrangements more theatrical, with influences varying from Bruce Springsteen ("Intervention" and "Antichrist Television Blues") to New Wave acts like Cocteau Twins on the first part of "Black Wave/Bad Vibrations", or Interpol on "The Well and The Lighthouse". Not a great discovery per se, apart from the fact I was totally wrong, but a very decent album still. 4/5

Wow, what the hell I just listened too? Hillbilly Country Punks on Acid meets Nirvana? Damn, that was quiet an experience, still don't know what to make of it, although I start to think I like the original songs better than Nirvana covered on "Unplugged". But still, interesting? Yes, Listenable? Sort of. Pleasant? Not so sure. 3/5

I don't know why exactly, but I wasn't that interested in this album when it came out. But my God, I'm pleased to have been forced to listen to it in full because of this list. This has been an absolutely great rediscovery! Not sure why I left this record out of my repeatedly played Cave records - maybe because of the gospel choir and my dislike for soul searching at that time - but it's a gem! The gospel elements here aren't preachy; they're more about exploring the power and mystery of faith rather than endorsing it. From the opening song "Get Ready for Love" to the typical storytelling of Cave on "Cannibal Hymn" and "Abattoir Blues" to the soulful "Nature Boy" this album demands your attention. The second album is more introverted but just as well crafted. "The Lyre of Orpheus" is more intimate, and has a beautifully reflective quality. Releasing it as a double album shows Cave at his complete range. I can go on forever, but I'll leave it at that - another 5/5!

When this album came out back in 1987, I was only 13, and absolutely taken by "Paradise City" the song and the video, their adrenaline and their fierce live energy completely overwhelmed me. After buying their full record I was turned, this was nothing like the Motley Crue's, Poison's and all the other cheesy glam rock bands of that time, this was sleazy, dirty, bluesy hardrock, that wasn't heard of since the early days of Led Zeppelin or Van Halen. Saved up my money for weeks to buy a bootleg cassette recording, only to be completely devastated by the horror of Axl Rose's singing and the missing notes of the band, but at least it saved me money to see them live. This album is still a classic, although some of their greatest songs are overplayed , ("Sweet Child of Mine", "Paradise City") and some not so worth noting ("My Michelle", "Anything Goes"), but songs like "Welcome to the Jungle", "Mr. Brownstone" or "Out ta get Me" keeps this album going like a "Nighttrain". 4/5

The first two albums of Roxy Music were always my two favorites, in particular because of the tension between Ferry and Eno's songwriting that drove them to unimaginable well crafted experimental songs, that after Eno's departure would never reoccur. Surely, "Country Music" and "Siren" were still decent and listenable RM albums, but they missed that experimental touch of Eno what made them so unique. Just like he did when he worked with Bowie during his "Berlin" period. This album truly belongs to this list because it covers both spectrums with the "Ferry" songs like "Do the Strand" and "Editions of You" and the eerie and experimental influences of Eno on "Every Dream Home a Heartache", "The Bogus Man" and "For your Pleasure". Definitely a memorable and listenable record, although I still prefer their first, therefore a 4/5.

Oh, how I loved Massive Attack back in the nineties, and the whole new genre that came with it: Trip-hop. The perfect aftermath after a long night of raving or simply chilling in the hammock - a good spliff, booze, pills - and friends around the pool. For all those unforgettable moments, it already deserves a 5/5!

I wasn't really in the "scene" of alt/folk rock at the time when this came out, rather banging my head to Metallica, Slayer and the likes. A few years later though, as a socially aware teenage punk, I started to reappreciate this album because of my girlfriend at the time who was listening to it day and night. Although still not my kind of music, I could appreciate the socially critical lyrics about injustices of the capitalist system and racism. Nonetheless, it was the time of the falling of the Berlin Wall, of Perestroika in Russia, of modernizations in China, global change seemed possible and there was...hope! Chapman's album captured both the problems and a sense that change was achievable. How sad to revisit this album thirty years later only to conclude that the lyrical themes are still relevant, but all hope is gone. 4/5

"Yeah, "The Beatles and The Stones, made it good to be alone" - that line stuck with me, when The House of Love recorded this song in the early nineties. Having grown up with both bands, due to my father's record collection, I never understood the controversy about being a Stones or a Beatles fan, a fact I learned from my dad. I guess it was before my time. Either way, although they're not my favorite Stones albums - those are unmistakably "Beggars Banquet" and the follow-up to this album, "Exile on Main St." - this record is undeniably a classic. Drenched in bluesy, swampy, and drug-related songs, culminating in "Sister Morphine", possibly the most horrifying overdose tale ever recorded, this album also shows the craft of particularly Keith Richards, and the then-new guitarist Mick Taylor, especially on "Can't You Hear Me Knocking" and "Wild Horses". The addition of studio musicians such as Bobby Keys, Billy Preston, and Ry Cooder, makes this album complete in its sound. What can I say, a 5/5 for this masterpiece!

Meh, that's the general feeling I get when listening to this record. I understand the importance of Fats Domino's boogie-woogie piano playing style on early rock (and roll), but man, this is plain dull and repetitive. Also, I'm not charmed of his so called laid-back, but to me almost sleepy, voice either. Not for me. Early rock 'n roll is not my thing, but I rather listen to Little Richard or Jerry Lee Lewis than this. 1 star for his importance, and one more for the fact that, luckily, this record lasted for only 26 minutes. 2/5

As with some other artists in the list, I never thought I would listen to a whole record by MJ. Not that you have to when it comes to "Thriller"—nearly all the songs on the album were also (hit) singles—but still. Honestly, I never was a big MJ fan; I always sided more with Prince in my youth, and him turning out to be a child molester didn't help either. To separate the artist from the art - is that even possible? - this is not a bad album per se, thanks to the genius and clean production of Quincy Jones. But after some of the classic stompers, it gets dreary. I have always been more into funk than disco, so this album and his later reputation don't really do it for me. 3/5

Being in my twenties in the '90s, this is another album I loved revisiting. Those happy tunes, uplifting beats, trip-hop elements, and fragments of movies, it was all so new, and such a joy to listen to during those sunny, drug-filled, post-rave hangouts in the park or wherever. Classic! Just like Massive Attack, Underworld, or Björk in the nineties, those were the days :-)

I really like punk, I mean, I really really like punk, and I did enjoy this album, it reminded me of the Damned, The Buzzcocks, Sham 69, or the UK Subs, but unfortunately, the latter is not on the list. It actually sounds like a lot of how late seventies punk bands of the UK sounded. Which makes me dare to question, why this album is on the list? Not bad, nothing special either. 3/5

Now I find this truly hard to judge. I mean, I like prog rock, (early) Yes being one of my favourites in this genre, together with Camel, Caravan or King Crimson, but for some reason I never really liked Genesis. It's not as subtle as Yes, with their soaring, intricate harmonies and Steve Howe's fluid guitar work, not as dreamy as Camel and Caravan with the Canterbury scene jazz-fusion influences, and never rocked as hard as King Crimson with their menacing, heavy edge. Musically it's decent prog rock, but to me it's too bombastic, too theatrical and too composed. 3/5

Although not their best album in my opinion (that would be "All Directions"), this is incredibly great funk, especially in the first half of the album. From the psychedelic funk in the opener "Cloud Nine" to their remarkably fresh take on "I Heard It Through the Grapevine", culminating in the timeless groovin' and jamming soul/funk of "Runaway Child, Running Wild", this album is a goldmine for lovers of pure funk music (which I consider myself to be). Although the album continues in their previous "Motown" sound in the second half, it certainly foreshadowed what was to come with their masterpiece "All Directions". Solid 5/5!

OMG, how I hate country music, especially THIS kind of 2-chords and a slide country music, I mean, seriously, how in the world can you ENJOY this? She might have been making some "good, ol' fashioned, country-fried feminism", as another reviewer stated, But that's not going to do it for me. Imagine it's 1967, the Summer of Love and you're listening to this, instead of the groundbreaking artists that embodied feminism, just by being themselves (Janis Joplin) or delivering great songs (Aretha Franklin, Joni Mitchell), man what an absolute wasted life you must have lived. 1/5

As many, many other reviews state, why the hell is this album on the list? I thought The Replacements were misplaced, but retrospectively, I would give them two stars instead of 1, because this album is really utterly shit, that by no means belongs to a list of this. Crap songs, way too pretentious, and I can't stand the man's voice nor his self-aggrandizing lyrics. Apart from that, these were the longest 65 minutes ever to sit out an album, wish I could give it 0/5, but we can't, so 1/5.

Having rated Tracy Chapman not so long ago, I can't unhear the influences of Joan Armatrading on her. I knew Joan Armatrading was a folk singer, but never listened really to one of her albums, nor did I have any in my collection. So, another first time listen. It's certainly not bad, well crafted folk songs with some jazz and funk influences, but it's not really getting a grip on me. Pleasant, but not special, maybe it's the genre, I had the same feeling with Paul Simon's first solo effort, and the previously mentioned Tracy Chapman too. 3/5

Never was Green day fan, nor could I label it punk music being a punk in the eighties. When they had their heyday with "Dookie" I could only smirk about it. But this album got me by surprise. Although I still would rather label it as poppy punk rock, rather than anything like punk, this is actually quite good. Of course I knew the songs "Boulevard of Broken dreams" and "Wake Me Up When September Ends" but never listened to this album as a whole. Never knew that it was written as a post punk rock opera neither, which made it an all the better listen. 4/5

I was quite surprised to see this album of Pulp, instead of their breakthrough and fourth album " Different Class" but after a thorough listen, I can hear why. This album is simply better, more mature with a dark twist of desperation and fear, perfectly encapsuled in songs like "The Fear," "Seductive Barry," and "Help the Aged". Even in the more uplifting (Bowie-esque) song "Party Hard" is a shimmering of fear present. Although the last songs on the album are more hopeful and try to find redemption like "Glory Days," "The Day After the Revolution", this is definitely a band that has been growing up after their immense success of their breakthrough album. 4/5

Being familiar with some of the tracks on this album ("Sunshine Superman", "Season of the Witch", and surprisingly "The Trip" because I didn't even know it was performed by him), this album took me by surprise. I was expecting sweet summer folk songs in the style of Don McLean (not my favorite), but instead was quite impressed by the instrumentation and lyrics of this album. Although undeniably trippy-hippie, it's a great revisit to those summer of love years when I wasn't even born. 4/5

Not only one of the better eighties "pop" albums in this list, I think it's the first I would rate more than 3 stars, but if only for the song "Don't give up" I would rate it 3 stars. Add to that "In your Eyes", a beautifully written love song, the hits "Sledgehammer" and "Big Time" and last but not least "That Voice Again" that essentially asks: How do we overcome that persistent inner critic - that voice of judgment that was likely instilled in us during childhood - to achieve genuine human connection and self-acceptance? Absolute brilliant! Unfortunately, not all the songs on this album share this sheer brilliance, therefore 4/5.

Once again, an album that I'm not so sure of if I had to listen to it before I die. Surely, "Take on me" is an instant classic, and the other hit " The Sun Always Shine on TV" not bad either, but really, the whole album? I'm either way not impressed, decent pop yes, but nothing more than that. Apart from that, it sounds very eighties and didn't stood the test of time, with that glossy, overly polished quality that screams mid-'80s in the worst way. Definitely not worth a relisten after this first time. 2/5.

Pure bliss! This was my first record of Sonic Youth, and still love to revisit it at times. It encapsulated my teenage angst with comforting distorted guitars, noise and endless dreamy chords driven by anger and destruction. The surreal and ambiguous lyrics, whether in "Hyperstation" ("Daydreaming days in a daydream nation"), "Hey Joni" or "Eric's Trip" and the reoccurring themes of cultural decay, consumerism, and the media did the rest for me at that time. 5/5

This is the second Bob Dylan that I review, and as I stated before, never was a big Dylan fan. Of course I have been familiar with this album before I started this journey, since it was in my dad's record collection. Even so, it never appealed to me as much as "Blonde on Blonde" or "Desire". What is interesting though, is the musical turn that he made that started to evolve in my favourite albums. Together with the epic "Like a Rolling Stone" and the classics "Highway 61 Revisited" I can't deny this album, therefore 4/5.

OMG, what a joy to revisit this album once again! This was a groundbreaking album at the time, funky abstract dance music, but Daft punk was also one of the first live dance-acts, like Underworld, showing the world that dance and live acts could easily go together. Needless to say I have seen both acts numerous times during my raving years from the '90s to about 2010. If only for the memory of those good times, I'll rate it 5/5!

One of my favorite tunes of the early eighties was "The Word Girl". It took me years to find the song, not knowing the artist nor the lyrics, since I was only ten when it came out. Apart from the other two hits that came from this album "Perfect Way" and "Wood Beez (Pray Like Aretha Franklin)" this album is pretty forgettable. While it was actually quite innovative at the time, Green Gartside's obsession with pristine production and working with top session musicians (including Miles Davis on one track) created this hyper-polished sound that became the standard for much of the over polished '80s pop. But hey, they did a toasting version of the "Word Girl" ("Flesh & Blood") which was pretty groundbreaking at that time, a star for that! Apart from that, most of the songs are mediocre pop songs that didn't stand the test of time. 3/5

I don't understand the fuss about this band or record, wasn't impressed in the late eighties when I came across their music during my teenage punk/indie years and three decades later it still doesn't impress me. The only thing I can clearly hear is what Kurt Cobain listened to in his teens and how Westerberg's singing (?) style influenced his. But no, not for me, neither punk nor indie, mediocre rock songs, drunken bar ballads ("Androgynous') pub rock covers (from Kiss and T. Rex), ridiculous self-deprecating lyrics, ("Gary's Got a Boner"), let alone the sloppy production of this record. If this represents "one of the greatest albums of the decade", to quote Stephen Thomas Erlewine, then "I Will Dare" him. Totally misplaced on this list. 1/5

Funny, I was familiar with "Jesus died for his own sins, but not mine" from "Asylum" on the Crass album "The Feeding of the 5,000", but never knew it was actually inspired by Patti Smith's opening song on "Horses". That said, I actually never listened to nor had this album in my collection. I had (of course) heard of this album, but somehow, never came to listen to it. Although I would classify it rather proto-punk than punk proper, it absolutely helped create the blueprint for what punk could be, beyond just fast/loud/aggressive. Also, I can see how this album influenced later New Wave, such as Siouxie and The Banshees and other female punk acts like Nina Hagen or The Slits. It's undeniably arty, with its (spoken word) poetic lyrics, but also have some raw edges, primarily due to Lenny Kaye's rudimentary guitar work, which I quite liked. 4/5

Never been a great fan sixties pop music, with the exemption of the later records of The Beatles, but this doesn't even come close. Never heard of this band either, or knew any of the band's hits. I guess they weren't that big on the other side of the Atlantic ocean. Psychedelic sixties pop, blue-eyed soul, yes, but this has done better by other artists of that time. A star for the title track, a song that completely fits its name, but other than that, nothing new under the sun. Wouldn't be my choice for a place in this list, but hey, that's what we're in for! 2/5

Now this is interesting, I always thought that garage rock and a decade later punk was invented by The Stooges and MC5, but hey, Here Are The Sonics! And how I liked it! This is really captivating, can even hear the beginning of psychobilly acts like The Cramps in their music. It's a shame that there only a handful of their own songs, but they do make the difference! Raw and energetic, and the contribution of the saxophone really does it. It's not polished or jazzy - it's just as raw and aggressive as the guitars, which gives them this unique sound! 4/5

My dad's guitar hero was Eric Clapton, and although I can appreciate his work with Cream and derek and the Domino's, I found his later work plain dull and never got that he was called The GOAT. It was certainly time to find my own guitar hero at the age of 12, and thank God, there was Jimi Hendrix! Started of with an compilation cd, it didn't take long to collect all his albums and live recordings. This has always been one of my favourite albums, in particular because of the mix of bluesy psychedelic rock ("Spanish castle magic", "If 6 was 9", "little Miss Lover") as well as ballads (the beautiful "Little Wing" ) and the dreamy, jazzy inspired songs as the groovy "Up from the Sky". it truly shows how much more Hendrix had upon his sleeve than only hardrock bangers with virtuosic solos. Absolute classic! 5/5

Never been a great fan of The Smashing Pumpkins, in particular due to Billy Corgan's voice, that does it for some songs, but certainly not for two hours long. I quite liked some songs on Siamese Dream, but when this album came out, and I obtained a copy, I could not bear to listen to it all at once. 30 years later, it's all the same and actually, I found it even more tedious. What a pretentious BS. Yes, there are some classics on this album, ('"Tonight, Tonight", "Bullet With Butterfly Wings", and "1979") but what of the other 25 songs? In the end I can't tell the difference between one song or the other, with a few exceptions ("Galapogos" or "Stumbleine") but my ears hurt because of Billy Corgan's whining, teenage angst and self importance, meh. 2/5

"I'll be the rubbish, you'll be the bin!" What a great satiric line, right from the opening song, "Love Song" which forms a prelude for the rest of the album. Witty lyrics, explosive tracks ("Noise, Noise, Noise", "Liar") , with enough room for experimentation to play carnival music ("These Hands") and even goes in psychedelic directions ("Anti-Pope", "Looking at you"). This is a very interesting (punk) album, in particular because it goes way beyond just "punk", and Captain Sensible and Rat Scabies really were firing on all cylinders here. Now I'm very familiar with their first album "Damned, Damned, Damned" and was just as surprised not to find that album in this list. Even so, I'm glad "Machine Gun Etiquette" did. Giving it my first listen, I will certainly listen to it again! 4/5

This is a gem, and I'm pretty pleased to rediscover this album here, having lost my 4TB hard drive of music a couple of years back. Still recollecting, but the odds that you will forget some of the pearls in your previous collection are always around. So, I'm glad this came across. I used to listen to it on those dark and rainy days in my head, together with Nick Drake and Leonard Cohen. Luckily my days aren't that dark and rainy anymore, but still can appreciate this album that helped me through some of my hardest adolescent times. 4/5

Always love to start my day with a record I've never listened to before, and here we go! The start is great, somehow the Yeah Yeah Yeahs took a different direction, 'cause the last time I listened to one of their albums, I think it was their debut "Fever to Tell", they were all into raw, guitar-driven indie rock. How different this is, the first three songs are true bangers, up-tempo synth/disco pop, with a special nod to "Zero", great start of a record. It takes another turn with "Skeletons" still electronic, and synth dominated but with a Celtic twist, pretty odd for a band from NY. By the time we arrive at "Dull Life" and the rest of the album, there are guitars, but the "surprise effect" is now dampened by some more mediocre songs. "It's a Dull Life" sounds far from original, and "Runaway" is a very poor attempt to an indie ballad, which seems to last forever. Luckily, the album picks up again with the bit cheesy but funky disco track "Dragon Queen" and "Hysteric", where they try to blend their new sound with the old. Last but not least, "Little Shadow" is a beautifully crafted ballad that resembles, in a far distance, Mazzy Star. I would say 3.5/5, but we can't, so due to the unevenness of this record, 3/5

I don't like The Allman Brothers Band, The Marshall Tucker Band, Tom Petty and above all, Lynyrd Skynyrd. In general, I don't like Southern rock, with the exemption of The Black Crowes, who always had more of the swagger of The Faces, than any of the forementioned bands. So how the hell I'm going like, or even appreciate this album or the efforts of this very mediocre local pub band? Well, I don't. 1/5

Thank God they didn't forgot to include the first album of the Clash, like they did to The Damned. Maybe not as groundbreaking as "Never Mind the Bollocks" but musically a lot more interesting than the Sex Pistols' debut imo, with classics as "white Riot" and "London's Burning" and of course their first experiments with reggae, Junior Murvin's "Police and Thieves" cover. It also didn't bore me over time, as where I can't listen to "the Bollocks" anymore. Even so, I still prefer "London Calling" or "Sandinista" over this record because of their eclectic approach, especially on the latter, therefore 4/5.

I just can't get my head around why people keep saying this is "New Wave". I mean, when I hear the term "New Wave" I can think of tons of bands, from Joy Division to The Cure to Bauhaus to the Sisters of Mercy, from Devo to Echo & The Bunnymans and even proto New Wave bands, like Patti Smith, Television or Blondie, I can take into account. But Duran Duran? That boyband that produced some decent 80's synth pop and had a few smash hits to be never heard of later? I would say not so much. Musically this album is just not interesting . Being familiar with their hits, "Rio", "Save a Prayer" and "Hungry like the Wolf" I didn't expect as much, and it does sounds as dated as to be expected. Overly polished, clean synths and pretty forgettable songs. The only thing that stood out was the rhythm and bas section, but they can't save a dull pop record. 2/5

Wow, another band I never heard of before, would it then finally be the gold nugget that I have overseen in all those years collecting gold dust? The pragmatic answer is, once again, no. In fact, this doesn't even come close to gold dust. It's most of all, plain, dull and boring. Fine musicians, sure, but who's waiting for Tom Petty meets Dave Matthews Band-style country/folk rock, well executed, but all but inspirational? And on top of that, I don't even like Tom Petty and his heartbreaking whiners, so, no, not me, and probably with me, quite a few others on the other side of the Atlantic. Too American, too boring too, let's just hope and pray Tom Petty is not on this list. But yeah, I get it - this list was compiled by (an) American(s), so I shouldn't get my hopes up... 2 stars because as background music or a film score it wouldn't be that bad, and my one star albums really deserved it, but I can think of a hell of a list with better inclusions than this though! 2/5

One of the very few hip hop artists I can appreciate (at times), but I never listened to this or any of his albums before. But as it always is, with hip hop and me, I can't enjoy it for more than 15 minutes. Honestly, I'm not someone who listens to lyrics that much, I'm mostly engaged with melody and song structures, which most hip hop tends to lack. Even so, although still not my cup of tea, this hiphop album is quite melodic, and Common's rapping is comforting rather than confronting (unlike his lyrics, which is a compliment too), so 3/5

Jeez, has it been 16 years already? Times fly, I remember the day this album came out, and I really liked it. Their minimalist, sparse, intimate, and quiet sound blending indie and dream pop with a warm and chilled vibe, was really welcome, especially during the time of Lady Gaga, Taylor Swift, Kanye West, and other contemporary (shit) artists of that time. But I'm quite surprised by all the negative reviews here - guess what I said the other day about this list being biased towards American music also applies to evaluating (indie) bands across the ocean. Even so, because of their beautifully crafted intimate and charming sound, I still reckon it's a 4/5.

Hmmm, another hip hop album, let's brace... What? "Oh Shit", I know this track! Lol, that's a classic! Groovy, and funny as hell, and a refreshing take on all the gangsta rap of the early nineties. Let's carry on, so far, I'm in da mood...Perfect, here we go "It's Jigaboo Time"! Nice jazzy arrangements and a live drum - that's pretty cool, bro! Next up, "4 Better or 4 Worse" -damn, that's a deep, fat bass- keep it going! Undeniably '90s hip hop, but hey, I dig it! Where's my car? I need to play this while roaming the streets, "I'm That Kinda Nigger", windows wide open, and let the bass pump and blast right from my subs, while smoking a nice, fat blunt "On the DNL". This is LA sunshine hip hop, cruising vibes! Here we go! "Pack the Pipe", and let's drink whiskey from the boot! What? No, wait, there's always that good-fun-spoiling "Officer". Please let him "Passing Me By". Laidback, lay low... "Ya Mama", "If I Were a President" - all cops would be like a "Soul Flower". Anyways, I've got "Otha Fish" to catch. Peace out brother! 5/5

One of my first encounters with Queen was, of course, "Bohemian Rhapsody". From a very young age, I took so much pleasure in listening -and with my first tape deck recorder in hand, ready to roll- to the Top 100 Greatest Songs of All Times, that was broadcast on the radio at the end of the year. This list was always dominated by the top three "Stairway to Heaven" by Led Zeppelin, "Child in Time" by Deep purple and of course "Bohemian Rhapsody". They would swap the top spot every now and then, but these songs are engraved in my memory as the sweetest childhood memories of discovering new music. A few years later, I saw Queen, and in particular Freddie Mercury, broadcasted live on "Live Aid". I was an immediate fan, what a performance, the drilling and playing of this gigantic stadium, Freddie commanding Wembley Stadium like it was his living room, it was immaculate! Subsequently there came their hits and from "A Kind of A magic" to "Innuendo", I bought or copied all of their records. But back to "A Night at the Opera". Although I have listened to this album before, this thorough relisten made it such a great experience. I love it, its eclecticism, campy British vaudeville ("Lazing on a Sunday Afternoon", "Seaside Rendezvous"), but also the sheer hardrock ("Death on Two Legs", "Sweet Lady") and of course the beautifully crafted (pop) songs like "Love of my Life" and "You're My Best Friend" and "39" to the great progrock song "The Prophet's song" culminating in of course "Bohemian Rhapsody". Man, this is an eargasm! 5/5

Well, never thought I would listen to a full album of Dusty Springfield , but here we are. Knowing her primarily from "Son of a Preacher Man" and her collaboration with the Pet Shop Boys decades later, I didn't have high hopes. Apart from that, crooners and '50s singers aren't exactly my thing. And this is exactly as boring and dreadful as I had imagined. Nearly (?) all songs are covers, of which the originals are either better, or better done by other artists. So, why being included in this list? Because she brought a soulful, American R&B vocal style to the UK at a time when that was rare? Because she was one of the first UK-based R&B singers? Her voice is at times touching ("My Colouring Book") and soulful ("Will You Still Love Me Tomorrow") or jazzy ("Don't You Know") but overall, I'm not very impressed. 2/5

Even though I really liked this album when it came out in 1991, and don't listen to it as often anymore, it's still a classic that deserves recognition. The reinvention from their earnest '80s sound to this darker, more experimental approach was genuinely bold - incorporating industrial and dance influences on tracks like "The Fly," "Mysterious Ways," and "Zoo Station" showed real artistic courage. It's become increasingly fashionable to be a U2 hater amongst Millennials and Gen Z, rating albums like this 1 star just because Bono's annoying or the iTunes thing. But Achtung Baby was legitimately groundbreaking and influential. The production, the songwriting, the willingness to blow up their image - it all worked. So yeah, fuck the haters. 5/5

OMG, No, No, No! Please, don't do this to me! So far I have been the classroom's most obedient boy, listening to records from this list from the beginning to the end, even if it is the most tedious or awful record I've heard in years. But listening to a whole album of Meatloaf, the man that wrote the two most horrible, pathetic, overrated songs that I've ever heard in my life? Why?? I truly hate "I'll Do Anything For Love" but if there is any song that I hate more than any other song that has ever been written, performed or covered since time began and will always, forever continue to be the one song that can make me run screaming from a wedding, a party at a friend's house or even a fucking funeral, it's the song that can reduce grown men and women to pantomiming actors in a surreal line dance of lust. The song that has been played so many goddamn times that I can't even stand the first chords of it. The song that last forever and comes straight out of hell, yeah, the song "Paradise by the Dashboard Light". I can't stand the theatrics, the bombast, the over the top production, and most of all, I can't stand musicals, I hate them. I truly can't believe that I ever, ever had to endure a whole album of this "artist". I tried, but I didn't make it. Before I would jump from the nearest bridge, I had to put a stop to it. "Two Out of Three Ain't Bad", and indeed, that was the limit. What a pathetic, terrible attempt to create the most overrated album of all times. 1/5

Thank you, after the horrifying experience of yesterday (Meatloaf) gladly an album that has my full appreciation. Not being into vocal jazz, I have always made an exemption for Nina (Simone) and Billie (Holiday), and although I won't rate this album as her best, that would be "Pastel Blues", it's definitely a close call. The power of "Four Women", the tenderness of "What More Can I Say", the intensity of "Wild Is The Wind" and of course the way she plays the piano, this album shows all that Nina Simone was capable of. 4/5

I never heard of Ms. Dynamite before, but I can't say I didn't like it, and even knew some of the songs ("Dy-a-mi-tee", "Seed Will Grow") they probably ended up somewhere on a playlist of mine, but to say this belong to the list of "1001 Albums You Must Hear Before You Die", well, no. It's definitely pleasant though, I like the flow, the reggae tinted songs and the nineties R'n'B sound, which reminds me of Lauryn Hill and the likes. "Krazy Krush" has that late 90s/early 2000s American R&B girl group vibe- the smooth harmonies, the relationship drama theme, the polished production. It could have easily fit on a TLC or Destiny's Child album from that era, although it is a bit more edgy than the forementioned girl groups. Another track that stands out, apart from "Dy-na-mite", is "Now U Want My Love", it's a great example of how she blended styles. The reggae influence running through the album really sets it apart from American R&B of the time, it's distinctly British in how it weaves together garage, 2-step, reggae, and R&B. Although I won't play it on repeat, I'll keep the album. 3/5

Dad music? Sure it was - I grew up with this album and it introduced me to the world of metal (starting with Black Sabbath, thanks again dad!), then the NWOBHM, culminating in the Bay Area thrash of Metallica, Anthrax, and Slayer. 4/5 - Machine Head, Metal Head! \m/

Never heard of the man nor his records, but after seeing the cover of this albums, I had a vague idea that it might not be my cup of tea. And how I was right! This is by far one of the most bleak and depressing records I've ever listened to, apart form "Songs of Leonard Cohen", which I don't like either. To quote the Clash, "Give 'Em Enough Rope" but don't bother me with your pathetic depressing semi-poetic horseshit. 1/5

This is by far the best Who album they ever made - it contains the classics "Won't Get Fooled Again", "Behind Blue Eyes", "Bargain" and my all-time favourite song "Baba O'Riley" which my dad bought as a single in his teenage years and I played over and over again, amongst a hundred others of his collection, when I was ten and had my first record player. I was always disappointed it ended as a jam, and I really hoped, years later, that the album would contain the full (jam) version. Unfortunately, it didn't. What is remarkable about this album is the shift The Who made in just four years, from recording Mod-songs to rock operas to bonafide stadium rock. Keith Moon is totally all over the place here, with some outstanding drumming on "My Wife" and the aforementioned "Won't Get Fooled Again", but Roger Daltrey's singing is also at his best. Not to mention the role of Pete Townshend and his excellent acoustic guitar work on "Love Ain't for Keeping" but also for adding the synth parts on this record, making it a more interesting listen, without overdoing it. Yeah, there are some less interesting songs on it, like "Going Mobile" but that doesn't really undo the overall enjoyment of listening to this album. 4/5

OMG, it's Hip-House! I'd completely forgotten about that late '80s genre that died out just a few years later. It was an odd and funny blend, but unbearable to listen to these days. And then the use of samples is so entirely late '80s/early '90s hip hop I forgot about, too. I don't know why it is on this list though, I mean, I prefer Neneh Cherry when it's been selected to introduce one of the first female rappers among the then dominated male hip hop world. Even a collaboration with De La Soul doesn't save this album, overall it's just dull and hopelessly dated which didn't stand the test of time. The only song worth noting is "The Evil That Men Do" because of its lyrics and KRS-One's involvement, so 1 star for that. 1/5

What can be said about this album that hasn't been said? Well, not so much, so, then on a personal note, this album got me rocking for the last 40 years, Solid 5/5.

I never really liked "Mannish Boy" that much, which became a top-ten hit in The Netherlands in 1988, due to, by all means, a televised Levi's commercial. But listening closer to this album, I can really hear where the Stones, Faces, Led Zeppelin and other blues rock bands of the late sixties got their inspiration from, especially on "Bus Driver" or "I Can't Be Satisfied". "Hard Again" is in particular interesting because it's from 1977, not the '60s and it was Muddy's comeback album produced by Johnny Winter. So he was basically reclaiming his sound after watching white British and American bands make millions playing his style of blues. The raw energy on it is incredible. This is not bad - in fact, this is at times even better than the aforementioned bands. If you like them, you can't deny this album. I do, so 4/5.

Ah, another Dusty album, well, my last review (on "A Girl called Dusty") was pretty devastating, because I wasn't really impressed with the song collection (mostly covers) nor her singing, so I didn't expect much of this album either. Even so, this is so much better, well-balanced, beautifully orchestrated songs, and Dusty's singing somewhere between Aretha Franklin and Peggy Lee, gentle but with passion and soul. Can't say I disliked it, and I appreciate it a lot better than her debut, so 3/5.

Yeah, I remember that album, hopelessly in love with a neo-hippie girl as a neo-punk. Never thought I would listen to any of these songs or artists at that point in my life, but the heck, there we were. Surely, falling in love at 16 is a kind of different love, and opened the doors for me to this genre. Not that I've listened to it any time after we broke up, but today it just brings back sweet memories of adolescent, unconditional pure love. Although I'm more familiar with "Blue" and rate it higher, and started to listen to listen to her later works like "The Hissing of Summer Lawns", and "Mingus" due to my interest in (fusion) jazz years later, I still liked to revisit this album. Those sweet memories...3/5

In my late teens and early twenties I became a passionate record collector. Over a decade I had collected more than 1500 records, mostly from obscure flea markets and the cellars of record stores where the 5$ record crates were stacked. The joy (especially on flea markets) when you found a rare record for a bargain was priceless. But of course, it came with deceptions too. As it was with this record. Knowing ELP as being a progrock supergroup from their hit "Lucky Man" my expectations were high. At this time that thing called "The Internet" was barely available, and computers didn't belong to any household. So my musical knowledge came from a pop encyclopedia, the radio and of course, mixtapes on cassettes we shared with friends. So I couldn't wait to get home and play my new records (luckily, I had bought a few more). The deception was complete, this was nothing like "The Nice", "King Crimson" or "The Crazy World of Arthur Brown", this was, well, utterly synth batshit. Played the record once, put it in my collection and never listened to it again. Until today, and I'm still convinced that the only right thing to do was to throw this album away, instead of keeping it. 1/5

Now, as an objective listener, I should say that this over-polished '80s R&B filled with sweet but lackluster vocals is just not my thing. The thing is, though, that this record is the soundtrack to the rainy Sundays of my youth, bringing the sun into our home when my father put on this record. That said, what pleads for the band and singer is that they composed their own songs - songs that are smooth, funky, and jazzy. Sade Adu's style of singing might be called lazy at times, but she sure has soul in her voice, especially on "Frankie's First Affair" which also displayed their storytelling ability. Or listen to the brilliant cover of Timmy Thomas' "Why Can't We Live Together". So, subjective or not, I enjoyed revisiting it, and I still rate it 4/5.

Never heard of The Gun Club before, nor did I know this record, probably because I lived on the other side of the Atlantic, and was well immersed in the UK punk rock bands and beyond. But this is not bad, and in retrospective, I can clearly hear where the Pixies or the White Stripes got their inspiration from. It also blends rockabilly influences, witch combined with punk, created this other genre I'm particularly fond of, psychobilly. So yeah, a pioneering album, going from punk to blues and rockabilly. But maybe because I heard it all before, it didn't impress me as much as it probably would have me back in the day, so 3/5.

Well, let me first add I'm not a fan of Neil Young, but this album without him, sounds just bland. Trippy hippy sweet summer west coast folk, well performed, nice harmonies, but it's missing the bite that "Deja Vu" had. To sweet to me. 3/5

Wow, Sepultura in this list? I'm shocked! What a pleasant surprise! Yes, I'm a metalhead (at times) and I loved this album when it came out back in the day! Already being familiar with "Beneath The Remains" two years prior, this was a godsend. Better production, stunning riffs - thrash done at an incredibly high level. The Brazilian/Latin influenced percussion only foreshadowed what was to come with "Chaos A.D" and in particular "Roots". That said, I liked the latter the best, because they incorporated indigenous Brazilian percussion and themes into metal and their slightly different direction towards alternative metal instead of straightforward old school thrash-metal as it still was on "Arise". Even so, amongst Slayer's "Seasons in The Abyss" and Megadeth's "Countdown to Extinction" this album was and is an absolute thrash-metal classic! 4/5

I truly hope that there are more albums by PJ Harvey on this list, because I definitely do not regard this as her best. As an artist, she grew over the years and maybe also outgrew the experimental indie-noise of this album. I was never a fan of Steve Albini's "sound" either, so that doesn't help. It's not bad, but it just doesn't resonate with me as her later albums would. 3/5

Wow, this was something...different. Her voice reminded me of Melanie and Björk, and the orchestration of the songs really stood out too**—how beautiful this is. It takes time to digest, and surely it's not a record I would play every day, but I can truly appreciate the fragility, tenderness,** and the uniqueness of this album, both lyrically and musically. Hard to rate this album, but I'm glad I came across it, since I'd never heard of her, and for all the haters I'll rate it even one star more. 4/5

Yes! The first time I listened to Yes, was when "Owner of a Lonely Heart" became a hit in the early eighties. Years later, when I was on a discovery path into prog- and psychedelic rock, from Pink Floyd to Hawkwind to King Crimson, I came across their seventies albums. And what a discovery it was! Brilliant musicianship, strong melodies, atmospheric, and great song structures, culminating in their greatest albums, "Close to the Edge" and, imho, "Relayer". This is not their masterpiece, but if only for "Roundabout" and "Heart of the Sunrise" I would still give it 5/5!

Although not a huge Costello fan, I do like his early records "My Aim is True", "This Year's Model" and his '80s album "Spike". His work with the Attractions didn't go unnoticed by me, too. I still play "Armed Forces", "My Aim is True", and "Blood and Chocolate" at times. But for some reason I never heard of this album, nor listened to it. After listening, I must conclude that I didn't miss much either. why this is on this list, together with apparently 5 (!) other albums, is a complete mystery to me. It's Costello, and it's competent but lacks the fire of his late '70s work or the adventurousness of Spike. Overall this is one of his weaker and bland productions, so to me it doesn't seem justified to be on this list, especially regarding all his other albums on this list. 3/5

I'm a huge PF fan, and this album, although not my favourite - that would be "Wish You Were Here" - is without a doubt, an all-time classic. Even so, it still sounded more like a Roger Waters solo album, than as a full band effort, which is audible on "Dark Side of the Moon" or the aforementioned "Wish You Were Here". And that is what makes it my least favourite PF album, not to mention "The Final Cut" which is even more like a Waters solo album. Luckily, the contributions and razor-sharp guitar work of David Gilmour are still in place here, making me give the album a well-deserved 5/5 stars.

Christ, how I hate Simon & Garfunkel, this was why I became a punk (in my teens) in the first place. Luckily, it didn't last more than 28 minutes. Plain, dull pretentious and sugar coated folk, yuk! 1/5

Working my way through this ever lasting-list, sometimes it seems the author(s) of this book had to deal with the same struggle, and lost their inspiration. I was quite surprised to learn that Elvis Costello had 6 albums in this list, although some of them are completely justified, I find it harder to digest that a mediocre rock band as the Kings of Leon have three entries. I mean, we're talking about albums you should listen before you die! I'm pretty sure I can pass away without hearing any more of them apart from their annoying hits. This album doesn't add anything of value to this list, and should at least have been replaced with their follow up "Because of the Times", if there was a need for KoL, in particular because of the one outstanding song on that album "Knocked Up". Even so, it isn't, and I'm gonna judge this for what it is, a mediocre southern rock album, with inaudible lyrics because of the singer's shortcomings. 2/5

"Pink Moon" was one of the first albums that came up for me to rate, and since I was very familiar with that album, I easily gave it 4/5. This album, although I have it in my collection, I never played it as much. But I was equally or maybe even more impressed by the beauty of the songs, particularly "River Man". The 5/4 time signature and the orchestral arrangement by Robert Kirby make it one of his most ambitious and haunting songs. Add to that the fact that this was his debut, and was completely recorded without any overdubs - Nick Drake in the studio with the string sections, and occasional other musicians, all playing live together - and it's another easily given 4/5!

I think this is the first time ever I've listened to a full album by Aretha Franklin, and now I regret I never did before. What a joy this album is! That voice, the passion, and the blues and soul - it's perfect! Although the album contains mostly covers, the way she makes them her own is truly remarkable. Long live the legacy of the Queen of Soul! 4/5.

Never was much into glam rock, with the exemption of Bowie and the New York Dolls, and this album doesn't change my opinion much. It's decent, and reminds me in parts of "Ziggy Stardust" and apart from a few tracks, like "Spaceball Ricochet" and " Buick Mackane" in particular - it's very much of the same. 3/5

Interesting, a band from the nineties that I completely missed out upon. I remember the cover from the displays of the record shops at that time, but somehow never got around to listening to it. This isn't bad at all, it has that typically nineties sound of distorted guitars, but the songs are well crafted and are melodic too. It's a kind of like Sonic Youth meets Big Star. I actually knew "What You Do To Me" but liked the album as a whole, and would definitely play it again, 4/5.

Not the best album of the Talking Heads, that would be "Remain in Light" to me, but still a refreshing sound during the punk/new wave of the New York seventies scene with the introduction of African rhythms in their (quite) manic and paranoid sound. Furthermore, "Heaven" and "I, Zimbra" are absolute classics. The album as a whole doesn't only reflect fear of music, but basically fear of anything living in a modern world as the titles of the songs reflect ("Drugs", "Cities", "Life During Wartime", or "Mind". Very decent album, 4/5

Yes! Just a week ago, "Arise" was in this list, to my great surprise, and now I'm getting spoiled. "Roots" is in my opinion by far the best album of Sepultura, not the least because they dare to explore in the directions of Nu-Metal but unlike poser bands like Limb Bizkit and the likes, stayed close to their, well, roots. Add to that the tribal and indigenous influences in particular to the rythm section and vocals ("Ratamahatta", "Itsari" ) and you've got the recipe for something completely unlike Sepultura while it still is. It is may also be reflected by my own change in musical preferences and moving a bit away from the punk and trash scene, exploring different kinds of (rock) music back in the day. Even so, I haven't listened to this album for years, but man, what was it a pleasant revisit, 5/5, of course \m/ !

Oh man! This is such a brilliant album, the closest he ever came to The Beatles. Beautiful songs and melodies, a warm and crystal clear production, I must have played it at least a thousand times during my lifetime and still enjoyed every second of it. 5/5

Stand! is by far my favourite Sly & The Family Stone album - it's less confrontational than "There's a Riot Goin' On" and really captured all the essentials of their previous album "Dance to the Music". This is just brilliant. It does feel like a "Greatest Hits" album, with all the Sly classics represented. From "I Want to Take You Higher" to "Everyday People" to "You Can Make It If You Try", the energy, positivity, the deep funk cuts, but also social commentary ("Don't Call Me Nigger, Whitey") make this album a display of absolutely sheer funk brilliance. An outstanding classic, essential for every funk devotee! 5/5

Knowing "Song 2" from the endless overplay on festivals, I was quite curious about this band in the late 90s. How surprised I was, it wasn't anything I expected. I loved the opener "Beetlebum" but was taken by surprise of the eclecticism of this album. From the lo-fi psychedlia of " Country Sad Ballad Man" to the Bowie-esque songs like "M.O.R" and "On Your Own" to the rattling guitar noise of "Essex Dogs". It forced me to dive deeper into their catalogue, which made me a fan ever since. So much more then Brit-Pop, and yes, I dare to say this, so much more than Oasis! 4/5

Elvis meets Sinatra playing honky tonky country whining about the hardships of living on the road, passing hotels, bars, one-night stands, heartache and regrets? Nah, I pass. 1/1

Oh man! I'm so grateful that I was raised on the right side of the Atlantic, where there simply didn't exist such a thing as the stupidity and simplicity of country music. As far as my memory goes, there were some songs on the Stones albums, Let It Bleed and Beggars Banquet, but even then, much much better performed. This is just another terrible country album on this list. I had my hopes up with the first song "Honky Tonk Heroes", but those were crushed by the second song and everything further on, which are the typical tearjerkers and whining songs that made me hate country music so much. So here we go again - 1/5