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

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

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