Only one listen so this is probably unfair, but it's not really my era of music and the extremely melodic rock washed over me somewhat, though I know from older peers that they hold this in very high esteem. I think this washes over those who were born after it was released who are more influenced by post punk music.
Not a hardship to listen to this one as it's only a few days that I did in "normal" l know that PJ was not happy with this one as the sound was too slick and mainstream for her, but the songs are so strong and the overall mood so cohesive, that it's power and brilliance is impossible to deny. In my favourite three albums of hers with Rid Of Me and Let England Shake.
Despite my brother having played me his vinyl years ago and trying it myself more recently through streaming, this album hadn't connected with me beyond the great title song and Fame. Today listening to it on a journey home from long weekend away in Scarborough for my 50th birthday I enjoyed it more, even if still have some reservations on the qualify of a few songs and his singing on them, they're a little loose and lacking in his normal precision and form. Still further to go with this one I think!
I'm starting to get the feeling this is going to be hard work. I'm sure this is great for people who like this kind of rock, I'm really not keen unfortunately. There's great songs on there but I find it tedious and tiring.
I do like some Willie but this is too smooth and easy for me atm, I prefer his self penned songs with an edge
Apart from the spoken introductions for the performers, this is great stuff. I probably didn't experience it as per the original release but more the expanded modern edition.
One of the greatest, especially the closing frou-frou
The title song has been a favourite of late so a great reason to listen to it more. The album always struck me as being too long but it was enjoyable to immerse yesterday. The Nick Cave duet doesn't work as well as hoped unfortunately!
My favourite revelation on this path so far - not that I didn't know the album, but I have felt the need to play it on repeat and the non-singles have really hit home. I must now find a decent vinyl copy.
Are there any other classics where the main hit / best songs are at the end?
Oh God, I'm going to need to feel in a strong constitution to survive this! It was a fave when I was more maudlin / morose / depressive / suicidal / drink in nature!
Listening to it now the shock is how pleasant it is to listen to despite the subject matter and dark introspection. Kudos to Waters for bringing the songs when others were unproductive BUT it's the others that make it so enjoyable and listenable.
Bob Stanley had already opened my mind to the Bee Gees in his book Yeah Yeah Yeah (haven't got around to his book specifically about them yet!), but these boys are so much more than SNF and disco. I knew this in part due to songs like New York Mining Disaster, but I didn't know anything about this 1971 album apart from the opening song that became one of the best songs ever in the hands of Al Green.
And it's a great album and repays repeat immersive listens to its consistent sound and quality.
Whilst I think it was a great soundtrack for a wonderful film, I don't tend to enjoy soundtracks without the visuals. This has a great few tracks however, and Air of this era were superb.
Wow was I blindsided by this! The album coming up prompted a less than enthusiastic response but this is is just great swamp blues rock with such a strong vocalist and band. I don't know why I had a negative perception of them, Susie Q was somehow known positively from my childhood (must ask my brother why!) but I think I'm probably a bit snobbish about some US 70s blues rock (thinking it's boring wank jam fears) and need to be more open minded. There is nothing boring about this.
Splendid album of course with one of the best opening 3 song salvos in music history, up there with Let's Dance for perfection. Frankie's first Affair immediately drops the quality substantially (with some of Sade's worst vocals IMO she just doesn't suit it) but the rest of the album is good enough, if not as consistent as later works. Those first 3 tracks though....
Pre Rubber Soul Beatles isn't really my thing, even if their graduation is so historically vital and fascinating. There is raw excitement here and a youthful charm but the real art and craft was still a couple of years off. I didn't necessarily yearn to finish it early, but was quite relieved when it was over.
Not one I'd have known or considered but it's a great listen and has the incredible title song!
Reliably serviceable album from the blues rock behemoths, I need to listen to more intently again but the first couple of tracks in particular were captivating and impressive. Never going to be my favourite band though.
Some damn fine music here, though I must admit I didn't get to the end - it lapsed into more pure instrumentals after a while and I lost some interest (will finish it off at work today). The mark lost is for the overly American Christian nature of some of the songs, which rankle due to the crap that the Christian right wing are perpetrating in the US today.
One of my favourite synth bands, their albums can be a mixed bag but when they hit hard they are perfect
There are so many great songs appearing on his albums by now, which are almost evenly distributed between acoustic and electric forms. Sadly it's the electric ones that Maggie's Farm that bring this down for me (although songs like this can be amazing live). When an album has Mr Tambourine Man and Subterranean Homesick Blues however who can complain.
If this would allow 4.5 stars I'd give it, but even though this album is a standout of the era and is so original and impressive, it is VERY cold, which stops me playing it often and giving it top marks
The surprise here is that it's the instrumentals that I really like, which is the opposite to what I expected. Apart from the title track I am not fond of his vocals, he has that lack of discipline whine and the recording of them has too much echo and effects, it's just unbelievably pretentious and annoying, stopping me really here any song or tune, like vocal masturbation. What I like is very good and it would be churlish to give it 3 given how amazing the song Heroes is and how much I like the instrumentals, so 4 it is.
An absolute "modern" classic (ahem, it still feels it but of course it's nearly 30 years old now!), the only downside is that the production can seem a.bit lumpen and flat at times, but I can't quite bring myself to allow that to make it a 4*, as it is a solid 4.5 and nearer 5. So many great hit songs and the album tracks like I Spy are fabulous.
Absolute classic, just perfect as a band and as a record.
It's a lot to take on fresh as it comes at you like an onslaught with little respite. I find the Captain's switch to guitar unbelievably successful after the departure of Brian James and can't find any fault here on 2nd listen, far too good for a 3 even if as a newbie it's yet to sink it's talons fully yet.
Overjoyed to see this gem come up, not least because they have just released a new album (Rainy Sunday Afternoon in 2025), but because it's an old favourite. There's rather annoying shouting (roaring basically) on songs like Charge and Through a Long... but otherwise it's an impeccable enjoyable listen. TDC would only improve from here and had more masterpieces to come in the form of Regeneration, Fin De Siecle and Absent Friends but this continued to pave the way nicely.
Whereas this was his most successful album and I love it, it's not my favourite TTD, but those main singles are perfection "wishing well", "dance little sister", "sign your name" and "if you let me stay". I feel the album tracks improved with the next 3 records to give better overall experiences but this will of course be the one held most in peoples consciousness
Child in Time tipped the balance, initially I was daunted - it's exactly the type of thing I'm dreading in this project (70s hard rock), but there was some good stuff, especially CiT which added much more variation shade and colour.
It's been a shame to see how flippantly people seem to rate albums like this, with it's average currently under 3 here. I've never purposely listened to the Mott other than when All the Young Dudes gets autoplayed. I'd not have realised how well considered some of their albums are without this 1001 prompt.
This album comes after their Bowie reboot and this album certainly sounds like glam Bowie of this era, but with their own twist and great songwriting and it's great fun. Even on my second listen and songs are already embedding them. The production is great and they're such a solid band (even if they were already depleted in numbers by this point), and it's sad that they would split up after their next album (also very well thought of!), with Hunter then forging what looks like a rewarding solo career.
Yet another artist to be less snobby or dismissive about, thanks to 1001...
I had the album at the time and there is a wishy-washy slightly boring nature to it and the band (at times) and I definitely didn't hold it in great regard (and had tried it again not so long ago). However, on relisten here it's really not so bad and is chock full of good songs. I imagine the rating from others here will be savage, for me it would be a 3.5 but I've got to lean and it's closer to a 3.
I'm not going to listen to a self professed modern Nazi, sorry.
I'm sure it's full of great songs but the production is dreadful (all mid guitar wash and splashy echoed drums/cymbals), which thankfully improved with Bob Moulds next band Sugar and solo albums.
I can't believe this was 1969! Practically the only thing that makes this understandable is VU, elements of Led Zep / Rolling Stones and the White Album and the Stooges, but this is INCENDIARY! Not what I would normally choose but undoubtedly important and impressive.
One of my mum's favourites, this is enjoyable and listening to it at work today my colleague said it sounded like Michael Bublé and therefore Christmassy (I pointed out that it's the other way round).
I can't help but be influenced by the fact he was a fairly awful mafia tool, but still I can appreciate his importance as a singer performer.
I am not averse to all AC/DC and own Powerage but I'm not a fan of Brian Johnsons yell vocals, so struggle here even if it's well known and is their best post-Bon album. I am dying for it to finish tbh
I had already started listening to and loving this album (& all of peak era Chic) due to seeing them support Mariah Carey at Sandringham in August 2025. As my wife pointed out last night I used to hate disco, so this is a major turnaround, but this album is awesome. Fave track "At Last I am Free".
I am already a fan of this album (& by extension so is my family, especially my son), so it's no hardship to listen again. Whilst I admired them with their first album and the second was still acceptable (although more wallpaper music), this really broke free and became more expensive, possible thanks to Jamie XX success and more expensive sound. This added excitement to the XX mix paired with their intense introspection. Romy's album then went even further with club beats and euphoria, so who knows what is to come next (which may be forthcoming in 2026 as they are playing Primavera).
I've heard a few of their albums and given them a reasonable try, and even if they're never going to be my favourite this is by far their best album. The Dan stew reached perfection by Aja
A new one that I've never heard of (rare) and an excellent mix of club beats with South American / Brazilian vibes, reminiscent of St Germain, Goran Project etc. I really like it and will add to my listening rotation, which is a good result for this project - to find out unheard gems! Sad story regarding his death however and why there was no more Suba music.
A frustrating album, in parts brilliant and others boring and annoying. Beck has proven such over his now long career and leaves me unconvinced. There is enough brilliance here to justify 3 stars but I long for it to finish even now having also owned this from its release.
This has been a gradual grower for me over the years, bridging the old school hip-hop from my childhood 80's and more modern production values and forms. This is tight as hell and may not have the colour or variation of a Tribe Called Quest but sometimes a consistent vibe has its place. Nas has great flow and isn't revolting in his subject matter which makes everything easier to stomach.
There are obvious highs (Disorder) but overall this album tends to be a drag for me and despite being a big Post-Punk / New Wave fan I have never reached for this album much over the years despite it being in my record collection since I was a teenager.
I had Baduizm and had respect (if not total love) for it, but obviously not enough to buy the next album. This was in the days before streaming so I couldn't even easily try it, so Erykah didn't get another look in on my musical journey.
I now find out how well thought of some of her subsequent albums are, and there are certainly many gems on here even if as a whole it can be a little long and strangely cold or abrasive at times (whilst conversely warm and gentle in others).
I'm glad to get to know it better and will certainly check in more with her music in the future.
One of the first albums I feel needs more than one day to rate. Sometimes it makes me queasy, like on more conventional country songs like "Queen of the silver dollar" but on others like Danny Flowers "Before Believing" there is undeniable depth, charm and superb production / playing. I think what makes me veer towards 3 stars rather than 4 is that this isn't essential music for me and I don't think it will ever be my passion. If I reach for Emmylou it will generally be the Lanois drenched Wrecking Ball where she is at her most haunting (& there is less country pedal steel twang)
An album loved by those around me at school but left me cold, as most funk rock does. I did my duty here and fought through my distaste of Kiedis and his 14 year old girlfriend's. To my surprise there was plenty to appreciate, and AK was incredibly annoying at times. The guitar playing of Frusciante was awesome at times (If you have to ask sticks in the mind) and there are great songs (Under the Bridge of course but also Breaking The Girl). It's too long but wrestles itself above a probable initial 2.
Torn on this one, whilst it's not the sound I like, there is a high level of sophistication here in the song construction and overall concept. Just as I got bored during Jesus of Suburbia and was ready to give up on it the song flipped to a new form (it lasts for nearly 9 minutes and has 5 stages) and kept my interest for the rest of the album. That alone rewards it with 3 stars, as well as for "Wake Me Up" becoming an earworm for the day.
Loved at the time and still holds up today. One of those bands who weren't a favourite but I had all the albums.
Painful, stuck it out but begging for the end from the second track "Gang Bang" (as awful as it sounds). HTF is this included. It's not even generally regarded as one of their best albums, not that I'm going to be sampling the others on this showing. The worst album on 1001 that I've listened to so far (Ye didn't get heard due to a built in self professed Nazi filter).
Generally rated as slightly weaker than his other two albums by myself and other opinion sites (like RYM and AOTY) this is still nearly perfect, especially on its opening run of five tracks and Northern Sky. For me a couple of the later instrumentals bring it down (flutes are a little too twee and pastoral for my liking here) as well as other B side songs that are only great rather than utterly amazing (Fly and Poor Boy). On rateyourmusic this is a 4.5 stars (& 5 stars for FLL and FT), here it JUST rounds up to a 5, especially as it is criminally low at 3.5 on this project.
An album that's been coming up frequently in recommended and Best of the 21st century lists in the last week, this is one that I tried at the time of release but I wasn't quite ready for. I think I was more prudish at the time, and this is definitely only for those that are more sexually open minded! It was a real treat listening to it and it's the first that I've listened to 3 or more times on the day specified (easy as the original work is only 32 mins, though I do recommend the deluxe which has no drop in qualify).
As a reasonable admirer of HC (owning 4 albums) and having really enjoyed their recent 2025 best of, this one leaves me a little underwhelmed. The album somehow passed me by at the time (I may have figured that I had enough of their music and it preceded streaming suck it and see services, and didn't seem to have a hit song. The sound is light and spacious and lacks the depth that I prefer in their music either in subject / mood or synth sounds. I've given it a few listens and the best I can give is a muted 3 stars, more out of loyalty than anything (not knowing if there are any other Chip albums on here).
Another album that coming to this project I had no great love, choosing instead the more varied multicultural sound of the Clash. Forced to listen properly here my preconceptions of musical primativism is found to have been unfounded. What has surprised me lately when listening to PiL before the ForeverNow festival in 2025 is how intelligent and creative Johnny Lyndon is, but the overall sound is also far more cohesive, sophisticated and powerful than I suspected. The simple truth is that every song is very listenable and attention grabbing, even if they're not the headline songs of Anarchy or God Save.
A Jazz album I already owned but want necessarily in love with, preferring his other records Mingus Ah I'm and MIngus Mingus Mingus...
This one obviously makes my family uncomfortable and is the least easy listening of the three, but has a formidable reputation and complexity. The final track is over 18 mins and is a Medley in many parts, some of which are my favourite of the album. Overall it is obviously great if not a favourite.
A poor effort that I once owned and gave away, despite paying homage (ripping off) a favourite band in the Clash this is thin, poorly produced, badly played and drags on well beyond when it should be put out of its misery. Their careers effectively ended here with any dribbles of creativity already spent revealing much. The only redeeming factor is that some of the songs hold some charm, such as Can't Stand Me Down and Campaign of Hate.
As a fan of electronic / ambient / D&B whatever you want to call it at the time, this album was already in my collection at the time and was a regular love of mine and has continued to be over the years. It's obvious that this style of music doesn't appeal to many hear (or is unknown / uninitiated) but for me this is a fabulous twist on things with his Eastern influence.
YYY's dropped off massively for me as Fever to Tell was a real favourite, whilst it's follow up A side was dreadful (somehow it's B side was pretty good!). I therefore didn't bother with this 3rd album but upon listening to it now I was obviously heavily exposed to Zero and Heads Will Roll by radio (6music in UK). This album is definitely better than Show Your Bones but still lacks the energy and audacity of their debut. This time however it's front loaded and whilst the rest is decent enough it touches on pleasant which is not something I come to their door for.
Unfortunately I had written a long review and the page refreshed and got lost, so suffice to say I'm not an aficionado on Country but do own some Willie and like some of his work. This one is okay, but I dislike the Time of the Preacher theme and it comes in 3 times, and by the last one I'm reaching for the stop button.
Blue Eyes in the Rain and Can I Sleep in Your Arms are highlights, as they are less about a concept and more about feeling (but worryingly neither are written by Nelson).
There are a series of very short songs in the middle of the album which don't appeal to me like the standard Over the Water and then honky-tonk of Down Yonder.
So overall with the few highs (the title song is also good) but many underwhelming lows, I can only give it a 3, but have struggled with this and had to listen to it a few times as I'm really not sure (so may revisit).
Listened to this a few times and it just washed over me. I own XO but never grew to love it, the most I've enjoyed his music is on the Good Will Hunting soundtrack, where it just fit ideally.
After the (for me) disappointing Neon Bible, and as a relatively early fan of Funeral (thanks to RYM!), this was a welcome return back to form. My fave is actually Sprawl II and I wish Regine sung more songs. Generally the songs are just very well written and are so satisfying and the concept works. One more good album by these guys (Reflektor) and then things go horribly south.
Pharcyde - Bizarre Ride II
I had their subsequent album Labcabincalifornia and liked that enough, but for some reason never checked this one out. Its really enjoyable with a lively vibrant sound with solid old school beats and plenty of jazz stylings. The mixture of vocalists stops it getting dull and they have a great sense of humour.
⭐️⭐️⭐️⭐️ (nearly more but just goes on a bit too long for me).
I purchased the singles Silent all these years (incredible) and China at the time of release, but was scared off by some of the harsher bleaker stark tracks (like Mother) and didn't get the album. Tori also looked gorgeous and somewhat like my girlfriend at the time.
Listening today the album is very impressive (the first half in particular) but is still hard work to take it all in one go, with the aforementioned Mother still being a long tough challenge. I'm still pleased to see how well thought of it is on review sites like rateyourmusic.
An incredibly important artist in the giant leap to modern music, you can hear blues and jazz morph into Rock n roll in real time.
Ugh, for me this doesn't sound good in 2025 but the second side is massively superior than the first (with the well known songs on it). Unfortunately the dreadful first five songs make it a 2 for me
This hasn't aged too badly and I'm a fan of their first Nigel Godrich album Parachutes, but this just borders on the middling overall despite Martin still keeping some eloquence to his lyrics (which will quickly descend into the pithy and banal as their career went on). There are some proper tunes here which tug on the heart strings. 3.5 stars on Rym but here rounds up to 4 by the slightest of margins.
There have been incarnations of Edwyn that I have been a fan of ("Gorgeous George" era, post stroke, producer) but I had never given Orange Juice a proper try. I expected this to be quite weak white and derivative but there is a real alchemy of genres here and I love the songs that the drummer(?) songs on with a more world music / African feel, preempting Graceland etc (though still probably in debt to Talking Heads / David Byrne). The album is surprisingly consistent and very relistenable.
Not a genre I generally listen to or an album I have heard before. This was surprisingly enjoyable, mainly because of the incredible guitar playing. The song I knew was "Ain't Talking Bout Love" which is so ahead of its time and still sounds incredible, and the instrumental showpiece of Eruption is jaw dropping. I could do without Lee Roth but in general his vocals serve a purpose and its Eddie Van Halen who is very much centre stage.
A pantheon album and a few classic songs (title track, jealous guy, oh yoko!) but it can be patchy elsewhere (I don't want to be a soldier, crippled inside, it's so hard). On Rym it's a 3.5 for me, but the average songs bring the classics down here. It's not a vinyl I reach for often
This album was a massive seller and ubiquitous in 1970's houses, but time hasn't been kind to it's innoffensive pleasantness. There's nothing inherently bad about it, and some songs like Country Road and Fire & Rain definitely grab the attention more, but out of the Laurel Canyon era this isn't an album that feels cool and happening in 2025.
Surprisingly good, but then it shouldn't have been with Stills and Young involved, but so early in their careers I hadn't expected such a developed sound. The Young songs I was acquainted with through collections and are excellent (Mr soul well known to be a bit of a rolling stones rip off but still enjoyable, Broken Arrow has a MAD construction, Expecting to Fly is just beautiful) but the album holds up pretty well during the others band members contributions. However I can't imagine this is one that I will want to revisit.
My ears hate me listening to this, a distinct headache coming on every time I try. During the day I had to break it down in 2 song chunks as it's so wearing, samey, at times tinny and bludgeoning. Not an experience I want to repeat (although i'm sure there might be similar kinds of album in the 1001). At least the song "Self Esteem" has some subtlety in structure, although many of the more tolerable tracks just have me reaching for Nevermind.
I was a hip-hop head in the late 80's / early 90's but was a bit scared off by early gangsta rap (until NWA Straight outta Compton) so I originally missed this. It's great! Everyone reviewing it saying it hasn't aged well are totally off mark, this is old school hip-hop not Kendrick Lamar and the beats are superb and there is such a mix of stuff here, always interesting and colourful. Shame like most rap artists of his era his solo work seemed to fall off a cliff soon after (apart from Body Coun stuff!).
The singles were excellent and I owned a couple from the time but never the album. It's consistently good throughout and was understandably massive. A solid 4 stars.
This is one that needs more time, I enjoyed it but don't really know how much I love it and would keep coming back for me. This may be one to revisit my rating in the future so don't be surprised if a 3 changes to 4!
Sometimes there's no getting around the initial reaction you have when an album pops up, and for this one it was "oh God, no". It's not that these albums are inherently bad, but that for me they are fairly boring affairs, and lean towards technical excellence rather than feeling and excitement. The harmonising tends towards the stale and bleaching of sentiment. Only on a couple of songs do things elevate at all with the help of a electric guitar and band like Long Time Gone, but even here the energy is sapped by the harmonies in the chorus. I find myself longing for a voice to break out (as on Long Time verses) and seperate from the ooze.
It doesn't help that this came after a Byrds & Buffalo Springfield album, so I was already tired of the style (although the latter was a lot more exciting and varied). Suffice to say I won't be coming back for more with CSN with or without the Y.
Earlier this year I purchased my own original vinyl copy of the album, after growing up with my brother and father being big admirers of it. I enjoyed elements but actually found the pressing fairly unlistenable on the latter half of side one, they must have compressed it heavily to fit it on to thin vinyl. The second side was more enjoyable and richer in sound.
For this I am just streaming and the sound problems don't exist, what we are left with are supermaximalist songs with no room to breathe but full of drama tunes and ideas. Is it very 80s? Yes possibly due to Trevor Horn who partially invented the 80s but ABC themselves could come from any era or none, being utterly outside of fashion or scene.
Do I love this album, no. Do I admire it, absolutely.
Forgive my ignorance but I didn't know who Justice were and when this album cover came up I thought I was going to be required to tolerate another metal album (it reminded me of Ministry name and imagery). Such a relief this was actually French dance music ala Daft Punk.
A few listens in and it's generally full of delights that keep me interested, despite many reviews here and on Rym saying that it goes on too long. There is an element of these electronic albums where you want the length to be able to immerse yourself, or lose yourself to dance.
I only have 36 ⭐⭐⭐⭐⭐ albums out of 4000 odd on Rateyourmusic, and this is one of them - & the only Bowie. Just perfect.
A band very much inherited from my father, and this and a couple of other albums were literally handed down to me on vinyl by him. Apart from Sultans of Swing nothing hits here, but I know its well thought of by fans as more of a band album rather than Knopfler in all but name. There is certainly a good feel and flow to some of the songs, but it's not what I want in 2025 in all honesty.
This was the album that somewhat saved their career, won them a Mercury Music Prize and gave them their first "hit" (one day like this which became ubiquitous on radio and tv) and big seller. It wasn't my first album of theirs (I loved Leaders of the Free World more and still do) but if was somewhat of an event album. There are weaker tracks that let it down (the fix with Richard Hawley and an audience with the pope) but overall it is very strong and has their trademark deep layers and strong subject matter.
A fascinating first time listening to this album, I really enjoyed the energy and of course Teenage Kicks is classic. It would take far longer to rate this more highly, but it's a good 3, but amazes me how cool Fergal Sharkey comes across in this setting when he seems like the most square man now!
Not one of the Eno albums I know best, so it was mostly very enjoyable to listen to this as it's one of the most groundbreaking modern influential records there is. Had me at least humming along to some of the progressions and tunes, and contemplating how even genres like shoegaze / mbv would be born from here.
If I'm going to listen to Funk, it's going to be Parliament / Funkadelic. This was great fun and sexy, I knew a couple of tracks but first time hearing. Thanks 1001
An unexpected one to crop up given that this isn't one of his early rock n roll key albums (like runaround she) this is later wall of sound syrupy crooning mid 70s with Phil Spector. The first track Born to be with You is worth a listen (incredible, I love songs where it takes over 1min 40 secs for the vocals to start a la sound and vision) whatever you do but elsewhere his voice doesn't quite have the rich depth to suit the setting, but it did warrant a few listens to try and get a grip of it. Not unpleasant but doesn't set the world on fire!
An album I come back to periodically anyway but enjoyable to listen to for this project a few times in a row. You won't find much in the way of original musical ideas, any tunes or songs are borrowed / sampled, but it's the background to the interplay of rappers with the added bonus of Lauryn Hill's singing voice, and for me she makes this a 4 more than anything else.
Torture, saved by some tunes like the massive hit "More Than A Feeling" but not my kind of music and the first in a long while that I have been tempted to skip.
Although I own and know a lot of jazz classics I haven't come across this, so thanks 1001 for the introduction! A great mix, reminding me of Brother Jack McDuff at times with the organ. Funky, Jazzy and Bluesy in turn. Bears repeat listening and apparently has a sister album with the same red jumper on the sleeve so I'll have to check that out!
There's some great band moments on here that raises it amongst the rest in a genre of hard rock / metal that isn't a favourite of mine. The second half of Wheels of Confusion (the instrumental part), the drumming in particular of Supernaut in particular. I like that it's got some light and breaks from the onslaught at times like Changes and Laguna Sunrise. I guess I like the band but am not such a fan of the yelling version of Ozzy.
Thankfully I actually have this album as it seems this either isn't on streaming sites (Qobuz) or what is there is utterly butchered and wrong (Spotify), hence the ratings and reviews on here are even worse than the d&b snobbery would have been anyway (given the poor ratings of Talvin Singh / Goldie).
For me this was the perfect distillation of the genre into two distinct discs of mood and effects, with the second disc being a dj seamless mix and the first more varied individual tracks. Key tracks by PFM (I adore Danny's Tune), Links (aka Global Communications), Peshay and Bukem himself.
One of those problematic artists that are naturally going to come up a few times on this project. This album has some corkers but is very front loaded and isn't one I would actually choose to listen to, so for me is an enjoyable but inessential 3.
The year and period of transition of this albums creation, and Steves obvious wish to record this album himself in a home studio using modern technology, means that this is very much of its time and would date almost immediately. Some of the sounds are truly nauseating but even on the title track the song lifts beyond the cheese and has many charms. The bad sucks (second hand woman in particular, what a vulgar hook line), but there a three great songs in "while you see a chance", "Spanish dancer" and "night train". Shame not to be able to give it 3.5 ⭐ here but on 1001 this is a...
Great fun with three smash hit classic pop songs and some great guitar throughout. Who would have thought this at the time of tres Hombres.
I didn't realize how much of this album had permeated my mind over the years despite not owning it. A uni best friend loved it and obviously played it & added it to mixtapes enough! It's an enjoyable blast all the way through and has such irrepressible energy.
A favourite of mine since hearing my dad's cassette copy in the car as young teen, then owning it myself on cd (and later original vinyl - slightly warped!). As I commonly see in reviews, the political aspects on here aren't so strong, but what is - and what have always been - are Billy's "slice of life" personal songs. There are so many great ones here such as "The Warmest Room", "Greetings to the New Brunette" and "Levi Stubbs Tears". The added bonus is the guitar of Johnny Marr (who was breaking up with the Smiths at this time), as well as Kirsty MacColl of course.
Surprisingly good and bears repeat listening with songs that worm there way to the memory. Still not my favourite kind of thing to come back to, but beats the far more revealed Back to Black for my money.
Another new one to me, this had plenty of energy, tunes, vibes and groove although it veered too much into boogie for me at times.
An amazing album chock full of at least three perfect songs (Hanging on the Telephone, Picture This and Heart of Glass) and plenty of other bangers (Fade Away. One Way etc). Debbie Harry was just perfection as a pop star, singer, woman, everything. Nearly a five but a few songs just bring it down.
Neil hasn't been on my listening list for a few years since reading his Waging Heavy Peace, which detailed his long marriage and caring for their son which was very loving. Soon after he left them to be with Daryl Hannah, which just cheapened everything I had just read and unfortunately affected how I viewed him and I just stopped listening to his music. I have plenty of it and love many of his albums, including this massive hit album where he seemed to make concessions to the mainstream country crowd but with such wonderful songs that it didn't matter, the class just song through. There's plenty of darkness and drama within the sheen to give the album balance as well with Old Maid and Words.
Maybe its time to forgive Neil and accept he's as humanly susceptible to a Hollywood actress as the next man.
Wildly diverging opinions and reactions to this album. I mean it's so obviously totally incredible and beyond 99.9% of anything else on this project. BUT it has Maxwell's / Octopus / Polythene etc so it's so not perfect as such. BUT the highs are just so good and at the end of the day it works so well as a complete article. Simply breathtaking... and therefore incredibly sad of course as it was the Beatles last proper release.
An album I was a fan of at the time of release, due to their previous album Everythings Alright Forever being a shoegazy obsession. This one was wildly different, varied in scope and universally lauded by the music press (if largely ignored by the masses). I voluntarily listened to it a couple of times recently so this was hardly a trial, it's just really enjoyable and full of hooks ideas grooves and squalls.
The first times listening to this album despite knowing a few of the songs from singles / compilations. The sound hasn't aged and is very experimental but doesn't alienate the listener with too much austerity or coldness, with Gabriel sticking close enough to melody and emotional hooks to keep us warm. I loved Games Without Frontiers as a kid but now really appreciate Biko & I Don't Remember as well. It reveals that Gabriel is worth visiting for the album cuts beyond So / Up and collections (I'm a child of the 80s).
A frustrating album that I owned but didn't grow to love, almost the hype worked against it - in terms of "what are you hearing that i'm not" or vice versa. There are incredible highs like 7 Nation Army and Hardest Button, Ball and Biscuit almost deserves its 7 minute blues length, but in the age of albums being too long (making the most of cd lengths) there is way too many songs and it sags badly in the middle after "You Don't Know" (which is a bit throwaway and annoying).
After the initial buzz of excitement for their first album and the release and catchy, fun & often euphoric nature of this hugely successful follow up, they became ubiquitous & overexposure led to cooling towards WtSMG. 30 odd years on and being tasked to listen again here and detached from the Britpop wars of the time, this is just a great sing-along rush of an album that has surprisingly few low points and a few highs. I find myself really enjoying the Richard Ashcroft tribute Cast No Shadow, She's Electric and Some Might Say. But then there are the bigger songs and the closing epic Champagne Supernova so you really have quite a complete work here and despite really NOT being an Oasis fan and going nowhere near their recent reform tour (not even tempted), f*ck it this is a 4.5 star album so here leans towards a...
A band I have always wrestled over, there are times when they are fun and engrossing and other times they are incredibly derivative and annoying. This album walks that tightrope and has some highs like All My Friends but then gets more workmanlike and boring on Watch the Tapes and the title track towards the end of the album.
