This album (and the Indie Rock Revival era in general) is essentially an American band trying to be British. I've never truly understood why people rave about The Strokes so much. Sure, their songs are catchy and easy to digest, but 'Is This It' is often considered a landmark album of history, and The Strokes among the most important bands ever. I listened to 'Is This It' for the first time, and literally thought "is this it?" I listened to it again and again, still the same thought. Sure, 'Last Nite' is a cool song, but I seriously don't understand why people rave about The Strokes so much. 'Is This It' is well produced and all, but not much really holds my attention, not unlike Elliott Smith. And yet, certain people feel this band is as important as Nirvana, The Clash or Pink Floyd. Honestly, not even close. Honestly, to me, 'Is This It' is just a bunch of okayish pop/rock songs of an American band trying so hard to be British. The Strokes just don't do it for me. Best songs: 'Last Nite' 2/5

With the manic energy of a punk band and chaotic experimentation that leaves the listener unsure of what's about to happen next, Pere Ubu's 'The Modern Dance' is not the most inviting album, but for 1978, it's quite a bold statement of the direction punk and garage rock would soon take in the 1980s, where oddball alternative bands such as Butthole Surfers, The Pixies and Sonic Youth would relish in uncomfortable yet enthralling music. Pere Ubu can be considered a good bridging point between those wild 80s bands and the relentless experimentation of Frank Zappa and Captain Beefheart preceding it. Infused within the songs of 'The Modern Dance' is uncomfortable feedback, random crowd sounds, zany horns and the unhinged ranting of vocalist David Thomas, someone who the likes of Jello Biafra [Dead Kennedys], Gibby Haynes [Butthole Surfers] and Black Francis [Pixies] were certainly taking notes from. If you're a fan of conventional, easy listening music, you're not going to like 'The Modern Dance'. But if you love alternative/punk music, and are keen to hear a pivotal record that is essential listening concerning the development of the weird alternative 80s music scene [including Australia's best 'weird' band, The Birthday Party], check this out, you won't be disappointed! With that said, as important as this record is, others did end up doing it better. But I see the influence nevertheless. A very unhinged, yet somewhat enjoyable record.

Very solid album. Stevie Wonder is a master of providing plenty of space for all instruments to breathe, and it perfectly blends funk and soul in a harmonious way. While it is not his magnum opus [see 'Songs in the Key of Life'], 'Talking Book' is buoyed by the obvious brilliance of 'Superstition' [Stevie's signature song, depending on who you talk to], but also features 'You Are the Sunshine of My Life', 'Maybe Your Baby' and 'I Believe [When I Fall In Love It Will Be Forever], three remarkable tunes that helped bring Wonder out from the Motown pigeonhole and into the realm of the bold and innovative. We got Prince and Michael Jackson in the 80s, but Stevie was the one who showed them their future in the 70s. 4/5

Obviously, most people remember this album for the title track [easily Eric Clapton's signature song], but in reality, there's quite a lot to like about the sprawling, 77-minute double LP that is 'Layla and Other Assorted Love Songs.' For a long time, I would always see Eric Clapton's name pop up on the 'Greatest Guitarists of All Time' lists and didn't really understand why. I felt that, maybe, he's a touch overrated. Sure, 'Sunshine of Your Love' has been so many guitarists 'first song learned' for decades, but it's a pretty simple song to learn, all things considered. But, if I didn't find out already from 'While My Guitar Gently Weeps', this album, to me, justifies why Clapton is regarded as one of the all time greats of the six-string, especially in the blues category. Clapton's subtle-but-emotive guitar work combined with his and Bobby Whitlock's impassioned vocals and a solid rhythm section make 'Layla...' [at times] such an engaging listen, not to mention the additional contributions of fellow guitar great Duane Allman. In addition to 'Layla', 'I Looked Away', 'Bell Bottom Blues', 'Anyday' and 'Why Does Love Got to Be So Sad?' are some key highlights. With that said, I did find the 77-minute run-time a little bit exhausting, especially with the blues genre having a tendency to get lost in meandering guitar solos [some might call it guitar wanking], and the cover of the blues standard 'Key to the Highway' is the worst culprit here. I don't mind the blues, but sometimes I can't help but think 'just get to the point already, sheesh.' Overall, it's a good album, and the truest showcase of Clapton's guitar skills, but there's maybe a few too many covers, exhausting guitar passages and a little too much untrimmed fat for it to be a perfect record.

I must admit, I wasn't at all familiar with Elliott Smith prior to this record being chosen for me, but that's the whole point of me doing this challenge: I want to open myself up to many different artists and get out of my comfort zone. Listening to 'Figure 8', the influence of The Beatles across this record is clear as day, right down to fact it was recorded in part at Abbey Road Studios. The production on the album is spot on, and it's a good album to chill out and relax to, although I can't say many songs really landed for me. It's basically just a Beatles homage that sounds pretty; a homage so eerily similar to what The Beatles [John Lennon in particular] had already perfected in the 60s. Smith also sounds very similar to Neil Finn [Crowded House, Split Enz], a fellow Beatle aficionado, although again, Finn just does a bit more for me. I then read about Smith's untimely death at the age of 34 in 2003, which put 'Figure 8' into greater context for me. 'Figure 8' was Smith's last record completed in his lifetime before his life spiraled into depression and drug addiction. So he's definitely in the same ballpark as artists like Kurt Cobain and Jeff Buckley; artists who have probably become more iconic in the wake of their demise [something to be said about artists suffering for their art], but unlike Cobain or Buckley, I just feel like there's something missing from Smith for me. I don't think this is a bad album by any means, but nothing really jumps out for me except the clear Beatles influence and great production and instrumentation. Might be a taste thing for me though, as I will admit the indie genre has never really done it for me. I can see why 'indie' fans would love this record though, and I did enjoy 'Son of Sam'. 'Figure 8' is basically your average 'Beatle-loving' indie rocker of a record, but I have to give Elliott Smith props for handling basically all of the instrumentation himself on this record: guitars, piano, bass, drums, organs, string arrangements. That's no easy feat, and I have plenty of respect for multi-instrumentalists. So overall, it's OK, but nothing more than that. 2.5/5

Long before he became known to a new generation as the iconic voice behind 'Chef' in South Park, Isaac Hayes had made his mark as a soul musician unafraid to test listeners with longer compositions and psychedelic/progressive elements. On 'Hot Buttered Soul', Hayes rips up the soul rulebook, backed by the impressive Bar-kays to give the songs a dense and driving edge. Only four songs on this album, three of them covers, but how Hayes and co. transform songs such as the Bacharach staple 'Walk on By' and Jimmy Webb's 'By the Time I Get To Phoenix' [the second cover of this song I've heard, the first being Nick Cave's] into original works of art featuring acid-laced guitars, simple but rolling percussion, funky bass, inventive piano/keyboard, all brought together by Hayes' smooth, laid-back voice. But the true highlight here is the sole original track, 'Hyperbolicsyllabicsesquedalymystic', an enthralling funk masterpiece that no doubt would've encouraged the likes of George Clinton and Curtis Mayfield to go bigger, longer and more innovative in the 1970s. Until today, 'Chocolate Salty Balls' is the only Isaac Hayes recording I'd ever heard, but now I can add arguably one of the greatest and most important soul records of all time to that list. 'Hot Buttered Soul' is fantastic, an album I most certainly will revisit! 4.5/5

Ahh 2009, I remember it fondly. I was getting really heavily into grunge music almost two decades past its peak. As a result, I really wasn't paying attention to the music of the day because, as an angsty 15-year-old, I was probably dismissing it as "boring techno crap" (this was before I really got into Nine Inch Nails, New Order etc., so I was naturally a bit naive). So, as a result, I completely missed out on artists such as Yeah Yeah Yeahs, and with 'It's Blitz!', there's plenty to love for my older, more cultured ears here. With Karen O's etherial yet punchy vocals (sitting nicely somewhere in between Debbie Harry and Kate Bush), and some eclectic musical arrangements courtesy of multi-instrumentalist Nick Zinner and drummer Brian Chase, 'It's Blitz!' is a fun album full of raw energy and eletro-punk pizzazz. I dig 'Zero', 'Skeletons', 'Dull Life' and 'Shame and Fortune', although the big hit on this album, 'Heads Will Roll', is a bit mid. But I cannot fault this album's boldness to traverse different styles, especially in the back half. Its an album that gets more and more interesting the deeper you delve into it. There's so much going on throughout this record (fuzzy guitars, shimmering keys, cinematic string arrangements) that I can't help but be impressed by how daring the music gets in places, not to mention the beautiful production by Nick Launay (Nick Cave and the Bad Seeds, Public Image Ltd, The Slits, Killing Joke). 2009 Sam would've hated this album. 2025 Sam quite enjoys it. Big YEAH! to the Yeah Yeah Yeahs!

When you think 1980s music, Duran Duran would surely be close to the front of most people's thoughts, and on 'Rio', the group's second record, just about every 80s cliché is there: guitars drenched with chorus and delay, walls of synth and fat bass lines. What Duran Duran did wasn't unique to them; Brian Eno and Roxy Music, German Krautrock groups, Pink Floyd, Bowie and Genesis had already dabbled with the New Wave genre; but there's something to be said about 'Rio' and how it captured lightning in a bottle for the group. This album's so darn infectious. There's a reason 'Hungry Like the Wolf' is one of the most iconic songs of the 80s. Simon Le Bon sounds like an urgent beast ready to infect listeners with his confident, charismatic croon, and he's well supported by Taylors Andy, Roger and John, as well as Nick Rhodes and his mastery of the keys/synths. Other great songs on this album include 'Hold Back the Rain', 'Save a Prayer' and the title track, and the sheer consistency of 'Rio' makes it hard to believe it was panned by critics upon release in 1982. 'Rio' spearhead Duran Duran into a brand new renaissance for British pop, alongside The Human League, A Flock of Seagulls, Culture Club and Phil Collins, and was the blueprint so many pop/synth bands (Eurythmics, Tears For Fears, Wham!, Pet Shop Boys, Dead or Alive) would follow later in the 1980s. You know your album's done its job when it encourages the likes of David Bowie to keep up with 'Let's Dance'.

Damn, what a trip this record is. No [or at least, barely any] vocals necessary. Never a stranger to producing some of the most bizarre music ever produced, 'Hot Rats' is a relatively tame affair as far as Frank Zappa is concerned, though a 'tame' Frank Zappa is akin to Evel Knievel with training wheels on. Gone is the hilarity and sheer ridiculousness of The Mothers of Invention, and in its place is an inspired six-track set of mostly instrumental music that, while still experimental and bizarre in places, is far more subtle and focused than anything Zappa had produced previously. This album is pure cinema, right from the one-two punch of 'Peaches en Regalia' and 'Willie the Pimp' to open the record to the free-form jazz of 'The Gumbo Variations'. Even though there's barely any vocals present [Don Van Vilet AKA Captain Beefheart gets a few throwaway lines on 'Willie the Pimp'], there's something oddly intriguing about 'Hot Rats' that it's hard not to be entertained. Zappa's guitar playing on this record is outstanding. His guitar takes on a multitude of different voices, from groove laden ['Willie the Pimp'] to bombastic ['Son of Mr. Green Genes']. Then you have full-blown mystical jazz ['Little Umbrellas'] and horns as demented as a screaming cat ['The Gumbo Variations'] and it all contributes to an unusual yet satisfying blend of jazz and rock. While not immediately accessible, Zappa's influence on popular music is endless, and 'Hot Rats' is arguably Zappa at his most focused and straight-forward, and the first record where he truly let his guitar do the talking! 4/5

The first record that saw Bob Dylan embrace his "electric" side in full, Highway 61 Revisited has a very strong case for being the finest collection of music ever produced, and I can't argue with the many pundits who believe this record to be Dylan's best. The fact this album opens with the iconic 'Like a Rolling Stone' is justification enough. The iconic organ and harmonica on this song alongside Dylan's unmistakable murmurs of loss and harsh realities served as the perfect call to arms for a generation facing sweeping sociocultural changes in the 1960s. Couple this with the fact that Dylan, around the time of this album's release, was booed off stage at his infamous 1965 Newport Folk Festival for a perceived betrayal of his folk fanbase by going electric only added to the feeling of change in the air. So many themes are addressed throughout Highway 61 Revisited, from war on 'Tombstone Blues' and clueless media on 'Ballad of a Thin Man', to the absurdities of American culture ['Highway 61 Revisited'] and worlds in disarray ['Desolation Row']. But one thing's for sure; Dylan sounds quite irate and antagonistic on this album. I guess he wanted a harsher, more intense voice to match the heightened intensity of the music on this record. He even looks pretty annoyed on the album cover. That face screams of someone saying "don't mess with me, pal." Highway 61 Revisited came at such a pivotal time when artists started to take the concept of the long player and studio creation seriously. 1965 was where the RnB/folk covers and sellable, well dressed artist/band photos were being eschewed in favor of candid imagery, abstract/psychedelic art and much more emphasis on songwriting and storytelling. For example, The Beatles put out Rubber Soul about three months after Highway 61..., which is largely considered their first significant studio effort. This was when music became works of art, rather than marketable pop for profit, and this is a process that has followed a strange ebb and flow ever since. While Dylan is far from my favourite artist in the world [I like his voice in small doses, but can find it grating after an extended period], I can't help but honour the sheer legacy of 'Highway 61...', and agree that it's probably one of the most important albums in music history. 4.5/5

With all the background issues affecting The Rolling Stones during this period: gutarist Keith Richards' worsening heroin addiction, long absences of vocalist Mick Jagger and bassist Bill Wyman from recording and the band still shut out from the UK as tax exiles: It's a sheer miracle that Exile on Main St. is as good as it is. The band's first double LP, Exile on Main St. is an 18-track journey through some of the finest tunes the Stones ever put to tape, with some notable highlights being 'Rip This Joint', 'Tumbling Dice', 'Let it Loose', 'Shine a Light' and 'Happy', the latter a rare Richards lead vocal cameo. Effectively combining the Stones' classic rock and roll sound with country and blues in the same vein as their previous record (1971's Sticky Fingers), Exile on Main St. takes more risks and pushes the envelope further, although its not always successful in this regard, as some songs roll past without really staying with you. While Sticky Fingers is perfect Stones from start to finish, Exile is maybe 5 or 6 songs too long to be a true five-star record for me. Nevertheless,

When Iggy Pop and David Bowie lived together in West Berlin, four records of sheer magic transpired from this union across a whirlwind 10 months in 1977: two of Bowie's own (Low, "Heroes"), and the first two solo efforts from Iggy Pop: the subdued, somewhat trance-like 'The Idiot' and this raucous record with a grinning Pop on the cover looking satisfied that this new record was a quantum leap forward for him. 'Lust for Life' was produced by Bowie (as was 'The Idiot'), and the strong Bowie influence on this album (he co-wrote 7 songs on this album) brings out a refreshing new side of Pop. Before he went solo, Pop was known as the wild, maniacal frontman for The Stooges, flopping around stage like a possessed demon with a hard-living lifestyle of drugs, sex and mayhem to match, but 'Lust for Life' sees Bowie unearth Pop's sensitive, more humane side. The transformation had started on 'The Idiot', but 'Lust for Life' sees Pop delve deeper into addressing and conquering his demons ('Lust for Life', 'Some Weird Sin'), accepting life ('The Passenger) and making fun of himself ('Success'), before closing the album with sincerity ('Fall In Love With Me') Yes, the Bowie influence adds so much to this album, but you have to give Iggy props for rolling with it. His lyrics are quite deep and heartfelt in places, and his delivery of them proved there was so much more to him than the reckless frontman of The Stooges. There's seriously not much I can fault about this record. The Iggy/Bowie friendship yielded such fantastic music from both artists, and this is a shining example. I will also hold a soft spot for the title track given it opens one of my favourite films, 'Trainspotting.' Top marks for me. This album is brilliant!

This album is.....interesting to say the least. The Flaming Lips have always been a band I've wanted to check out but never got around to, so when 'Yoshimi Battles the Pink Robots' came up as my next album to review, I thought "ahh well, guess its time to scratch that itch." And.....well, this album's a trip. Acid-tinged production, glitchy electronics and utterly bizarre lyrical content, 'Yoshimi...' sounds very much like it owes plenty to Radiohead, particularly their 'OK Computer' and 'Kid A' efforts, and also the Madchester scene of the late 80s-early 90s (Stone Roses, Happy Mondays etc.). Equal parts psychedelic and electronic, 'Yoshimi...' blends both together in quite a bonkers way, but its by no means unlistenable. This strange brew of dreaminess and weirdness is evident in such tracks like 'Ego Tripping at the Gates of Hell', 'Yoshimi... Pts. 1 and 2', 'Fight Test' and 'Do You Realize' (the only song of theirs I'd heard previously), with psychedelic guitars and inventive electronics blending together seamlessly. With Wayne Coyne, Steven Drozd and Michael Ivins all having a comprehensive share in the music, taking on multiple instruments and production each, there's no shortage of creativity present. With that said, Coyne's voice bears plenty of resemblance to Radiohead's Thom Yorke and Pink Floyd's David Gilmour without really possessing the majesty and spectacle of either, and there's just something about whispery male vocals (generally in the indie genre) that don't do it for me. I generally prefer vocals with more drama and intensity, and indie vocalists have always sounded too boring for me. So while I don't dig the vocals, I do dig the vision and scope of the music on 'Yoshimi...'. It sounds amazing and the songs have plenty of distinct character. 3.5/5

Yusuf Islam/Cat Stevens hits your soul like few other songwriters, and 'Tea For the Tillerman' is perhaps the brightest example of his minimalist, yet poignant songs about perseverance, generational disconnect, heartbreak and personal journey. Much like Neil Young and Joni Mitchell, Stevens only really needs his acoustic guitar and voice to get the message across, and he does so with plenty of emotion and feeling throughout 'Tea For the Tillerman', with standouts including the solemn 'Wild World', the retrospective 'Father and Son' and the preservation anthem 'Where Do the Children Play?' It's impressive how Stevens conveys so much emotion and feeling in this album with such a minimalist approach to the music. He doesn't need significant studio magic or innovative effects here, he lets the sheer strength of the songs do the talking. It's also a very easy album to listen to. Stevens music is like a warm blanket that will never let you go cold. But the true strength of this album is Stevens ability to speak to the human condition. He sings in such a calm way, but the messages of 'Wild World' and 'Father and Son' hit so brutally that you can't help but want to do better by yourself and others. 'Wild World' and 'Father and Son' are two of the greatest songs ever written, and the rest of 'Tea and the Tillerman' is pretty bloody good to, so top marks from me!

The album that very nearly became a Simon & Garfunkel comeback record before Art Garfunkel cracked the shits with Paul Simon and left the project. Not that it bothered Simon much, as he was always the chief songwriter of the duo anyway. 'Hearts and Bones' is essentially about Simon's relationship with Carrie Fisher (they got married during production for the album), and serves as somewhat of a return to form for Simon, who's career had stalled somewhat heading into the 1980s. With this album, you can hear Simon starting to incorporate a strong worldly presence within the songs. This is very significant as it gave listeners a hint of what was to come a few years later on 'Graceland', his finest solo effort. But unlike 'Graceland', the lyrics on 'Hearts and Bones' are less adventurous and more centred around a select few themes: love, self-reflection and reaffirmation. Simon made the right call not to include Garfunkel on this record (although Garfunkel, by all accounts, disagreed), as its really hard to see any of these songs working as Simon and Garfunkel songs. Perhaps Simon had realised by this point in his career that Garfunkel was more hindrance than help. The songs work very well as a solo effort, and Simon has enough confidence here to take his own career in a new direction. It's no 'Graceland' to be sure, not even close, but 'Hearts and Bones' is the more subdued and bare-bones predecessor (distant cousin) to it, not unlike Bruce Springsteen's transition from 'Nebraska' to 'Born in the USA'. Best songs: Hearts and Bones, Train in the Distance, Allergies 3.5/5

1001 Albums to Hear Before You Die [in random order]: 14. THE CLASH: London Calling (1979) The best punk rock album ever made? 'London Calling' has a very strong case. The punk explosion of the late 1970s was starting to peter out somewhat by 1979, with the Sex Pistols no more, Sid Vicious dead and the remaining first-wave punk bands [Ramones, The Damned, Buzzcocks, The Jam, The Stranglers etc.] diversifying their sound further to stay relevant heading into the 1980s, alongside a few new, moodier players [Joy Division, The Cure, Siouxsie and the Banshees]. But The Clash were heads and shoulders above the rest at this point, striking solid gold in the dying months of '79 with the brilliant 'London Calling'. Branching out from traditional punk rock to include elements of ska, reggae, jazz and rockabilly, 'London Calling' took plenty of risks musically, and where many of their contemporaries failed, The Clash passed with flying colours. With Joe Strummer's world-weariness ['London Calling', 'Spanish Bombs', 'Revolution Rock'], Mick Jones' growing confidence as a pop songwriter and frontman ['Lost in the Supermarket', 'I'm Not Down', 'Train in Vain'] and even a rare Paul Simonon-led song [the riot-worthy 'The Guns of Brixton'], this album is The Clash firing on all cylinders. There's not a dull moment in 'London Calling's' 65-minute run time. So many bands post-1979 [Green Day, Rancid, The Pogues, U2, any 80s/90s ska punk band] owe so much to The Clash, and in particular 'London Calling', as it was the first punk record that dared to branch out, and is all the more better for it. 'London Calling' blew me away when I first heard it as a 16-17 year old moving deeper down the alternative/punk rabbit hole, and it still blows me away to this day. The world would be a poorer place without this record. My Picks: THE ENTIRE RECORD! Not one bad song on it! 🌕🌕🌕🌕🌕 [I'd give it 6 if I could!]

Very much following The Clash's lead, The Jam were another first-wave punk act looking to diversify their sound and audience at the turn of the 1980s. But where The Clash were focusing on revolution, politics and worldly temperament, The Jam were keeping themes strictly British and speaking for the average working class Brit, and 1980s 'Sound Affects' effectively completes The Jam's transition from punk flagwavers to observant social commentators. The first line of opening track 'Pretty Green' says all you need to know about The Jam: "I've got a pocket full of pretty green, I'm gonna put it in the fruit machine". Basically British code for chucking a lobby on the pokies. The Jam were easily the most British of the British punk bands, and were able to speak to the average working-to-middle class condition better than their contemporaries. Chief songwriter and frontman Paul Weller is all about relateability and observation in his lyrics, from blind followers ('Set the House Ablaze') and dissections of class systems ('Man in the Corner Shop') to simple observations from a brief cab ride ('That's Entertainment'). Weller paints pictures of the world he lives in, and in such a sincere way that its almost like he's in the room with you describing the average lives of ordinary citizens. The Jam are perhaps the most underappreciated band of the first-wave British punk scene. They're not as controversial as the Sex Pistols nor as politically charged as The Clash, but The Jam is the punk band that best spoke to the average British citizen. Their songs are everyday life in three-minute segues and their sheer consistency as a band is showcased the best on Sound Affects. They might be hard to gauge for non-British listeners, but Paul Weller's songwriting is hard not to respect: someone who speaks plainly and relatably to the masses without shock or awe. The Jam don't need it. Best songs: That's Entertainment, Man in the Corner Shop, Boy About Town, Start! 4.5/5

American Punk Rock: Patient Zero This is where American punk started. Three-chord buzzsaw guitars, matching monikers, "Hey Ho, Let's Go" and beating on brats with baseball bats. Queens, NY's finest, The Ramones, turned popular music on its head in 1976 with their seminal self-titled debut. With 14 tracks in a little under half an hour, Joey, Johnny, Dee Dee and Tommy stomp through the album without fuss or fantasy. Guitar solos? Boring! Mind expanding passages? No time for that. Just give us crunchy power chords, catchy melodies and leather jackets. Music had gotten too frivolous and over-indulgent by the mid-70s, and The Ramones had had enough of it. What they did with their debut (and what The Sex Pistols, The Damned and The Clash would do with their debuts a few months later) brought punk rock into the public consciousness. Punk bands would get faster, slower, heavier, louder and more experimental in the succeeding years, but punk as we know it started here. All the songs on this album sound the same, yes, but that's the genius of the record. The Ramones were rebelling against everything that was indulgent about popular music at the time. Stuff your flares and whimsy, here's some fast and loud assaults on your eardrums. There is not a single American punk band in existence that can't cite the Ramones as a key influence [and probably most non-American punk bands too]. 'Ramones' is one of the most important albums ever made and, not unlike AC/DC or Motörhead, The Ramones wouldn't stray that far from the sound that defined their debut. Best songs: Blitzkrieg Bop, Beat on the Brat, Judy is a Punk, 53rd & 3rd, Today Your Love, Tommorow the World 5/5

1001 Albums to Hear Before You Die [in random order]: 17: THE FALL: The Infotainment Scan (1993) I've tried to get into The Fall a few times, but Mark E. Smith's bored and uninspiring rambling [because its no singing] has always proven to be a key deterrence. Unfortunately, the band's 1993 effort, 'The Infotainment Scan', is no exception. Interestingly, The Fall is often heralded as one of the most important bands to hail from Manchester in the United Kingdom, often uttered in the same breath as Oasis, The Smiths, Joy Division/New Order and The Stone Roses, and their sound has plenty of that tasty post-punk edge synonymous with many of their contemporaries. But I just can't do Mark E. Smith's vocals. The lack of melody and flair offered by his vocals brings the entire album down. Melody isn't always necessary, bands such as Sonic Youth and Talking Heads were famous for eschewing traditional melody but were still able to make their songs memorable. The Fall just can't do it for me, and 'The Infotainment Scan', not unlike 'This Nation's Saving Grace' (considered their best album), is simply 40 minutes of nonchalant rambling over the top of admittedly solid musicianship. What this band could've been with a better singer. 🌕🌗🌑🌑🌑

'Cosmo's Factory', Creedence's first record of the 70s, sees them complete a phenomenal streak of five albums that turned the El Cerrito quartet into one of America's brightest lights in the late 60s. Packed full of plenty of their best-known songs (Up Around the Bend, Looking Out My Back Door, Who'll Stop the Rain, Travelin Band), 'Cosmo's Factory' is essentially CCR (and John Fogerty in particular) in peak form, adventuring into R&B, soul and country while staying true to their core roots rock sound. This adventure is most evident on the two longer songs on the album: the psychedelic-tinged 'Ramble Tamble' and an 11-minute cover of the Motown standard 'I Heard It Through the Grapevine'. While both these songs serve as CCR attempting to break free of their regular "hit making" aesthetic, the lengthy instrumental passages tend to meander along without any real purpose other than to showcase John Fogerty's sound lead riffs. While the adventure is welcome, it only shows that CCR are probably more suited to the tightly constructed rock songs, in which their skill is unrivalled by many other American rock acts of the time. Britain was dominating the rock airwaves by this point, and CCR were an interesting outlier at a time, largely avoiding the acid-tinged counter-culture sound of many of their US contemporaries (The Doors, MC5, The Byrds, The Grateful Dead).So when CCR go and try to be experimental in the same vein as those aforementioned bands, it kind of comes across as trying to join the bands they were adamant on standing out from. Which is what makes the shorter tunes on this album so effective. CCR's strength is in warm and concise "swamp rock", and 'Cosmo's Factory', while not shying away from adventure, is at its strongest when it showcases what CCR do best. 4/5

This album (and the Indie Rock Revival era in general) is essentially an American band trying to be British. I've never truly understood why people rave about The Strokes so much. Sure, their songs are catchy and easy to digest, but 'Is This It' is often considered a landmark album of history, and The Strokes among the most important bands ever. I listened to 'Is This It' for the first time, and literally thought "is this it?" I listened to it again and again, still the same thought. Sure, 'Last Nite' is a cool song, but I seriously don't understand why people rave about The Strokes so much. 'Is This It' is well produced and all, but not much really holds my attention, not unlike Elliott Smith. And yet, certain people feel this band is as important as Nirvana, The Clash or Pink Floyd. Honestly, not even close. Honestly, to me, 'Is This It' is just a bunch of okayish pop/rock songs of an American band trying so hard to be British. The Strokes just don't do it for me. Best songs: 'Last Nite' 2/5

After two albums firmly rooted in the British alternative/indie rock scene of the late 80s, Scottish band Primal Scream entered the 90s with what is largely considered to be their magnum opus: 'Screamadelica'. This album was pivotal in the emerging acid house scene of the early 90s, and even included two house DJs to produce the record. Their influence certainly shows, as many of the songs, including the gospel tinged 'Come Together', the slow rave of 'Loaded' and the dub track 'Higher than the Sun'. But there's also more conventional rock ('Movin' On Up'), Eno-esque ambience ('Inner Flight') and laid-back emotion ('Damaged'). 'Screamadelica' is an album that doesn't quite know what genre it wants to focus on, so it gives everything a go. The result is an album that surprisingly works (and would probably work even better on hallucinogenic drugs), and is probably one of the best sounding records of the 1990s from a production standpoint. 'Screamadelica' no doubt opened doors for a number of other noteworthy electronic acts (notably The Prodigy and Fatboy Slim) to follow suit later in the decade. Bit unfocused, but when Screamadelica gets it right, its quite the enthralling listen! 3.5/5

Pretty standard 1950s piano-driven rock/R&B here, but Fats Domino was one of the best at his craft, and it was artists like Fats Dominos, Little Richard, Ray Charles and Chuck Berry who essentially set the stage for rock and R&B's future cultural growth in the 1960s. Rooted heavily in the sound of his native New Orleans, Domino rolls through a short and sharp bunch of energetic rockers on 'This Is Fats Domino', with his impressive piano talents and rich, soulful vocals driving each number. It's a bit hard to truly delve into the context of the songs, as 1950s music is relatively basic and simple lyrically [conceptualisation in popular music was still a good decade off], but we must credit artists like Domino for bringing stronger identities into popular music, as prior to the mid 50s, music was more-so about larger ensembles colouring soundscapes to match the culture of the times [swing, jazz, classical] and people latched more to the music rather than the personalities behind it. But rock and roll had to start somewhere, and it was Domino et. al. who inspired Elvis, The Beatles, The Rolling Stones, Roy Orbison etc. to change popular music forever in the 1960s. I guess the sad part about this is these African-American artists were often consigned to segregated audiences at a time where racial segregation was a core issue affecting American society, especially in the early years of television where there was a clear dichotomy on which artists were the easier sell. It's worth remembering that a lot of these outstanding rock/R&B tracks penned by 'black' artists were later covered by 'white' artists to greater critical acclaim. Elvis, who was heavily inspired by Domino, is perhaps the best example of this, so while these 50s rock and roll record are very hard to critically review given the fact music was a vastly different product back then [i.e. no one cared about the producer, special effects, genre as long as the song was good], they have to be celebrated for their trailblazing nature. Elvis is iconic, but all the African-American musicians who wrote his songs and inspired his style can't be overlooked. And of those musicians, Fats Domino stands above many. 3/5

Another group I'm not that familiar with, but their sound is certainly familiar to that of Primal Scream and Happy Mondays. It goes without saying that Stereo MC's were another British act capitalising on the emerging electronic/rave scene coming out of the region at the turn of the 90s. 'Connected', the group's 1992 effort, appears to be the only real success story for Stereo MC's, as they have stayed largely out of the mainstream consciousness ever since. But the collage of random images surrounding the group on the album cover, including mushrooms, flowers, plants, erupting volcanos and space, is a great reflection of the music on this album, which pairs hip hop with dance, electronica and house music. The mission statement for 'Connected' is simple: a record full of trippy, party-worthy anthems destined to get the house kids jumping well into the night. The hip hop sound is incorporated rather well here [especially on 'Everything' and 'Sketch'], as are the obvious house inflections ['Connected', 'Fade Away']. I also appreciate how ahead of its time this album sounds, as it seems more like a 2000s record than one released in 1992. The Prodigy, The Chemical Brothers and Aphex Twin weren't even big yet, which is important to consider contextually when discussing 'Connected'. 'Connected' is rather effective mood music designed for those 'chill vibes'. It's easy to have on in the background and doesn't require a great deal of concentration to appreciate. It's just an enjoyable set of relaxed grooves to help you tune out. A nice surprise, given the relatively low profile of the group. Best songs: 'Everything', 'Connected', 'Fade Away'

In an era when female pop stars were starting to become more about the image and marketability, there were concerns that raw talent was beginning to take a back seat. Thankfully, artists such as Norah Jones and Alicia Keys proved that the authenticity and uniqueness of female singers would not get lost in the turn of the millennium. Some may criticize Norah Jones for being a "nepo baby" [being the daughter of famed Indian composer Ravi Shankar], but she was estranged from her father at the time she entered the public consciousness with her debut album, 2002's 'Come Away With Me'. It's not her connections that drove this album's success, it was her voice. Jones' relaxed yet sincere voice makes this album such a serene blend of jazz, folk, country and blues. The big hits on this album, 'Don't Know Why', 'Come Away From Me' and 'Turn Me On', are the obvious highlights here, as they perfectly exemplify why Jones deservedly achieved critical acclaim in the early 00s: rich vocals soaring across jazzy slow jams. It's very much a New York sound, rooted in the city's strong jazz atmosphere. Jones is one of those rare artists who found their sound almost immediately, and while the slow-jazz ballads aren't really my thing, I can appreciate the beauty and delicate nature of her voice. She also did an album of folk covers with Green Day's Billie Joe Armstrong a decade after her debut, so that's pretty cool too! 4/5

With the manic energy of a punk band and chaotic experimentation that leaves the listener unsure of what's about to happen next, Pere Ubu's 'The Modern Dance' is not the most inviting album, but for 1978, it's quite a bold statement of the direction punk and garage rock would soon take in the 1980s, where oddball alternative bands such as Butthole Surfers, The Pixies and Sonic Youth would relish in uncomfortable yet enthralling music. Pere Ubu can be considered a good bridging point between those wild 80s bands and the relentless experimentation of Frank Zappa and Captain Beefheart preceding it. Infused within the songs of 'The Modern Dance' is uncomfortable feedback, random crowd sounds, zany horns and the unhinged ranting of vocalist David Thomas, someone who the likes of Jello Biafra [Dead Kennedys], Gibby Haynes [Butthole Surfers] and Black Francis [Pixies] were certainly taking notes from. If you're a fan of conventional, easy listening music, you're not going to like 'The Modern Dance'. But if you love alternative/punk music, and are keen to hear a pivotal record that is essential listening concerning the development of the weird alternative 80s music scene [including Australia's best 'weird' band, The Birthday Party], check this out, you won't be disappointed! With that said, as important as this record is, others did end up doing it better. But I see the influence nevertheless. A very unhinged, yet somewhat enjoyable record.

There's only one song on this album I'd heard previously; Ms. Jackson; because it was bloody everywhere in 2000 when it came out. It was a time where Outkast were clearly transitioning from lock-standard hip hop to a sound more attractive and singalong-worthy [i.e. 'Hey Ya' and 'Roses', which came later], but the roots of that transition are here on 'Stankonia'. 'Stankonia' is standard for hip hop albums at the turn of the millenium: 1+ hour run times, replete skits/interludes, but what sets this album out is its clear homage to 70s funk in places [there's plenty of slap bass and soulful vocals from Andre 3000 and Big Boi to compliment their raps] and its fearlessness in tackling political and sociocultural issues ['B.O.B.', 'Gasoline Dreams']. The duo also responds to the perceived misogyny around the hip hop scene at the time by expressing sympathy and remorse for the female experience ['Ms Jackson', 'Slum Beautiful', 'Toilet Tisha']. I honestly couldn't really stand hip hop when I was a kid [save for a few songs], but as I've gotten older, I've started to appreciate how deep and effective some of the lyrics actually are. Outkast certainly weren't slouches in the lyrics department. 'Stankonia' is quite an intelligent and thoughtful record that effectively speaks to the life of African-Americans in the South [Outkast are from Georgia], and its effort in reintroducing funk to a turn-of-the-millennium crowd is rivalled only by the Red Hot Chilli Peppers. There's profound intelligence behind saying sorry to Ms Jackson. Best songs: 'Ms Jackson', 'B.O.B.', 'I'll Call B4 I Cum'

Generic country. Doesn't really do it for me. Not really sure why you need to hear this before you die. Apparently Buck Owens pioneered what is now known as the "Bakersfield sound"...well, thankfully KoRn's Jonathan Davis redefined the meaning of Bakersfield in popular music, because "I've Got A Tiger By the Tail" is essentially generic country for people who don't really want to tune into the music. I guess the guitar sounds okay, so its not a complete travesty. It's the very sound that made me loathe the Conway Twitty cutaways in Family Guy.

Nothing much to write home about here, just generic late 80s house music you can tune out to. There's no real profound statements, just an hour of club-ready electronica. Kind of like a less memorable KMFDM or Primal Scream. So that's that noise from Coldcut I guess, not much else to say. Sounds like all other club music of the time. 2.5/5

Controversial. Vulgar. Intimidating. Uncompromising And yet, 'Straight Outta Compton' is one of the most important records ever made. Hip Hop being a staple genre in mainstream music and culture has N.W.A.* to thank. Just like the Ramones' debut record was 'Patient Zero' for American Punk, 'Straight Outta Compton' was 'Patient Zero' for West Coast American Hip Hop. Rappers Ice Cube, MC Ren and Eazy-E, backed by the razor-sharp production of Dr Dre, DJ Yella and Arabian Prince, cuss, rhyme and attack all whom have wronged them through an hour of some of the most controversial and confrontational music released since the first wave of punk. And I'd be lying if I said it wasn't enthralling in the slightest. The one-two-three punch of the title track, 'F.T.P.'* and 'Gangsta Gangsta' to start the album sets the tone very quickly, and the intense tales of street violence, 'gangstas', racism, sexism and hood mentality brought gangster rap to the masses in the late 80s, and kept authorities on high alert, with California already experiencing an uneasy period of street violence. Popular music and culture was never the same post-N.W.A. The group burned brightly and quickly. Formed in 1987 and were done by 1991 [with very occasional reunions in between]. Ice Cube became a solo star [in both music and film], and Dr Dre, while commencing his own solo career, took some little known rappers [Snoop Dogg, Eminem and 50 Cent] under his wing and made them just as big, if not bigger, than himself. Eazy-E sadly never lived to see the legacy he created, dying of AIDS in 1995 at the age of 30. Probably an album where the legacy trumps the music, but the music was a gamechanger. Arguably the most influential album ever released. Best songs: 'Straight Outta Compton', 'F.T.P.'*, 'Gangsta Gangsta', 'Express Yourself' 5/5 *Stating what N.W.A. and F.T.P. stand for will likely get my account banned.

For a record that was released in 1994, Drive Like Jehu's 'Yank Crime' sounds very ahead of its time, possessing a post-hardcore sound that would help define a large swathe of the alternative/pop punk scene of the 2000s. However, its another one of those albums where 'longer' doesn't necessarily mean better. With shouted vocals, razor-sharp guitars and a crashing rhythm section, 'Yank Crime' has all the ingredients of a chaotic hardcore record, with not a lot of breathing room within its frantic energy. It's certainly clear that Drive Like Jehu were all about energy and chaos. I definitely hear the Fugazi influence on this album, especially in the guitar tone, and the unhinged shrieks of vocalist Rick Froberg signal a way forward for anguished, more emotional vocals in the punk scene, giving rise to the eventual success of the emo movement in the 2000s. However, it's quite unfocused, and the instrumental passages often meander on aimlessly [especially in longer songs such as 'Do You Compute' and 'Luau', as if the band weren't quite sure how to finish each song. The shorter, sharper tunes on this record are quite decent though, especially 'Golden Brown' and 'New Math', and if the album had trimmed some of the aimless jamming, it could've been a tighter record. Very influential to the emo movement, but a bit too bloated for me. Best songs: 'Golden Brown', 'New Math'

'Bitte Orca' is very hard to describe, as there's a lot going on here. Indie Rock seems to be the best genre to describe this release by Dirty Projectors, but there's plenty of falsetto from vocalist and chief songwriter David Longstreth [enough to keep Radiohead or The Darkness fans happy], as well as warm, multilayered female vocals, fiddly guitar and electronic trickery to put this album beyond any solid genre. But is it an enjoyable collection of music? Eh...... While I admire the creativity and ideas put into 'Bitte Orca', the dissonant melodies, random tempo shifts and that 'hard to escape' feeing the group is rushing through the vocals before the music has caught up make this record a rather perplexing listen. Now, if the purpose of the album was to create a unique listening experience that stands out on the basis of its individuality, then it definitely passed the test. But for me, the ideas seem like they're benched before they're given enough space to grow, so its really difficult [for me anyway] to truly appreciate this album. I do like weird, unusual stuff [Mr. Bungle, Primus, Kraftwerk etc.], but there's a consistency in those bands that I struggle to find with Dirty Projectors. It's like I'm hearing a strange, disjointed compilation album from four or five different groups. While I appreciate the daring approach to the album, it just doesn't do it for me. Not one song really grabbed me. 2/5

Just Nick Cave, a piano and songs about love and loss. The very moment Wangaratta's "good son" completed his transition from a wild, cathartic orator to a sensitive, laid-back second coming of Leonard Cohen. While Nick Cave had already hinted at his sensitive side on prior records [The Good Son's 'The Ship Song', Henry's Dream's 'Straight To You' and Murder Ballad's 'Where the Wild Roses Grow' and 'Henry Lee' come to mind], The Boatman's Call sees him double-down on the sensitivity for what was [at that time] the most personal album of his career. And it opens with 'Into My Arms': one of the greatest songs ever written. Also one of the saddest. He played it at the funeral of INXS's Michael Hutchence [and requested the TV cameras be turned off]. A very religious-sounding song about believing in "love" above an "interventionist God", and it seemed that Nick Cave had written the perfect sad song....at least, until the release of 'Skeleton Tree' and 'Ghosteen' records [AKA his 'dealing with his son Arthur's death' records] two decades later. Much of this album is Nick Cave dealing with his break-up from PJ Harvey, evident on a number of the songs ['Black Hair', Green Eyes', 'West Country Girl', 'Where Do We Go Now But Nowhere'], and he's also searching for enlightenment ['(Are You) the One That I've Been Waiting For'] and looking towards spiritual guidance ['Brompton Oratory', 'There Is A Kingdom']. With that said, Cave's classic penchant for exploring the ugliness of reality [a staple dating back to his Birthday Party days] is still there in 'People Ain't No Good', which made the Shrek 2 soundtrack. I can't express how much joy I feel that the music of Nick Cave came into my life when it did. It was a time where I felt lost and unsure of myself, and his music helped me begin to find myself again. I definitely felt like I grew up a lot as a person getting into Nick Cave, and he's still one of my favourite musicians. I saw him live in Melbourne last year, just him and a piano [much like this album], and he played four songs from 'The Boatman's Call'. I love The Bad Seeds, they're brilliant in their own right, but there's just something about Nick Cave on his own at a piano that has become very endearing to me. His music is comfort to me, and I'll never not be delighted by anything he releases. Best Songs: Into My Arms, People Ain't No Good, There Is A Kingdom, Idiot Prayer, (Are You) The One That I've Been Waiting For

The Kinks had burst onto the scene in the mid-60s with hard-hitting anthems such as 'You Really Got Me' and 'All Day and All of the Night', songs that would be a pivotal reference point for the future punk rock movement, but by 1967, the Davies brothers and their merry men wanted to prove they were more than one-trick ponies. 'Something Else' is, quite literally, the answer to The Kinks' more explorative and adventurous side, eschewing raw power-chord rock and roll in favour of baroque pop and almost 'shanty-like' sing-a-longs. Think Syd Barrett-era Pink Floyd minus the psychedelic weirdness. It's certainly not a bad record though. The songs are short, sharp and catchy, and Ray Davies certainly proves he has the songwriting chops to rival John Lennon and Paul McCartney in places. It's quite interesting that The Kinks came out of the blocks with such punchy and aggressive tunes only to refine their sound into something more relaxed and accessible (for the time anyway). It now makes sense that The Kinks are the same band who sang 'You Really Got Me' and 'Lola', as it used to blow me away that 'Lola' was a Kinks song, as it sounded nothing like what I thought their modus operandi to be. Well, given 'Something Else' is the half-way point on the timeline between those two songs, it truly fills in the gap. 'Something Else' is such a joyful album with accessible songs and themes, and while none of the songs really hit as hard as 'You Really Got Me' or 'All Day and All of the Night' do, I can see how the songwriting of Ray Davies inspired future bands (notably The Jam, Buzzcocks, Blur and Oasis) to keep a strong British flair to their sound. Best songs: David Watts, Death of a Clown, Harry Rag, Waterloo Sunset

'Odelay' is very much a mixed bag of an album. There's a bunch of unique and inventive songs on here, including the hit singles 'Devil's Haircut' and 'The New Pollution', but there's also a bunch of other songs that take experimentation to its extreme, such as the trippy hip hop of 'High 5 (Rock the Catskills)' and 'Where It's At', some country hints in 'Lord Only Knows' and 'Sissyneck' and a helluva lot of dubs and looping. Beck has a firm case as arguably the most "alternative" artist associated with the 1990s, as there wasn't a single genre of music (country, folk, grunge, rap, hip hop, electronica, psychedelia), and many consider 'Odelay', his fifth album, to be his crowning achievement. But while Beck's certainly 'God tier' when it comes to creativity, 'Odelay' comes off as a little unfocused at times, as if Beck was trying so hard to cram as many ideas as possible into the one album. According to a Rolling Stone interview he did years later, Beck said 'Odelay' might’ve been the last chance he had to make a record, a weird comment considering the success of his previous album, 'Mellow Gold'. 'Odelay' certainly plays as an album of a musician desperate to showcase everything he's capable of, and while he does see success at times, the weaker songs on this album could probably have done with a rethink. With that said, 'Odelay' is certainly a record that feels at home with the sound of the 90s, and Beck's genius is certainly on show, although its hard to shake the fact he probably overachieved on this album a bit, as there's a little too much going on for it to be a bona fide classic, at least in my opinion. Best songs: Devils Haircut, The New Pollution,

Mixing the majestic power chords of early Led Zeppelin and The Who with the peculiarities of the Pixies and you essentially have the driving sound that defines The White Stripes' breakthrough third album 'White Blood Cells'. Considering its only Jack and Meg White making noise on guitar and drums respectively, along with Jack's zany voice, 'White Blood Cells' has a surprising arena rock-ready sound that makes you forget there's no bass on this record. With barnstorming rockers like 'Fell In Love With a Girl', 'Dead Leaves and the Dirty Ground', classic garage tunes such as 'Hotel Yorba' and even some tender moments in 'We're Going to Be Friends' and the piano-driven 'This Protector', The White Stripes produce a simple yet effective sound that defies convention for a two-piece band. A lot of this owes to Jack White's outstanding guitar tone. There's so much dimension and character to his guitar that evokes a heartfelt tribute to 70s rock, while also befitting of the DIY garage rock revival taking place at the turn of the millennium. Yes, their next album, 'Elephant' , made The White Stripes megastars, and 'Seven Nation Army' became simultaneously the favourite song of beginner guitarists and bane of music store owners, but 'White Blood Cells' is almost certainly the better record: a raw, punchy affair that introduced the world to the best looking musos in red, black and white since Eddie Van Halen! Best songs: Fell In Love With a Girl, We're Going to Be Friends, Dead Leaves and the Dirty Ground, Hotel Yorba

This album was very pleasant! Lots of fun pop numbers mixed with silky smooth slow jams! Sheryl Crow is right there among Alanis Morrisette, Tori Amos and Fiona Apple as one of the most prominent songstresses of the 90s, and 'Tuesday Night Music Club' is certainly her crowning achievement! Best songs: All I Wanna Do, Leaving Las Vegas, Strong Enough 4/5 I may be a bit sporadic on these reviews over the coming days. Things are going on. I'm working through it. Thanks for understanding.

The thoughts of a lost and broken man searching for direction after the end of something magnificent. By 1970, Paul McCartney was at a crossroads. Despite him desperately wanting to keep The Beatles together, John Lennon had given his notice, George Harrison had been distancing himself for a while following his own solo career, and the biggest band of the 1960s was all but done. In order to make sense of this difficult period, McCartney retreated to his farm in Scotland to put some 'thought bubbles' to a four-track tape. This tape of thought bubbles became his debut solo release, 'McCartney'. More song ideas than fully formed songs, 'McCartney' is Paul trying out some ideas without any real scope, which is entirely the point. He's not yet sure what his post-Beatles life has in store for him, but has put some ideas to tape as a means to make sense of what is very much a crossroads in his life. Which makes the song 'Maybe I'm Amazed' all the more impressive. Given that this is Paul's first full-blown attempt at a record without John Lennon, the majesty of 'Maybe I'm Amazed' is the light at the end of the tunnel for Paul. An impassioned piano ballad not unlike some of his Beatles hits ('Hey Jude', 'Let It Be'), 'Maybe I'm Amazed' is Paul coming full circle, through a series of ideas and thoughts, back to his core strength as one of music's celebrated songwriters, and it plays as assurance that Paul will continue to swim without John. It doesn't quite nail the low-fi, minimalist approach (for a perfect example of this approach, see Bruce Springsteen's 'Nebraska'), but 'McCartney' certainly proves that McCartney was down, but certainly not out when it came to life after The Beatles. Best songs: Maybe I'm Amazed 3/5

After two relatively sombre piano-driven albums in 'The Boatman's Call' and 'No More Shall We Part' and the somewhat uneven 'Nocturama', Nick Cave and the Bad Seeds stepped into double album territory for the first time with 2004's 'Abattoir Blues/The Lyre of Orpheus', and I consider this the start of Nick's upbeat, enlighted preacher era, while still showing plenty of respect and appreciation for everything he'd done previously. The eloquent rhyming and lyricism? Check! Attacking piano strokes? Double check! A balanced mix of light and shade? Triple check! All supported by the impressive Bad Seeds lineup of the time: Mick Harvey, Warren Ellis, Martyn Casey, Conway Savage, James Johnston, Jim Sclavunos and Thomas Wydler, although without Blixa Bargeld for the first time since the Bad Seeds' inception. This is a double album (Nick Cave's first) of two very different flavours. 'Abattoir Blues' is the standard Cave-esque rock/blues sound the Bad Seeds had championed throughout most of the 90s, blending rousing gospel and infectious energy with Cave's trademark twisted storytelling. Songs like 'Get Ready For Love', 'Nature Boy' and 'There She Goes, My Beautiful World' would not sound out of place on 'Henry's Dream' or 'Let Love In' and serve as great reinforcement of the Bad Seeds' magnetic presence as a unit. On the other hand, 'The Lyre of Orpheus' is a lot more laid back and heartfelt, although the title track hearkens back to the uneasyness of 'Murder Ballads'. There's also the closing track, the enthralling 'O Children', which has the distinction of being the only conventional song used in the Harry Potter series. 20 years on from the start of The Bad Seeds, 'Abattoir Blues/The Lyre of Orpheus' sees Nick Cave finally hit a solid level of contentness with his career. He truly sounds like he enjoyed making this album and was in a very good place in his life. He'd face some very difficult years in the 2010s with the loss of two of his sons, but the joy of his most recent record, 'Wild God', certainly brought back the passion of this awesome double album! I'm biased, but there's not a single 'Abattoir Blues/The Lyre of Orpheus' is Nick's gospel album: full of love, warmth and life. Best songs: Get Ready For Love, There She Goes, My Beautiful World, Nature Boy, Abattoir Blues, The Lyre of Orpheus, Breathless, O Children

Another band I've always been meaning to check out but haven't. Arcade Fire came onto the scene at a time where I was no longer really listening to the popular music of the time. I'd moved on to older music because nothing on the radio was really grabbing me anymore. It was basically pop/RnB/Hip Hop and Blink-182's wide breadth of imitator pop punk bands. So I'm actually pleasantly surprised to find that i don't mind 'Neon Bible' at all, and that I probably should've paid more attention to them at the time. The impassioned vocals of Win Butler, the rousing choral arrangements, the clever implementation of strings, synths and organs, 'Neon Bible' sounds exactly like its title: gospelly, yet drenched in a technicolour presentation. 'Neon Bible' was, in fact, recorded in a church-turned-recording studio, which makes the sound and title of the album rather unsurprising. I'm notably critical of 2000s indie rock (The Strokes in particular), but there's something about Arcade Fire I connect with. Perhaps its their ability to push the limits of the genre to match their own personality. Songs like 'Black Mirror', 'Intervention' and 'Keep the Car Running' present very different dimensions of the band, and there's a clear admiration for The Cure, Joy Division and even David Bowie in many of the songs. I dig the groove of 'Neon Bible', and Arcade Fire's definitely a group I'd be keen to explore further! Best songs: Black Mirror, Intervention, (Antichrist Television Blues) 4/5

A largely forgotten soul/funk record from the 1970s that remarkably isn't mentioned among the finest records of the genre. I've never heard of Shuggie Otis, and considering 'Inspiration Information' is just as pleasing to the ear as any work by Stevie Wonder, Curtis Mayfield and Sly and the Family Stone, it seems rather incredulous that this album isn't more highly regarded. A set of great soul/funk tunes with psychedelic and progressive hints, 'Inspiration Information' deserves a lot more love, and the fact that Shuggie Otis pretty much played all the instruments himself makes this album an even greater achievement. No doubt a young Minnesotan lad by the name of Prince Rogers Nelson was taking notes. I don't really have much else to say about 'Inspiration Information', other than that its a criminally underrated and undervalued record and you should really check it out if you like your funk and soul! Best songs: Inspiration Information, Island Letter, Aht Uh Mi Hed

'Electric Music for the Mind and Body' is very much a product of its times, highlighting San Francisco's Country Joe and the Big Fish as a key player in the 1960s counterculture movement. Acid, anti-war, flowers and free love were the trends of the time, and this album is steeped in the indulgences of the time, albeit without the deep lyricism of Jim Morrison or the scintilating guitar passages of Eric Clapton. With a lot of acid-drenched blues jams, spooky organ arrangements and eerily relaxed vocals, it sounds right at home in the 60s, although lacking much of the pop finesse of The Doors or The Byrds. Without a lot of clear hooks and consistent melodies, as well as aimeless jamming in plenty of places, its clear why Country Joe and the Fish isn't quite as heralded as some of their psychedelic rock contemporaries. It sounds great, but its probably a bit too inconsistent to be considered a legendary album. Best songs: Flying High, Porpoise Mouth

N.W.A. put West Coast Hip-Hop on the map, but Run D.M.C. beat them to the chase on the East Coast by a few years, and brought a floundering 70s rock band back from the dead in the process, with their classic 1986 record, 'Raising Hell'. Already gaining popularity [and notoriety] for their first two records, 'Run D.M.C.' and 'King of Rock', Run D.M.C. perfected their craft on 'Raising Hell', becoming the first hip-hop record to go Platinum on the American charts, effectively signaling a new player in popular music. The rhymes on 'Raising Hell' are electric. Rappers Joseph "Run" Simmons and Darryl "D.M.C." McDaniels give their raps plenty of groove and atmosphere, and their confidence as performers, aided by the clever DJ work of Jason "Jam-Master Jay" Mizell, add plenty of emphatic weight to this record. With such classics as 'It's Tricky', 'My Adidas' and 'You Be Illin'', Run D.M.C. changed the game not only in getting mainstream audiences to take hip-hop seriously, but ensuring the genre could easily suit the album format that had previously only been reserved for conventional pop and rock acts. Then there's reviving Aerosmith's career. Aerosmith were a spent force by the mid-80s, a band torn apart by drugs, infighting and declining interest in classic rock. Enter Run D.M.C. producer Rick Rubin introducing the duo to Aerosmith's 'Toys in the Attic' record during the 'Raising Hell' sessions, which eventually led to Rubin inviting a recently reconciled Steven Tyler and Joe Perry to re-record their parts for Run D.M.C's new version of the Toys in the Attic hit 'Walk this Way', with Run and D.M.C. rapping the verses. After the reimagined 'Walk this Way' blew up, Aerosmith were the talk of the town again, and their next three records, 'Permanent Vacation', 'Pump' and 'Get A Grip' formed one of the most successful comebacks of all time. So, not only did Run D.M.C. change the game for popular music with 'Raising Hell', they resurrected the career of one of America's most influential rock bands. Not bad for three friends from Hollis, Queens. Best tracks: Peter Piper, It's Tricky, Walk this Way, Raising Hell, You Be Illin'

'Teenage Head' by the Flamin Groovies is basically a Stones/CCR hybrid that is probably only on this list because Mick Jagger once reportedly said that this record is a better version of 'Sticky Fingers'. Sorry Mick, I can't agree. The album's okay, don't get me wrong. It's a decent mix of country-tinged blues rock, but it's only okay. 'Sticky Fingers is, in my view, the Stones best record, so I really don't know where Mick Jagger was coming from here. Maybe he was just being humble. I must also say that the album title really hasn't aged well either. Probably was harmless in 1971 when it came out, but it just sounds a bit off now. Very much a product of its time. Not really sure why it's an album you must here before you die to be honest. The Mick Jagger name drop must carry a substantial amount of weight. Best songs: Whiskey Woman [basically Temu Wild Horses] 2.5/5

I wasn't really expecting much from 'D', the fourth album from Texas outfit White Denim, as it seemed like a really obscure and puzzling addition to this list. But wow, what a hidden gem of a record this is! Equal parts Neil Young, Led Zeppelin and CCR, while also showing plenty of appreciation towards the jam bands of the late 60s/early 70s, 'D' is such a pleasure explosion of classic rock, folk, psychedelia and garage rock. The instrumental section of 'Back at the Farm' is absolutely enthralling, and the melodies of 'Street Joy' and 'Anvil Everything' soar high above the mix. You also have 'River to Consider', which sounds like a B-side from Paul Simon's 'Graceland' record with a different vocalist. Also of note is the impressive guitar work of James Petralli and Austin Jenkins and the sensational feel of drummer Joshua Block in crafting so unique shuffle beats. The musicianship is top notch, and its clear the band work off each other seamlessly. White Demin has been a very good find, and there's no doubting their inclusion on this list, and their supreme skill and cohesion as a unit. Best songs: Back at the Farm, Street Joy, Anvil Everything 4/5

Long before he became a staple of Law and Order: SVU, Ice-T was revolutionising rap music at the turn of the 1990s, popularising the smooth-talking rap style that Snoop Dogg would eventually appropriate. But on O.G. Original Gangster, Ice-T was also introducing listeners to his appreciation for heavy metal. While rock/metal wasn't new in rap; Beastie Boys, Run D.M.C. and Public Enemy had already incorporated guitars into their material; Ice-T was the first rapper to truly honour his appreciation for heavy metal on the song 'Body Count', which would soon be the name of the rap metal outfit he'd unleash upon the world. The straight rap songs on O.G. also slap though. The sequence of 'Mic Contract', 'Mind Over Matter' and 'New Jack Hustler' is as raucous as it is smooth, and Ice-T seamlessly transitions between fury and hilarity, as if respects rap's ability to be both socially conscious and darkly humourous. O.G. is a long album: 24 tracks across 72 minutes: but Ice-T's razor-sharp focus and ability to craft memorable raps make this album seem a lot shorter than it actually is. It's essential for 'Body Count' alone, as Ice-T was a pivotal influence on the nü metal and rap metal movements that would emerge later in the 90s, but Ice-T also stands alongside N.W.A. alumni Ice Cube, Dr Dre and Eazy-E as a key player in putting West Coast hip hop on the map. Best songs: Mic Contract, Mind Over Matter, New Jack Hustler (Nino's Theme), O.G. Original Gangster, Body Count

'Zombie' by Fela Kuti is a frentic jazz/Afrobeat album from continential Africa that pulls no punches in calling out the Nigerian government and military. This album resulted in his mother being murdered, himself severely beaten and his commune, the Kalakuta Republic, being burned to the ground by militia. Who knew music could create such a stir like this, but I guess when you refer to soldiers as "zombies" and call out their inhumanity within the confines of a military dictatorship (which Nigeria was under at the time), you're bound to endanger yourself, and that's what Fela Kuti did here. Musically, the album is essentially a straight jazz fusion record featuring just the two songs: 'Zombie' and 'Mr Follow Follow': and without any contextual knowledge, you'd be forgiven for thinking it's just another ordinary jazz record. But when you read into the context behind the album, the brutal fallout that followed its release makes for quite unbelievable reading. In this commune of his, Kuti married 27 women to mark the first anniversary of the attack on the Kalakuta Republic to apparently protect himself from claims he was kidnapping women. He also continued to be a thorn in the side of the Nigerian government in the 80s and 90s, with jail time and various other legal trouble a constant companion. Certainly one of those albums which probably wouldn't be that significant were it not for the story behind it. Best songs: Zombie

Another album that's clearly here to make up the numbers. Nothing really that memorable here. Just lock standard indie rock with the same "chill vibes only" you see with every other indie band. There's some cool keyboard work here I guess, but I'm hard pressed to find anything else that memorable about it. The sunshine didn't really hit me here. Meh. Best songs: Nil 2/5

The boldness of Wu-Tang Clan member Raekwon to release his debut solo record hot on the heels of Wu-Tang's own debut cannot be understated, but such was the revolutionary impact of Wu-Tang's debut, 1993's 'Enter the Wu-Tang (36 Chambers)' that solo releases from the group's members were quickly sought after. When Raekwon's debut, 'Only Built 4 Cuban Linx' dropped in 1995, East Coast Hip-Hop had begun to make a comeback to the mainstream after it had lost favour to the hardened edge of the West Coast Hip-Hop scene led by N.W.A. Wu-Tang Clan was the East Coast's reply to N.W.A. and, along with The Notorious B.I.G. and Nas, ensured that East Coast Hip-Hop still had plenty of life after Run D.M.C. and Public Enemy. What's quite interesting about this album is Raekwon's ability to combine street talk with rather atmospheric soundscapes. It's very much a 90s record in style and scope, and fellow Wu-Tang member RZA helps Raekwon sound quite immediate and cinematic, as if its trying to put several Grand Theft Auto missions to songs. There's plenty more Wu-Tang member cameos throughout the album too, so you could almost say this is a Wu-Tang album without the Wu-Tang name, but Raekwon is certainly the star of the show here, and while this album's a little too drawn out for my liking, the raps and spoken word passages are, for the most part, quite interesting indeed. Best songs: Guillotine (Swordz), Verbal Intercourse, Wu Gambinos

The Kinks continued to enhance their newfound pop sensibilities on The Village Green Preservation Society, although this time, the songs are more focused and polished, and they've brought the harder rock elements from their early records back, whilst still maintaining the eclecticism of previous record 'Something Else'. Ray Davies' songwriting is in absolutely fine form here, whether it be pleasant countryside feel of the title track and 'Village Green' [both well immortalised in the film 'Hot Fuzz'], the iconic guitar riff of 'Picture Book' that Green Day would later borrow for their 2000 hit 'Warning' or the jangly whimsy of 'Animal Farm', Davies' tight and concise selection of songs on 'The Village Green Preservation Society' rank among the finest of British pop. Many consider this record to be The Kinks' best, and I'm inclined to agree, because there's so much hints on this album of where British popular music would go in the 70s [The Jam, Buzzcocks, The Stranglers], 80s [Madness, The Smiths] and 90s [Blur, Oasis, Pulp]. There's something so inherently British about the music, yet also catchy, layered and easily marketable. Then 'Lola' came out two years after this record and it all but cemented The Kinks' status as a giant of British music. 15 tracks of 60s British pop perfection. This album is to the 60s what Oasis' Definitely Maybe was to the 90s! Best songs: The Village Green Preservation Society, Picture Book, Johnny Thunder, Animal Farm, Village Green

50th review since I started going through this list, and whoa, what an album to draw! Yes, Jane's Addiction has a case for being one of the most dysfunctional bands in alternative rock history, mainly due to the erratic and unpredictable character of front man Perry Farrell [i.e. starting fights with his own band members on stage], but when this eclectic four-piece got it right, they got it bloody right, and their debut studio album, 'Nothing's Shocking', is a landmark album of the alternative rock genre. From the sprawling rockers 'Ocean Size' and 'Mountain Song', the sexy groove of 'Ted, Just Admit It...' and the serene brilliance of 'Jane Says', Jane's Addiction found their sound immediately here, and there's plenty of time for each member to shine. Dave Navarro shreds through the album like the underrated guitar innovator he is [there's a good reason the Red Hot Chili Peppers wanted him for 'One Hot Minute'], Eric Avery and Stephen Perkins provide a silky-smooth rhythm section on bass and drums respectively, and despite his incredibly volatile personality, there's no doubting Perry Farrell's uniqueness and flamboyancy as a front man. His biting voice and tender 'hums' are truly one of a kind: irreplicable. Whilst I think their next record, 'Ritual De Lo Habitual' is Jane's greatest accomplishment, 'Nothing's Shocking' is a very close second, and this record had such a major impact on the alternative rock boom of the 1990s, proving that there was indeed room for trippy weirdness in mainstream rock. Fun Fact: the long-running Lollapalooza Music Festival was originally conceived as a farewell tour for Jane's Addiction, and has since become one of the most prominent music festivals in the United States. It's such a shame that Perry Farrell's on-stage implosion last year, throwing punches at Dave Navarro, derailed the classic lineup's reunion tour last year, as we could've seen a late-era Jane's classic that could've lived up to this record. Nevertheless, 'Nothing's Shocking' is essential listening for anyone interested in the development of mainstream alternative rock, as this album and Faith No More's The Real Thing helped set the tone for the grubby colours and sounds of the early 90s. Best songs: Ocean Size, Ted, Just Admit It..., Mountain Song, Jane Says

This is certainly a 'cool' album of jazz from one of history's most acclaimed trumpeters. Miles Davis leads a diverse band of brass [French horn, trombome, tuba], woodwind [alto and tenor saxophone], piano, bass and drums through a tight 12-song set of highly influential jazz numbers such as 'Moon Dreams' and 'Boplicity'. Although this record was released in 1957, the recordings actually took place throughout 1949-50. Davis' trumpet takes centre stage throughout the entire album, showcasing his talent as a jazz artist with swagger and feel. While it's difficult to pinpoint his influence across contemporary popular music, there's no denying his status as a key innovator within the jazz genre. For every Miles Davis, there's likely a large swathe of jazz musicians who've been forgotten about, and as far as the greats of jazz are concerned, he's definitely up there with Louis Armstrong. If you're looking for something different musically, or just want a nice, relaxing album to chill out to, chuck this on! Best songs: Moon Dreams, Budo, Boplicity

No fuss or thrills on this album, just Willie Nelson and his guitar telling an album-long tale of a fugitive on the run from the law after murdering his wife and her lover...exactly the sort of music you relax to. Despite the dark subject matter of 'Red Headed Stranger', Nelson's impassioned vocals and relaxed delivery [probably aided by his love of 'the leaf'] make this album surprisingly pleasant to listen to, and this is coming from someone who hasn't always had the kindest words to say about country music. There's just something about Nelson's voice that's very pleasing to the ear. I can't quite put my finger on it, but it has this allure of comfort that makes you feel safe in its presence, as if Nelson's someone who's very self-assured and wise, even though he's singing about running away from crimes and troubles. Sure, it's a bit one-note at times, but I'd much rather listen to country music about outlaws and dark subject matter than liquor, pick-up trucks and boys from the bush being back in town. 'Red Headed Stranger' kinda reminds me of Bruce Springsteen's 'Nebraska' in its minimalism and darkness, and I mean that as a sincere compliment. Best songs: Hands on the Wheel, Time of the Preacher, Red Headed Stranger, Remember Me [When the Candle Lights Are Gleaming]

It's lounge jazz with good piano and bass. Good mood music to throw some darts to! Not much else really to be said. If you're after smooth mood music with good piano and bass, chuck this on. Best songs: None really stand out, its basically good background music

'Stripped' is essentially Christina Aguilera shedding the squeaky-clean Mickey Mouse Club image for something more provocative and deep. This album was everywhere in 2002 when it came out, because the media was all like "damn, Christina's not a teen pop star any more". Mind you, they were saying the same about Britney Spears, but because Aguilera was less of a magnet for paparazzi, her music was able to stand spearately from her public image. So what does 'Stripped' offer. Well, three pretty iconic singles in 'Dirrty', 'Beautiful' and 'Fighter', all three of which champion female empowerment and owning your identity. It's fair to say Christina transitioned from teen pop sensation to mature female artist a lot more smoothly than Britney did. She was not without her own controversies however. Critics originally blasted her black-haired, tatted up 'Xtina' profile as being too "try-hard" and attention seeking, but rather than combat the haters, she essentially let the music talking. One thing admirable about Stripped is Christina, for the first time in her career at this point, had extensive creative control over her music, and it shows in how much soul and genuine honesty is present on this album. I've always appreciated the depth and power in Christina's voice, and she sings her heart out on this album. Probably her best vocal performance on this album is 'Impossible'. She absolutely belts her lungs out on this song, and its quite the stinging ballad, although Alicia Keys did write it, and I can't help but wonder what her version sounds like. I can't help but criticise the length of this album though. It's nearly 80 MINUTES LONG. Did 'Stripped' really need to be so long when only the hits and maybe a handful of deep cuts stand out? There's no real concept here except Christina basically saying she's no teen pop star anymore, take her seriously. With that said, I see why this album is iconic. I think of so many female pop stars who have followed: Miley Cyrus, Ariana Grande, Selena Gomez, Olivia Rodrigo, Sabrina Carpenter, and even popular music's God/punching bag Taylor Swift (depending on who you ask): Christina Aguilera's 'Stripped' is quite possibly the career transition they all took inspiration from in trying to "adult" their image for their maturing audiences. Also, unlike Britney, Christina didn't face the same highly publicised fall from grace, so was a safer bet for upcoming artists to look up to. But what do I think of it? 'Stripped' is an overlong 2000s pop record with some admittedly iconic and important songs, but would've achieved the same result if half an hour's worth of music wad 'stripped' from it. Best songs: Fighter, Impossible, Beautiful