1001 Albums Summary

Obviously some absolute bangers, but also a whole lot of filler. Lyrics often a bit ropey as well.

Listened to it once, wasn't sure, then listened to it again, and again,and again. What it is is a fantastic *album*, as in all the songs work together to give the whole texture and style. And there are some heartbreakingly beautiful tunes within that as well. Only issue is there are a few places you wish somebody had asked Paul Simon to stop, before getting too self-involved.

There's a lot to dislike about this album, the lack of musical invention, the Adrian Mole-esque lyrics, the fact it sounds like it was recorded from the bottom of the deep end of an Olympic swimming pool. However, one should also acknowledge AiC's grim dedication to a uncomplicated miserablism eventually equates to at least a level of charm that's almost endearing. Like a cousin's ugly baby trying to make friends with you.

Fuck it, five stars. It really has everything you want in an album, brilliant narrative storytelling, great music, superb production, Dolly's voice is wonderful and, as an added bonus, it's funny.

You get the sense there's a much better album in there, if he can just get over himself. The instinct to just do a bit more, more orchestration, more vocals, more production, just seems as if it overwhelmed Rufus. Plus, what's with the whiney singing voice, it's an annoying affection. Nobody sings like that normally.

Really wanted to give another five, but I can't because there are a couple of duds (relatively) on the album and, occasionally, the quiet-loud-quiet-LOUD schtick gets a little repetitive. However: 1. It's amazing how powerful and intense much of the music feels even after all these years. 2. I can't think of many rock bands where the bass and drums consistently hold everything together so well, allowing the lead guitar and vocals to really soar. 3. Debaser one of the top ten opening tracks of any album, ever. I will fight anyone who disagrees.

Sometimes you have a long-held opinion about a band but then, after hearing them for the first time in a while, your whole view shifts. Which makes it especially nice when that doesn't happen. God, aren't U2 awful? Overwrought, overproduced, pretentious bollocks.

Not really my sort of music, but I could see the appeal. Probably best listened to while sitting in a big leather chair, by a fire, sipping whisky.

Amazing how similar yet how different it is from Doolittle. Leans more surfer rock (unsurprisingly) than punk. Gigantic and Where is my mind both absolute killer songs. Only four stars, because again a little uneven in quality. Funnily enough, unlike Doolittle, I find Surfer Rosa starts off a little weak but then improves as it goes along.

I really have no critical frame of reference for this sort of music. I guess it's fine, inoffensive? The maker obviously had access to a computer and owns a pair of ears.

Banging indie rock, female vocalist, classic vibes, ultra cool. What's not to like?

I'm not sure it's possible to really understand the Beatles out of context. To me this is pleasant, if slightly twee, melodic pop. Back in the day I'd probably have lost my mind.

It makes me happy to live in a world in which Björk is appreciated and even successful. Touchingly odd music that feels both simple and painstakingly complex.

Enjoyed this. Perhaps a little bit "American" for me, lacking that quirky, domestic, ironic edge of my favourite British rap. Although at times it did remind me of Krept & Konan, which was fun. And I liked that a couple of tracks pulled in some unexpected musical influences, like Bhangra and Jazz.

Lovely singing voice, some interesting jazzy tones, good use of percussion, a certain style. But a lot of it is curiously MOR, music you'd have on in the background at a dinner party.

Another album where I'm not entirely sure I have the cultural hinterland to appreciate it fully. Some beautiful moments (for example, most of Blue in Green) but also times where it just felt perfectly pleasant but completely inoffensive. Possibly best appreciated in a dimly-lit jazz bar, drinking an Old Fashioned, surrounded by cigar smoke.

Not one of their best. Couple of good tracks, lot of slop. Terrible lyrics and often pretty uninventive musically.

Really struck by the depth and beauty of much of this album, which I'd never heard before. Music that bears a lot of re-listening.

Never been a huge Jay Z fan. To me his stuff often feels a little repetitive, even dull. That being said, I do understand that there are some great moments on The Blueprint and a relentless insistence to the music throughout the album.

Quite Hanoing.

An utterly mad album. Goes from sounding like metal to sounding country to sounding like the soundtrack to a musical. Plus random orchestration, plus deranged lyrics, plus bizarre production. You have to love it.

Slip inside the eye of your mind Don’t you know you might find A less dull and whiney album?

Not quite The Kinks yet.

I was really, really surprised by how much I enjoyed this. There's something almost sweet about it's earnest straightforwardness.

Never heard of this group before but found this interesting to listen to. A bit mystical, bit Jimi, bit 13th Floor Elevators. Will re-listen in the future definitely.

Not really the album for a cold English winter. But in the sun, rum & coke in hand, unbeatable.

I've always found Soundgarden empty and vapid.

Fun. Slightly odd. Feels a bit Queen-like at points, some obvious trad influences. Just the right side of quirky.

I mean, all killer no filler right?

Lovely music and her voice is obviously gorgeous. Didn't totally captivate me though.

Very uneven album. Some excellent songs (Sweet talkin' woman), some dreadful ones (Stepping Out) and too many that start off strong but then drift away into jazzy, pre-electronica nothingness.

At it's best I guess it's almost sub-sub(-sub) 'Get off my cloud'-era Rolling Stones. The rest feels a bit covers band, bit dad's in their garage.

It grew on me. Little bit Springsteen, little bit Blues. Liked the guitars, liked it lyrically.

Really odd album. A couple of absolutely great tracks and a load of dross. No real quality control.

Often brilliant. What Oasis probably thought they were doing, taking the sound of the 60s and giving it an interesting modern sound. Great production. Only problem is that in a few cases things sort of descend into introspective knurdling.

Why did the jazz chicken cross the road? To get to the B side*. Quite liked this, although jazz remains not my bag, man. Had a bit more funk, a bit more of a forward lean than a lot of other jazz I've heard. *Joke development still in progress.

Mostly chic.

I really wanted to give this five stars, as it has some absolutely brilliant tracks and still sounds new and exciting. But unfortunately there are a couple of real stinkers up front that prevents it. But four out of five ain't bad David.

I find it amazing the way Radiohead can take odds and ends, strange sounds, twisted noises, the uneven, insistent racket at the edge of life and fashion something so beautiful, insubstantial and yet unforgettable. Like a found poem crafted from the gossamer threads that cover a beach once the tide has withdrawn.

I know it's a classic and I know it has some brilliant songs (In my life) but for some reason Rubber Soul always leaves me feeling a little cold.

Tedious with synthesisers.

There were a couple of songs I liked but overall it wasn't really for me.

There's a place for this kind of "music". And that place is the dustbin.

Amazing listening to this for the first time in a while and realising quite how many subsequent albums it influenced. Also amazing how little it seems to have dated.

I mean, look at my name, I was obviously going to give this five stars. I don't know if it's my favourite Flaming Lips album (The Soft Bulletin will always hold a special place in my heart) but it's probably their best one. It's the album where the band best integrates drum and electronica with a dreamy guitar sound. And yes the concept is kind of ridiculous, which makes the lyrics kind of ridiculous but despite that I think lyrically it somehow manages to be really beautiful (and I'd like Do you realize? played at my funeral please).

I know it's an excellent album, but it's never really done it for me.

I sort of enjoyed this until my ears started bleeding.

Needs more purple.

Didn't hate it. Had a sort of interesting lounge singer, swing, unironic Bowie thing going on.

It's not perfect but it's still one of the most interesting, complex and challenging albums of the past few decades.

Brilliantly earthy, lyrically dense, sneakily musical. Also, Bruce Springsteen sounds like drunk Elvis when he sings.

U2 for home county vegans.

Enjoyable country candyfloss.

You're not going to believe me, but I really enjoyed this album. It's fun, funny, spikey and spans musical genres in a fascinating way.

Pleasantly swampy.

Lots to enjoy, Kate Bush meets Leonard Cohen. But maybe a little clinical at times?

High quality dinner party music.

Down with this sort of thing.

Not my favourite Springsteen album but a couple of really great tracks.

Really dug this. Bit like a Brazilian Love. Totally groovy.

So raw, funny, powerful and beautiful. More please.

It's fun but I'm not sure I'd call it a great album. Feels experimental without being truly radical.

Have I changed, or have Massive Attack? Didn't hit quite the way it used to.

Made me want to Jump out the window.

Very fun. Still feels fresh. A bit same-y at times maybe.

Liked the slide guitar, liked the harmonica, loved his voice. But perhaps lacked a little edge.

I always thought Amy Winehouse was a little "Emperor's new clothes" and I'm afraid this relisten has done little to disabuse me of that notion. Yes, she has a nice voice but I don't think it's historically special. Lyrically it's truthful, but not particularly interesting or incentive. The music is pleasant but feels a bit like a dry facsimile of more raw 60s American soul. Look, it's not a bad album but it's not a great one. Very much a product of its time.

I understand it's historically important, interesting, cool etc. but I just found most of it a bit dull.

Not really an album, just some half thought out knurdling. Mrs Robinson is good though.

Enjoyed. Electronic music with a sub-continental edge. Interesting mix of the uplifting and the soporific.

Really wanted to give this a four, due to nostalgia and the fact I still believe Justine Frischmann to be the epitome of cool. But couldn't quite bring myself to do it. Musically the album is pretty un-nuanced, the lyrics are idiotic and it's too self-satisfied. 2:1 is a cracking song though.

This album was ridiculous. Like Nick Cave filtered through The Kinks. Loved it.

Bit too self-involved, obviously, but musically fascinating and invigorating.

Not boring, but not her best.

I feel bad about saying it, but I sort of liked this. Fun, big noise, ignore the lyrics.

Not for me but not offensive. Just a little unmemorable.

Couple of great tracks but, dare I say it, quite a bit of forgettable dress.

Still sounds revelatory.

I admired the ideas.

It's a no from me, Les.

Sort of an almost ideal mix of 70s disco and 80 electronic, with nice harmonies.

So, so, so good.

It's another five. Call me soft if you want.

I know it's great music but, perhaps because it's covering a particular style, it felt quite undifferentiated at times and forgettable.

Enjoyed greatly. Brilliant production, loved the lead guitar, quirky in (mostly) the right way.

Like pure nostalgia into my veins. But also, definitely not as good as I remember it.

I'm not sure I'd ever make this part of my rotation, and it does feel quite self-indulgent at times. But it's interesting and has a distinct, powerful and insistent personality.

Limp Bizkit with a social conscience..?

You have to admire the effort and vitality and joy. Is it sophisticated? No. But does it translate the world to the listener in a new way? I think it does.

Such a strange album and so difficult to rate. You could easily argue it's beyond rating as in so many ways it's an experiment, a reach for the next rung of the ladder when it's impossible to see. Some incredible, beautiful, complex songs (While my guitar gently weeps) and some seeming dross. Some you need to let percolate. Should probably be a five but can't quite get there.

Feels mean, given the circumstances, but I don't think it's particularly good. Quite liked the last song, overall has some fun jazzy bits, but generally just a little unfocused.

I was excited because I thought this was a concept album about Tolkien characters hunting with birds and keeping houses clean while considering the personality of female french heroines from the middle ages. But then I realised that's 'Ork-kestrel, man hoovers, inner D'Arc.'

Less blues, more greeny-purple.

Is there a better title than 'No Thing on Me (Cocaine song)'?

It's alright.

Loved the bratty, playful nature of it with the surfer punk vibes.

Teenage musicality, pre-teen politics.

Can somebody, anybody explain the appeal of Prince to me? This album is musically dull and lyrically trite; lazy, bloated and self satisfied.

Odd, disjointed, mostly disappointing.

Bit like a mix between Burial and Kate Bush (although not quite as good as either).

Half a point taken off for *ahem* questionable lyrics.

Meh. But pleasant meh.

Intense, taut and emotive. Does it get a little repetitive at times? Well, yes, but that's really just part of its miserablist charm.

There are undoubtedly some excellent tracks on this album, interesting textures, smooth production, lovely vocals but ultimately it's all just a little...boring...

Gets a bit too Björk-y towards the end, but up until then wonderfully deep and sweet and rapturous.

Seems like there's probably a much more interesting album in here somewhere. But honestly I just spent most of it wishing I was listening to Interpol or Slow Club.

Excellent, crazy, both melodic and in melodic, chilled and aggressive, like a tequila drunk on a special anniversary.

As with The Beatles, I suspect you probably needed to be there to get the full impact of this album. But I think it still sounds fresh and strangely joyous, with a lyrically density and feel for rhythm and rhyme that reminds one of T.S. Eliot.

Not always a Bowie fan but this has a jazz meets country style that really works.

Jangly.

Great musicianship, great energy, still feels fresh, interesting (if occasionally ridiculous) lyrics. At times maybe just a bit much.

Is it brilliant, is it overblown wank? At times, it's both.

I'm sure it was fun to be there.

Honestly, I'm giving it 5 stars for ambition and being interesting as much as anything. A odd, deep, challenging jazz-easy listening-hip hop fusion that consistently goes beyond what you expect. Wonderful production.

Some lovely tunes, some dreadful lyrics. Feels like the last flowering of 60s flower power.

Bit same-y but I liked the vibe.

Seems to be trying a bit hard.

Somehow both histrionic crap and dull as an accountancy lecture. Only 41 minutes and yet still too long.

I'm not sure I liked this, really hard to tell. At points interestingly poppy, elsewhere just thin gruel.

Low key enjoyed this. A lot of it is quite bland but in places it had some lovely lush production and the quality of the vocal was often excellent.

I feel sort of dirty saying it, but this album has some absolute bangers on it.

So much worse than the real thing; a dumpster fire of meaningless, overproduced fecal matter.

I wanted this to be better. A slightly fuller Tegan and Sara.

No (screamed incoherently).

Excellent. Quirky country with a futuristic bent. Loved the harmonies and the edgy quality of the guitar playing.

Probably always best to avoid the special sauce.

Might need to give it a go, but didn't really move me. Lacked the power and immediateness of much of his other work.

I'll always have a fondness for this album, but the extra star is for nostalgia. Even at 36 minutes the last two or three tracks dragged a little.

American miserablism. Rather enjoyable. A little Nick Cave-esque.

Maybe it seemed less boring in the 70s?

Top, top album, even if they all look like zombies on the front cover. Blend of 60s melodies, 70s production and seems to point toward 80s glam rock.

What a dreadful, dull, indulgent and self-involved album. I can only imagine it appealed to a post-lobotomy market of which I was previously unaware.

Never heard this artist before but so, so good. Quirky, fun, layered, interesting.