1001 Albums Summary

"Not my cup of tea" doesn't seem quite right, as I oscillate between my feelings on this album I hear strokes of bands I adore intertwined in this album. I can hear the influences to and from things like the Pixies and Velvet Underground in form, or Talking Heads and The Raincoats in style. All things I like without a doubt. It's hard to say I like this just as much as it's hard to say I don't. Whatever rating I decide on, it won't be directly comparable to anything else I place in the same category as if it almost deserves a totally separate rating system. Not to sound insanely stuck up but I'd say this album is only a "must listen" if you care about the genres it's in or the genres that come directly after. Is it interesting and experimental and well deserving of its place in music history? Absolutely. Does that mean that by modern standards it's an easy listen everyone should do once? Maybe not.

Hard to say if this album has aged well, it's about as 80s as an album can be and that could certainly be seen as a bad thing now but I happen to love that sort of sound. Tina's voice is excellent, and plays wonderfully to this day. I just can't rate this higher because I know better music came out not just in the 80s but within the same year. Just in terms of comparison it's capped but I do think it's a fun listen even after 40 years.

No real notes, this is the first album I'd already heard before this project recommended it and I do like it and Sonic Youth in general.

So, I listened to the original tracklist but live. I find Jazz an incredibly hard genre to judge... so, I won't. I like long songs generally, they give room to do different things and tell stories but without words you'd think that would be harder. But no. These songs are experiences, they pick you up and let you breath and then continue to climb. Phenomenal listening experience.

This is right in my preference. Creatively fantastic and probably even better than their debut, which is not an opinion I thought I'd have. Really excellent and definitely the cream of the crop of 70s music and that is extremely high praise.

Two Doors albums in a row is wild. Not as good as LA Woman, probably a little below the self titled but they show brushed of their advancement in both their sound and their abilities. Still an excellent album and well worth a listen.

I've used the term "cream of the crop" already but good god, now this is it. I've heard this album a couple of times and every time it's such an experience, sometimes like floating through space and other times touching an oily hand rail, it has an outrageous amount of character. I started listening to hip hop as a genre around 5 years ago and as a result it's transformed my taste, and if asked what were the 10 albums that most majorly opened my eyes this would be on that list, and definitely on my top 100 albums of all time. The production is stellar, the vocals are incredible and breath-taking, slow and suffocating and yet beautiful and ethereal. Trip-hop is a genre I know only a bit about (i.e only the most formative groups) but this definitely is my frontrunner of the genre. Best song: Roads, followed closely by Numb Worst song: N/A Rank compared to everything else so far: 1/7 Trying something new with the formatting, we'll see how it feels.

"This sounds like an 80s sit-com theme song!" cries the reviewer, unaware this was released in 1977. This is about as easily listenable as the genre can be and that's NOT a bad thing, and I definitely can't complain about the things that come after when gentle jazz fusion is so recognisable because it's so easy to take in! I generally like my jazz a little faster, something akin to an almost funky flare, there's no doubt this album is masterful fun and almost like the feeling of sitting down and knowing you don't have to get up again for a while. Best song: Birdland Worst song: N/A Rank compared to everything else so far: 4/8

It means something special when I smiled as soon as I saw this was my album of the day. The title track and Freddie's Dead are on my go to list whenever I'm sharing new tracks with people and I want to impress them with my taste and preference because they present everything you could ever want from a music taste, style and intelligence and unending amounts of smooth and cool. I've never seen the film but I ultimately believe soundtrack albums fall into one of two categories of creation; a soundtrack made with the film in mind or the soundtrack for a film. This is very much the former, it flows like an album should and is incredibly cohesive for what a lesser musician would've just made a checklist of themes. The idea of a concept album as a soundtrack is so obvious and yet still genius, and so underutilized while this is a very clear sign that it should be done more. The music itself is stellar, I think Curtis Mayfield is massively underrated in his work and anything he did that is popular should only be more so. The production is incredibly clean, the feel is smooth and unyieldingly tight so much so that 43 minutes will pass before you know it. Best songs: Superfly, Freddie's Dead and Pusherman Worst song: N/A (will only really be used when I think a song actively takes away from an album) Rank compared to everything else so far: 2/9

For better or for worse this almost feels like one long song, and while it's certainly split in some sort of manner the sounds flow into one another very comfortably. That being said this album was something a lot of other albums of the genre tend not to be, and that's dark. Bits of this album felt ominous, a rising tension like the reveal of a murder in a stage play. At moments it would lull and leave you to hold your breath and at other moments it would sound like a full jazz band falling down the stairs, knowing another flight of stairs is in their future. This is not my first Mingus album and I think that's actually done more for my perspective, I didn't anticipate this album to produce such a heavy daunting noise and still keep me fully engrossed and entertained. While I doubt I'll be revisiting the longer sections of this album I definitely will check back in through my life and remind myself why this might very well be my favourite jazz album I've heard so far. I've said before I struggle to rate and review jazz but this is the first album in the genre to make me feel so... tense. Excellent all around. Best songs: Medley: Mode D/Mode E Worst song: N/A Rank compared to everything else so far: 4/10 (above Heavy Weather below LA Woman)

Wow. Very simply. The genre "singer songwriter" has been one of the genres that has changed and transformed the most, in my opinion. In modern eyes if you're a famous singer songwriter you're a pop star essentially but if you were to boil down the genre to its main components and add a little sugar and you'd get this album. Tracy's voice is incredibly powerful, so much so one of the songs has no instruments and instead of sitting in the silence you wait, you linger on every word she says as she sings to your very soul. This album has real history, so much so I've only ever heard Fast Car and I thought "oh this will be a good listen", and the aforementioned song would be my favourite and I'd be content. But no, shockingly this is a contender for the best album I've heard so far. So much so I gave it a double listen before I affirmed anything and the first half is certainly PERFECT. I can't exactly explain why but the middle section seems to drag just a little for me, before settling back into the sound I'd hoped for albeit with a little less flair. I still think this album is phenomenal though, it presents itself clearly and well for a very swift 36 minutes of beautiful activism and lovely story telling. Best songs: Baby Can I Hold You Worst song: N/A Rank compared to everything else so far: 3/11 (above LA Woman below Superfly)

This album has me bouncing between three and four stars pretty constantly for a number of reasons. Is it a pretty fun, upbeat listen that I ultimately can't really say has any issues? Sure, but for an album that released in 1978 I just don't personally (PERSONALLY) find the sound interesting enough to justify any sort of admiration. While there is ultimately no flaw, and I definitely can't claim there's no style, there's just not enough of it. Some of the songs bring the bass forward and it sounds fantastic, other songs let the guitar place wonderful full stops of every chorus with eccentric riffs... but some songs do neither. For me it also struggles with direct comparison, I like the New Wave genre a lot and instead of that playing into this album's strengths the whole I'm just thinking "if I were alive in 1978, I'd be listening to Talking Heads and The Police", two bands who pushed new wave forward by being brave and ultimately sort of weird, while this album just feels a touch too safe. Hell, even if I thought the aforementioned bands were too out there, I'd still be listening to The Cars before this (their self titled is amazing). This will be an interesting album to revisit, as I think this take could totally flip either way and I either double down on how little it interests me or I could truly grow to love the sound. I do note this is the second album by Costello, while literally all three of the above mentioned bands/albums originated in 77/78 so my opinion on this album could change based on the first album and it's influence on the genre. Best songs: No Action/Little Triggers/Radio, Radio Worst song: N/A Rank compared to everything else so far: 10/12 (above Private Dancer below Daydream Nation)

Not going to mince words here, this is a 10/5. The first half of this album is smooth, funky and lush and the fact this was self produced is mind blowing. Also, this was self produced because it's a debut! Debuts are usually a musician or group finding some footing before they settle on a sound or direction but this album is so fully formed, Maxwell definitely knew what he wanted to do with this album from it's initial conception. So, it's self produced and sounds amazing, it's a debut with all the characteristics of a full bodied album... and it's a concept record. By all accounts this is ambitious and all points mentioned above just raise the bar a little higher and higher. I had NO expectations of this album, I'd never heard of it before and I had no idea what genre it was and it immediately pulled me in and refused to let go. While the first half sound like the most tender and meaningful physical intimacy you've ever experienced the latter half is just beautiful, and beyond every instrument doing magnificent work (especially the bass), Maxwell isn't afraid to strip it all back at points and just sing and his voice is stellar, almost immediately up there with Prince for me. While on the topic of Prince, Maxwell said the sounds and themes of this album were inspired by "Marvin Gaye, Curtis Mayfield, Barry White, Stevie Wonder and Prince." and while I don't hear all of the inspiration, I hear more than enough in tender touches from the sound and the style and the singing that it makes me love all the songs and records from these artists more, it's inspiration that elevates and stands level with them, which is incredibly high praise from me considering my love for many of the above artists. While I definitely think the first half is stronger, the second half does not depreciate and only makes me appreciate it in a different light. The concept of the album is a relationship and, having been in one for much of my life, this really reflects the idea of settling your feelings and reflecting as the exciting sparks of love turn to the beautiful experience of entwining souls and I hear it in the structure and expression. This album is, easily, one of the best albums I've heard from this list and probably for the better half of the past year. So much so, it's going to number 1. Best songs: Sumthin'Sumthin', ...Til The Copes Come Knockin' Worst song: N/A Rank compared to everything else so far: 1/13 (Above Dummy, which is insane)

I note a lot of reviews calling this generic or otherwise bland, and I'm just not sure I heard the same album as you did to come to this conclusion? I'd daresay this album is bland and isn't insanely adventurous... if not for songs like Porcelain which absolutely have that certain (FRENCH WARNING) "je ne ce quoi", that vibe that just feels right and unique and scratch that certain musical itch. I might be blessed to have been born in 2000 so I didn't hear any of these songs over a hundred thousand commercials, but you know what I heard these days in every third commercial? The Beatles, and I certainly don't plan on saying they're bad because I've heard them too much. Ultimately the decision to license the whole album is pretty genius considering the description of this album's popularity was "a critical success and a commercial phenomenon", I'd certainly do the same thing and I know you would too. If I were to have one criticism it'd be that the album is a touch long, it does enough that's different that I can distinctly select between songs and I appreciate that at times this "electronica" album would just throw out a totally piano focused song or focus around loops of guitar and bass. But I think maybe three songs less would make the album far more digestible for single session listens, absolutely no criticism on the quality of the songs themselves. So, here's the strange take that might throw you. I don't think every album has to be trying to "raise the bar", I think an album can do something and do it well and that something doesn't have to be new or revolutionary but that doesn't make this album any less of an enjoyable listen despite some of my favourite albums and some of my most recent admirations of albums on this list being about new styles and sounds. It won't compare to some of the more sprawling or intense sounding albums but it's absolutely an album worth listening to. Best songs: Porcelain & Why Does my Heart Feel So Bad Worst song: N/A Rank compared to everything else so far: 8/14 (above Ellington at Newport below Heavy Weather) I had to actually MAKE the list for this one so my actual rankings are being written down. If every curious just hit me up.

This is the first album in a while that I not only know pre-emptively but actively love. I won't talk about this album too much, Fleetwood Mac are absolutely a band that have and will continue to be talked about constantly until the Earth explodes. While I consider that totally valid, as a band they not only had a phenomenal sound, a really interesting story and a great catalogue, it's certainly possible for a band to be overexplained. That being said, I like Tusk a lot within the catalogue for being a weird album. This is the record that followed Rumours and Lindsey said he wanted to create the "anti Rumours", so his recording and song writing process was pretty strange for this album to the point where some of his vocals were recorded in his bathroom while he did push ups. Hell, Tusk itself has a marching band as the main focus of the soundscape and it absolutely thrives on it. As time went on the band found Lindsey harder and harder to work with but for this album his aversion to playing the same as the rest of the band is absolutely for the benefit of the album. Considering that, and the legacy this album had to live up to... Absolutely love it, while two thirds of the songs on this album are totally standard for Fleetwood Mac (that is to say, phenomenal and catchy masterworks of song writing. Standard for Fleetwood Mac is well above the average band at this point in their careers.) Lindsey's part of this record is great, fun and absolutely goofy in the best of ways. Despite the band falling apart at the seams and swimming backwards on a river of cocaine at this point while absolutely burning money I am glad this album is so well crafted. It doesn't quite benefit from the toxic relationship breakdown emotions like Rumours does but it's also not totally absent of it. So with all this high praise, you might be looking below and thinking "well why isn't it higher in your list?" which is a valid question. But it's Fleetwood Mac which means not only are there better albums out there but there's a better album in this exact discography (god knows if it'll be in here but I actually like Tango in the Night more too). This album, despite being a double album, is absolutely justified in its length and place on this list but it just doesn't do QUITE as much for me as other albums and styles not only from this band but from this era. Still totally a 5 star album and if I were being ultra specific the LOWEST I'd give this like an 88/100. Best songs: Tusk & Storms Worst song: N/A Rank compared to everything else so far: 4/15 (above Tracy Chapman below Superfly)

This might become a vocal point of albums that just because you don't get, it doesn't inherently mean they're bad. If you scroll the reviews there are an intense amounts of 1s and 2s crying about how bad it is, without taking in any of the atmosphere this album presents. That being said I also see a lot of 5s which just comes to show, this isn't an album you think is just okay really. You either love it or you hate it. I am definitely leaning the former. If I heard this 10 years ago I certainly wouldn't get it, but now it has the vibe where I'm sitting in a small bar on a weekday night drinking a whiskey I can't really afford and thinking about things I can't control while a group of local guys soundtrack my evening. This genuinely feels like I'm sat in a bar just taking it all in. A half live album, but instead of it feeling "live" like most albums do it feels real, Tom will stop singing to chat and tell stories and anecdotes like I'm genuinely there sat at the back of a room of people. Beyond atmosphere, just considering the methods made to present this album in that fashion are insanely interesting. This will certainly be an album I do not listen to in individual pieces but rather experience once in a while front to back, but that doesn't mean the music itself isn't up to snuff. A jazzy feel but instead of the lush velvets of some jazz it feels like cigarette smoke and rainy nights which is perfect style for the album feel and, I can only assume, intention. A note about a common complaint, Tom is absolutely putting on a voice on this album. As far as his voice goes it's not anything incredible but it's certainly serviceable if not widely palatable, always a bit gravely. But for someone like me who listens to quite a bit of music it's no where near the worst I've ever heard, hell it's not even close to the worst I've come to adore. This is certainly a more "performative" sort of gravel but I'd stop thinking about it as Tom trying to sound like something specific, and more just like someone else singing entirely because it almost feels like a character. Best songs: Eggs & Sausage, Better Off Without a Wife Worst song: N/A Rank compared to everything else so far: 8/16 (above Heavy Weather below The Black Saint and the Sinner Lady)

I'm going to do something I don't usually do here and start with the negative. The album is, entirely in my own opinion, one song too long. A lot of songs on this album and presented in duos and if they weren't I'd be more critical but ultimately a lot of them are paired well. But the final song on the album feels totally unnecessary and a little generic of the genre on what is ultimately a very creative album. Had it ended on the song Homecoming I'd have thoroughly enjoyed it as a song ender and appreciated that this album was a very swift and comfortable 49 minutes or so. So, why did I start with the negative? Because that is my ONE negative. Outside of that I think this album is phenomenal. I had a friend in highschool that loved this album, knew every word and every time we would all make a collective party playlist or have a jam a few songs in this album always fell into the melting pot... and yet never got tiresome. While maybe not musically as fresh, topically this album continues to be incredibly relevant to this very day and probably many days going forward. But even if I scrape back the cultural and social commentary of this punk album, it still sounds great. American Idiot is an incredible opener, Jesus of Suburbia is a long song that justifies every second by constantly changing speed and tone but in a totally fluent presentation so it is never boring nor messy. I don't even need to say a word about Boulevard of Broken Dreams or Wake Me Up When September Ends, song that remained in the cultural zeitgeist for years upon years. You could have never looked for this album specifically and sat down to listen to it this very second and you are without a doubt knowing at least 3 to 5 songs on the album, which certainly speaks to the popularity of this album and again, I have heard many of these songs here and there for the entirety of my life and never once thought "eh not today". I very rarely actively seek out Green Day, but I absolutely do sometimes and they scratch a very special itch. I have a friend that LOVES Green Day so I am sure I will be listening to random bits here and there forever but I know I'll enjoy every listen. An incredibly powerful three piece that really are something special and created plenty to show for it, but I would consider this their best. Best songs: Jesus of Suburbia Worst song: Whatsername Rank compared to everything else so far: 3/17 (Below Dummy, above Superfly)

Now this is an all timer. This album is funky, has phenomenal flow and is one of the shortest 38 minutes an album has been but this is one of those albums I actually wish was a bit longer, hell almost all of the songs could be a minute longer and I'd have no complaints. Whole not the best in their discography this is absolutely an album justified in it's placement on this list and the 5 stars I'm giving it. I've heard this album before due to its fame and I absolutely loved it before and I still love it now. This is a rare one where I just have no notes. When you first look up "funk" you're guaranteed to run into this album not just because it's described as above as paced and performed beautifully but it's incredibly palatable and digestible. I don't have much to elaborate on this album, if it were Maggot Brain I'd sing its praised more but this album is undoubtably a fantastic album. Best songs: P-Funk/Give Up The Funk Worst song: N/A Rank compared to everything else so far: 7/18 (Below Tracy Chapman, above LA Woman)

This another one I've never heard of before and therefore had no expectations... or so I thought. But this album made me feel odd, like I'm sitting in the back of the car on a long drive with my mother behind the wheel sort of strange. It feels like that, like a drive in the snow or even like watching a beautiful woman sing at a ballroom, just gentle yet elegant. It does have an aggressively early 2000 vibe and I imagine you'd have heard this in every coffee and perfume shop for a little while. Singer songwriter continues to be a personal favourite genre, it's so deeply intimate and tender and the album is the perfect length for that sort of feel but to recency it does mean I want to give direct comparison to Tracy Chapman, and in that instance I'd say this album has lower peaks but is more consistent, but it's also like 25 years later and that accounts for something. I wouldn't ever dare say this album is boring, but I can't particularly sing its praises either as it's absolutely a nice chill listen but it's not particularly exciting. As said before, nothing wrong with that but in this instance it's difficult. I wouldn't necessarily seek this out but I also wouldn't skip any songs which places is in a weird scenario in this list where a lot of these albums are immensely influential and weird and different this is just... not. It's going to be a 3 star but as of this point this is the most I've enjoyed a 3 star album but it's just not got enough interest for me to really consider it's influence properly. Best songs: Don't Know Why, Shoot The Moon Worst song: N/A Rank compared to everything else so far: 16/19 (Below Daydream Nation, above This Year's Model)

So, I skimmed the reviews as I opened the album cos I knew they'd be split and shocker they are. This is probably the 2nd lowest average score of an album I've listened to yet and that feels incredibly unjustified. I know "straight" pop is not to everyone's preference and the revitalisation of the 80s style pop will sow the seeds of bitching. If you approach this album with an open mind it's honestly pretty great though I do struggle to acknowledge any sort of influence, and this album is pretty recent! I generally like pop though so where does this sit for me? It's good, I can't imagine listening to the first run of songs and saying it's bad even if it didn't appeal to me but I did a little more reading and the topics of masculinity and femininity do not resonate on my side at all and I'm pretty open and in touch with these things. In fact even if that were the intention during writing I think trying to push that about this album is a bit try-hard. Lucky for the album that it does in fact sound good, the synth work is fun and this album isn't afraid to touch into other genres to its absolute benefits. I mean it was good enough for me to curiously peek into the French second side and listen to that too. If split and acknowledged as the same album twice the length isn't at all overbearing, but the first half (of either side) of the album is absolutely stronger, and the French side presents a little better in flow and pacing song to song. So my actual verdict is that I absolutely like the album, but I don't love it. I think there are a couple all timers on here, songs that will stand above the album as a whole and be remembered down the line but the influence leaves me a touch unsure, especially when pop took quite a few turns in the years after this and even for late 2010s pop this wouldn't be my preference (that would be Billie Eilish). Also 2018? It's unfortunately never even approaching the higher end of my list in comparison to albums that were far more immediately influential and of more consistent quality (Kids See Ghosts and Twin Fantasy remaster). Best songs: Girlfriend, the walker Worst song: N/A Rank compared to everything else so far: 16/20 (Below Daydream Nation, above Come Away With Me)

Another album I already know and love. I didn't even listen to it for this review because I listened to it top to bottom earlier this week purely by chance. But it speaks volumes that I just happen to do that. I won't speak too much on it for this album is immensely famous, and I'd bet good money almost anyone that ever reads this review has head "More than a feeling", one of the most classic album openers on one of the most classic debut albums of all time. I will say, this album is definitely not consistent in quality, the first three songs are genuinely incredible but it does leave the album to be a bit front loaded. This is only alleviated by Smokin' being at the start of the second half, if it were the 4th song on the album however this would be horrendously frontloaded. But as far as influence goes, this album is a literal sharp pivot for American rock and majorly popularised the ideal of it to be a popier, harmonising guitar riffs with multilayer vocals and all. For some I could see why this would not be a good thing but for me, it absolutely is. I adore the sound of songs like "Peace of Mind", the last minute is absolutely excellent and feels like the end of a rollercoaster. That isn't to say this album is just that over and over, Foreplay/Long Time shows the band are certainly more than capable of playing their instruments well and aren't just mixing and covering to hide a lack of talent. If you've never heard a majority of this album I could see it not being anything particularly special to you but as in the first paragraph I can not say it hasn't well held my attention for years, and on release this wouldn't been your only way to hear this sort of sound so I think it's well deserving of this list. Boston never quite lived up to this album again in terms of popularity but that isn't to say this was their only good piece of work, while certainly less unique "Don't Look Back" and "Third Stage" are very deserving of a casual listen. Best songs: Peace of Mind, Foreplay/Long Time Worst song: Let Me Take You Home Tonight Rank compared to everything else so far: 12/21 (Below Heavy Weather, above Play)

I saw this was my album of the day and cheered. If you're reading these bottom to top you'll see this is my first Beatles or Beatles adjacent project and you will get to learn that I love the Beatles. So, Band on the Run was the third album by Wings, Paul McCartneys band following the split of the Beatles and (without checking) his 5th release since the break up, and I know that because I know this album was important. McCartney 1 was (rightly) seen as a bit rushed and under-developed and RAM was (not rightly) unappreciated at the time despite later being seen as massively influential and the first two Wings albums are not particularly incredible, even if I like Red Rose Speedway. This album was make or break for McCartney, but McCartney is a workhorse and so he released this album that, all things considered, should have failed. Just the main three members of Paul and Linda with Denny of "The Moody Blues" recorded this in the Bahamas if I remember correctly and that meant that not only did Paul suffer heat stroke but the first set of recordings were stolen right out the studio... and despite all these set backs and trials this album is fantastic. Starting with the opening track of the same name, until the middle you are presented with absolute masterstrokes that not just re-establish but reaffirm that Paul can and WILL write fantastic hits, Beatle or not. From the scraping guitar on Jet to the harmonised vocals of Blue Bird to the absolute bassline on Mrs. Vandebilt to the excellent performances on Let Me Roll It, the first half of this album is absolutely perfect. That isn't to say the second half is bad, I'm hesitant to even call it worse but it's a lot more melancholy and gentle, when I was younger I'd have been a lot more concrete on that line but no the second half is definitely still good just less intense and energetic, until it ends on Nineteen Hundred and Eighty Five which falls right back in with a mix of build up and phenomenal performance and gentle harmonising over just a piano. A perfect end off to what is an album that I have no issues or drawbacks in. A pretty perfect 41 minute experience top to bottom. Best songs: Band on the Run, Let Me Roll It Worst song: N/A Rank compared to everything else so far: 1/22 (above Maxwell's Urban Hang Suite)

As far as the Jazz that this list has presented to me, this was insanely unorthodox and unique in the best of ways. I've said before I find Jazz a hard genre to rank as it's all artistic merit of how the orchestration makes you feel and THIS makes me happy. 1958 is certainly a long long time ago and yet this album still captures a feel of joy and carries notes of the genre I would expect to hear 10 or even 20 years down the line. While I love how the influence of African music is presented I would've loved a little more of it as it feels only limited to the percussion. A completely warranted addition to this list, this 35 minute big band blessing is a great album that totally blends beautifully and allows the bongos to bring everything else to life. Traditionally drumming in jazz is a real pace setter and pace breaker but this is a real step left in that fashion and I really like the change. The bongo solos on songs like Frenzy and the opening track that play between lush bursts of brass are pleasant indeed. I think this is an album I'll grow to like more and more as I not only digest more of the genre but gain better perspective. I continue to struggle with the full artistic presentation of Jazz in general but this feels like it's opening doors, and that's more than worthy of a 5 and not just for sounding excellent almost 70 years later. Best songs: Wild Jungle, Oyeme, Holiday, Frenzy Worst song: N/A Rank compared to everything else so far: 9/23 (Below Mothership Connection, above LA Woman)

I was surprised to open this albums reviews and see so much negativity for what I remember to be a very good very competent debut album but then I see this term of "landfill indie" being thrown around like a hot potato. While I totally get the concept, the idea of the revival of indie being pretty disingenuous and repetitive/lacking a future makes sense. That being said this album does not apply. The album is a clean and finely tuned indie showcase, and even if it wasn't I couldn't even consider putting down an album that has both Take Me Out and This Fire on it. Suave and charismatic vocals both play a pleasant lead or an entirely fitting supplement to what is a collection of very very good riffs. That being said, two lead singles with the strength of the aforementioned songs does mean that I was hoping with every song to get something of the same quality and while the album was well beyond serviceable it never quite matches those highs. Michael comes close though. As annoyed as people may be about the genre and ultimately blame this album among a handful of others for leading this genre this is easily a cut above much of the rest, and I am far for blaming an entire genre, whether I like said genre or not, on a band who had no intention of causing that influence. But that does indeed make it influential beyond just being a fun record that I'd recommend entirely giving a listen for just two or three songs but thankfully this IS a good album top to bottom, just inconsistent in how it bounces good to phenomenal and back to just good. Best songs: Take Me Out, This Fire Worst song: N/A Rank compared to everything else so far: 12/24 (Below The Black Saint And The Sinner Lady, above Heavy Weather) Worth noting looking at this list that I was too harsh on Heavy Weather, so I am swapping it at Nighthawks At the Diner (now 13th and 14th respectively)

This isn't my first album for LCD Soundsystem, in fact it's my fourth so I generally knew what I was expecting, or at least I was until I saw 2017. That is surprisingly recent and pass his "hot" period. So I went in with a vague sense of direction and not much else, but that I'd like it much like I do their other projects. I was met with a strange album, spacey and atmospheric and yet made to dance to. A weird but not impossible blend and I think ultimately the actual music presented is not at all bad, but for electronica in 2017 it feels unjustified in even existing. Songs like "tonite" sound aged on release and I'm not even sure if this album was released 37 years ago these sounds would be seen with much kinder eyes because they feel immensely generic. In listening to this album (about 4 times in the past day) to pin down my feelings I note there are two versions, one that is 10 songs and one that is 11 and the cut 11th song named pulse(v.1) sounds hilariously like terraria music. This is a good thing though I think that's actually a fairly fresh and timeless sound y'know outside that games soundtrack. But that does raise a different question, even on the 10 song version this album is 68 minutes! I am no stranger to long songs and albums within justification but this album does not justify or even warrant this length. "how do you sleep" is about 3 minutes too long and the entirety of black screen feel like it doesn't do enough to be there. Also the fact it took me four listens to actively decide if I liked or disliked something is not a good sign. This is genuinely getting my lowest rating for a few reasons. 2017 is, as I said on another album recently, pretty recent and so the deeper influence of this album will be hard to fully see but even then I can look very closely at the genres it released in and you know what else came out in 2017? Melodrama and Big Fish Theory, and that's JUST in electronic genres or adjacent. Also, there are only two LCD albums on this list and while Sound of Silver absolutely justifies it's place and I will sing its praises eventually, I would swap this album with "This Is Happening" in a heart beat and even the self titled on most days. Both those albums have similar (or even further) issues in length but sound a whole lot better. I genuinely like LCD Soundsystem and thing some of their work is insanely good but this? This isn't just underwhelming, it's disappointing. Best songs: call the police, pulse(v.1) Worst songs: tonite, black screen Rank compared to everything else so far: 25/25 (below Dub Housing)

Ah, Dolly Parton. A name I've heard ever so many times and such famous songs I know what she looks and sounds like without ever EVER seeking her out (Jolene is a straight banger though). I knew what I was getting into but I did enter with no actual expectations, no idea how much I would like it or anything like that, but I did. I did like it. A few notes, this album was 4 years after her debut... and is her 8th album? Good god, what a workhorse. The sound is, I suppose, nothing mind-blowing but if you just like the sound of a lovely voice and a guitar with minor support aside the occasional surprise forward bassline then I'd recommend giving this a listen top to bottom. It helps that the album is only 27 minutes long! I got to a point where I thought "yeah okay it's a little samey, how much longer do I have" and I only had 6 minutes of music to go. With a lot of albums I mention length, because despite this being my favourite medium I can't help but acknowledge that this is something I do daily so a two hour album that doesn't do anything particularly impressive will piss me off. This however was gone just as soon as it came. I was bobbing my head, tapping my foot and enjoying Dolly sing in a voice I've heard many times and still think is lovely, and then it ended, looped back into the first song and I thought "how could I ever complain about that". Despite being about as accessible as can be, is this actually country? If so it either feels very stripped back or toned down to be easily digestible for a mainstream audience otherwise I don't quite understand all the hate because this was pretty palatable. Is it just that it's repetitive or not deemed very intelligent or what, because pop has the same issues but is literally the short hand of "popular" so... Obviously at some point I am aware she transitioned over and did a sort of country pop blended sound that shot her to stardom but this is quite a few albums and years before that. I think this album is nice, I'd be harsher but it does have the song of the same name, Coat Of Many Colors is actually a wonderful little song that feels like a poem that makes me miss my mother even with no sort of "mutual" interaction of a patchwork coat. It just gives that feeling. That song alone raises this from a 3 to a 4. Best songs: Coat of Many Colors Worst songs: N/A Rank compared to everything else so far: 22/26 (below Daydream Nation, above Come Away With Me)

What can I say about this album that hasn't already been said? I've made many notions that recent albums are difficult to review in terms of legacy and influence because we may be yet to see the waves they make, but not this album. It's easy to dismiss genres you don't actively listen to, reducing them into key "features". Like Country music talking about cowboys and small towns, lots of people will say "I don't listen to rap" and reduce it down to things like gang violence and killings. If they have that opinion, give them this album. It addresses these topics from a different perspective, talking about slights and revenge and how it affects the families and children. It talks about money for better or for worse of character. Lyrically and topically this album is fantastic, filled with haunting perspective of living in a rough neighbour and all the things you see that come with the territory. Mixed with random skits or interjections of people talking that both excellently break up the songs and the styles but add a layer of understanding of what people afflicted by the murder and struggles may say and feel. So, I love the things this album addresses. But how does it sound? Phenomenal. Kendrick in the modern say is held on a pedestal but with albums like this you really understand why. If you've never heard someone rap before you could listen to this and still understand purely on feel that the flow is fantastic, you'll bob your head and emote to things because Kendrick really brings it to life. The beats on this album are also fantastic, Money Trees and Poetic Justice instrumentally just sound fantastic and things like m.A.A.d City/Sing About Me are intense, with breaks and changes that turn the speed and style of a song on its side before introducing a fresh flow. This album doesn't have a single moment of weakness. Best songs: Poetic Justice/Sing About Me, I'm Dying of Thirst Worst songs: N/A Rank compared to everything else so far: 2/27 (below Band on the Run, above Maxwell's Urban Hang Suite)

Maybe not so for the average American, but I got this album and thought "I don't know who this is" and then I saw Fairytale of New York and went "oh never mind yes I do". I appreciate that I got this in December, my Christmas has been pretty void of the classic happy tones that would usually get me excited for the season. That being said, immediately I was nodding my head and tapping my foot. The musicianship on this album is excellent, for a band this big the fact it all feels so tightly wound and written is very impressive. Also worth expressing that the mixing is perfect, the way certain instruments take steps forward and back but they never feel like they're drowning each other out. The energy of this album is pretty electric, so much so that as much of as a classic as it is, Fairytale of New York sort of puts me off? I would much rather the album was just breakneck with its pacing from start to finish. Equally I must say, every time I hear it I do think "God his voice is awful" and somehow I still think that, but only on that song? Otherwise I find it pretty charming and endearing, and I think that might be the energy. Slow him down enough and he just sounds like my drunk uncle but when everything else around him has some pace I can't help but smile. I wrote this while listening and then we got around to "Streets of Sorrow" which is slow and yet his voice is totally appropriate and extremely endearing and then he turns on the energy and loses every third syllable? That means it's a creative choice and might not be one I love. I like this album, I don't love it and I see the criticism that the soundscape it creates can get a little samey but ultimately I had no issue listening to this album top to bottom and liking lots of what I heard. The energy is good and fun but I do lose the occasional word. Best songs: If I should fall from Grace with God, Turkish Song of the Damned (really good one two punch) Worst songs: N/A Rank compared to everything else so far: 17/28 (below Boston, above Play)

A great man once said "Whatever you think of KISS, musically or otherwise, no band was more determined to put on a good show". Not an exact quote but very close, and that great man was Geddy Lee of Rush. I've never particularly looked for any music by Kiss minus "I was made for loving you" and the very occasional Love Gun, so I knew what I was expecting and this was more or less as expected. But I ultimately agree with the sentiment, I think all of this album has a very upbeat enjoyable energy, it may not be the creme de la creme of rock music but it doesn't have to be to be enjoyable. I was surprised how much of this album is bass forward, and I very much appreciate it. It stops the album being majorly one note with the guitars and I think if the album of the same year, Boston, had done this here and there it would resonate a touch more with me. That being said, and I imagine this is lost on a lot of people listening to only this and the occasional other hit, but the production of this album is a lot cleaner and more ambitious than the previous raw rock albums that came before it in the discography. As a result, and with another direct comparison to Boston, this album is just a touch too clean for the sound I'd want from KISS I think. The songs are catchy, the riffs are solid but it's just not interesting. Totally serviceable. But where Boston had downs, it had those because it had major ups and interesting ideas. No song on this album is as musically interesting as Foreplay. I also think, as mentioned right at the start, the clean feel means that even more than before you can't quite get the same feel as you would seeing KISS live when I imagine they were at their best. That being said this album was massive, probably because it was clean enough to finally be so but it does feel almost mechanically made to be popular, like there's a metaphorical lack of light in their eyes. A perfect commercial rock album, 30 minutes of slightly sexy but ultimately not too sexy to be marketable music. It sort of gives me very similar feelings to "This Year's Model", just in a different flavour but with all the same criticisms. Especially in the view of, if I were alive in 1976 would I actively listen to this? No, I'd be listening to Rising by Rainbow, 2112 by Rush and Boston by Boston. 1976 is actually a REALLY good year for rock so this album is definitely too safe to leave an impression. Best songs: Beth (Lovely change of pace) Worst songs: N/A Rank compared to everything else so far: 23/29 (below Coat of Many Colours, above Come Away With Me)

This is the first time I've heard the titular unironically outside of memes and honestly that might just go to show the reach the song has and how well it presents its message. This is an outrageously short and tight album, and minus the sudden jump-scare of moaning in the middle this album is incredibly easy to digest and otherwise enjoy. The only issue is I have very little to say. Compared to the other albums that seem otherwise standard this album is a lot tighter and otherwise more enjoyable although that being said those artists aren't Marvin Gaye which certainly sets him aside from most musicians. This album is pretty standard in sound and sexy is concept raised ahead of other albums in the genre of similar quality by Marvin's excellent voice. Best songs: Let's Get It On Worst songs: N/A Rank compared to everything else so far: 21/30 (below Morrison Hotel above Daydream Nation)

I don't think this is the craziest hottest take I've ever thrown out but I wanted to love this album, I'd only listened to it a couple weeks ago and I thought the same then. I really like R.E.M, not my favourite of the 80s/90s bands but extremely important and foundational to my taste so when I threw this on with relatively high expectations based on reviews (both here and on RYM) as well as my other opinions of R.E.M albums I came away wanting... more? It's also worth saying I am sick to death of Everybody Hurts, seriously god knows why it's so beloved it sounds like it was written by a teenager trying too hard. Maybe as an album it's a bit too melancholy for me at this exact moment but it's definitely a bit too casual and slow, even if I love that sort of sound usually it just presents in an uninteresting and uninterested fashion for most of this albums bulk. Songs like Man on the Moon and Nightswimming are excellent, if the whole album were of this energy and calibre I'd be singing praises but the pacing just varies a little too much for a coherent listen. It's still a good album album, if I could be specific I'd say something like 3.7 which tracks with the reviews and lines up with the rating of a 4 but there are maybe 3 R.E.M albums I'd slot above this (one of which isn't even on this list. Reckoning absolutely robbed) but they will get their love down the line. This album is ultimately good but I can't at all agree this was R.E.M at their most influential nor at their best or most interesting. Best songs: Man on the Moon, Nightswimming Worst songs: N/A Rank compared to everything else so far: 17/31 (below Boston, above If I should Fall from Grace with God)

I won't say a massive amount about this album but I will say this; if you asked me to pick two and only two albums by the titan of the industry that is Elton John I would not pick this album. While this seems to be the album that made him "Elton John" where he refined his sound and found his groove and proved he could write timeless classics like Tiny Dancer, the other album chosen for this list is absolutely correct (Goodbye Yellow Brick Road) but a far FAR better showing of Elton would've been Honky Chateau. Hell even "Don't Shoot Me I'm Just the Piano Player", even if being a little longer would've been a better showing. Hell I might even pick Captain Fantastic to better show how bombastic and ambitious a man Elton can be. Alright enough about the actual album choice. This album is solid? Maybe even good but each song is maybe 30 seconds to a minute too long and across 9 songs that adds up. The song writing itself and the sound are absolutely great because of course they are. I am genuinely unsure where I could slot this because I think I actually like this album as a whole but the parts and not doing the sum many favours. But how can I say that when across 9 songs I had to check when my current song was ending maybe 4 times? This is one of those rare instances where maybe less would've been more, because as we will see eventually my favourite Elton John song is like 12 minutes long because it's constantly doing something different whereas many of these songs feel like they could've ended a little earlier each and made the album almost instantly more digestible and cohesive. Best songs: Tiny Dancer, and it's not close. Worst songs: N/A Rank compared to everything else so far: 24/32 (below Let's Get it On, above Daydream Nation)

It's interesting reading reviews on albums while you form opinions. This is my second REM album in very short succession and one of the few REM albums I've not actually hard but I went in maybe with more level expectations after the last one and this? This is much closer to what I want with this band. As I read the reviews saying this was an okay listen I realised I absolutely put this above Automatic, because it's a lot more open and interesting to me, though as I will divulge on below I just think the soundscape of this album is a much better pairing for the voice it presents and the messages it carries. A minute into "You are Everything" and I was smiling at the storytelling, even after Get Up had already warmed me up plenty and then Stand slaps my shoulder and tells me to relax. People describe this album is a lot more of a middle ground between their early indie sound and their formative pop sound and I think this album benefits a lot from that. The topics of this albums are as usual with REM including the political commentary that just benefits SO much from the indie sound over the upscaled and cleaner pop sound, in my opinion. I think even the whiniest most yearning voice works if you know what to play behind it, and not to say Stipe's voice is the whiniest I've ever heard but it's certainly not casual. I would say Automatic has higher peaks, even Orange Crush and Stand, great songs as they are, are not REMs best work, but this album is to me far more consistent or coherent and as such is a much better listening experience. I said before that Automatic is probably a 3.7, if that remains true then this album is probably a 3.9. Only a touch better and again, not scratching the top 3 REM albums but is a lot more in line with what I like. I will revisit this and certain songs will stick with me a lot closer. Best songs: You Are The Everything, Stand Worst songs: N/A Rank compared to everything else so far: 17/33 (Below Boston, above Automatic For the People)

Now this is strange. I've mentioned this album maybe 5 times in the past week, hell I even got a copy of it for Christmas. So I am well aware of this album and I will be blunt; I think it's fantastic. While I can't deny the other comments made are valid, Jeff certainly has a way of "giving it his all" but I just think if you dislike it you should revisit it at a lower point in your life. This album is beautiful, earnest in its writing and performance and Jeff's voice is incredible. Even if it's the slow focus like in Hallelujah he takes you away and you feel every ounce of yearning and sorrow. If I were to ask someone their favourite male singer and they said Jeff Buckley I am nodding my head and saying "I see it", it's well within the argument. I also won't lie or pretend like his passing doesn't add a layer to this album. It was his only full fledged release before his death and while I wasn't even alive before he passed there is always a certain sorrow of "what could have been" with an artist who makes something incredible and then just vanishes from our lives. Usually I would maybe say the album is a little long, but I wouldn't actually cut any songs from this album at all. It might be through the benefit of hindsight knowing he won't ever release another but this album has no misses. It has no weak points, even the quote "worst song" is an 8 and of incredible quality... but there are definite high points. While the cover of Hallelujah sticks out for man the follow up "Lover, You Should've Come Over" takes the cake for me. This album has a number of perfect songs but this is an 11, it has that ethereal feeling and if you hear this at a time in your life when you're young and heartbroken it will never let you go. Best songs: Lover, You Should've Come Over / Grace / Forget Her Worst songs: N/A Rank compared to everything else so far: 3/34 (Below Good Kid Maad City, above Maxwell's Urban Hang Suite)

I remember you was conflicted... 11 days later and I get the only other Kendrick album on the list, how interesting. I said in my previous review that to me Good Kid MAAD City is Kendrick's finest work and I still hold that opinion but that isn't to say this isn't competition. A word I did miss in that previous review was "glorification", Kendrick discusses his growth and time in the music in this album and good lord does he not glorify it. I'm not sure how anyone can listen to this and give it a 1 unless they're REALLY trying to hate, like you're entirely bypassing the point of the album and the situations it presents. The world building, progression of the album's themes and even just the sound of the album are all incredibly interesting. I described a previous album in this list as "sitting at a bar listening to someone sing", but this feels like I'm say in a theatre watching a show of a musician and a man grow into himself. Beyond the incredible story telling, this album SOUNDS great, very obvious on its jazz influences with some incredible synth bass if there were no lyrics I'd still listen to a decent chunk of this. But there are lyrics, and I've seen some criticism of those too but within the world Kendrick is crafting nothing feels amiss to me. Kendrick himself, man what a talent. Songs like "u" remind you that he can really present himself, I've always heard him be so confident and yet at points on this album he feels small, he feels desperate. The album is a touch long, I said Good Kid was a little long for my feel and this album is even longer but much like a stage play I feel it justifies the length and while I wouldn't be able to remove much without affecting the story or message of the album I do think it makes the album a little hard to best take in. There is also a tiny dip in quality in the second half... third quarter? Anyway the last few songs pick it back up again and Mortal Man is an all timer. Best songs: King Kunta, Alright, Mortal Man Worst songs: N/A Rank compared to everything else so far: 4/35 (below Grace, above Maxwell's Urban Hang Suite)

So the list has been pretty locked in on giving me actual art I see. This is probably the major album so far that has made me realise I MUST listen to the album for the review, familiar or not, because my opinion of this album is vastly greater than when I last listened to it. Inherently I could never dislike Bob Dylan, a musician's musician who inspired some of my favourite people and yet he still holds. I also was going to hold the opinion of "this came out in 1975, and I know albums that came out this year that I adore and it will never hold a flame to them." and yet. This probably my favourite Dylan album, of the 5 or so I've heard, and while I will elaborate on why as we go because they literally are all on this list but this one is my frontrunner because it's consistent in quality enough that the great songs do not throw off the pace of the whole album. Maybe a minor loss not ending on "Shelter from the Storm" but no song on this album is unjustified or drowned out when placed against Tangled Up In Blue which is definitely an all timer, and one of Dylan's best. I think for most people maybe Jack of Hearts should be a verse shorter but the song is catchy enough and the story is so endearing it does lots for me. It may be from significant practise but Dylan has an incredible manner of story telling, truly if you don't like the music but you listen to the structure and story I think you could still come away from this album with some positive thoughts. The music in and of itself is some of his best, in an era where creativity within rock was peaking (in my opinion) a pulled back folk album should not present itself so strongly but that's just a testament to the quality. This all makes sense as well as of his big 4/5 albums this is the latest of them and thus is the most seasoned and that is nothing but beneficial. Best songs: Tangled Up in Blue, Shelter from the Storm Worst songs: N/A Rank compared to everything else so far: 9/36 (below Superfly, above Tusk)

I've shown a lot of bias on some of these albums, but is absolutely where my bias will show most. I adore Rush, my Dad adores Rush and while neither of our favourite albums are on this list, I am VERY familiar with the albums that are. From the outside looking in this album may not be anything special within the era of prog rock it was in and as long songs go I love it but it's certainly no Dogs or Close to the Edge at least creatively, but the message is what really stands out. "A single standing against the masses, no we're not going to do what you want." is how Neil himself described it and while there are many stories of similar value (like the Fountain Head) but it's important because that's what Rush were dealing with at the time. They were saying no they won't go mainstream, no they don't care if their dream dies here as long as they create what they want. The album before this sold very badly, on the account that it was and still is extremely strange even from a prog perspective and thus it was insanely hard to market. But this time around the message identified. The first side of the album is split into 5 pieces and all of them are excellent alone but certainly are better as the sum of its parts and it was one of the first long songs that made me realise as a story telling mechanic I love progressive rock, this and Dream Theatre. The way it flows is incredible, I've seen covers of this song live and even then you fall into it and before you realise it's slowing down and you're two parts in. It's such an experience and an incredible statement from one of the best three piece bands of all time and an insane thing for a group of 23/24 year olds to write. So that's the first half and... 20 minutes of the full 38. So how is the second side? May my father forgive me but I do not love Tears, as slow songs go Rush had and continued to write far more interesting music. For a band like Rush it's just too basic, too light. Every other song is great, especially Something for Nothing as a straight rock song but Twilight Zone and Passage to Bangkok have very unique riffs and sounds that help stand for themselves. This album could have easily been bloated but whenever I do a full listen through I feel like I blink and the second half passes me by as I enjoy it all the while. I will say this is a lot of love but if you see the below rating and are confused. As far as Rush goes, there are probably 4 albums off the top of my head I'd put above this and as for their prog work there are at least two. Best songs: 2112, Something for Nothing Worst songs: N/A Rank compared to everything else so far: 17/37 (below Franz Ferdinand, above Heavy Weather)

Now this is a weird, eclectic album. Goth punk... surf? To be brutally honest in researching the group two things surprised me; one that they didn't acknowledge anything to do with Misfits until far later and two, they were actually really popular? I would've expected this to be a pretty niche underground movement but I am extremely surprised to see they opened for The Police? Now those are shows I would've loved to see. But as described above this album is pretty strange. Extremely unique in presentation, murky in mixing but surprisingly light in tone and theme. Unfortunately I do think the sound got a touch samey as it went, and the production was pretty charming to start with but wading through a swamp certainly doesn't get more fun as you go. It's also unfortunate that I've heard of Misfits before, if it was the other way around I think I could grow to love both but the direct comparison currently hurts The Cramps. I think the first few songs are pretty good, and if enjoyed with breaks I think you could get a lot out of this album but for a full top to bottom experience it just doesn't do enough. I feel like the gimmick and novelty of the album were set to be short lived but it does link pretty wonderfully with the 70s/80s quirky horror vibe of things like the Rocky Horror Picture Show, I'll probably revisit it every Halloween season because as I said, in small doses I could see this being pretty favourable. Best songs: I Was a Teenage Werewolf Worst songs: N/A Rank compared to everything else so far: 33/38 (below Chris, above Come Away With Me)

This is an album I've surprisingly never heard but I've seen the cover of about a million times. I had a few reservations, namely will this live up to its name despite being probably one of the top 10 most iconic/influential albums of all time especially considering I hold no nostalgia for it. Also, is Vicious as bad as everyone says? On the former, yes I actually quite enjoyed this album. Pretty concise, the energy is very enjoyable and pretty electric. Also a real point to look back on, it doesn't surprise me that this was seen as pretty revolutionary and influential and to be honest I hear bits of other bands in this record and that's a real statement to how influential it has been, I especially get strokes of Sonic Youth and The Clash, both of which I consider very good things. Rotten's voice is pretty unimpressive but is heavily carried by the energy of the music and his half talking which makes it seem almost snide really translates to the benefit of the album. In terms of what it actually means, I can also see why this caused a stir in 77' and while I've read this was almost manufactured and not particular authentic at that point you have to respect it for not only being very good at what it aimed to do but also for not overstaying its welcome. I did not realise this was a one and done group, I just thought they'd fall off drastically after but apparently not. Malcolm McLaren is probably the most unsung hero, if he even is unsung in this context. But even beyond his work as their manager, his ties with Vivienne meaning that not only did they change the musician direction of the nation and punk in general but they seamlessly also created the classic fashion for the movement? I mean that is genius level marketing. I'd say this album certainly holds up, definitely still has a couple headbanging tunes to this day and if reviewed through the right lens I don't think I could fault someone considering this among the most influential albums of all time not just within music but within the whole nation of England. Definitely worth noting how many things this album did to push the envelope or otherwise did that was new. I imagine most of the pearl clutching nation was shook by "Anarchy in the UK" and the four or so naughty words on here. Oh how times have changed. Best songs: God Save the Queen, Holidays in the Sun Worst songs: N/A Rank compared to everything else so far: 15/39 (below LA Woman, above The Black Saint and the Sinner Lady)

I'm very familiar with Public Enemy, and I look forward to when I get "It Takes a Nation" because I tell you what between that album and this one Public Enemy where a head of the fucking game. The message of much of this album is VERY clear in the song names and the album name itself. It's angry, it feels like a tornado rolling down your street talking about oppression and history and it's great top to bottom. To be honest you'd have to be blind to ignore the statements made on this album, looking at you some of the 1 star reviews. Hell if you think this is bad because it's rap just listen to the first interlude and digest that a little, see how it makes you feel. Some of these messages are still sadly relevant today, some 30 years on. Especially the messages of being marginalised and how black men should be helping each other out when they're in the same situations. There are some excellent samples and hooks in here especially, Public Enemy always interested me because of these and it's heavy inclusion of rock riffs and there are bits of this on the album but it does leave me wanting more. But the music itself? Really good, maybe a touch weaker than the album that it followed (It Takes a Nation) but Chuck continues to show that he is a fantastic rapper with some of the most digestible flow in the game. I do find it a little hard to take Flava seriously though, especially between such politically charged and otherwise very intelligent messaging. Perhaps a touch long too but I won't criticise it because this album has things to say that needed saying then and honestly might need repeating today. Eternally relevant, this album is really good and VERY justified to be on this list in terms of influence (musically and socially) and quality. Best songs: 911 is a Joke, Burn Hollywood Burn, Fight the Power Worst songs: N/A Rank compared to everything else so far: 22/40 (below Boston, above Green)

Shocking to say I've not heard this until today. It's been on my "must listen" list for years, and I do mean actual years, and I'm both a touch sad and a little thankful I didn't. There's no guarantee two years ago I would've felt the way I do now about this album; sufficed to say I love it. One song in I did check the genre and was surprised to see singer/songwriter. I know it is by definition but the influences of jazz and soul give a very unique and thoroughly enjoyable sound. It's pretty gentle otherwise, some songs are just a voice over a piano and even that has a very clear beauty to it. I'm unsure if I want to call this the cream of the crop of the genre, I still think the first half of Tracy Chapman would've taken that if the album were more consistent but this? This is consistent. This is one of the first in a while where I was listening as I wrote and I thought "so where are we in the album" and I'm in the final throes of an album not afraid to lay it bare and play some of the most beautiful and tender music you'll ever hear. Seriously bits of this make me feel like I'm listening to Fleetwood Mac or Steely Dan but with little twists of soul, and this came out in 71! Before either band was really doing what they would be most famous for (aware Fleetwood Mac were around at the time but this was 4 years before the second self titled when they really became famous). Between songs that continue to further the legacy (can't believe she wrote You Make Me Feel Like a Natural Woman) and the fact this album was deeply important for the generation of woman in the singer/songwriter genre that would follow this album is well deserving to be on this list. It's also one of the best albums I've heard so far. While it lacks a bit of flair that a lot of other albums have it more than makes up for it with some of the most tightly written songs maybe ever produced by a singer/songwriter. Best songs: I Feel the Earth Move, It's Too Late Worst songs: N/A Rank compared to everything else so far: 5/41 (below To Pimp a Butterfly, above Maxwell's Urban Hang Suite)

Well hello Mr Zappa. I'm lucky that recently a friend of mine really wanted to listen to Frank Zappa because another friend of ours loves him and neither I nor my first friend have ever given him any attention. From those other albums I knew to expect two things, really excellent guitar work and absolute insanity for the sake of creation, and you know what? I'm a fan. Seriously though, the fact that songs like "Who Are the Brain Police?" end on what sounds like a kazoo but lead into "Go Cry on Somebody Else's Shoulder" which no longer sounds like the same genre never mind the same band. I love it, I love an album that is just weird. It does get a lot of appreciation from me considering this album had a direct influence on McCartney leading to the creation of Sgt Peppers which, when we get there, will be in my top 10 at the end of this whole exercise probably. Evidently this album being critical and also being a concept album ended up being incredibly important for the music industry more for what it led to than what it was. On the thought that it's critical, it's hard to review this in a sort of retrospective lens when I understand this was critical of both sides of the coin within 60s culture. While plenty of reviews are saying it's too try hard for that I think that's what makes it important. Not everyone has to be but some people SHOULD be judgemental and critical, demand and expect more. But between songs that there are actual just straight rock songs that prove that if they want to they can easily play it with the best of them. It may seem like I flip on this point of being critical and being original or otherwise creative, but I think timing is incredibly important, and how it's presented is equally important. I don't quite see how this album is being labelled as aggressive and cynical while simultaneously being dismissed by some as satirical and therefore not serious. Perhaps an interesting question of if the messenger affects the message. I think I appreciate the album and what it was trying to do more than I distinctly like it, especially know both Zappa himself and this group would eventually put together more substantial and coherent records but this is not bad at all, certainly strange but important. Best songs: Anyway The Wind Blows, Trouble Every Day Worst songs: N/A Rank compared to everything else so far: 28/42 (below Play, above Ellington at Newport)

I've been saying for a little bit that I'll need to redo some of my ratings and redo bits of my list because I've been rating too high, and this is the album lots of others will be benchmarked against going forward. So, one of my hotter takes. I like this album a lot but I just can't bring myself to love it. I think a few songs do just too little to justify being here which is a shame because well... it's Revolver! I love the Beatles, I really do. I think this album has their second best album closer in Tomorrow Never Knowns and one of Paul's and John's best moments in their whole careers in "Here, There and Everywhere" and "I'm Only Sleeping" respectively, both of which are top 10 Beatles songs. Elanor Rigby is beautiful and I've heard a number of times that people hear this when they were kids and it blew them away, a pop song about lonely people and death and things pop just usually wasn't about in that time, all over a very unique soundscape. Good Day Sunshine and For No One are tracks that still found great, and even if very shallow and kiddy Yellow Submarine is still damn catchy. I seriously adore half of this album and hold it in very very high regard but the other half just doesn't do anything for me, and never has. In terms of meaning to me and legacy I am deeply tempted to give this a 5 but no, I think this will be the yardstick and probably the highest rated 4 I'll give. Until I hear it again in two years and finally love it like everyone else does, anyway. I will sing the praises of many many many Beatles songs on this list, it's just a shame this was the first I was given as it's my take that definitely goes against the grain. But I'd always say this is valid for this list and you should give it a list. Everyone else gets more from this than I do, and that's okay. Best songs: Here, There and Everywhere / I'm Only Sleeping Worst songs: N/A Rank compared to everything else so far: 16/43 (below LA Woman, above Nevermind the Bollocks)