1001 Albums Summary

*I lost all the notes I wrote for nearly half the album... I'm totally mad. System went: [Couple of sentences per track] [Favourite Tracks] [Overall impression] [Inspirations/Visuals/Reminds me of...] Skip the impression yo... Overall, it's a very fun album, blending genres like rock/metal/psychedelic/ rock and roll/ pop for their sound. Favourite track is Tooting Bec Wreck for it's chaotic mix of a little bit of everything. These guys are considered Glam Metal and apparently became one of the biggest inspirations for later bands in that genre like Guns and Roses, Skid Row and Poison (according to wikipedia.) They were also Finnish! Front man Michael Monroe's voice totally fooled me! Tooting Bec Wreck reminded me of Earthworm Jim with it's farm animals and grimey reverbed bass tone introducing the song. You can imagine the band's total lean into childish fun on stage while they performed this.

This is one of those rare albums that seems to tell a full story from first track to last, one that is deeply relatable to those who grew up the same way the character in the story did. Presumably, Dolly herself is the character, which would make sense, considering it conveys all the pain and joy of those moments through her cadence perfectly. While it's got the distinctive country twang to it's guitar pieces, the bass on some tracks like Early Morning Breeze have real character and I wonder if "Country Bass" is actually a thing. Perhaps it's more to do with the musical composition and not the lyrics, but the album brims with optimism on every track. It makes me think almost exclusively of that typical American Deep South visuals of small houses and big porches, stretches of dry dusty fields mixed with sand and the simple living people that reside there. "Here I am" easily my most favourite song on the album. It makes me think of my love, Sophie x

Listened to a lot of Fleetwood Mac, but noticed I don't recognise a single track on this album! Clearly not listened to a lot of Fleetwood Mac. Really somber opening with "Over & Over", straight into a lively lead bass track that has a fun energy to the delivery of the lyrics in The Ledge. Already, this feels like a departure from the typical Fleetwood Mac album of prominent lyrics back by light - but still serious - instrumental ensemble. "What makes you think I'm the One" sounds like it could have been a Queen song, with Lindsey Buckingham really sounding like Freddie in his delivery of the line that is the same as the song's title; that same punchy attitude that Freddie would have used to match the question being asked. "It's not that Funny" reminds me more of David Bowie, with the fuzzy guitar songs and the subtly angry lyrics. It's clear that, around this time, Fleetwood Mac were doing a lot to experiment with their sound, which is always encouraged. The tone of the album as a whole seems to flip backwards and forwards from being quite melodramatic to playfully aggressive; "That's all for Everyone" before this track dreamily delivered by Buckingham. "Sisters of the Moon" at the albums halfway line has near-Pink Floyd epicness with it's closing guitar solo; easily one of my favourite tracks so far. "Brown Eyes" brings everything down again with a steady bassline, dreamy lyrics and soft drums; another favourite. Appreciated how different this was to Rumors (1977) before it. Despite this, at 20 tracks long, this felt like a drag towards the end, which is a shame, considering it's most 'iconic track', "Tusk", is second from the end.

Never listened to The Beach Boys before, so have nothing to compare it to with this album. It's different from anything I've ever listened to before, with the opening track "Don't go near The Water" being an almost... Psychedelic... Country feel? Following up, "Long Promised Road" is more classic Rock n Roll, but still twists into something less conventional with the synth/keyboard sound around it's half way mark. Already, after only two tracks, I like this album for it's pure novelty factor, blending various sounds and genres to make for something that feels both experimental and grounded in conventions. An album like this wouldn't be complete without a Ballad like "Disney Girls", which has many of the conventions of a song like this: slow drums, rising and falling guitars and soft supporting bassline all dreamily pulled along by the lyrics. "Student Demonstration Time" is a huge change up straight after Disney Girls and I really liked it. [I read other reviews regarding this song and was shocked to find it was widely hated, understanding that the sirens and lyrics themselves is what has caused the hate. As for it's sound, I did enjoy it, but it's lyrics and the political view's of Mike Love are easy to condemn.] Another album that has a lot of twist and turns in it's tone, I really enjoyed this one still. A further reflection: It is more than possible that, even though I have listened to lots of different music across the modern era, I still do not know enough to pick out the bad from the good, whether that be individual tracks or whole albums. Still, I continue to listen with optimism with each new album.

According to the YouTube comments for "Gangsters" (the first track on this Deluxe version here on YouTube), this album and band is strictly Ska, which I generally have little knowledge of, but not enough previous experience to name another grou[. From the outset, it seemingly blends Jazz with Reggae. "A message to Rudy" is a classic track, heard many times of my life. It has a real comfortable and pure vibe, with the lyrics delivering a positive message to younger generations. "Do the Dog" has a punk feel to it, in it's playfully aggressive delivery and overall political tone. Speaking on this note, a strong political vein running through The Specials' music was the only real thing I knew about them before listening to this album. "Concrete Jungle" was the first track on this whole musical journey on the website that didn't hit my ear right on the first play, though the Chorus is a lot of fun. Still, the song's social commentary doesn't come off heavy-handed. "Too Hot" has a more relaxed, almost UB40, sort of vibe to it which is a big change against the rest of the tracks. Interesting to learn that "Monkey Man" is a cover track from Toots & The Maytals, who are themselves a Ska band from the '60s. "Too much too young" is one of those songs that burned itself upon the zeitgeist of 70s/80s and is recognised by everyone and for good reason. Overall, this album feels like a bit more of an acquired taste, but that may be because it feels distinctly as a product of it's time; I was a child of the 90s, but my Dad identified as a Mod growing up, so this album is not entirely misunderstood by me.

Before listening, I had no prior experience or knowledge of Lou Reed as an artist. Straight in with "Vicious", this has a classic rock and roll vibe, that distinct muffled twang of a guitar going back to the 50s. A strong start, I took to this song right away. Reed's near-conversational singing hits the mark in line with the vibe of the lyrics. "Andy's Chest" makes it crystal where Beck got his inspiration from, as the track sounds like he could have performed it himself. The thumping bass, droning guitar and absurdist lyrics make them indistinguishable. "Walk on the Wild Side" I instantly recognised the opening bassline, not knowing that this song belonged to Reed. The lyrics were so much more explicit than I realised for a song so popular. "Perfect Day" and "Satellite of Love" both had incredible feel good energy to them, especially Satellite with it's uplifting backing brass. "New York Telephone Conversation" absurdity has playful childish energy to it, backed by what I describe as a Primary Teacher's "Music Time" harmony on the Piano. Really fun. Overall, I really liked this album. It didn't take itself too seriously, both lyrically and musically. That's something that we could all do with right now as we get swept away in the constant need for looking rich and successful by any means necessary.

*Self-Note before listening*: Recently listened to Kwesiisbored on YouTube, who listens to albums for the first time and gives thoughts. One thing I noticed about Kwesi that I want to carry forward for my own reviews and thoughts is looking deeper into the lyric meanings and how implied meanings can change due to how each lyric is delivered. "Sat in your lap" is a hell of a way to start album, with it's erratic structure and lyrics and Kate's softly aggressive delivery of the refrain. The lyrics resonated deeply; someone who feels like they don't belong in the Rat-Raced western world. "There goes a Tenner" was a little more on the nose with what it was about, but also eased me into the relative 'weirdness' of Kate Bush; I feel as though Bjork could have been influenced by her with the jarring lyrics and disjointed harmonies, making for something that asks you to meet it half way in order to fully appreciate it; your efforts more than often rewarded. It's hard to find music that achieves the same in this day and age. "Pull out the Pin" quickly became my favourite with it's twangy bassline and urgent lyrics, you feel that 'I love life' line deeply as if it is it's own instrument. Like Tenner, "Dreaming" I loved just because Bush appears to be pushing her British accent to the max; love it, as a fellow Brit. The wind instruments and the overall medieval/historic feel to "Night of the Swallow" also made me fall in love. Possibly playing heavy bias now in my perception of this album, I learnt that this was Kate's first fully independently produced album, leading it to be her most experimental and expressive. I love encouraging this in anyone and everyone, so my rose shades might be on here. "All the Love" I also never want to forget. Overall, I really enjoyed this album. The idea of an artist cementing her style, producing under conditions that made her more comfortable and happy, elevates this one for me. Looking forward to hearing more from her.

I don't think this album deserves as much hate as its been getting in the reviews here, though I appreciate that music without lyrics can be looked down upon, especially in this genre with many considering it "not real music". Looking at the album cover felt like a big part of the experience with this one, as you can imagine a plethora of action/urban scenarios unfolding to this. Digging up the commentary from the 1001 Albums book for this, it states that the albums inclusion is largely because of it's attempt to create something new by bringing in various genres such as dub, acid jazz and disco beats; not everyone understands experimental music, regardless of whether traditional instruments or technology is used. Admittedly, the album shines brightest when lyrics are introduced. "Shellback" became an instant favourite, with lyrics delivered in a seductive voice and backed by heavy acid beats which feel very reminiscent of the early 2000s where this album was released. "The Rough and the Quick" is probably one of the better sexually explicit songs I've heard, with most being a rapper parading their self-inflated egos around for 4+ minutes. The scratchy vinyl sounds, repetitive bass and guitar really delivers the spy/heist visualization. "I stole your car" had great and playful energy and sits almost starkly amongst all other tracks on the album. "Belladonna" was simply gorgeous, with it's dreamy beats and xylophone. Overall, this is another album I enjoyed, but can understand where it's criticisms come from, as this genre is notorious for often repeating 1-2 fixed sounds throughout a track overlaid on a mix of harmonies that can come off simply as a garbled mess of noise.

"Plainsong" took my breath away immediately, what an incredible way to start an album. Simply gorgeous. "Pictures of You" continues to carry the melancholic vibe of the album, which matches what I've read about this album being popular among the goth community. "Closedown", much like the two songs before it, have these almost 'expositional startups' to really se the mood and let the visuals come to you before Smith begins to sing and I absolutely love it. The mood takes a huge upswing with "Lovesong". The lyrics are straight forward, expressing in simple terms how that perfect person makes you feel. The plucky strings of "Lullaby" are really unique, giving the song a cautiously mysterious feel, matching it's ominous 'spiderman'. "Fascination Streets" swaggering bass gives the whole track attitude; this album is full of twists and turns I didn't expect. Combined with the lyrics, the track takes on this air of 'conquering the night' and having a potentially life changing experience. Now with "Prayers for Rain", it seems the vibe of the album generally has shifted, potentially telling more of a story from track to track than I first realised. The strong basslines continue into "Disintegration", another track that just teems with mystery and emotion like the rest of the album. Possibly the best album I've heard so far on this music journey; need to look further into this band.

I've listened to this album many times before, but have never given thoughts to it and each of its track. This won't be the only album like it going forward. This is the album Nirvana is known for and holds some of the most iconic Grunge songs in all of history. "Smells like Teen Spirit" has all the attitude in its lyrics, guitars, thrashy drums and moody bass to meet the title of the song. It's a classic for a reason. "In Bloom" is a great follow, with a guitar riff that has always hit me like a truck ever since I first listened to it. The lyrics, although catchy and fun to an extent, are scathing in the most subtle way. "Come as you are" is my favourite track, with easily the most iconic guitar riffs on the entire album; they inspired a generation to pick up the guitar and try to replicate the opening riff the world over. The lyrics feel personal despite being commentary on society as a whole, with Kurt's voice feeling both friendly and hostile in the right places. As someone who often feels like they don't fit in, the track feels cathartic. "Breed" has big energy with it's opening drums and bass. It never feels to make me think of the Tony Hawk's Pro Skater games, with Kurt's voice even slaloming around the the chorus. Despite it's vibe intentionally targeting teens/young adults, it's another song that manages to deliver quite serious social commentary under the hood. "Lithium" has a guitar riff I've always found real soothing, juxtaposed then by it's heavy yet upbeat pre-chorus and sinister chorus. Another instant classic track, Lithium stands as another favourite. It was shocking to learn the truth about "Polly" and Gerald Friend, considering the relatively nonchalant delivery of the lyrics by Kurt and how the song is written through the eyes of the abuser. There is nothing flash this song, with a single guitar guiding the lyrics. Another juxtaposition with the severe cruelty in the subject matter met with the rather "ordinary" song. It does an incredible and subtle job of delivering how things of this nature happen without any bravado or emotion by such a monster. The energy is brought straight back to ripping around the street on a skateboard with "Territorial Pissings", especially in it's thrashy chorus and on-brand lyrics. Kurt's Tour de Force in commenting on society in a way that's angsty and fun that slips under the radar of it's target audience continues with "Drain You", commenting on being in a relationship with a narcissistic person. Kurt's voice is more 'sing-song' in this track, which (intentionally or not) really hints to how flippantly some people enter and leave relationships. "Lounge Act" hooks you in with it's moody bass right from the get go. Despite it's rather personal lyrics, it's subject is one that is deeply relatable to anyone of any age. Kurt's screams perfectly reflect the emotion and frustration. This continues into the following track "Stay Away". "On a Plain" has a great chorus that, taken at face value, has maybe the first really positive message of loving yourself more than someone else can, but it's quickly swallowed in shadow by "Something in the Way", it's absurdist lyrics and dark tone leading to many interpretations of depression and hitting rock bottom. The final hidden track (titled "Endless, Nameless" on YouTube) has some really distinctive sounds, like none I've heard made with a guitar before. Despite it possibly being nothing more than experimentation or "messing around", it was interesting to have an insight into their process. It was great to sit down with this album and listen with intention for the first time, unearthing some of the deeper meanings contained within the lyrics. Many people have called this album overrated and, honestly, anything of high praise will always draw these people to it. However, it's impact on music can truly be described as Avant Garde, written by someone who was both brilliant and troubled, like most of the world's most inspirational people.

Listened to this before, as part of a complete retrospective of Ozzy's work after his passing (from Sabbath to Solo work). It will be, like Nevermind before it, fun to formally give thoughts to something I already know. Right from the get go, the self-titled song on the self-titled album, "Black Sabbath" tells us everything we need to know about the band before embarking on the journey through their discography: Guitars tinged with evil (as I understand it, the first implementation of 'The Devils Chord'; a G7) and Ozzy's foreboding voice over these plodding guitar chords. Mentions of Satan and Dark figures, his screams and pleas to god create for a wicked visualisation. The harmonicas at the start of "The Wizard" are a unique, fun addition and grab your attention immediately, followed by more of Iommi's iconic heavy guitar chords. Said to be inspired by Gandalf from Lord of the Rings, the track is nothing more than a fun hat tip in musical form; other reviewers are way too serious. "Behind the Wall of Sleep" isn't particularly remarkable in terms of lyrics and delivers more of the same in Iommi's telltale guitar sound. Compared to "N.I.B", it feels like unnecessary filler. From the reverbed guitars, Ozzy's swaying sound and the tambourine make Nativity in Black a truly unique song. Combined with the lyrics, told from the perspective of Lucifer himself, it paints epic pictures in the minds eye. As a huge fan of the bass guitar, "Evil Woman" is instantly elevated to one of my favourites. I also love the juxtaposition of the lyric "Evil Woman, don't you play your games with me" delivered in a tone I can only describe as 'festive', as if sang like a Christmas classic. "Warning" feels like a compilation of experimentation or "best bits" of Iommi's messing around with the guitar, which has it's place for guitar enthusiasts who are players themselves or fans of artists like Steve Vai. It has it's place, but didn't land with me. Finally, with "Wicked World", the simple yet strong lyrics are delivered flavorfully by Ozzy in a fuzzy, almost megaphone like sound. Unfortunately, more of Toni's showing off doesn't allow it to reach the heights that it could have compared to how the track starts. Stated by many as the first ever Heavy Metal album, it is undeniable the impact the album has had, breaking new ground for music as a whole. For that alone, it deserves recognition.

Never heard of The Adverts prior to this album; having no expectations before listening has always made this project a hell of a lot more fun. This may be the first punk rock artist on the journey so far. Always struggled to grasp the lyrics with Punk Rock and, with the first song 'One Chord Wonders', it's no different. 'Bored Teenagers' is slightly better on that front, but I got lost in the bass too much to care. As the album progressed, I got further lost in the instruments and how contrasted and distinct the "punk sound" is from other genres of rock that it didn't matter if it's lead singer spoke English at all; I just didn't care about, what I assume to be, some anti-establishment/ disenfranchised youth crap. For it's sinister droning bassline alone, "On the Roof" became an instant favourite. Throughout the album, there are a number of tracks that have great basslines, which single handedly kept my attention through the album; tracks like "No time to be 21" and "Safety in Numbers". Despite this, the composition at the start of "We Who Wait" grabbed me immediately, then I was lost again as soon as the lead singer came in. Between a lack of musical vocabulary and being unable to understand the lead singer on my part, as well as a lack of distinction between songs, I felt there wasn't enough here to break down each individual track. Despite this, I did enjoy my time with this album and possibly just need to be exposed to more Punk Rock.

Apart from the title-track, I had no prior experience of Don McLean. Similarly, my experience with Folk Rock is limited at best. The title-track is uplifting, with lyrics and harmonies that have always got people singing together. Love it or hate it, anyone can appreciate the power of music that, more often than not, brings people closer together. The next two tracks "Till Tomorrow" and "Vincent" take on a much more somber tone, with McLean's voice and a guitar making up the lion's share of the song. After reading the review from May 2021 on here about "people kill themselves because they are in pain, not to make a point", I listened to "Vincent" painstakingly to hear what that reviewer must of. No, it wasn't there; McLean's tribute to Vincent Van Gogh was touching, how he recognised the artist's mental struggle and pointed out that all the love and recognition the artist deserved was given to him too late. Given the way the album starts, I was surprised that it took so long for the album to reach an upbeat vibe again with "Everybody Loves Me, Baby", which was a very fun little track with it's jingly pianos and cowbells. From here, it swung down into seriousness again. Despite this, "Sister Fatima" and "Babylon" were still beautiful tracks. Overall, this album had some really beautiful songs, McLean has a great voice which felt almost wasted on so many moody songs. I enjoyed it and would love to hear more from him.

I find myself incapable of breaking down each track today, which is a shame because this album is incredible. I was a fan of what little I had heard of Morissette's work for years, but to spend intentional time with this album has further solidified that. Sometimes cited as the "teen of queen angst", it's a notion I agree with. This album feels like it is indicative of the 90s zeitgeist, a generation of people breaking away from their traditional 'boomer' parents and rigid way of thinking to experience something better, something that represented more freedom. Although considered alternative rock, it feels like there are shades of grunge in here too, carried beautifully by her voice throughout each track. "Ironic" has been picking me up for years, but I give that same love now to "Forgiven" and "Right through You". Amazing album, I want to listen to more Alanis Morissette. ******************************************************************************* With this album and the reviews of it, I've also realised that people that review albums negatively on this site never have anything to constructive to say. It's just rude and sometimes even hateful. Confusing, to show real distain for someone 95% of us have or will never even meet and get to know as people.

Incredibly hype to see this album appear for me today. The first - hopefully of many - reggae albums on this journey. Straight away, my heart melts at the thump of that bass in "Lively up yourself", with uplifting lyrics delivered in Marley's passion but easy going voice. The lyrics themselves, though simple, speak purely to living positively and spreading that joy to others. "No Woman, no Cry" continues this message from the opposite side of things, encouraging others to not dwell on the past, remember things fondly and move forward, prepared for the future. The almost 'mysterious' sounding compilation at the beginning of "Them Belly Full" and "Rebel Music" was a real novel experience, especially with the use of the harmonicas; only reggae could be so relaxed and deliver such a serious message. The album arguably reaches it's political peak with the title-track, with references to 'babylon', a Rastafarian word used to describe places of oppression. The novelty continues again into "Bend Down Low", with it's croaky guitars and cowbells, leading into some of the smoothest basslines I've ever heard in "Talkin' Blues". To complete the album, a call to arms to protect the planet in the beautiful "Revolution". I enjoyed my time a lot with this album, although a lot of the songs to my untrained ear sound very similar. Hopefully with more time, I'll be able to distinguish each track from each other further, beyond just their lyrics.

Yo, this was sick! It constantly defied my expectations of what it could be from track to track. Virtually no swearing, heartfelt subject matters, novelty in sound with record scratching battling harmonicas, twangy basslines, multiple vocals all complimenting each other. It was the cleanest, most light-hearted and fun I've even experienced from Hip-Hop. Speech is a real cool guy.

Never heard of Joan Baez before this. This is what the project is all about! Similarly, I don't think I had had much exposure to 'Folk Music'. This was a pleasant surprise, with Baez's beautiful haunting voice and equally haunting acoustic guitar. I particularly loved "East Virginia" and Baez's cover of "House of the Rising Sun", both tracks somber and moody; these vibes, I realise, are near integral to my music taste. My only reservation with this album is the lack of variation, same were my thoughts on Don McLean's American Pie. Nearing to the albums close, tracks begin to blur together, though I appreciate that in 1960 American Folk was going through a revival period.

I've always been a fan of the whimsical British pop music of the 80s, at odds with being serious and light-hearted. Whilst this type of music hasn't aged well with everybody and is placed firmly in camp cliche, it should never be forgotten for it's ability to get people dancing in discos and living rooms for decades. "Poison Arrow" is a classic that I remember from childhood, with it's funky bass, synthesized keyboards and snappy percussion making for something really fun to dance and sing along to. "Tears are not enough", with it's lyrics and bassline, have a real swaggering feel; I enjoyed it. "The Look of Love (Part One)" will never not be fun, as something I have drunkenly danced to for many-a wedding and party. A common theme among my reviews is the use of the bass, which has been used to incredible effect throughout this album to give so many of these songs their true weight. "Date Stamp" really being a great example of a bassline carrying it's song. Regardless of it's criticisms (and maybe my musical ignorance), I enjoyed this album. It was a bigger part of childhood than first realised, which is a time when we experience the world with so much more acceptance and optimism and joy than we do as adults. All of us, I can easily imagine, have at least one thing in life we love dearly that is considered awful and unpalatable by so many others. We don't care. ******************************************************************************* I hate to admit that the reviews on this one are pulling at me, with the criticism for many being really quite scathing, even as far as to call it "utterly shit" or "unlistenable". It, once again, brings into question my ability to sift the good music from the bad, as I enjoyed listening to this regardless. From further digging, the reason for it's hate is the use of FM Synthesizers and other computer technology to sharpen sound and 'replace instruments and musicianship'. As someone born in the early 90s, the use of tech was already well established, but I can imagine that if I was someone who witnessed the rise of this type of music in real time it would be difficult not to feel a form of distain for it, as I feel this way with the rise of certain genres and systems within video games today for similar reasons: some synthetic, 'striving for perfection' of sound. It removes what we love about creative work in the first place: the emotion in it, only possible when created manually by humans.