1001 Albums Summary

Highly influential pop star turned crooner, david Bowie looked up to him. A world away from his avant garde concept song cycles in his later career. A really distinctive voice

Clearly a great rap album, but I couldn’t fully identify a clear concept lyrically despite its comic art work and intro track.

Their second of three 1969 albums, 29 minutes of economic rockabilly. It just feels right and this band could’ve been the next biggest band of them all. Fabulous music

An album supposedly dwarfed by a historic rock anthem in ‘freebird’, it confounds expectations of a dumb southern rock record with some varied approaches to playing and writing. Impressive band

Essentially a Chic album with a different set of vocalists. Rare for a late 70s pop album to have four top notch hit singles on it. You can hear the sound Diana Ross would develop with Nile and Bernard the following year. One of the best disco albums of the era.

Slightly groovier than I expected and clearly influential - just a little bit too long

Pop quality with a new wave touch. They’re still a better singles band.

The start of the California sound - a true supergroup - they just weren’t that prolific. Harmony singing of great invention

Never liked them, led zeppelin samples and a threat to VW cars…..

I feel this perfectly adequate debut album is dwarfed by a sublime cover of Hard to handle - the bastard child of Zep and the stones

Co written produced by David Bowie, during a remarkably productive Berlin period, and fracturing (future Tin Machine) rhythm section Tony and Hunt, this is a proto punk effort with 2 stonewall classics on it and a couple of tracks (tonight and Neigbourhood threat) that ended up on Bowie’s awful Tonight album 7 years later.

The origins of the who’s cover of ‘Summertime Blues’ and some pretty average psych/ stoner rock. Not a classic…..

A formative influence on the genre and it contains the first crossover with walk this way. Can live without it though……

Not a fan AT ALL

Excellent album, continuing their upward trajectory as David Bowie’s favourite band in later life.Grammy winning, tuneful, conceptual.

One of the all time great rock albums - 8 tracks recorded in 74/5 that were too long for a single album and so we also have 7 extras from earlier albums. Just outstanding - a real journey into their world

A hugely well received debut album which was the definitive statement in the burgeoning indie folk scene. A lot of 60s/70s fans would’ve been taken by the Crosby stills, Nash harmonies. Sounds fresh now.

Produced by Ian Brodie with two significant hits on it, they were nip and tuck with U2 for the post punk alternative crown at the time. Not well reviewed at the time but it has aged well - sounds more of its time now

This is total bobbins - psychedelic nonsense!

Highly influential east coast rap album. Full of interesting jazz and funk samples. Not my area of comfort but it has clearly aged well.

A really varied hip hop album with elements of punk, funk and rock. They were now a long way from nicking VW badges.

One of the greatest rock albums of all time, takes you on a genuine journey into the stones’ world - rock, blues, country, gospel, boogie. The last in the run of four classic albums and considering their situation, a miracle it turned out like it did

Absolute banger from 1997, powerful, unsubtle, dance meets punk/metal crossover. Their biggest seller - Keith flint made a huge difference. Has Dance music ever been so mainstream since…..?

Much written about - birth of genre etc - but stands as a great rock album by a jazz drummer, guitarist with a hampered hand, a bass player who put horror fiction into lyrics and Aston’s village idiot turned most iconic star on vocals - what a combination. And they still put an acoustic number in there…..

Along with the pistols and the damned, one of the key UK punk albums, compact and concise and just waiting for Topper Headon to give them a more stylistic options.

Some of the only notable Christmas 60s recordings and arguably the defining seasonal album collection. Perfection of its kind

Brought them to a wider audience with Bob Rock’s slightly more ‘accessible’ production, with some hit singles in there. In some top audiophiles lists of best sounding albums.

U2 had a fab 80s, a 50/50 90s and this album kicked off a hugely successful 2000s with a no.1 hit single (impressive for 20 years into their career). It should be called ‘Elevation’ rather than from a line in ‘walk on’. This album has aged well.

Pretty sounding jangly indie pop from Australia. Sounds like the smiths accompanying the bastard child of Lou Reed and Bernard Sumner. Hardly a classic album but a very familiar sound to those of us of a certain generation. Prefab Sprout did it infinitely better…..

A mixture of jazz Melodys, gibberish improvising, changes of tempo and some R&B sounds with some Latin mixed in. ‘Jump,jive and wail’ and ‘Bueno sera’ are the standouts but it’s an entertaining period piece, 12 years before ‘king of the swingers’

Entertaining fare from two northerners channeling their inner Scott Walker with some French chic in there as well. Certainly an indicator as to the Arctic Monkeys direction on their recent two albums

This was a refreshing departure with the premier UK folk rock group along with Fairport Convention. The opening track was well known as the theme for TV show ‘take three girls’. The guitar playing of Bert Jancsh was hugely influential on the likes of Led Zeppelin and Danny Thompson’s double bass also played with John Martyn and Richard Thompson. A fine album from an important act of that time.

A member of Take That ‘doing Britpop’ ended up being a recipe for success, once Angels and let me entertain you prevailed after 3 misfiring singles. The real story really is Guy Chambers’ songwriting taking the best bits of pop/rock history with Robbie’s sometimes dodgy lyrics. Nice to hear it 28 years on - it’s aged better than I thought

Hard to write anything that hasn’t been written about this album. Occasionally I think a single album would’ve been better. Revolution 9 could’ve been replaced by Hey Jude! It’s John, Paul and George being more eclectic and grasping the rock revolution and more acoustic stuff than in ‘67. It’s a compendium of delights and some mad moments.

This fourth mercury Rev album is hard to pin down - a lovely brittleness in the early songs, arrangements going away from rock cliche. Levon Helm and Garth Hudson (the band) appear on drums and sax remarkably. Uncut magazine used to love them. I enjoyed it far more than I would’ve done back in 1998!

Playing on another level by the specialists in their respective fields. Excellently recorded live album.

Listened to it recently after Mani died and, aside from the unnecessary backwards track, it stands up incredibly well. A huge changing point for post Smiths alternative UK music which ended up with Britpop.

The first example of one of the rock/pop fraternity fusing with Africa - great to hear Tony Allen as well. The birth of afrobrat (for western ears). Goes on a bit but fela kuti is very charismatic and this lays down foundations for WOMAD and such like.

Another favourite of ‘uncut’ magazine. Americana singer songwriter that to my ears doesn’t really stand out from the rest.

This album is a horrendous cacophony, steering between punk, metal and post rock. I will not be searching out the rest of their catalogue…

Hard to separate this album from the 1988 Mandela concert, which helped make it a success. I like it now more than I did back then. It seems that some of the underground alternative music became mainstream in readiness for the 90s. A distinctive voice and writer

Their definitive album by common consensus. I really should like this band more than I do - ranges of moods and instruments, soaring vocals, northern, Guy Garvey is a great personality. However aside from mirrorball and the Olympic ceremony track, it’s not FULL of tunes. An ok band in my book.

One of the big albums to kickstart the grunge scene. It’s all very committed, full of energy and Eddie Vedder certainly has a distinctive voice. I just don’t buy into the idea that this helped to rescue rock from van Halen, Bon Jovi and Aerosmith

The idea of hearing this for the first time would’ve been mind blowing. One of the greatest records of them all - less an influence on heavy metal, more on Queen, Bowie/ mick Ronson, Stevie ray Vaughan, stone roses and Prince. Can’t ignore the acid and psychedelic aspects of his music. Very few more impactful artists than this guy,not forgetting Noel and Mitch.

One of the finest recording of the 21st century, helped by the production of mark ronson and salaam remi. Retro meets modernism. Who knows what could’ve been had rehab not been necessary…..

A contender for best solo Beatle album and evidence of the sheer breadth and range of Lennon’s. Imagine, jealous guy and how do you sleep are now legendary songs, but gems like ‘oh my love’,and ‘how can I’ really sound like late Beatle songs. Gimme some truth has also gained a reputation. Excellent stuff - timeless

This album evokes a time, place and entire movie genre. The fact that it’s a film soundtrack but yet works as a studio album will have no doubt influenced Quentin Tarantino. Never has the underworld sounded so stylish and groovy……

Along with ‘get yer ya yas out’, kick started the trend of the live album. This capitalised on the success of Tommy and contains some great rock n roll covers which were updated for the rock audience. The band were one hell of a four piece - ramshackle and spectacular at the same time. A true classic of its time - heavy rock being born

The equivalent of a magic carpet ride over eastern parts with contemporary beats. The kind of mercury winning album of its time. Interesting but not hugely compelling

I’m not hearing much in the way of Brazilian influence, the nu metal screams permeate and, to my ears, sound horrendous. Obviously there are some useful riffs and some bite in the music, but I didn’t grow into this during my 20s……good of its type I guess.

Short, conceptual, varied and put them well and truly in the ‘big league’. Some would say their best album, and with America, Mrs Robinson, hazy shade, old friends and title track, they could be justified. Sonically interesting too. A cut above.

A curiosity from an oft overlooked folk musician. Nice to hear the original version of ‘everybody’s talking’ and ‘dolphins’ and the last Raga like track is very 1966….. clearly better known for songs he gave away.

Doesn’t get much better than this when it comes to traditional rock n roll. Not a bad live sound for ‘64. Short, snappy and the standard length of a gig I guess. The Beatles and stones would’ve considered themselves not worthy in his presence!

More britrock than Britpop, and they did have Kerrang’s support back in the day. I thought after track one it was going to be a horrid noise, but the elements of grunge and dynamic shifts made it more interesting. Ok overall

A modern classic I guess, these days. The album that put them into the big league with a superior set of songs to a Parachutes and some tracks that still dominate their sets today

Unless forcibly coerced I will Never listen to this album again. It was horrendous, badly played, badly produced and, if it helped influence industrial rock I won’t be exploring that genre much….terrible.

Rare for a band to have an eponymous third album. Doug Yule replaced John Cale and we now have a more mellow set of less obtuse songs but they still have electric strum DIY sound that became so influential. A yes from me for a band I don’t rate THAT much.

Another conscience laden soul album in the wake of ‘What’s going on’ - consistent, funky and stylish. It was a great period for a defining voice of that era.

Clearly a very strong practitioner in this genre, just a shame I find it hard to love this stuff. Not something that gives me great joy

This kind of thing paved the way for the alt country and Americana boom in the 90s, along with unplugged on MTV. A family based group with a moody melancholia - I find it dreary but great numbers didn’t. Some original treatments of famous tracks as well.

Six stunning tracks on one short, concise masterpiece. This album dominated his Glastonbury set and is the perfect mix of his plastic soul and European experimentation. Up there with his finest work with cover artwork from ‘the man who fell to earth’.

A remarkable musician, 80 minutes of extended improvising. Heavy going and quite immersive, and an insight into spontaneous creativity with an underlying structure and method.

The sound of a changing decade - if ever an album sounded like 1990 it’s this one. Sampling is now becoming an art form and the use of Herbie Hancock’s ‘Blow up’ soundtrack for the (now legendary) ‘groove is in the heart’ dominates this album. It now sounds of its time but, 36 years ago, everyone who could was attempting this approach.

Probably the last ‘indie’ group to be a mainstream success and a lot was made of this album at the time. Spiky, tuneful and with a sense of fun, and they’re Scottish! Not hugely original but entertaining nonetheless.

A defining work from the era when the album was one of the key modes of cultural expression. Three mega hits, the arrival of Joe Walsh, departure of Randy Meisner and Don Felder denied the lead vocal on ‘Victim of love’ by the ever more dictatorial Henley. The album’s Grammy nominated success precipitated the band’s ultimate demise. A classic.

One of the finest recordings of a big band ever put to disc. Neil hefti arrangements, sublime direction and a masterclass for the up and coming rock n rollers who took over.

A 1971 album that emerged with the saturated singer songwriter boom and has subsequently been extremely positively reappraised. To my ears it’s a more produced version of early Bob Dylan, Arif Mardin no less. It’s all about the lyrics and they do strike a chord. I only heard about this guy when he died during Covid. I’ve enjoyed this.

An album of stylish elegance delivered by the next line of Brazilian samba royalty. Obviously the spectre of ‘desafinado’ and ‘girl from ipanema’ are never far from one’s thoughts. I can’t help thinking that George Michael could have explored this territory.

The sound of tattoos and piercings for the 90s. Trent reznor was an original and this ‘industrial’ sound enraptured david Bowie who asked him to tour with him. ‘Hurt’ was immortalised by Johnny cash’s swansong acoustic cover version. A bit dismal but not boring.

A defining album of 1992, showcasing a burgeoning talent in the new country genre. Constant craving is a bizarre choice to close the album considering it’s hit single success, but the songs are satisfying throughout if not extraordinary. Produced by Rush’s mate Ben Mink and is, overall, inspired by Marlene Dietrich.

The start of the Motown shift to counter cultural themes with the drug influenced title track. Soul and funk permeate throughout, the rather over long third track looks forward to ‘papa was a rollin’ stone’. The second half seems more traditional in terms of style. The sound of 1969 black music encompassed in 35 minutes.

An excellent ‘sophomore’ album where you can hear the three individual players and their contributions as clear as day. Two number one hit singles, a Grammy winning instrumental title track, a funny Stewart Copeland lyric (on any other day) and two other classics in ‘beds too big without you’ and ‘bring on the night’. Just fabulous - and Copeland co writes 4 of the tracks!

Great to hear the Stax house band in their own instrumental album. A unique sound, Steve Cropper taking a big role and the muscle shoals studio all in one. Probably recorded in a day! Fantastic stuff.

A 1958 album from the same well spring as woody Guthrie and Pete Seeger which paved the way for Bob Dylan’s breakthrough work from 1963-5. Certainly topics that were eons away from mainstream pop at the time. One take, three chords and the truth…supposedly

A not dissimilar tale to Syd Barrett’s solo work, committed to a mental institution after attacking a fellow member of psychedelic band Moby Grape. This album - Skip’s only solo effort - is the sound of pain, confusion and despair. The lowest selling album in Columbia records history - It’s not an easy listen - Robert Plant will love it!

Hard to follow Dark side but they did it with a second consecutive masterwork. You have the 12 part Syd tribute bookending the album with some of Wright and Gilmour’s best instrumental work, their most popular song as the title track and two tracks showing evidence that Waters was becoming cynical about the ‘biz’. I feel the mix is not as clear as Dark side but it doesn’t take a back step musically. The fact that Syd visited them during the Shine on recording and Roy Harper ended up Singing ‘Have a cigar’ just adds to the legend.

This was enormously successful at the time and they were seen as the biggest girl group of their era. Financially they were ripped off and there were subsequent tragedies, but this is a fine RnB sound of the time with a mega hit single and a good Prince cover on it. Not my scene but good if it’s kind.

1959 was a year of change in jazz (ornette Coleman, Mingus, miles) and Brubeck’s approach certainly made people think of metre and time signatures. I would suggest that it influenced prog rock more than most, and the album doesn’t change time for every track. It has a chamber like elegance and subtlety.

This was NOT the sound of my 80s and, apart from fairytale and Irish rover this would’ve passed me by. Listening now it sounds like a breath of fresh air amongst all the style and sophistication. It would also be a good source of material to demonstrate traditional music to GCSE students! Quite an exhaustive listening experience for the time.

One of the biggest selling products around the turn of the millenium. Babylon and this year’s love were all over tv programmes at the time and its influence on the Ed Sheerans, James Blunts and Tom Odells of this world cannot be underestimated. I still thought he sounded like he was trying to be Bob Dylan with his vocal timbre. A pleasant but not earth shattering listen.

Millennial mellow, slightly mysterious low fi Americana featuring a lead singer heavily inspired by Lou Reed. They create a few moods but if this is something I need to hear before I die, I sincerely hope there will be some considerably different sounding ones leading to the inevitable……uncut magazine would no doubt have given this 5 stars!

Clearly a controversial and important artist of his time. Some interesting use of samples and melodic moments in and amongst the racial confrontational language, not to mention unnecessary sexism. Black skinhead is quite a significant hook laden track but I don’t hear musical development, I hear celebrity product placement.

This is one of the finest departures in popular music, released (much like David Bowie earlier in the year) just before he passed away. Moody, dark, accepting and with a final love song to Marianne just after her death. Bill Bottrell and Patrick Leonard are key collaborators, a long way from their Madonna and Sheryl crow stuff. A great epitaph.

Iconic 1968 live album, well recorded for the time. A really novel idea which spawned three more albums in prisons. The man in black was a true man of the people. Great song choices, the response from the crowd of ne’er do wells to the fourth lines of verses is priceless.

Definitely the ultimate example of musical marmite. Experimental, avant and for many impenetrable. I confess to rather liking it and understanding why Frank Zappa chose to promote Don Van Villet. John Peel would also agree……this is now 57 years old and we don't hear this level of creativity and imagination in popular music now. Highly entertaining stuff, but did it need to be a double……?

Her first music since finishing with the Sugarcanes. I recall this being a very fashionable album at the time of my first year of teaching. Big time sensuality, Venus as a boy and Violently happy were popular on radio. I can't help think it was a bit overrated looking back and lacking big tunes compared to atmosphere and feel. Nevertheless a distinctive voice.

Evidence that, if you work with Brian Eno, you don't know what to expect next and Talking Heads followed up 'Remain in light' with a year's hiatus whilst their leader and their producer created an entirely new form of music by using samples of voices as a 'lead melody' over rhythm tracks. The bonus outtakes are not really worth much but it's inventive stuff and influential, creating even more credibility for its creators

One of my all time favourite acts at the peak of their early period of creativity. A troubled gestation, all lyrics written by the soon to depart lead singer and premiered on a US tour to audiences who’d never heard it in readiness. Having seen it performed, with slides and costumes, by The Musical Box, it is quite baffling for the uninitiated. Nevertheless it’s a prog masterpiece - remarkable music.

This was an intriguing listen as this was from a period when Walker was only two years past his Walker brother heartthrob period, but the album was far more versatile than pop would allow at the time. On the surface you hear Walker crooning over easy listening string led arrangements but if you delve deeper you hear a range of compositional approaches - popular covers, Jacques Brel songs (clearly identifiable) and his own (ever developing) songs that would influence David Bowie and such like so much. It was better as it progresses and 'Jackie' got banned at the time and the Bacharach and David 'windows of the world' is an absolute gem.

An important debut for David Bowie's favourite band in the 2000s. Some useful pounding anthems in the alternative rock mould like 'Wake up'. Also nice to have a track with four parts in an album so early in a career - quite risky some would say. Their appearance at Fashion rocks with their legendary admirer was career defining for them at the time. This album gets better and some better work was to come from this Canadian bunch.

Not my musical idea of heaven for over an hour, but this group are politically aware as opposed to self promoting. Some creative samples and a plethora of black music styles on offer. Clearly a musically credible bunch. Critically acclaimed despite being less commercially successful

All killer no filler, one of the all time great albums from the format’s golden age. The mid point of Stevie’s imperial phase - how many artists get that in the second decade of fame? Michael Jackson and that’s it…. Hard to fault this recording at all - Stevie and his two professor longhairs with the synths.

probably one of the most anticipated popular music recordings of all time, based on its 'advanced orders' in late 1963. Issued alongside 'she loves you' and 'I want to hold your hand' it captured the energy of the newly emerging Beatlemania more than the first album 'Please please me'. 'All my loving' could easily have been a single and really stands out as a Lennon & McCartney original (with 'It won't be long' in second spot). It's in the cover versions where the band really kick this time - roll over Beethoven, you really got a hold on me, til there was you, please mister postman and devil in her heart are all superb album tracks. You also have George's first song, Don't bother me and the Ringo lead vocal that they gave to the Stones. Highly entertaining and full of tunes 63 years on......

For 1976 this is a groundbreaking recording by the (latterly crowned) ‘Father of Techno’. One can’t help but identify the influences of some progressive rock acts in some of the more expansive tracks. Parts 1-2 became used in tv and film and part 4 was a hit single, learnt by many new owners of Casio keyboards in the 80s. The only thing that dates it is the relatively basic programmed percussion. A defining sound of my young life.

The '68 comeback TV special had clearly injected some vitality into the Elvis lost movie star and this album gave a contemporary sound for the time with some gospel, blues, ballad and Motown flavours. There are a couple of tracks that became staples of the vegas live years. Proof that he could challenge the heirs to his original throne on occasion. Nonessential but solid.

His third and final album of that brief, retrospectively lauded career. It is also his first to be entirely him and a guitar as opposed to the enhanced instrumentation of bryter later. There is a haunted, troubled character to the music, though hindsight is a remarkable thing. Who knows how the perception of mental health would've played out without the timeless story of Nick Drake - an important work.

Minimalist electronics with rock n roll vocals. Springsteen loved it, and I’m sure Trent Reznor was influenced as well. Sounds crap to me. I guess I won’t forget ‘Frankie teardrop’!

A key album from the hip hop genre and the 1990s. Dr Dre’s first post NWA solo album bringing a slower more relaxed ‘G-Funk’ approach to the genre with some very funky obscure 70s funk samples. Clearly of artistic significance but I can’t get past the n words and mofos that permeate the album as a whole. ‘Bitches ain’t shit’……really?!

A memorable release, forever related to Bowie's death, and certainly evidence of an artist NOT going through the motions. The moments of avant jazz sound incredibly fresh and the title track's video was memorably premiered in late 2015 to rave reviews and it is a track like no other, yet relating to Major Tom. The Lazarus track gave birth to a stage musical and Tis a Pity and Sue were familiar as a single in late 2014 so this album was seen as a really strong effort. Not sure we expected the Monday morning news after the Friday release...........

After rejecting an initial album (released years later) they teamed up with Rick Rubin (fresh from Slayer) and created a sound more akin to AC/DC and ZZ top than the more 'Goth' approach of 'she sells sanctuary'. The drums almost sound like demo recordings they're so organic. There is a lacklustre Steppenwolf cover and a better single in 'love removal machine'. I remain unconvinced by this band as the real deal and Ian Astbury was a distinctive yet limited rock voice. Memories, but not of total musical excellence.

Sonically part of the trippy post Britpop hangover of ‘97 and also typical of the CD noise wars. I hear some influence on later Blur and some Mogwai like drones but also quite an unbalanced track sequence for such a varied listening experience. No intention to return unfortunately.

Their second album, produced by Elvis Costello, sees a much more focused approach to traditional folk song and the definitive Irish wedding band in their prime. Shane McGowan is also sounding the best he ever did. A real contrast from the pop scene at the time. The title was based on a quote from Winston Churchill….

The official end of the era known as the 60s. Iconic in artwork, production, use of Moog synthesiser, a multi part segueing song suite and a pop song based on a backwards Beethoven sonata! Paul had excelled himself on the Get Back / Let it Be shelved sessions with three classics but he and John were now giving way to George as the strongest emerging songwriting talent. Something is one of their greatest songs and Here comes the sun us now their most streamed song with the kids now. He was soon to be the biggest selling solo Beatle in the immediate aftermath of the break up. Abbey Road was not reviewed that well at the time and is now firmly among the highest regarded of their albums, deservedly.

The centre of the imperial phase of their career, this album does not really match a greatest hits, but does contain a classic Boudleaux Bryant ballad in ‘Love Hurts’ and their biggest hit single in ‘Cathy’s clown’. ‘Lucille’ and ‘Donna Donna’ were other better known tracks and ‘stick with me baby’ was covered by Allison Krauss and robert plant for ‘Raising sand’. Not a remarkable album but certainly good to hear those harmonies - one of the great singles acts of that era.

This brings back nice memories of the first Scandinavian pop sensation since ABBA and an album that sounds more melodic and crafted now than it did back in 1986! The production of Alan Tarney (best known for Cliff Richard), Pal Waaktar's songs, Mags's highly musical and fluid keyboards and the highly distinctive range of Morten's voice make this more than the sum of its parts. The title track sounds great now, 'the sun always shines on TV' was their epic sole UK no.1, 'Train of thought' was another top ten hit but this album is now dwarfed by one of pop's great pieces (and videos) in 'Take on me'. The filler is superior and of its time but can't be worth 5 stars. Very successful and a new boyband were born who managed to transcend the term.

Unquestionably one of the best 'sophomore' albums ever made, establishing the band as the heirs to The Beatles in terms of the numbers, and the album knocked Abbey Road off the number one spot in late 1969. You can never fail to hear the individual qualities of each member, Page generating some of rock's best riffs and getting the production of the band SO right in terms of power and clarity at the time, Plant is starting to co write effectively and is inventing the heavy metal voice, Bonham has a drum solo that doesn't drag and Jonesy's playing on Lemon song and Ramble on is highly influential. Three classics, six superior album tracks and three songs that should've credited classic blues singers as co-writers. Remarkable album and its response in the US made them what they became.

Brit award for best album in 1991 and the emergence of an artist at his peak form both a vocal and writing perspective. A remarkable Stevie Wonder cover, three tracks using grooves of the time and four other magnificent tracks make this one of the best albums of its era. This was an era when an artist was taken very seriously and, in the case of George Michael, played up to it with his absence from all promotional videos and a tour that was all covers. The idea that Gary Barlow and Robbie Williams were competing over doing a 'George Michael' is faintly laughable when you hear THESE songs.............nowhere near!

I fear that me great 5 album run has come to a sudden end with this supposed punk classic from the U.S. This album does not represent the sound of 1984 AT ALL - punk had moved on. Not unpleasant throughout but I'm not hearing music essential to my life here at all.

Seen as one of the key albums of the disco era with one of the greatest grooves of all time in 'Good times' . I think they did well to get away with 7 tracks on the album and track two certainly drags a bit. Definitely a lesson for many in how to record a rhythm section, courtesy of Rodgers, Edwards and Tony Thompson. However within a year, disco 'sucked' and Niles and Bernard were working with Miss Ross. 'My feet keep dancing' and 'my forbidden lover' were also hits of note from this entirely decent album.

Their penultimate album which now sounds as if it is moving towards Jack's solo career. They had started to experiment with new more unusual instruments and was critically well received but wasn't quite as successful as Elephant. I'm not sure I can differentiate much in their songwriting between albums a great deal, but its interesting to get some marimba and piano.

The classic trio of Lemmy, Eddie and Phil - all sadly now deceased - with their defining musical statement. It's a consistent album, a pure amalgam of metal and punk, and is dwarfed by its iconic title track despite plenty of other quality tracks. I love the fact that Lemmy stole the Hawkwind track 'Motorhead' and made a career out of it after they left him high and dry in the states.

Often seen as the Stones response to The Beatles doing 'Rubber Soul' and writing a greater variety of songs. Granted the likes of 'Mother's little helper', 'Lady Jane', 'Under my thumb' and 'Out of time' are better album tracks., but the ridiculously long 'Going home' has a negative effect on the album as a whole and the other songs are more akin to the early blues rock idiom of the two previous years. 1966 was a key year for so many acts (Paint it black, have you seen your mother and 19th nervous breakdown were great hit singles) but this album is for me a tad overrated.

Iconic in artwork, sound and songs - a far from 'difficult second album'. Three huge hit singles, an updated single (My own way), two classic album tracks (new religion, the Chauffeur) and (vitally) the lesser tracks (lonely in your nightmare, hold back the rain, last chance on the stairway) balance well in between the biggies so the album seems a full and consistent listen. The sound of Roxy Music, chic, Human League and Glam - a unique fusion with remarkably pretentious New Romantic lyrics (they've aged better than their reviews!). Terrific piece of work by the 80s band that ultimately prevailed.

A very interesting album from the kimono wearing bass player Steven Lee Bruner. The music bears little resemblance to Thundercat's live sound and comes across as a rather stylish collection of groovy fragmentary tracks who happen to have some 'A list' collaborators (Kenny Loggins, Michael McDonald, Kendrick Lamar, Pharrell, Wiz Kalifa) on some of them. His voice to me sounds like the falsetto of Mike Lindup from Level 42 but his playing is varied and at times remarkable. Worth another spin from time to time.

A real curio from the 90s - not a significant commercial success back in the day - with notable appearances from Jarvis Cocker and nick Cave but rooted in the world of independent film soundtracks which were all the rage in that decade. A range of styles and sonic approaches but more of an interesting listen than a musical feast.

The meeting of punk and reggae at the time. This band have been written about, interviewed, critically acclaimed and viewed as seminal in the development of women in music. It still sounds, to me, ramshackle and not inviting of too many other ensuing listens - I don't hear the agitated art pop qualities that drove the music papers wild back in 1979......

When Belinda Carlisle (and indeed Jane Wieldin) had late 80s mainstream success I was unaware of their status as US new wave stars in the Go Gos. The success of this album was almost entirely stateside though the Fun Boy three's hit single 'Our lips are sealed' (about Terry Hall's alleged affair with Jane Wiedlin) was by far the key track from this debut album. To my ears it's an all female self contained unit trying their best to emulate Blondie. An important act, usurped by the Bangles five years later but their solo members were to easily outstrip their initial influential work.

Mercury Prize winning fifth album from Somerset's finest featuring an excellent Thom Yorke duet (especially the second one) and the track 'This is Love' was familiar at the time. It has its grungey moments and PJ Harvey is forever associated with the alternative 90s scene, a darling of the music press form that era but this is a more varied collection overall. a decent listen today.

Dismissed at the time, by none other than Armet Ertugen, as 'boogaloo crap' it has subsequently been critically reappraised and the Voodoo practising alter ego that was Dr. John became a jazz/blues legend, and a key influence on Jools Holland and such like. I can see that Atlantic would have struggled at the time to market the music but the presence of 'Walk on Gilded Splinters' has given it some renown and subsequent covers by Marsha Hunt the following year and Paul Weller in britpbop days have added to its appeal. Definitely an original fusion of psychedelia and New Orleans R&B.

Two things surprised me when delving into this album: firstly that it was their sixth album, and secondly that it charted so well and won Grammys and featured a big billboard chart single. All the elements that made them so fantastic 2-3 years down the line are pretty much present - funk, African rhythms and serious balladry. I enjoyed listening to it but am just of the view that the best is yet to come and I hope that the 1001 list recognises this as well.

I really find this music hard to love - the cutting edge of urban pop in the early 2000s - and the sound does regrettably annoy me in excessive quantities

I have vivid memories of Wordy Rappinghood in my 11 year old charts before I knew the big Talking Heads tracks and this track seems fresh even now. Genius of Love was the track we got to know on 'stop making sense' (a much better version than the one on this album I find). I can't admit to finding the rest of the album as ultimately appealing as these opening two nuggets but it certainly was an excellent achievement from Tina and Chris not knowing what to do whilst 'My life in the bush of ghosts' was being made without giving a thought to them - ably supported by Adrian Belew as well.

One of the exciting breakout acts of the 'new Merseybeat' of the early 80s and you have 'Reward', 'Treason' and 'Thief of Bagdad' which really stand up today. The album seems to get better as it progresses after a couple of dodgy early tracks. Front man Julian Cope was a bit of a character who emerged as an unpredictable solo act and it is often felt that this band did not ultimately achieve their potential. The use of horns on some tracks gave them a unique sound for a post punk/new wave act.

A record deserving of the term 'classic' in that period when the album was the key form of musical expression by artists that took it seriously. Seen by many as his finest musical statement with the post 60s hippie hangover meeting the cynical Watergate era. It was the biggest selling album of 1972 and contains all killer and no filler with use of orchestra standing out at certain moments. Timeless yet evocative.

One of the more original and inventive hip hop albums, with elements of psychedelia and trip hop amongst the standard beats. You tend not to get 40 minute concise albums in this genre and it starts to go on a bit in the last twenty minutes. I can't get TOO worked up by it but it was a diverting listen for the most part without saying a great deal poetically.

An iconic album, artwork, image and related T shirt merchandise. This album, in terms of influence, could be classed as one of the key works of popular music, though it cannot be denied that the album appears musically limited and aside from 'Blitzkrieg Bop' it sounds a bit dated if truth be told. I found Johnny Ramone's interviews very funny and the idea that, as they didn't have cars or girlfriends, that lyrics avoided cliche may well explain their championing by the music press, English teachers and such like. The signature rhythm guitar sound is legendary (and influenced a Queen track) but not all one dimensional bands can sustain a successful career.

The official source of AOR and a masterclass in rock production and arrangement at the time. Patented engineer Tom Scholz was the mastermind behind this band and there are guitar playing similarities with Brian May at times. The opening track is one of my favourites of all time and the fact that the band’s post debut existence was fragmented, splintered and dominated by law suits and hiatuses is a cliched example of ‘what might have been’. Clever people taking a not so clever form and making it into a Rolls Royce.

The sound of the 21st century was emerging in 2009 when this record came out. Minimalist arrangements, occasional joy division like riffs and an absence of song structure conventions - verse, bridge, middle 8 - gave way to urban mood and ‘vibe’. Not my cup of tea but interesting to identify the demos from the actual (still) laptop sounding final tracks!

The definitive work by the ‘reverend’ with one of the great soul classics as a title track. A smooth laid back album with a consistency of approach and a showcase for a unique voice. The cover of the Bee Gees song is another high point. A pleasing satisfying listen.

Along with ‘dummy’ this provided the Bristol part of Britpop. Hard to categorise and with a refreshing array of collaborators, including two lovely tracks with Tracey Thorn. The title track is one of the 90s finest tracks looking back. Pleasantly surprised today as I didn’t pay too much attention to the album as a whole back in the day.

Iconic cover, legendarily difficult recording circumstances and arguably Paul's finest post Beatles music. Two huge hit singles to follow the Bond theme that year helped but the quality of the album tracks make this album what it is - Bluebird, Let me roll it, No words, Miss Vanderbilt and Mamunia are all fine songs. We forget that in 1970-2 it was George and John who were setting the pace in terms of critical and commercial achievement, and now Paul was preparing to get his second global superstardom. A great album and, along with 'All things must pass' and 'Imagine', the best Beatle solo album.

If an album were to be judged entirely on energy, conviction and confrontational artwork then this is up there with the best. A lot of my guitar playing students 20 years ago saw this as the holy grail of riff practice. Metal for rappers with some funky riffs in there. A lot of shouting as well which, for me, struggles to sustain a 50 minute listening experience. Very 1990s

This really is NOT the sound of my 1995 and for a punk band they sound insufficiently shambolic, well arranged and entirely melodic and harmonic. I get the sense that the band were better known for their idiosyncratic live performance which got the interest of the music press and TOTP ultimately. Well I've heard it before I die so that's something!

The first album after Skip spence left on drums and Grace Slick rather vitally joined the band, this represents one of the landmarks of the psychedelic rock era and 1967 as an epoch of musical time. White rabbit and Somebody to love were big Billboard hits and the idea that this band morphed into the purveyors of 'we built this city' and 'nothing's gonna stop us now' is quite remarkable. The rest of the album has quite a Mamas and Papas sound to it, surprisingly.

One of the most influential guitarists to emerge from the burgeoning folk scene. It’s not the range of Melodys in this 1965 album that stick out, it’s the playing styles and techniques that the likes of Jimmy Page, Paul Simon, Nick drake and Mike Oldfield used in more significantly acclaimed music later on. Donovan may well have passed fellow Scot Jansch’s picking technique to Lennon around the time of the White album. Pentangle awaits……

This album was huge when I started on teaching practice and the Kate Bush influence was commented on considerably at the time. The contribution of Tears for Fears' Ian Stanley had a big effect on the arrangements for Tori Amos's vivid and at times emotionally wrenching songs. This is now a modern classic and, 34 years on is still one of the better records of the early 90s. Along with Bjork and PJ Harvey, the music press had a new female triumvirate.

This, the second album by the stooges is even more aggressive and 'punk' like than the cult like debut the previous year. If one considers how many people sounded like this seven years later, you realise what a radical sound this was - limited ability with a really clear production. Iggy Pop was unique in that he was an intelligent chap who liked doing things to subvert rather than aspire (as was the late 60s hippy philosophy). Another album whose cult influence is greater than its musical merit. A good listen- though the 1970 track goes on a bit!

The last album Steely Dan made whilst still a touring band is a collection of concise tunes with a greater pop sensibility than their two previous efforts. It contains their biggest billboard hit (Ricky don't lose that number), their first album title track and their first and only cover and instrumental (East St. Louis doodle-oo). It is an eclectic and quirky mix, and a number of the songs are from Walter and Donald's writing before the band was formed. Not my favourite album of theirs but still totally magnificent stuff - 'every major dude will tell you' is a phenomenal piece of work.

This was a refreshing listen to an act who'd hitherto pretty much passed me by. Mick Jagger had praised this band at the same time the Stones were putting out Sticky Fingers and one can hear the Flaming Groovies approach in Exile on main street the following year. I did think the album descended into 12 bar blues pastiche in the latter stages until Whiskey woman returns to the Stones sound. I don't really hear the punk influence in the album until the rock n roll garage sounding covers as bonus tracks. Sorely tempted to give it 5 stars at initial stages....dodgy title though.

The alleged birth of 'Psychobilly' - the fusion of punk and rockabilly which sounds to me quite shambolic and, if it weren't for the slap back echo on the vocals it would be a rubbish set of rock and blues songs. This is not the sound of 1980 to my ears..........

A well documented debut album and a much more expansive and less commercial affair which, with hindsight, was probably where Amy should have stayed for a while longer before hit producers came calling. It still sold a million and got an Ivor Novello award. One can still hear elements of the sound that became so big 3 years later, with ska mixing with the jazz and retro grooves. Clearly it was made for the CD market and one senses that Island records were not chasing a single - and musically there better for it.

Released during the heady days of Britpop, the now elder statesman of the new wave reunited with his original band the Attractions (it lasted a couple of albums until bassist Bruce Thomas annoyed Elvis again) for his best and most consistent album since the early 80s with some absolute gems (sulky girl, London's brilliant parade, favourite hour) in and amongst some consistent fare that got people talking about him commercially again. He kept distinctive drummer Pete Thomas and keyboardist Steve Nieve in his next band The Imposters in the following decade. I recall being quite interested in this album when not listening to Blur and Oasis!

Part of the 90s noise wars. For the opening instrumental two minutes I thought I was going to enjoy the echos of Queen and The Who. What followed was the equivalent of the beastie boys and joey Ramone singing over a more talented band. It just sounds like gonzo knobhead rock with titles like ‘rock against ass’ and ‘rendezvous with anus’……..

I have no understanding why, firstly, Greil Marcus stated that this was the finest recording to come out of the San Francisco scene, and secondly, why the 'who do you love' suite (based on a Bo Diddley riff) goes on for 27 minutes on TWO chords. It's a live album from that 'Fillmore' period when guitar improvising and getting high were synonymous. It's very Woodstock but give me some tight and meaningful Creedence any time over this meandering drivel.

The definitive live recording by 'Sassy' with her trio performing a top set of standards and name checking Ella Fitzgerald at one point before quite a significantly elaborate ad lib scat towards the end. Some excellent recordings which really show which form of popular music had the best production values at the time. One of the greats in her prime.

One of the unique sound of my university life, a wonderfully creative approach to sampling - zeppelin, steely dan, hall and Oates - and a refreshing alternative to the political and gangster scene. Probably a bit too long overall but it works as a unified piece with its tv/ radio show type intro and outro.

1983 was the year that 'the eighties' supposedly began and Duran, Spandau, Wham! and Culture Club spearheaded the second British Invasion of the US pop mainstream. Due to its four hit singles (the obvious opener, It's a miracle, Church of the poisoned mind and Victims) this album became a defining artefact of the era. The work of multi instrumentalist Roy Hay should not be underestimated in the music of this album, as well as the vocals of Helen Terry. To my ears the album tracks pale into insignificance next to the four hits and 'Miss me blind' but 10 million sales and number 2 spot behind 'Thriller' is not to be sniffed at......

Up there with the greatest debut albums surely. The blueprint of everything Zeppelin became is on this album - two potential singles (if they ever chose to release one!) in good times bad times and communication breakdown, a folk song that builds in babe I'm gonna leave you, a psychedelic folk instrumental in black mountain side, two hard rock blues covers (you shook me and I can't quit you baby), a west coast track in Your time is gonna come and two riff based tracks that morph into guitar showcases - Dazed and confused and how many more times. To hear track one for the first time would've been quite something.

By 1982 the decade was starting to take shape musically and Costello was unlikely to be in the mainstream with efforts as arty, experimental and varied as this critically acclaimed effort. Produced by Beatles engineer Geoff Emerick, it has a range of instruments not heard in the Attractions before and 'Beyond belief' and 'Man out of time' were unlikely to trouble the singles charts. It needs multiple listenings to fully appreciate but it is a true work of art and seems to be channeling Sgt Pepper rather than the new wave.

In 1984 this music would've been a long way from my 14 year old Queen fan radar and the acoustic guitar was not the instrument of the era. However, listening with more mature (and open) ears I am appreciating the reverb laden textures and the variety of approaches to songs within the album. Elizabeth Fraser's voice is one of the distinctive female voices of that era looking back. It will need another listen to fully convince me but I could well explore in more detail after this.

I remember a colleague doing a cd copy of this for me when it came out. It seemed to have moved away somewhat from the grunge sound to a more melodic alternative rock in the style of Garbage. There are more arrangements with strings and so forth, Courtney Love had never sounded more commercial and tuneful.

This album has aged well. The first album with mutt Lange producing and the last with Bon Scott on vocals. It’s really well balanced and tracks like ‘love hungry man’ and ‘if you want blood’ are excellent. The definitive statement by the entirely Antipodeon original line up.

I will confess to not being aware of this album during my first year of teaching but it does have a more live and occasionally jazzy feel than those early gangsta rap albums. There is a playfulness and moments of humour but it still sounds like a bunch of annoying teenage boys being inappropriate in the school corridor for the most part. I do also hear some of the sound that Prince developed with the NPG which I'm sure I would have given more leverage to. These hip hop albums always seem a bit long.......

The real start of Gabriel as an original and innovative solo artist. Produced by Steve Lillywhite, fresh from XTC and engineered by Hugh Padgham, soon to reinvent the sound of the 80s with the Police, Phil Collins and Genesis. I didn't realise he was in Genesis when I was 10 but when I saw 'Games without frontiers' on TOTP, like Talking Heads, I made a mental note that this is an interesting artist. There are political songs, art rock songs with new wave production and the new presence of David Rhodes on guitar was significant for Gabriel as a live act. There are no cymbals on the record and the sound of the gated drum reverb is first heard by Phil Collins on 'Intruder'. It's a superb record - 1980 had a lot of them.

This was a satisfying listen from a highly regarded album by Rolling Stone and an example of samba fusion with rock elements. Not an outstanding album but clearly very influential on Brazilian popular culture and a real contrast with Santana's virtuosic take on the samba form.

The punk era was a really useful backdrop for the release of this classic release from the most famous polio suffering cockney poet with a decidedly non punk sounding backing band. (Steely dan fan) Dury's lyrics contain characters that were refreshing to pop music at the time and had a long lasting influence on many 90s/2000s artists. The Blockheads could turn their hands to a range of styles and had some real chops. Madness had more hits but this act had critical credibility (which meant a lot in 1977) and took risks.

This represents part of the sound of 'Madchester' and features one of the defining tracks of the acid house scene in 'Pacific State'. I found it quite a good listen to accompany other activities and the sound seemed familiar despite last hearing any sound from it on the soundtrack of the '24 Hour Party People' film. Evocative, but that did not mean a lasting career was guaranteed.

This must be a contender for the most consistent double album ever put out - no filler, no flab and a real compendium of song writing approaches. There's prog, ballads, RnB, ska/reggae, rock n roll, glam, hard rock and country. It followed on from the Rocket man single and the 'Don't shoot me I'm the Piano player' album as Elton became the world's biggest act until 1976. Its title track is one of the great songs of all in my view and the other three big hits on the album are all stone wall live staple classics. It was a remarkably prolific period and a sense that stardom had its drawbacks.

The culmination of their initial four album 'gloom' phase when very cool people liked them. They tended to release singles separately to albums and the fact that ' a hundred years', 'the hanging garden', 'siamese twins' and 'a strange day' are now fan favourites is evidence of how well the album has weathered. The band was in a drug fuelled mess at the time and Robert was severely depressed - no surprise there! Nice to hear synths and a nice expanse to the atmosphere in the production, with a new wave drum sound. After this came 'love cats' and the start of the hits phase. Smith was also moonlighting with Siouxie and the Banshees on guitar as well.

It took me two listens to fully appreciate this album, but it does stand as one of four albums made in 1970 after the CSN debut: this one, deja vu and solo Crosby and Nash efforts. The guest list of musicians is evidence of Stills' clout at the time: Hendrix, Clapton, Ringo, Booker T, Mama Cass, Crosby and Nash, Rita Coolidge and John Sebastian. In addition to the impressive guitar work there are some serious backing vocalists giving a few gospel like moments. This was THE era of these artists and despite CSNY not being hugely prolific as a group, there was so much extra solo/collaboration work going on in the early 70s. Glad I heard it again - it's well above average.

I remember seeing this album cover in shops during my early teaching days and it is an album of its time - an alternative grunge influenced album with a bleak set of break up lyrics. There were moments of recognisable musical character which was a reaction to the sheen of the 80s but it was mostly a bit of a dirge and an overall glum listening experience. I was SO pleased that Britpop came along and made this kind of album a thing of the past. Not a poor band but the music's appeal was unlikely to be eternal.

An album beset by ensuing tragedy in the death of highly virtuosic Double Bassist Scott Lafaro, it endures as one of the finest live jazz recordings and evidence that the 60s did not just begin with The Beatles. Evans retreated for a while after Lafaro's death in a car crash and it may also have precipitated Evans's own descent into drugs as the decade progressed. Nevertheless this is a master at work in one of the great trios. Everybody should dig him!

This, their third album seems to cement their move from post punk band to then first proper rock and electro crossover. New Order have that quality that all great bands have - they are greater than the sum of their parts. Bernard Sumner audibly struggles with some of the lead vocals and yet he sounds distinctive, Peter Hook is no Jaco Pastorius but creates memorable and simple high range bass melodies, Stephen Morris sounds the most technically proficient member of the band with his high energy quick patterns and Gillian Gilbert doesn't dominate on keyboards. Yet the perfect kiss and sub culture are strong singles, Love Vigilantes sounds like a country song and there's even an instrumental in triple time. It shouldn't work but yet prevails - al the cool kids liked New Order at school, I had to wait til student years.

I was bought the cassette of 'Complete Madness' for my 12th birthday which featured 'House of fun' as the new single. Add to this 'Driving in my car', 'Our house' and 'Tomorrow's just another day' and you have evidence this was one of the best singles acts of the era, period. I was wondering where 'Cardiac arrest' was, to be honest. I was thinking this album could be worth five stars after the title track and a few other early ones, and I'm sure that this album may well have been the inspiration for the 'Our House' musical. One can tell that this is a more piano dominated album than ska based and it is the production of Langer and Winstanley that stands out - I think this may be a concept album about their growing up, but 1982 was not the year for that type of record.

The first punk album according to many writers. The quicker compact tracks like ' I wanna be your dog', '69' and 'No fun' are superb seminal songs but I find some of the looser abstract jams a bit tiresome. This was the first instance of a band whose limitations was the basis of their success.

I write this from the standpoint of a jazz admirer but not necessarily from the view of all the main jazz critics. I have grown to like some of Mingus's recordings in recent years but must confess to find this somewhat cacophonous and although he was innovating in the way jazz ensemble writing and arrangements were being done, it doesn't take away the fact that as a listening experience it delights less than I hoped it would. One of jazz's most divisive and important figures without doubt.

A Mercury prize nomination from one of the most acclaimed artists around the turn of the millennium. The fact that he was born to singer songwriter royalty (London Wainwright and Kate McGarrigall) and has a sister in the same profession has only increased interest in his work. He has a distinctive voice - today I definitely heard a more theatrical vibrato enhanced version of Thom Yorke - and the song 'Go or go ahead' sounded like a classic Radiohead track. It's all musically crafted, with some classical references (Bolero on first track) and aspects of theatrical performance, and he's been requested to collaborate with some renowned artists over the years, but I find it hard to think of this album as an essential listen.

An album with its writing and sound very much in the world of Jam and Lewis and Michael Jackson's classic period. I think it runs out of stream come the end but it opens with much promise and his/her voice has a decent range. I think the 'Girlfriend' track dwarfs the record and is one of my favourite tracks of this century. It's a shame it it not full matched by any others, but it was a perfectly fine listen.

A great time to be in the sixth form - after 'The unforgettable fire' the band went to another level of popularity and artistic endeavour and, with Brian Eno and Daniel Lanois (fresh from 'So') at the helm again, it seemed this album was destined to sweep all before it. There are precious few albums front loaded with a triumvirate of tracks like this one has, and although they stand out, the ensuing songs play like superior album tracks and their adoption of American influences led to Rattle and Hum and stadium tours for the rest of their career. Mothers of the Disappeared kept their Amnesty credentials as well. It's one of the greatest albums of its time and sounded fabulous today. Watching 'where the streets have no name' live is one of music's great experiences.

Definitely a good choice for this 1001 list as it must be one of the most significant album releases of all time in terms of what it influenced and led to in terms of stylistic development. What it lacks in terms of raw musical content it makes up for in sheer electronic timbral variety - how DID they develop those sounds. One cannot remove the image of the Tomorrow's world segment and the advent of 'future music'. The Spectre of prog is not far from the 22 minute title track which does have its impressive moments. Can see why Bowie was transfixed by this stuff at the time - I always felt that Jean-Michel Jarre took it further but hearing it for the first time must have been remarkable or completely baffling.

A highly original act for the time, championed by John Lennon and some of their sounds were not dissimilar to what Yoko was trying on Double Fantasy. It's like hearing The Munsters doing surf rock at times, and their reputation as a live act was legendary. I think they made better music 10 years later but without this album they may never have become a famous group. A lot of fun and very refreshing for the time

This album was championed by lots of my GCSE students as a source of pieces to perform and be assessed playing on the guitar and in groups. 'Sex on Fire' and 'Use somebody' were very popular hits of the time. The lead vocalist has a distinctive voice and, although the blues and Americana edges were getting blunted by a push to a mainstream alternative rock sound. It starts well enough but, to my ears, never reaches the uplifting levels that great rock music can and the guitars can be a little more 'active' in places. Having said all that, when Mumford and sons went 'electric' it was this band upon which they modelled their approach. It's perfectly fine.

The first of two albums in 1974, recorded in late 1973 this has an almost cult like status amongst rock fans. It is unquestionably their heaviest and, at times, most progressive album and is dominated by the writing of Brian (side white) and Freddie (side black). The Mick Rock pictures have an iconography that is now legendary and 'Seven seas of Rhye', their first single, put them on the trajectory to mainstream success. Lyrical themes of fantasy characters and non mating ritual content were not going to last TOO long but a lot of the original Queen fans would say this was the start of the classic Queen era. Father to son is fantastic and March of the Black Queen looks forward to greater epic tracks. A hugely important record during a productive period. A really odd listening experience for me having just bought the Works in 1984.

The sound of mental illness and old friends tying their level best to stay in time and punctuate Syd's demo like acoustic recordings. Having Gilmour, Waters and Robert Wyatt couldn't hide the fact that Floyd's original management made a catastrophic error when they went with Barrett. Even Terrapin and Octopus can't deflect that thee was a reason the band didn't pick Syd up for that gig in early '68. A young person with no prior information would turn this off and think it was some amateur, but those of us in the know will continue to want this to work.........an important album to hear before your die, but mainly to warn you to stay off acid!

To my ears this is THE definitive sound of the White stripes, less blues more garage and recorded on a low budget in 3 days. The freshly divorced couple continued as work colleagues and started to satirise the music industry in their artwork. One feels immersed in their world for 40 minutes and, despite not hearing any justification to call this one of the greatest albums ever made, I can see why they became darlings of the DIY indie scene in the early 2000s

Released the year I was born, I feel fortunate for my life to have been blessed by their Greatest Hits and this, the duo's final album. It contains two of the greatest recordings surely ever made in the title track and 'The Boxer' (featuring Hal Blaine's noisy drum), the move into world music with El Condor Pasa and 'Why don't you write me' (a direction Simon would take on his next album), Producer Roy Hallee's technical developments with loops for 'Cecilia' and the live claps for 'Bye bye love', Simon's break up song for Art in 'so long Frank Lloyd Wright, two bouncy up tempo tracks in 'Customer satisfied' and future movie theme 'Baby driver' and thoughtful timeless numbers in 'Only living boy' and 'Song for the asking'. A genuine masterpiece, their peak and retrospectively the best time to call it a day.

Never heard of this album or the band and, based on the slightly winey alt country atmosphere that permeates throughout, I don't; see any urgent need to explore further. Not unpleasant but not remarkable enough to suggest that this is an essential album to listen to. It sounds like music to immerse oneself in dark ideas and doomed relationships.

This is clearly part of the early 2000s indie rock boom - dandy Warhols, strokes, vaccines, Arcade Fire - that filled festivals as the physical units dropped and the iPod ruled. It is less one dimensional than I envisaged and does have some different moods but it meanders around with not a great deal of stand out in terms of songwriting. I'm sure someone will disagree but we're not getting TOO many 5 star reviews for post millennial albums.

The last album to be released in Lady Day's lifetime and her first to be recorded with full orchestral arrangements, courtesy of Ray Ellis, after she had checked out the successes of Frank and Ella with Nelson Riddle and others. By this stage her voice was ravaged by drug and alcohol abuse but its lived in quality is entirely unique and she's getting by on her significant early vibrato technique. It is a selection of lesser known Great American Songbook choices and probably better for it. A significant moment in musical history - Billie Holiday not performing with an intimate combo.

The third and final album that the band made with Brian Eno and this process moved them to a stylistic position light years away from the '77 punky debut. Polyphonic textures, patterns, loops and tracks formed out of cyclical jams were the basis of this innovative record. I recall being hugely curious of 'Once in a lifetime' as an 11 year old after seeing it on Swap Shop and then heard nothing else from the Heads until 'road to nowhere' 5 years later. Rediscovering it a decade later made me realise it was one of the finest tracks of them all. Pop music was becoming art yet again but not in the wake of the 60s and progressive counterculture, from the Post punk new wave.......

It's often written that great albums create a sound world to immerse e the listener. Well this effort from a bunch of 70s hippies, with members of the Carter family, Roy Acuff., Doc Watson and others created the ultimate immersion in the world of bluegrass before Hank Williams, the Nashville sound and The Eagles/country rock etc, tried to bridge the country music generation gap and did so almost by making a 2 hour 'death by mountain music' double album. There is some wonderful banjo, fiddle and guitar playing and a real extended lesson in how to write 50 songs with the same chords and still make you think they're different. It's a bit long but other than that it's a great effort and to be admired.

I quite enjoyed this today - a concoction of Britpop sixties like melodies with psychedelic elements and moments of the unexpected. A lot of sixth form academic boys in the late 90s championed this band song with other Welsh outfits and this album got marmite reviews - some of their best and worst - and the mainstream advent of TV based talent show pop put this group back to the margins. The appearance of the Paul McCartney and John Cale certainly gave Gruff and the boys the kind of credibility that Will Young and Gareth gates could only dream......

The original and best for the fans who knew the Texas rockers before 'gimme all your lovin' and the source of the classic shuffle 'La Grange' which certainly stands up today as an early high point. I didn't too much to get worked up about in the rest of it but it is definitely a good competent rock album from a band who helped put another part of the states on the map.

In the wake of ‘Songbird’ by Eva Cassidy, there came a plethora of soothing female vocalists who sold a large number of CDs. Already a product of Indian music royalty (daughter of Ravi Shankar), this debut album by Norah Jones sold 22 million and is an elegant and calming mixture of jazz, folk and country. She has a credibility few can match in her ouvre.

I think this, against some stiff competition, is the best prog rock album ever put out. It's the last Yes recording by the Anderson, Squire, Bruford, Howe, Wakeman line up and the band was never quite the same again. The 4 part 18 minute title track is probably the best example of how to balance an extended rock piece and avoids any meandering. Any you and I was a live favourite and Siberian Khatru is an entirely pretentious but rhythmically interesting track and has appeared in the recent live sets since 1995. Each member is contributing key ideas and the fact that Bruford joined King Crimson straight after and didn't tour the album is one of rock's great what if situations - a masterpiece.

This album was greatly talked about (I actually think they played live in Bristol the night they found out 'Brimful of Asha' got to number one) back in the days of Britpop's hangover and the emergence of 'Low Fi' albums was becoming a fashion. This album mixes the low fi with funky grooves and a few short diversions and an Indian reimagining of 'Norwegian Wood'. It's ok but a bit of a flash in the pan and history will look on them as a one hit wonder. It certainly was a little more authentic than Kula Shaker!

Another example of a band being more influential than successful. This, their third album, shows a band who leave you wondering what you're going to get next and this to me is its greatest strength. I like the opening instrumental opening track, which suggests they have a melodic ability in and amongst their alternative noise and dynamic contrast which laid the ground for grunge. I see that the UK took to the pixies far more than their home country, despite the alt rock boom slowly usurping the mantle of traditional big groups in the US. I know a true fan of this band but I am a little unconvinced overall despite some 'moments'.

After watching a C4 'Music of the millennium' awards when Neil Hannon said he thought Queen were a joke band, I have harboured somewhat of a resentment towards someone whose band has the word 'comedy' in it. Nevertheless there is undoubted musicality, craft and subtlety in his work and this, his third album has the hallmarks of Scott Walker's early albums in it. I just don't associate this stuff with the Great Britpop boom and feel it's been done better. Sorry Neil, but don't slag off my favourite band!

Once Nashville guitarist and production guru Chet Atkins opted not to produce this album it took on the character of a rebellious black sheep in the country canon. Waylon does have a certain Johnny Cash in his voice and there is a familiarity in the sound but not the lyrics of these songs. The album is short and sweet but hits the spot throughout leading the way to the formation of the Highwaymen with Cash, Nelson, Kristofferson and Haggard. I found this a refreshing listen, full of tunes and those three chords with the truth.......

I'm amazed that this has come up so soon after its masterly follow up last week, but it just goes to show how on fire they were at the start of the 70s. This album, the first with the classic line up and the first with Rick Wakeman, capitalised on the success of the Yes album (which saw the reactionary hammond player Tony Kaye fired) and is unique for having an individual contribution by each member (cans and Brahms, We have heaven, 5%for nothing, the fish, mood for a day) and four full band pieces. To have your album bookended by 'Roundabout' and 'Heart of the Sunrise' is remarkable. First Roger Dean artwork as well - the stars were well and truly aligning..........

I was surprised that this, their third album, was released so soon into 1967 and that it spent over ten weeks as U.S no.2 behind Sgt Pepper for the whole summer. It represented the time when the band wanted to prove that they themselves could play AND write after the blatantly manufactured nature of their early work, courtesy of manager Svengali Don Kirshner. I hear lots of Bee Gees influence, a bit of 1966 Dylan and a few slightly psychedelic elements, but it is on the whole a pleasant set of so so songs at a time when the best music was definitely NOT so so.........

I must admit to being surprised that we had the sequel to 'Want one' in this list though this seems a much darker and serious album with an even stronger sense of Thom Yorke and 2000s Radiohead in both his voice and aspects of the writing. He certainly seems to be able to turn his hand to a lot of musical approaches and lyrical themes that are miles away from mainstream pop. Not bowled over but not unimpressed either.

1987 was the year of anticipated follow ups - Joshua Tree, Tunnel of love, Hysteria and this was the biggest of them all when it came to 'what's it going to be like?' Michael's last collaboration with Quincy Jones saw more self penned songs (only Just good friends and Man in the Mirror were written by others) and a very different look in the wake of his skin grafts following his hair catching fire on the Pepsi commercial. My recollection is that only Speed Demon and Just good friends were not issued as singles which would have meant nine in total were released up to early 1989. A list guests such as Jimmy Smith, Sieddah Garrett, Steve Stevens and Stevie Wonder added to the stellar cast of session players. Couldn't top Thriller's sales but still a triumph artistically.

I have clear memories of this album's release back in 2007 as it was the first time you could pay what you felt like for a band's work. It has since become seen as potentially their best work (I don't necessarily agree with this) as it mixed the experimental nature of Kid A-mnesiac with some more expressive melodies. The album is an original listening experience and certainly has some interesting recording techniques. The second disc was hard to get hold of originally and to have it instantly available to stream now feels a bit strange, and a bit easy. Whether they ever topped this album subsequently is questionable.

An absolute banger of an album that managed put the Chilli Peppers into a whole other commercial league, but is one of the landmark recordings that saw the 90s alternative rock boom be 'a thing'. Rick Rubin's presence as producer was hugely influential, helping Chad Smith sound like John Bonham and giving the creative playing of John Frusciante a real voice on record. 'Under the bridge' was a huge single and gave a new credibility to this, up to this point, rather punky bunch. They almost messed it up but managed to rescue it eight years later......the best funk and rock fusion up to that point

Dwarfed by their signature track, this album retains the blues, garage rock aspect with some country elements. I’m not to keen on the Bacharach & David cover, but it may have helped them go overground as the early/mid 2000s alternative rock darlings. Jack white is one heck of a talent.

Never my complete cup of tea musically, this band successfully navigated the quick demise of punk as it became known as the 'New Wave' and mutated into Alternative and Goth genres / approaches. It's produced by original Police producer Nigel Gray (which definitely explained how well the guitars came across after how well he got Andy Summers to sound on record). 'Spellbound' was a strong single which was rare in that acoustic guitars are heard on an 80s hit song, and one cannot fault the commitment in vocal performance from Siouxsie and the moods conjured up by John Mcgeoch's guitar playing - a defining statement of Post punk music, but not an entirely satisfying listen.

Another example of an album in this list evoking that post Britpop late 90s hangover period. This album does not really work as a listening experience, more of a 'vibe setter' for a room or hall. It appears dwarfed by two number one hit singles: Block rockin' beats and the collaboration with Noel Gallagher from the previous year, 'Setting sun' that was unquestionably buoyed by its Oasis connection. Beth Orton also appears as another guest vocalist but doesn't lift the album out of the 'gets dull after a while' mark band!

Some of these albums are good at evoking not just the year they were recorded, but also the times they represent. If 1990 Manchester were to have a defining sound, add this to the Stone Roses debut and you pretty much have it. Shaun and Bez are the the Happy Mondays to the uninformed observer, but the fusion of punk and stones in the guitar playing and the ever more syncopated drum beats are just as responsible for the band's sound as Ryder's garbled improvs and Bez's dancing lunatic image. Special mention for Paul Oakenfold and Steve Osborne in there production and mixing. Loose fit and Kinky Afro stand up well but John Kongo's cover 'Step on' is now a classic. I enjoyed revisiting this.

The title track of this album was the rolling stone record of the year and was pretty much the first of its kind in terms of rap being used to articulate social issues. However this album is not just a rap album - in addition to using extensive samples of 'Genius of love' (Tom tom club) and 'It's a shame' (Spinners / Stevie W & Syreeta) we have some vocal solo numbers (one appears to be an ode to Stevie Wonder). I must confess to liking more aspects of this album than I expected.

A lovely treasure of a recording from the year before Cook's death, that was only released 22 years later. It reveals a much rawer soul vocal than his heart throb pop persona material and shows rather clear evidence of where Rod Stewart got much of his vocal style, mannerisms and laughing ad libs from (often admitted in interviews by Rod). It's pretty well recorded for the time and is quite short, but then again so were most gigs back then. Very enjoyable and it makes you remember that he is one of the great what if figures - had he lived history may have been very different, see also Buddy Holly......

Don't know why TWO of this acts albums are in this list. Granted, there are 2-3 passable tracks with better tunes, but this to me sounds like stripped back bedroom laptop recordings without a great deal of substance or 'wow' moments. Not my cup of tea, sorry.

A 1957 album by an artist called Sabu featuring a cuban chanting and ad libbing vocalist with a barely audible bass, an occasionally featured jazz electric guitar and three conga players was not a recipe for success, however this kind of album paved the way for the likes of the Buena Vista Social Club and for the time would have been both refreshing and befuddling depending on your musical sensibility at the time. The fact that its a Blue Note release gives it instant credibility despite it being somewhat limited in its variety - the polyrhythmic congas would have been influential on the auxiliary percussion featured in later rock and pop live performing and recording.

The first time anyone got to commercially hear some Becker & Fagen songs when they were a recording AND touring and band with Denny Dias, Jeff 'Skunk' Baxter, Jim Hodder and soon to depart extra vocalist David Palmer (who sings Dirty work and Brooklyn nicely). Any album with Do it again and Reelin' in the years is well endowed, but Midnight Cruiser, only a fool would say that and turn that heartbeat over again were a cut above at the time and their run of albums is one of music's wonders from my perspective. The start of something beautiful.........

Never heard of the so called 'King of the Hip Hop concept' and couldn't really come to terms with the mass of sound effects and relatively characterless grooves with not exactly electrifying rhymes. Another one to put in the 'why this one?'category.....

A great example of an act that come on in 'leaps and bounds' from their first album 'Swoon'. This record is seen as their definitive classic album and I can see why it's been put on the list as no one was writing such literate baroque pop music like Paddy McAloon. Along with brother Martin, Wendy Smith and drummer Neil Conti they were critics' darlings for over a decade. The first side of the album is top notch and worthy of 5 stars, whereas the second side, with stuff like 'Horsin' around' and the last track doesn't quite maintain momentum as later work does in my view. However, 'When love breaks down' is a marvellous piece of work.

The album before his commercial breakthrough, made just after the dissolution of the Jeff Beck Group and just before Rod and Ronnie combined with three of the Small Faces. It's self produced, rough and ready, but with a refreshingly eclectic mix of folky tracks with fiddles, straight rock, an Elton cover, a Stones cover and evidence emerging of his ability as a storyteller with his own songwriting. I came to this album relatively late and it just keeps sounding better - no filler and no bad track.

Whether it deserves the Rolling Stone moniker of greatest album of the 1980s is debatable but it certainly puts the Clash way beyond the tag of Punk stars and more like a developing rock band as exciting as anyone in the scene at the time, and Topper Headon's drumming gives them an extra dimension as well. Like all great double albums it completely immerses you in the band's musical world and it encompasses far more styles than their original roots. Critically acclaimed and considered one of the greatest of all time I was quite taken with how fresh and fried it sounded - I must explore it again soon.

This is a significant debut album from the start of the new century. It is the sound of a band each with a contribution and the bridge between Radiohead, U2 and the post britpop indie rock boom. Yellow, Trouble and Don't Panic were good enough to get them an early Glastonbury headline before they went stratospheric with the sophomore effort. The 'album' tracks show an approach to writing that would develop into a more melodic approach that would centre less around Johnny Buckland's Edge-influenced chiming guitar and more around Chris Martin's piano led songs. Nevertheless this album was an auspicious start that managed to improve remarkably in the coming decade.

A 'monster' album of my sixth form - the biggest billboard seller of 1987 and the first 'hair metal' album to have three top 10 singles on it. It is easy to forget how popular this band was - only Def Leppard sold more in the rock world at this time - and the influence that 'Wanted dead or alive' had on the Young Guns movies at the time. Jon Bon Jovi became New Jersey's second rock icon and his voice was impressive back then. 'Livin' on a prayer' and 'you give love a bad name' are now part of popular culture. I think side one is better overall and I find some of the big rock ballads a bit clawing but the band survived and in no small part to this album's appeal.

One of the defining albums of both 1995 but of the entire Britpop period, putting Pulp into the bigger league of Indie bands who were now 'above ground' in the mainstream. 'Common people' was the signature song of the time before 'wonderwall' came out and Disco 2000 also got considerable airplay. The album is a consistent set of songs about the seedier elements of society and sorted for Es and Whizz is an eloquent admission of the unspoken drug culture of the 90s. On today's listen it does rank as a classic and one can hear the likes of Scott Walker, Bryan Ferry and David Bowie in Jarvis's writing. It's working class people being clever again - never favoured by the establishment!

So this is the birth of 'French house' and the beginnings of some dance music superstars. However to my ears, despite liking some of the sounds I hear (and there are a couple of catchy hit singles) this is not an album to listen to in its entirety without being in a club or chatting to other people. The tracks go on far too long (I even find this on their excellent fourth album at times) and are rather one dimensional with a limit to the ideas presented in each track. I am aware that there is a steady improvement kin terms of melody in the ensuing work but I regret to say that I found this album rather boring, despite some interesting samples in places.

The original album of the ‘getting it together in the country’ band. Tension between the tuneful dave mason and the more rock based Steve winwood was always there. Jim Capaldi’s lyrics were of their time. Pearly Queen and medicated goo stand out. I don’t mind it but winwood has done better.

One of the bands that can be genuinely considered to be part of the original punk scene and this has a lot of short tracks as was the fashion of the genre. Uncompromising lyrics, constantly quick tempos, insistent rhythm guitars and an almost anti-music vocal approach. It became seen as the first dishonest side of rock n roll - we can't play and we're proud of it - and I can see why this view proliferates when listening to this album. This would not be seen as a great album to anyone other than the initiated.

This is one of the most remarkable album releases of the decade and was certainly not embraced by RCA too well at the time as it sold less than a ChangesBowie compilation at the time. Brian Eno's presence is felt heavily and Tony Visconti's production was full of experimentation. To have one side of quirky rock songs/instrumentals and then the other side of was can only be classed as sombre mood pieces had not been attempted before and time has been critically very kind in its appraisal of what Bowie was doing at this time. No music sounded like this and what a track 'sound and vision' is, even Mary Hopkin sings on it.

The biggest selling album of 2004 in the UK, often referred to as the greatest gay album of all time, though curiously never fully accepted in their US homeland. They are often referred to as a Glam rock band, which I can understand when you hear 'Take your mama' I do like it when they basically sound like a 70s Elton John record, but I hear no Slade, T-Rex and the Sweet in this band. There is plenty of disco and 80s power pop in their canon and it's unquestionably retro in places. I could never fully accept the 'Comfortably Numb' cover as a fully credible piece of work, but I concede that plenty of folk just a bit younger than me really like this album. Despite a great single, their follow up album couldn't quite match it - probably as they weren't original in the first place....

This, along with its same year successor (Touch) represents the final key albums of the original electro synth pop era from 1979-83. It was never quite a novel idea after sweet dreams hit no. 1 on both sides of the Atlantic. special mention should be given to 'Love is a stranger' which deservedly became a follow up hit after having tanked first time round. Annie and Dave certainly worked for their success, having had modest success as the Tourists and had a completely ignored Eurythmics debut album in 1981. Whilst not reaching the heights of the top stand out singles, this album is consistently good and doesn't have a 'dud' on it.

I love the idea that this music was largely ignored and gained critical and and commercial appreciation over twenty years since its making. Featuring musicians from Pentangle and Fairport as well as a lovely range of instrumental arrangement. It's produced by Joe Boyd, fresh from overseeing Syd Barrett (he should have known.....) and is melancholic, pastoral reflective, ruminating and above all highly creative. I heard it said that Drake's voice bears more than a passing resemblance to Peter Sarstedt, though he possesses a haunted quality that proved to be sadly accurate. This music sounds completely 1969-70.......but timeless as well. Fruit tree and river man are really powerful pieces.

I was initially wondering 'why have they got two in the list' but it quickly became apparent that they were a different sounding band at the outset. You can either think of this album as having a more 'demo' like quality compared to their later big hits or just feel it sounds like it's recorded in 1970-1 which I think is their real intention. I much preferred this to the earlier album in the list (despite the famous songs) and I like hearing traces of Creedence and other seminal country rock artists in the music. I was pleasantly surprised by this and may check out the follow up as a consequence.

A wonderful album from an era of exceedingly strong competition in this field. It was the last album featuring the sonic oddness of Brian Eno's synth, as two Brians in a band were never going to work (!), and also the last one before Ferry started to (rather blurringly) alternate between Roxy and his solo work. It is methodically structured between the vinyl sides - the glam songs are on side one (including the entirely unique live favourite 'in every dream home a heartache') and sandwiching 'grey lagoons' between the more progressive 'bogus man' (a tad long but with great sound) and the live closer title track (TA-RA). They could never really be tagged 'glam rock' with their disparate member's contributions and they retain their legend and mystique with time.

The word seminal can occasionally be overused, but not for this album. It is (barely arguably - Moody Blues?) considered to be the first album in the new 'progressive' genre, the first time we heard Greg lake's baritone, the first time we heard Robert Fripp's angular riffing and intense harmonic progressions, the first time we heard Pete Sinfield's imaginative lyrics (I first heard them in the 'land of make believe' by Bucks Fizz!)and the first time we saw some outrageous prog artwork. Add to this Ian McDonald's flute and sax and Michael Giles's early 'active' drumming and you have a unique combination. The amount of prog music that starts with this as its blueprint is unfathomable. What a listen.......

I was aware that this band originally featured Eric Burdon (of the Animals) but did not realise that they had big hit records, to the extent that it won 1973 Billboard album of the year. They would, at first listening seem to be a funk rock band but there are certainly some Curtis Mayfield and Marvin what's going on influences and also the remnants of old school psychedelia in the rather drawn jams of a couple of tracks here. I just don't feel that this is the best example of the music they are playing, despite the impressive message conveyed by title, artwork and some lyrics. Clearly able in their field but not spectacular.

In the year that we got Pet Sounds, Revolver, Aftermath and sounds of silence, Dylan needed to maintain momentum. To produce a double album was unique for its time and to mix the poetic invention with the ever expanding options of having Robbie Robertson, Al Kooper, Rick Danko and Charlie 'Nashville' McCoy on the album, this was going to be something special. With Rainy day women, I want you and Just like a woman adding to the standalone Postively Fourth Street as singles, Dylan's commercial fortunes were at their peak. This completed his rock trilogy (the other two are BOUND to be in this list) and went out on tour to be called 'Judas' - its part of rock history and one of the finest examples of the album form.

It's easy to think of 1967 as a time when everyone was listening to Sgt Pepper and living in a 'Purple haze' but there would have been a perfectly even section of the populace who were still listening to crooners and 'easy listneing' (to coin a rough term) and the Brazilian samba rhythms had been slowly permeating the mainstream since Astrud worked with Stan Getz. This album, short but very sweet, contains some delights: covers, some lyric-less vocalisations and the odd 'novelty' (including an out of tune duet with a child). At times her voice appears pure and unaffected which is part of its original charm, and at times it lacks vibrato when it could assist. Never unpleasant, occasionally naff, nicely arranged and influential on George Michael's mid 90s work.

One of the best 'sophomore' albums and an almost career defining work (until Carlos's spectacular 1999 renaissance). It exists in the shadow of a legendary Woodstock appearance and its Peter Green cover, not to mention Oye Como Va and Samba Pa Ti, give it some high profile rock classics. It's an innovative fusion of Latin American and rock but the album is more than a showcase for a guitar god - Santana was a band with even contributions. Those percussionists were highly influential to the character of the music. The penultimate track has echoes of the (recently ended) Cream. Artwork is reminiscent of some jazz albums of the day.

I was initially quite dismissive of what I thought was music of little character, and gradually I started to hear elements of Elbow in the latter tracks. Their initial album was rather more experimental than this one and there are elements of RnB and electronica but an overall mellow psychedelic character, which I tend to favour less in more recent decades. This is not an artist I will actively seek out in the future despite a few promising moments - I don't see where a long term audience lies for this kind of 'uncut' magazine stuff.

Produced (a little muddily) by the the excellent Bob Ezrin, these were the first notes in nearly 3 years from Gabriel since 'The Lamb' and it certainly has the dynamic range and stylistic variety of his former band. The album starts really well with one of prog's great titles and then one of his iconic songs, then we get a busy rock song and a piece of barber shop parody before the very fine 'Humdrum'. We then get three average tracks (waiting for the big one is a bit long) before the classic 'Here comes the flood' which has what now seems like a bombastic arrangement and was, I feel, improved by his stripped down piano re-recording of 1990. The album certainly sets up a very creative solo career. Will get better.......

Apparently the album that put 'Nu Metal' into the commercial mainstream - I'm not convinced how thankful I am to Korn for doing that based on today's listen. The rap elements to me are varied in quality - the Ice Cube track is quite an eye opener, whereas the Fred Durst track just seems juvenile at best and bears all the hallmarks of what happened at Woodstock '99. I can't claim to be a fan of where rock was headed at this point having liked Britpop and Radiohead and this music sums up what was wrong with it. There are some ok riffs but really I'm not 'feeling it'.

Written and recorded quickly as Punk rock was at its height, this (miraculously) double album shifted a whopping 10 million units, assisted by four key hit singles. The Punk bands were far less keen to spend time in the studio as Jeff Lynne and this album is an absolute treasure trove of musicality. John Lennon referred to them as 'Sons of Beatles' - this album outstrips anything a solo Beatle produced in the 70s and has more in common with the Bee Gees and ABBA to my ears than Lynne's renowned influencers. 'Steppin' out' became a later live favourite and 'standing in the rain' opened his second comeback tour. A magnificently crafted album, and much more than 'the one with Mr Blue Sky on it'!

After 'Roll with it' lost out to 'Country House' I have clear memories of the 3 star review it was given by Q magazine (gave 5 stars to Blur great escape!) before it became THE album of late 1995 - early 1996. They got a new drummer after the 'some might say' single, they mixed the acoustic with the electric far more so the noise war guitar mix from Owen Morris only appeared about 5 times this album. To have three no.1s and a no. 2 single certainly is a good reason for it to be one of the biggest UK albums of all. Listening today, aside from the unnecessary 'swamp song', this album is consistently tuneful and only 'Hey now' is merely ok. Deservedly in the list and a classic album for the Britpop generation.

Must have been quite a revelation to hear that type of voice in a mainstream setting in 1959 and he is without doubt one of the finest and most influential singers of all time. His nickname became a tag line for a number of his albums but this was different as it was his first outing with a big band orchestra set up. They were clearly trying to work out the best method of album sequencing by having a side of bouncy band numbers and a side a ballads. This has five excellent contributory arrangers, more musicians then ever before, and THAT voice - it would be worth five stars if it slightly more of a knockout collection of songs. Still musicality of the top draw.

An oft forgotten example of group longevity (see also the Four Tops) and this album shows a real sense of musical growth on from 'Shout' and 'Twist and Shout'. After 'It's your thing' in 1969 a new groovy approach gave a whole new wave of success for the band and one can certainly hear Curtis Mayfield in the first track, some Stevie Wonder synths on a later song, 'If you were there' I actually knew due to a Wham! cover and 'Summer breeze' is an established classic. I'm a fan of the highly dense rhythm sections and the sound on a couple of the guitar solos. An album with much to recommend it and to say they formed in 1954 they came a long way.

Not withstanding that this album is a cornerstone of Krautrock, produced by legendary studio owner Conny Plank who also worked with Kraftwerk and Ultravox and influenced Bowie, Roxy, Joy Division, Noel Gallagher and countless others, I think this album is one of the closest in this list to the Emperor's new clothes. I don't think that a rock drum beat with a flange pedal under one chord for 9 minutes is THAT groundbreaking. I know there are soundscapes, nice guitar sounds but precious little that has me marvelling at its musicality. In a word, boring.

A duo, one (almost virtuosic) bassist and an agile drummer who occasionally shouts, make up this 'noise rock' band. This album is meant to be the more accessible in their catalogue and is a series of overdriven repeated pounding riffs (at best) with frantic drumming - apparently in critics' top albums of the 2000s. All I can express is bewilderment at anyone who could possibly consider this band as being worthy of a second listen - this album, to my ears, is horrid and is clearly aimed at a countercultural audience who have gone 'beyond metal'. I don't hear energy and anger, I just hear laziness.

If your album is produced by Jerry Wexler and engineered by Tom Dowd and Arif Mardin then you should have a pretty good guarantee of quality so long as you have good songs. I was surprised that this was Aretha's ninth album (the first eight were covers of jazz standards) and that, as it's her first for Atlantic, its doesn't use Booker T and the MGs as then backing band. I'm not convinced by the album's title despite the title track is a top song, but the presence of Rolling Stone's top track of all time in Respect, a track that produced a band name (Dr Feelgood) and a track that I first discovered in the Commitments film (Do right woman). we have something special - one of the greatest recordings by a woman artist - she became the queen of soul in '67.

Four tracks, four grooves, four moods - this album is one of the most significant post Bitches Brew works and is seen as the album that brought Jazz, funk and rock together into a mainstream success and pretty much reinvented American music (along with with the likes of Thom Bell, Stevie Wonder's run of five 70s albums and Marvin's 'What's going on'). The album's title kickstarted the 'Headhunters' band who became a success in their own right and their playing helped to reinvent the 'chops' of future groups. Herbie was to go in another direction in the next decade but he came up with a unique album with this one.

Listening on headphones it strikes me how well this live album is recorded for 1974 and also how well it works to say it omits Brown eyed girl, Baby please don't go, Tupelo Honey, Moondance and Crazy love from its tracklist. Apparently it's the first live rock album to feature any string playing (in this case a trio) and it certainly would be influential in live rock performance on a bigger scale for arangements. Here comes the night is so good it could finish the gig from my perspective as I feel the last two tracks have too much meandering and Van's ad libbing compared to the relatively economical majority of the tracks. A pleasant surprise overall.

'Symphony and Metallica' certainly is one of the most exhaustive of live albums and definitely one of the most original of its time. The idea that the original thrash metal band would work with Michael Kamen's orchestrations seemed a long shot but it does work surprisingly well and I find that the orchestra adds touches not heard on the original recordings. My initial thoughts were that the band had been mixed down to allow the subtleties of the Orchestra to come through, but the heat is certainly turned up on the second disc - 'One' is quite something and 'Nothing else matters' was always going to suit this set up. I like Metallica but they're not in my top list of acts, but this really brings them more to life than my view of them in the 80s.

A sublimely beautiful and stylish interpretation of a genre relatively new to the mainstream of American popular music. Stan Getz was instrumental (no pun intended) in bringing jazz to the latin american form and this led to his equally lauded collaboration with Astrud Gilberto and Antonio Jobim. To hear Stan's fluid improvisations over the lilt and Brazilian harmonic progressions is a thing of wonder. I rate this album considerably higher than the Astrud Gilberto album in the list and would put this up there with key albums in jazz and fusion (it was certainly paving the way for what happened in the ensuing ten years in that area......)

I was very open mindedly curious about this album as Goldfrapp are Glastonbury darlings and they have a reputation for inventiveness, especially considering the calibre of artists with whom Will Gregory worked. I found the basic sound of the album to be an amalgam of 90s female songwriters such as PJ Harvey and Tori Amos along with Portishead, but also possessing some Kate Bush timbre and some cabaret like Liza Minelli touches. I liked some John Barry type orchestrations and some rather cat like electro synth solos. I wasn't hearing any groundbreaking melodies (a few decent hooks and grooves) but it was interesting and I can see how Alison became quite popular with the 2000s 'alternative mainstream'.

A total reinvention for the band, produced by Norman Smith (who'd engineered the Beatles and overseen Piper at the Gates of dawn) and seen as the first rock opera on record. The music contains a lot of harmony harmony vocals over minimalist riffs and is lyrically very much of the time - sub Beatles in places - but even after reading a wikipedia synopsis, do I know what it's actually about? No. However, what is really lacking in this record, AND probably why it was a flop at the time, is good tunes to match what was out at the time. More Satanic Majesties and Ogden's nut gone flake than Sgt. Pepper and Disraeli gears. Sadly not as good as I was expecting.

Here we have a humungously influential singer songwriter, recently name checked in an Elton/Brandi song, bisexual best mate of manger David Geffen, who's acrobatic voice would've influenced Joni Mitchell and changes of tempo would've attracted the attention of prog artists, especially Kate Bush. The term underrated gets bandied about and Laura Nyro fits that bill extremely well. Having said all this I did not warm to this stuff instantly, like Joni it will take numerous listens and I sense that this is now in a post Monterey pop time capsule, usurped by (pardon me) better writers. Better than yesterday's 1968 album though.......

Following on from 'In a silent way', the 'directions in music by Miles Davis' live up to their billing on this sprawling, at times difficult but never dull, listening experience. Supposedly recorded at the same time as Woodstock and having just as big an effect upon popular culture in the long run with the re emergence of Jazz via popular music, film soundtracks and prog rock. This is arguably day one of Jazz rock and fusion whilst achieving Miles's ambition to create music out of pure improvisation based on a handful of chord progressions set out by the man himself. Chick Corea and Joe Zawinul on keys, John McLaughlin on guitar, Wayne Shorter on sax and Bennie Maupin on the then unique bass clarinet are remarkable in creating something out of the loosest of frameworks. I need tie before hearing it again but there's a reason it was his biggest seller part from 'A Kind of Blue'.

Allegedly the original inspiration for 'bedroom musicians', surely along with Mike Oldfield the same year, and making a real breakaway from his relatively melodic pop song approach of his first two albums. The fact that this was entirely his own work and he plays it all (it's on a much bigger scale than McCartney's debut album) is remarkable in itself but, despite all this, its clearly the result of a lot of psychedelic drugs and the album is quite a mishmash on first listening. I find moments of it quite melodically and harmonically satisfying, but other bits just a waste of vinyl and had that soul medley been omitted it would have been a better sounding two sides of vinyl as opposed to a compressed 56 minutes!

The first actual EP to make this list - it's not quite long enough to be classed as a full two sided album - and I was surprised to find it was recorded in 1983. It seems to be a definitive work in the development of Hardcore punk music and, despite the rather confrontational (genuinely) shouting vocals, the playing of the band is not negligible in the way it was with the Pistols and Ramones. Apart from the changing finale, the tempos were largely at Motorhead level and not easy to maintain. The riffs were not without melody, but on reflection I still would not confess to find the listening experience other than something I had to endure.

'The Score' was the Fugees second and last album, and this monster hit was followed up by the only Lauren Hill album which was a multi grammy winner and at the centre of the RnB/Hip hop zeitgeist. Her burst of creativity was supposedly down to her expecting a grandchild of Bob Marley at the time, and having Mary J Blige and (pre Supernatural renaissance) Santana as collaborators was evidence of her clout at this time. The emergence of Destiny's Child and the success of Beyonce could be questionably attributed to the opportunities opened by this album's appeal. I wish I liked the sounds it makes more than I do, as she was clearly a talent - though a one album wonder that can still play Milton Keynes.

So this is their second album (and last for twenty odd years) which saw two EPs released in between this and their debut. Apparently this album took an inordinate number of studios and a then astronomical sum to make, which clearly suggested they had been critically acclaimed and that their guitarist was a bit difficult. His guitar playing is seen as innovative and the band pretty much invented the 'Shoegazing' genre - so Mogwai can be quite thankful for their droning music. This album has about two tunes I could identify and then occasional 'dream pop' keyboard lines, but the rest of it I find difficult to equate with the word 'greatest'........

Produced by Ethan (son of Glyn) Johns on the original Abbey Road mixing desk, this album seems to maintain the energetic American roots sound of their debut with slightly less song quality. It retains the dry demo like quality and would’ve been refreshing when released. Not sure I’m a huge fan of Caleb’s voice if truth be told……but it’s ok. Not sure we need 3 of their albums in this list

A return after a hiatus with a more new wave streamlined approach to recording. There is some question as to how much of Frank and Dusty’s rhythm section was replaced by drum machines and sequencers but it certainly had a tighter AC/DC like sound and the hit singles came - the first I’d ever heard of the band. Sold 11 million on the strength of songs and videos. Billy gibbons still sounds great and it’s a consistent record.

The album that established the career of Q-Tip and Busta Rhymes and brought more jazz samples into hip hop. They called it ‘Boom Bap’ apparently! It’s a more relaxing listen than some rap albums and the double bass (Ron Carter in places which is highly credible) is a distinctive feature. It didn’t soundtrack 1991 for me but it definitely was for cooler people and movie soundtracks. I think the presence of Mr Carter adds a star to the review! Not a million miles from the vibes of De La Soul.

I remember Kate appearing on Saturday superstore promoting this album and hearing ‘sat in your lap’ and wondering what was happening. I wouldn’t have been old enough to consider buying it but cricical reappraisal and high profile musical fans have given it interest as the years have passed. So much of it is her on a fairlight keyboard and similar to Peter Gabriel 3 in no cymbals being used. It’s the irregular vocal approaches and unique instruments that keep the listener wondering, the bass playing is of especial importance - suspended in gaffa sounds positively conventional! Her lowest seller before her biggest seller…..

Their third album is one of the most clear satires on the whole hippie and US political movements you’re likely to hear on record. The artwork is legendary - and features Hendrix (who’s also on the Sgt Pepper cover)- and remarkably avoided legal action. The title quotes a line in which Zappa referred to the Beatles’ supposed insincerity. As with all Zappa it’s cleverly done and amusing in places but it’s not music doing what it can do best, it’s picking holes….

I have a teaching colleague who is a huge fan of this band and, despite not really knowing who they were as a student, they became known to me as the prototype for Nirvana and there can be no doubt that this album's opening track has a similar groove and progression to 'smells like teen spirit'. The singles are fairly tuneful and there are quirks and contrasts that make them interesting, but I can't really get my heard around Francis Black's shouting vocal style in some of the songs. The production to my ears doesn't really support too many extremes. Not awful but not essential either.

Hard to evaluate this album based on its sheer erratic content. The title track guitar solo (recorded after George Clinton asked guitarist Eddie Hazel to play as if he'd heard about his mother's death!) is sonically inventive and an impressive take, with the influence of the recently departed Hendrix evident. I like some of the straight ahead funky ones and 'super stupid' has a Black Sabbath feel to it. Any music by George Clinton will have that level of unpredictability to it and I think the final track is just garbage - a barely funky jam on one chord. I think I would have preferred Sly Stone at the time - Prince obviously loved both!

This is a collection of eight terrific songs, presented in an altogether more contemporary fashion with a European 80s producer. I can't help thinking that the drum and synth sound have an '83/4 sound as opposed to 1988. The vocal presence of Jennifer Warnes adds class whether ghosting a lead or harmonising with herself. A real range of topics are present in the lyrics and the European sales gave Cohen a commercial success hitherto not experienced. Tower of song is one of the most subtle uses of a twelve bar blues I've heard. His voice has a now distinctive depth - he's no vocal technician, but what a writer.

I was a Music undergraduate when I first heard this and certainly would've hated the sound and message of the album with little awareness of its context. Looking back its influence on the films and news headlines of the following decade, at times, is immense. Suddenly Hip hop was less of a dance form and now we had two coasts that were in direct competition. Lyrically the music is confrontational and, to my thinking, has had a huge effect on the behaviour and taste of potentially anti social younger people, taking the place of heavy rock as the 'annoy the parents' music for a while. 'Fuck the Police' remains a powerful piece but a whole hour of it is too much to bear. Dr Dre and Ice Cube had bigger solo careers.

The album that put them back on the map as a big league rock band for the millennium. I'm sure John Lydon had a lot to say about a punk rock opera and it makes you think how powerful the satire and protest is compared to the political climate of now. It certainly is very tuneful and they do sound quite familiar at times, even having the character of the recent Scooby Doo TV theme! Although bits of it are a but clunky, I'm not a fan of the penultimate song, but many of my GCSE students have been assessed playing the title track, wake me up before September ends and Boulevard of broken dreams over recent years. A good effort and a grammy winner no less.....

So here we have 11 songs (the last track is pointless chatter) as the 12th one was 'Guess I'm dumb' that Brian gave to Glen Campbell (nice song) after Brian had quit the touring group to focus on writing and production. Gone are songs about cars and surfing and some more mature writing (when I grow up to be a man and please let me wonder)along with some less traditional instrumentation at times. Help me Rhonda is the stand out song but needed a serious remix from this album version in order to be a worthwhile single. California girls and pets sounds were still to some. This album is ok but it's evidence that they were essentially a singles act. Not five stars.....

An aborted soundtrack from 1989 that was released by the biggest selling singles act of 1991, then abruptly retired and their catalogue deleted (I made a playlist to hear this album!). Bill Drummond was the penultimate figure from the early 80s new Merseybeat to become a success (Ian Broudie's Lightning seeds completed the equation) but few could have predicted that he'd be THIS successful and confrontational. The music was the 80s/90s crossover in a nutshell - late 80s dance music with mid 90s alternative rock. To have Glenn Hughes and Tammy Wynette as lead vocalists was quite a coup. Listening back it's bonkers but tuneful and full of hooks and varied beats. Their enigma remains.......

Engineered by Tom Dowd, accompanied by Stax records house band, Booker T and the MGs with Isaac Hayes on piano in a one day session - remarkable even for 1965! This album is a collection of soul classics, three by the recently deceased Sam Cooke which is consistent, shows off the emerging brief shining talent of Otis and influenced even Peter Gabriel! This album doesn't put a foot wrong and even the frantically ad libbed Satisfaction cover has a groove that the Stones used in concert for the rest of their career. Classic stuff.

I'll confess to not realising that the 1986 brat pack film was named after a track on this album. I also was unaware of this band in 1981 though I have memories of Mike Joyce's amusing anecdote that someone said the Smiths 'could be as big as the Psychedelic furs'! I warmed to this album as the listen progressed and, at best, it can at times approximate a sound similar to David Bowie if he was singing in the Smiths, complete with his amateur sounding sax solos. Richard Butler had certainly been listening to Lodger and Scary Monsters when he recorded this album, helped by the XTC like production of Steve Lillywhite. It's a good job the film royalties were good.......

Noted for being key in the development of Hardcore punk once Henry Rollins became the lead singer. He's quite a good contributor to programmes on punk and the rise of grunge and the visceral nature of the music is undoubted. That's where the positives run out - the music is diabolical and to my ears is not a fusion of the Ramones and Johnny Thunders atonal guitar solos. I hear a recording of a band sounding like a live Iggy Pop bootleg at best. I've heard it now and I hope I die after hearing some better albums.......

After his period working with Chet Atkins as a largely Nashville songwriter Willie took up his real calling as an 'Outlaw' with the his big name pals in the Highwaymen, and produced this album about an outlaw himself, a kind of alter ego. Working with Jerry Wexler, he created an almost demo like album which ended up being appreciated as a 'stripped back' affair. It's a consistent effort with a seamless set of tunes, all written to a country style harmonic blueprint, and a satisfying sense of completeness as a concept. Never heard it before and was happy to discover.

The definition of a classic album, made in the era when the format ruled over the record industry. Nevertheless the album emerged from an aborted 'Tommy' follow up rock opera called 'Lifehouse' (from which a good dozen fine Who tracks appeared as singles and odds and sods). Eight of the album's songs are from the project (not My Wife by John Entwistle) and three of them are up there with rock's great tracks and I recall 'Getting in tune' appearing in the Jerry Maguire film. 'This song is over' recalls the key line from 'Pure and easy' which kicks off Lifehouse. All killer no filler, the first proper use of synthesisers for composing in rock, Townsend writing well for Daltrey's voice and the Moon and Ox on top form realising Pete's demos. So glad to have seen some of this stuff live.

The classic sound of Shel Talmy's rough and ready product introduced both The Kinks AND The Who to the world. This album is the sound of what concept rock opera Quadropenia was all about but couldn't be more different. Looking back the album is dwarfed by the title track and The Kids are alright, but also Can't explain and anyway, anyhow, anywhere, and it definitely seems like they were a singles band. The tracklist would add live RnB covers to the first Townsend originals so it's not a classic album in terms of song quality throughout but to hear lyrics such as A legal matter and the energy of Moon on the Entwistle 12 bar blues show off 'The Ox' is a real revelation. To people aged 80 now THIS is The Who.........remarkabkle that it followed Who's Next in the list.

On first seeing that this was today's choice I was a little alarmed that the 80s are being represented by punk albums that really don't sum up the period for those of us that were there, but as I progressed further I realised that the band had breached out stylistically from their debut and there were country and psychedelic aspects to the work. They still didn't play too well but were more tuneful than Black Flag and did have a lasting underground career. I still could live without it though......