1001 Albums Summary

Eclectic and expansive, the songs, production and concept of the early songs were ambitious, but I felt they lacked any strong hooks. It was a kitchen sink approach which utilised classical music, heavy metal guitars, jazz, rap, film score, but nothing beyond an infantile melody. Then I was pleasantly surprised by Oh Maker, which had a directness the rest of the album lacked until that point, and then again by Mushrooms and Roses (I love this title) which was intriguing. The rest of the album I have no desire to revisit. But I'll certainly listen to those 2 songs again.

Soulful, whimsical (at times) and life affirming throughout. There is an inherent musicality in his work.

If you can tolerate his raspy nasal falsetto patois and unconvincing ganta-ism lyrics in a limited register, there are some interesting ideas and some good playing in the background. It's a pity he rarely changes chords which robs the songs of any dynamism.

The songs because so ubiquitous for a time, famously appearing on so many products that Moby has helped sell just about every product class on earth. Because of this it is easy to forget how startling the album is, in its quality, originality and ambition. The songs aim high and frequently succeed. I have listened at times and felt alternatively uplifted, energized and depleted. If I was to make one observation I think the songs on the first part of the album are so strong that it loses some momentum toward the end. I have found myself not listening to the full album on more than one occasion.

Mature, melodic, playful at times, varied and satisfying.

Chirpy pop, cohesive upbeat beepy ambience. I don't love it, but I have found myself putting it on in the background a few times when Im in the mood for this type of vacuity.

Magnificent album a varied and balanced collection of songs.I often listen to this album once, and then afterwards I play my favourite songs (Dreams) again.

The American equivalent of Status Quo. Appealing bit repetitive sound. For some reason I have an unjustifiable warmth to them, probably because of their image. The visuals are unique, but the music largely interchangeable. On basic analysis any time listening to this album again is an opportunity wasted, to listen to something better.

Marvin Gaye makes some of the most musical sounds of any biped. From Growling, to smooth or soaring sweetness across all the register, as he does here within the first 40 seconds of Let's Get It On. His best work is not just the result of the quality of his voice. For me the magic is in the beauty of backing singing, either contapuntally or as a refain, which compliment him perfectly, because it's usually him as well. Unfortunately, beyond the title track the strength of these 9 songs, just isn't very high. The presence of Keep Getting it On, (effectively a reprise of the title track) means that a single musical idea comprises 26% (I did the maths) of a 31 minute album, and the other 7 tracks are only suitable as backing tracks for 1970s TV commercials.

OK, there's a particular theme which runs through the album. Men exploit women, both sexually and for monetary gain. This is bad and women have to be strong to stand up to it. Nena Cherry can both sing and rap pleasingly. So far so good. The music is however, with limited exceptions (Chorus of Buffalo Stance), is tosh.

Like Bowie and perhaps Blur, I admire Radiohead for trying to develop and experiment from recording to recording. It's probably the third or fourth time I've listened to this album, largely from a sense of respect for their back catalogue. But fundamentally, I just prefer the rocky version of Radiohead. There are no standout songs here. Nothing Is would play on its own, that stands proud outside the the context of this album. It's not bad by any means, but when I listen to it, a part of my brain feels I'd rather be listening to the Bends or OK Computer.

What the fuck and why the fuck. 2 stars.

Impossible to review without using the word Cheesy, this is clearly a mod 80's album. But, speaking confidentially, it is also a guilty pleasure. Taken on its own terms the album is coherent and driven and confident.

Pleasant catchy poo. Mercilessly brief, highly listenable.

Their sound is generally appealing hence their success and this is apparent on a number of the tracks here (Doorbell) but too many of the songs made me think their was no edit switch in use. Nothing or no-one to say it's not strong enough. The Rita Hayworth song FFS (Take Take Take). I'm never going to forgive either the them or the next 5 generations of their offspring for inflicting that dross upon me.

Difficult to listen to this without thinking of it as advert or TV music. Possibly a victim of it's own cohesiveness, it's influential and has been absorbed into the general musical vernacular. The music itself is solid, well structured and satisfying, but I can't imagine listening to it again other than as a background accompaniment for a family dinner.

Interesting and melodic. I'm glad I was introduced to this and I would listen again with pleasure. Glad to add something latin to my playlist beyond Buena Vista Social Club.

At last an album I'm familiar with, and possibly my favourite Bowie album. Joyous and inspiring, how on earth could he not remember recording it!?!

My God that was rollicking good fun. This is something that I will add to my favourite listens. I was already familiar with a few of the songs, but I Wanna be Loved, Bus Driver and especially Crosseyed Cat were new to me. I will add this to my regular listens.

Already a regular listen for me.

Quirky, melodic, uplifting, vibrant and I've always been fond of the slow songs on this album but I was surprised relistening how varied and strong the whole album is. The creativity, confidence and panache of a band who would write with unrestrained cockney humour Parklife or Girls and Boys, and transition to the slower songs like This is a Low or Bad head.

Hybrid blues and African music. Not earth breaking, but highly listenable.

Once cutting edge, songs and moments still stand out - notably the Purple Rain guitar solos, however the album is of its era.

Better than pleasant. Of interest due to his son (a much better singer). I can't escape the feeling that I'd rather be listening to Nick Drake whilst I was listening to this. I wanted to give 3.5 stars, but I've opted for 3, as I'd rather be listening to Nick Drake.

There is more to this than sounding as if David Byrne had been forcibly injected with an LSD laced Morphine suppository. Although it is that as well. Energetic, joyful and quite demented, this was a revelation. My mental playlist of avante-garde/post-punk albums was previously.....zero. Now it is one, and hurray to that.

Sublime

My God her voice is wonderful

Wonderful and dense. I have no idea what descriptions such as: with your mercury mouth in these missionary times, or your cowboy mouth and your curfew bells mean. I don't have the time or patience to find out. But I'm at peace with my ignorance and I still love this album. Partly, because Bob Dylan is one of the few people I know who is a worse singer than I, but mainly for the strength of the unfathomable songs. They may be gibberish and he may just have pulled random words from a tombola made from a leopardskin pillbox hat, but none the less I'm going to give this 5 stars.

Mmm, not sure what to say here. I enjoyed some elements of the album. There were rocky guitars, and an intriguing Cowboy song. I struggled to understand from this, where and why his status was gained. In total I listened to it three times, partly in deference and partly in case I missed anything. But it is not for me and there won't be a fourth hearing.

A now familiar and appealing sound, it was considered cutting edge at the time. It's a winning combination of drum machines, and Tricky's laid back rapping, alternating with more traditional songs..... except for the final song "Hymn of the Big Wheel" which really is tripe. The stand out track is of course the majestic and emotional "Unfinished Sympathy" which deserves to live on independent of the album and band, a gift to wider humanity. But the rest of the album is strong and varied enough not to be overshadowed (except the excretable Big Wheel).

Seminal counter culture album. Initially popular for teenagers as a listenable album about drugs, which your parents wouldn't want you listening to. It is of course much more than that. The songs stand the test of time, the lyrics have veracity as they lived the life. There is vitality and momentum to the rhythm, and even Nico's voice has grown on me over the years, she is more integral to the album than I initially gave her credit for.

Shortly before the birth of Tom Jones, the earth consisted of Primordial Soup. Nobody knows exactly what the soup tasted like, but I tend to think it was similar to Mulligatawny. Then, due to biology and other stuff which Darwin invented, we eventually evolved out of the bottoms of our Monkey Gods. And this lead inevitably and unfortunately to the 1980s. Although, Sweet Love is undoubtedly a worthwhile, catchy song, this album is so defunct of anything else worthwhile that it becons the question why we bothered to leave the soup? And if, within the next 3 weeks, I was faced with the question whether I would chose to be boiled alive in an industrial vat of Mulligatawny Soup or be subjected to the uninspired anodyne warblellings of Ms Baker, then I would face a difficult decision. A clearer question would be why on earth this made the list of 1001 albums to listen to before you die. It should be a clear candidate for 100 Albums to Avoid Listening to Whilst Alive. It may also make the list of Top 53 Albums to demonstrate the typical Lack of Key Changes, use of drum machines and synthesisers, and cultural acceptance of musically worthless Album (Filler) Tracks. With infinite lives and infinite time, I can forsee no enentuality where I would willingly listen to this tripe again. Not even if I'd feel nished all the soup.

An unusually confident, balanced and satisfying album that warrants being listened to in its glorious entirety. It's wasn't until the bouant rhythmic hollering of Red Hill Mining town (track 6) that I remembered the strength of this album isn't in its strongest songs (With or Without You ((of course)) but in the cohesive whole. This is cemented in track 7 (In God's Country) where we feel the forward drive of the album, and the solidity and identity of the band. Because I was mildly obsessed (completely obsessed with U2 as a 16 year old, and because I'm mildly embarrassed (completely embarrassed) by my 16 year old self, I haven't re-visited U2 or The Joshua Tree as much as they merit. Bono, I'm sorry for that. Edge, ditto. Larry & wots your name, please accept my apologies for the lack of regular listening that your admirable ouvre deserves.