1001 Albums Summary

It feels like this album started the 90s trend for MTV Unplugged sessions. I can see why, the audience interaction from the enigmatic Kurt Cobain makes this album feel personal and a bit raw.

This is what happens when country and smooth jazz come together. I am really not surprised that it has been the soundtrack to hundreds of dinner parties.

With massive hits like Even flow, Jeremy and Alive on it, you feel like you have heard this album all before. But it is absolutely worth listening to in its entirety because the overall feeling of this album is a crossover between waining rage and increasing sadness. Now I know why I bought this on CD.

I know I should dig on the vibe and message of this album. And I can see how it has influenced other artists (e.g. Beth Ditto is about 80% Janice Joplin's vocals). But I dont know what it is about this album that I didn't enjoy. It feels a bit too disjointed or raw or something. I just am not a fan. Probably wrong but that is a me thing.

I feel like bossa nova songs have suffered from being associated with campy Austin Powers style comedies or elevator music. This album was fun to listen to and made me think of a chilled out bar where you can get a good rum cocktail. But also taking a 1970s mirror/wood veneered elevator to get to that bar.

I love the upbeat music mixed with furious vocals. The social justice of two tone makes me feel both very happy and very sad in equal measure. You can hear the late 70s anger and discontent mixed in with some of the most catchy songs ever.

I enjoy the female vocals on this album rather than the male vocals. And there are some mad drum solos on this album. Overall not bad, but not my favorite.

Folky and full of beautiful harmonies. The feeling of this album is all blue skies and sunshine. Joni is an absolute songbird. In theory this should be a perfect album, but Joni does this thing with her voice that I really dont like. So I would listen again, but it isnt my favorite.

So. Many. Christmas Classics!!! I felt like I have heard these songs hundreds of times and I am sure I will hear them hundreds more times. It takes a special kind of talent to make a song that people will voluntarily listen to every year. Let alone a whole album of them.

This really is the sound of future nostalgia for me. You can hear the 80s midi synth sound coming into focus. Its full of rich full electronic sounds and could quite easily have been any number of late 80s or early 90s video game sound tracks.

Its big and loud and fast. All the songs are short and half of them sound like each other. But that is Punk. It is supposed to be fast and furious. But the Ramones always sounded like they had the Punk feel without the seething vitriol and resentment that the Sex Pistols had. And there is Blitzkrieg Bop and a cover of Let's Dance. So that makes this a properly kick ass album!

This was a really complex and beautiful album. Full of harmonies and interesting choices of instruments. The heralding bugle was not one of my favorite choices however. I enjoyed some of the songs like Bitter Branches and Written on the Forehead. PJ Harvey is an undeniably talented vocalist, instrumentalist, writer and poet. The only issue that I have with this album is, when am I ever going to want to listen to an album for pleasure when its overt message is the futility and desolate nature of war? Its very powerful and composed in a truly impressive way. Just, not the album for me.

The perfect album to have a kitchen dance. It fills the room and is charged with passionate feelings of crazy jealousy. Some of the tracks sound very 90s and have a type of break beat or trip hop style that really suits these songs. I was surprised that I enjoyed it as much as I did and would absolutely listen again.

This album sounds like a stream of consciousness of a person taking an acid trip. There are repeat sections that pop up in different tracks, chatting about what is on their mind, snippets of phone conversations and overlapping chatter. The feel of the album moves from elation to paranoia with upbeat riffs moving into discordant musical phrases. I liked it, but you REALLY have to be in the right headspace to listen to this.

This album is strange in that it should feel more strange than it is. A pop album with harpsichord, timpany and a horn section is odd. But it all works. Even the theramin and bike bell/horn in You Still Believe in Me works. I really cant explain how it does, but it does. Couple that with the harmonies that sound like being on a beach in some idealised 50s California and you have this album. Shouldnt work but it does.

Its full of obsenity, misogyny, chest puffing and weed use. Its Snoop Dogg, what else would you expect from an album called doggystyle by Snoop Dogg. That being said, the songs are good, its funny and the rhymes are really sharp and observant. Its very much of its time but it has influenced hundreds of hip hop songs and albums so deserves its place at the top table of this genre. I could have done without hearing Snoop Dogg having a pee though.

Vaguly folk-y, jazz-y and messy scat type vocals. On more than one occasion I felt like there were two asynchronous melodies playing at the same time. Which I didn't enjoy, considering the overall feel of this album is easy listening. My lasting memory of this album is me thinking 'Is this the same track?' Could be improved by taking between 1 to 2 minutes off every track. As that time is mostly just noodling anyway. Not for me.

Full of classic hip hop beats and the classic sound of the TR-808. You can hear so many artists that are both contemporary and influenced by this sound. Definitely Herbie Hancock vibes. But Beastie Boys, Run DMC and even a bit of Nena Cherry. I wasnt sure I was going to, but I really enjoyed this album.

A mix of rap, gospel and hip hop. There is a 90s vibe to the whole album that I love because that is when I grew up. This is definitely Missy Elliot's call for an end to the violence that dominated the hip hop scene in the 90s. Its also a heartfelt remembrance of friends and colleagues of Missy's that have gone before their time. I also really like that this is almost as vulgar as Snoop Dogg's doggy style. But unlike Snoop Dogg, Missy Elliot feels that she has to explain why she is being as vulgar. The more thing change the more they seem to stay the same.

Shine on you crazy diamond and Wish you were here are both commonly known to be written for Sid Barrett. Post his drug induced psychotic break. So I suppose this is his epitaph, in a way. Full of squashy synth, R&B guitar and experimental sound effects. I especially liked the dystopian story that was played out in Welcome to the machine and the feeling that someone was playing along to the radio in Wish you were here. I liked this a lot. (4.755)

An absolutely classic rock album with two huge hits on it. Breaking the law, which sounds like the soundtrack to a chase scene in an 80s cop movie. Living after midnight, which I always forget is Judas Priest. It is a classic rock radio staple. So I always feel like it is more recent than it actually is. You can hear the influence that this album has had on other rock bands. United sounds a lot like The Wildhearts. And the punchy guitars and driving drums sounds like Van Halen. This is much more melodic than it's classic metal album status might make you believe. I enjoyed it and would listen again. 4.299

Steven Morrissey's vocals are operatic and the musical feel runs from power pop/rock in Irish Blood, English Heart to full on musical production crescendo big number in Come back to Camden. Overall you come away with the feeling that Steven is very clever and talented. However he cant seem to get over the fact that people aren't giving him the recognition that he so desperately wants for being clever and talented. If you dissociate the songs from this wail of tortured genius, it is a witty, funny and enjoyable album. Its just hard to do this. (3.750)

The sound of this album is all overdriven lead guitar R&B noodling, heavy distorted drum solos and Woodstock era vocals. Full of freak out, counter culture vibes this is a psychedelic rock album that keeps forgetting what it was doing mid song and uses the opportunity to try out a new song in the middle of the old one. There is definite Jimi Hendrix and Deep Purple flavour. Which I always found a little slow paced and bit self indulgent. I dont dislike it. But it wouldn't go on my heavy or medium rotation list. (2.815)

I have always struggled to define what Bjork's style is. With the Sugarcubes it is a little bit easier to define. The feel of this album is a mixture of cool/hip punk. The Sugarcubes don't sound like they are going to spit on you. But Einar Om Benediktsson's vocals are, in places, quite in your face. And as you would expect, Bjork's vocals are wailing and mildly unhinged sounding. There is some off kilter violin and some very The Cure sounding bass in Birthday. Motorcrash and F***ing in rhythm & sorrow have a decidedly rockabilly feel. But I think that I enjoyed Deus the most from this album. Because I like the idea that God, with sideburns and a quiff. might put me in a bath and clean me, really clean. (3.659)

This album set it stall out early. It is going to be melancholic, grand and have a synth 80s feel. I love all of this. I have to admit I am a The Cure fan and this has one of my all time favourite The Cure songs on it Lullaby. It has the perfect mix of sexy and creepy that puts me on edge. It is a fantastic song. The overall feeling from this album is a wistful longing for things that have past. It will be going onto my heavy rotation. (4.850)

This is a beautiful pop album that is full of rage and indignation. It feel Like Jarvis Cocker was working through some very personal issues that have had quite a pronounced effect on him. With two massive hits on it (Disco 2000 and Common People) you would imagine that the rest of the album might be in the shadow of these songs. They are absolutely not. I feel like Mis-Shapes (my personal favourite) is like a rallying call to a very British class war. And that theme continues throughout the album. By far the most quick witted and British album I have ever heard. I am so pleased with past me for having bought this when it came out. (4.759)

A mixture of impressive synth, very skilled bass and beautiful vocals. This is a treat to listen to. The massive hit is the title track, which was banned from MTV because Annie Lennox did not appear as either female or male. Which I am sure catapulted the song into mainstream success. I really enjoyed this album and it reminded me of just how electronic the Eurythmics were as a band. Interestingly the stand out track for me was Jennifer. It feels like the soundtrack to any number of popular, 'set in the 80s', dramas. You can hear the inspiration for later Bat for lashes songs. (4.299)

This album sounds like the best group of teenagers that formed a rock band in somebody's garage and just decided to record what they did over the course of a week or two. Then edit together the best bits. Which might be what it actually is. I found this album with the huge hit Where is my mind? Thank you Fight Club. It wasnt until later that I realised that this album had another amazing song Gigantic that is more raw and showcases Kim's voice as well as Francis's. Its raw, melodic, aggressive, fun and catchy. No wonder it has influenced so many others. (3.899)

I was feeling quite excited to listen to an album of Aerosmith songs that I havent heard a millions times. And this album is in fact a collection of Aerosmith songs that I havent heard before. But it sort of felt like I had. Here and there you can hear where other artists have been influenced by this album. Like Ian Dury (Sex&Drugs&Rock&Roll) from Last Child. Or Tenacious D (Car Chase City) from Rats in the Cellar. Overall it was good, but didnt make feel like I wanted to listen to it a second time. (2.780)

I could absolutely listen to this album from track 4 onwards. The complexities of the mysterious lyrics to Hotel California have been pondered over by hundreds of people and it has been played to death. So even just skip on 1 or 2 tracks amd you omw to a pretty good album. It moves from rock ballad to strip club rock. And that's just from Wasted time to Victim of love. It filled my mind with images of warm summer evenings and carefree days. I enjoyed this album, but will probably bring it back out to play in summer. A wintery January day did not do it justice. (2.650)

This album opened so well. I loved the upbeat energy and funk of The Cisco Kid and Where was you at. The rich 1970s funk and soul sound comes through strong. I couldn't help but help but tap my feet and get into the rhythm. City, Country, City starts off well. With a mournful harmonica and funky organ pulling you through. But at the 9:30 mark when there is just bass, bongo and high-hat, it was all feeling a bit much. Four Cornered Room drags out a bit too. But even though The World is a Ghetto is over 10 minutes long it doesnt feel as drawn out. A really enjoyable album with a slow middle. (2.500)

This is rock at is most melancholy. It is beautiful and full of amazing grand instruments. Like a church organ and banks of strings. It is hard to give a rating for this album because it constructed in such a way as to perfectly convey a feeling of dread, paranoia and ennui. Win Butler's vocals are so distinctive and powerful that, on their own I find them haunting and I both want to listen to them and run away from them. Keep the car running and No cars go are both massive, up tempo tunes. And even they are full of sorrow and despair. (4.250)

This album is of its time in both a good way and a bad way. Yes there is a lot of misogyny, homophobia and talk about gang violence. But in 1994, I imagine that is culture and Nas is living in. Does it make it ok? No. But is Nas talented and is this album smooth and fun to listen to? Yes. It has a very chilled feel, even though the subject of most of the songs is some variety of violence, threatening or intimidation. The overall feel is an album that you could put on as you just relax on an idle Saturday. As long as you dont listen too hard to the expletives. (2.850)

Undoubtedly this is a genre defining album. It uses so many different themes and musical approaches all in the same style. With big instrumental arrangements in Tonight, Tonight. Grungy guitars in Bullet with Butterfly Wings. Light harp in Cupid de Locke. Heavy over driven guitars and screaming in Bodies. It is clearly a magnum opus for the Smashing Pumpkins. But it is a long musical journey to go on from start to end. And the slightly buzzing quality of Billy Corgan with guitar accompaniment can get a little much towards the end of Disc 1 (Dusk till Dawn) and the start of Disc 2 (Twilight to Starlight). But overall I enjoyed this album. Even if it was a mission to finish in 24 hours. (3.650)

I started this album and was immediately surprised. I thought that I didn't know any of the tracks on this album but I knew Roadhouse Blues. Then I was expecting experimental rock with lots of noodling and organ playing. But this album is a full on R&B album. Lots of 12 bar blues riffs. You can hear some of the organ but it's not a front and central as I was expecting. (2.755)

This is such an upbeat and happy album. The uptempo drum brush beat, coupled with the understated acoustic guitar and Stan Getz saxophone right in the forefront sets a warm summery travelling mental image. It feels like the kind of album to play in a car on a summer road trip or in a bar on a warm still evening. I also feel like there is a passing resemblence of Desafinado to Fly me to the Moon in its into. The familiarity set me at ease and made this album more accessible to me. (2.450)

There is a very distinctive Midi, Guitar, Piano and Saxophone sound to this album that really describes Bruce Springsteen's music. It is a big rock sounds that feels less aggressive than other rock artists. There are three massive hits on this album Born in the USA, Dancing in the dark and Glory days. Only one of which I feel that I have heard enough. The content of this album feels like it is very much focused on reflecting on past days. I can see why this album is very popular with men of a certain age as it could be the soundtrack to a montage of any number of men's lives. The only thing that worries me about this album is just how many times Bruce refers to "Little girl"s. But I assume this is him reflecting on his youth when he was age appropriate for these girls. (3.250)

I'm not sure what I was expecting from this album, but this wasn't it. There is a strong 80s sound in this album coming from the synthesizer/drum pad combination. The overall feel is like the indie rock of Ned's Atomic Dustbin or Carter the Unstoppable Sex Machine. Matt Johnson's vocals sound very much like Michael Hutchence in a smooth and easy to listen to. There is a mix of pop, rock and R&B influences throughout the album. Heartland sounds like a smooth R&B style song. With full on harmonica included too. Sweet Bird of the Truth has a revolutionary feel. With included sample of military aircraft radio communication. As a bit of a Neneh Cherry fan, it was cool to hear her on Slow Train to Dawn. (3.333)

Full on blues album. Which is a strange for a band formed in London. All of the elements are there twanging guitar, saxophone, slow drums and Mick Jagger's wailing vocals. Two huge hits on this album Brown Sugar and Wild Horses. Both of which I feel haven't been played to death and I was happy to hear again. As with all blues songs, the world is cruel and times are tough. But I cant help but think that life might be a bit better for Mick if he just cut down on the Coke and Smack. As that seems to be the subject of most of his troubles. Going by majority of the songs on his album. (2.750)

This album was completely new to me. I didn't recognise any big hits, but that doesn't mean that there are none from this album. The whole album has a beautifully warm sound that only seems to come from good 60s recordings. But I was particularly impressed with the nice stereo effects that put different instruments on different sides as you listen. This album has been mixed and produced beautifully. The early songs sound very much like Elvis Presly (but that comes as no real surprise, given where most of his songs came from). The middle songs start to sound like Otis Redding and Sam Cooke in a really enjoyable way. Overall I really enjoyed this album and would come back to it possibly even over better more well known soul classics. (3.333)

I always forget just how folk-y Fleetwood Mac's sound is. But it has a real country folk feeling. This is a massive album that must have been on everyone I know's record shelf in the 80s and 90s. Four massive hits that are still played to this day, Dreams, Go Your Own Way, Dont Stop and The Chain... even though most people don't know that they know the Chain until 3:06. This album reminds me of growing up and I can hardly believe that it is from 1977. It is a ubiquitous album that seems to have just always been there to fall back on and will be played over and over again on so many road trips and Saturdays. (4.000)

I know that Joni Mitchell is very talented and very few people have ever been able to do what she does. The piano and vocals are objectively very well executed and performed beautifully. All of the elements are there to make this an incredible album. I personally just don't like it. There is a particular thing that Joni does where she changes pitch as she sings a line that I just don't enjoy. Its a me thing and I understand that. But I have listened to an album that I would not otherwise have listened to. And I didn't hate it. I just don't love it. (1.750)

Much like Morrison Hotel I came to this album thinking that I only knew one of the tracks, the big hit "Riders on the Storm". But actually I knew a few more than that. I also knew "L.A. Woman" and I was almost convinced that I knew "The Changeling" too, but felt I had heard it performed by another band. This is much more what I would expect from a The Doors album. There is more noodling and that reverb filter that makes Jim Morrison's voice sound a bit trippy. Its a more experimental funk and blues album and I enjoyed that more than i thought that I would. (3.250)

I got this album when it was released because I really liked the song "Girlfriend" and it was popular at the time. But I didn't really listen to any of the other tracks. Which I now know is a shame. This is an upbeat sparkly album with really enjoyable 80s squishy synth, a mellow drum and guitar backbone and a surprising use of harpsichord. I loved the French language versions of the songs. I have always enjoyed listening to songs with lyrics in a language other than English (as a person that can only speak English and then only barely). A motivating and enjoyable album to help you put a spring in your step. (3.125)

One of the more controversial artists of all time. I will just focus on the album and leave out any alleged personal life issues. This album has three massive hits "Don't Stop 'til You Get Enough", "Rock with You" and "Off the Wall" alongside a couple of songs that were pretty big when this was released. Its pure pop, funk, disco gold. All of the songs are catchy and make you tap your feet. Every song is complex, with stereo effects, a wide arrangement of instruments that feel like they have been arranged and mixed to studio perfection. It is possibly the best disco album ever, I haven't heard a better one yet. (4.500)

I will have to admit that I do not have an ear for jazz. I find most of it entirely pleasant and I feel like I can appreciate the skill in producing something that sounds so rich and musically complex but to make it look like it is as second nature as breathing. But I really don't feel like the jazz bug has bitten me and see this very much as background music rather than the main event. I really couldn't see myself ever feeling nearly as moved as the people at the Newport Jazz festival by this album. But again, I didn't hate it. And I was more than happy to listen all the way through. (2.750)

This is quite a strange album. It starts off as more of an artistic installation style performance piece. To the extent that I wouldn't 100% have classed it as music. Eight tracks of between 1:02 and 2:50 duration. All with their own little point but they seem to run into each other. All quite off kilter and not quite melodic. Like little crazy jingles for shops right on the edge of sanity. It all come to crescendo with "Zen Archer" a more song like track with arrow sound effects throughout. Then the album seems to start all over again with "Le Feel International" but this time turns into a a mixture of an Andrew Gold-esq Yacht Rock/Yes style Prog Rock mash up. I don't know if I like it or not. (2.000)

A completely fine pop/rock album. Lots of guitar driven rock songs with strong lead vocals from Bono. Was there anything particularly stand out in the album? Was there anything new or groundbreaking in this album? I don't think so. But does that make it a bad album? No. The first three tracks are criminally over-played to the point that I feel like I wouldn't be too sad if I didn't hear them again. The album version of "Elevation" has a slightly different mix to the single version. But overall it is just a very competent album that doesn't make me feel like revisiting it. (2.125)

This album was so new and different to me, that it motivated me to find out more about Youssou N'Dour and the music that he makes. The style of music on this album is called Mbalax. And if you are like me and you had never heard of Mbalax before. Imagine the combining of smooth rock guitar like Robert Plant, with horns and the Senegalese drum called the Sabar (which you will have heard before in most African cultural music). This coupled with Youssou's melodic and almost chanting vocals has a relaxing and captivating feel. I enjoyed listening to and my cursory education into, this totally new to me style of music. (2.500)

This is a deceptive album. On the surface it is a pretty laid back acoustic rock album with two MASSIVE hits that have been covered by more people than I can remember. "Fast Car" and "Baby Can I hold you" must be some of the most covered songs ever. But listen in any amount to the lyrics of any of these songs and you find a call to arms and reconciliation for anyone that has been discriminated against. Tracy is clever, thought provoking and emotionally intelligent. The lyrics to her songs are as relevant today as were in '88. It is depressing how so little has actually changed in almost 40 years. "Behind the Wall" is brave, heartbreaking and technically perfect. The acapella leaves a silence between the lyrics that is almost deafening. (4.7)

I think that Tina Turner embodies a quiet female empowerment that she is rarely credited with in her music. She is a black woman in rock. I and of itself this is an achievement. But add to this that she has a powerful, gravelly and soulful voice that I never tire of hearing. Tina is the queen of the cover version with three of them on this album "I Cant Stand The Rain", "Lets Stay Together" and "Help!". All of which sound entirely like Tina's own version of these songs. Add another two absolutely massive hits to the mix, "Whats Love Got To Do With It?" and "Private Dancer" and you have a classic album. Its smooth and soulful with a good balance between piano bar and 80s synth infused rock. One of the albums that I could put on when I don’t know what I want to listen to, because I will always want to listen to this. (3.600)

Talking Head have such a distinctive sound and not just as a result of David Byrne's unique warbling vocals. The guitars are always light, sparkly and on some tracks have an almost country feel to them. The drum beats are always uptempo and syncopated giving all of their songs quite a strange urgent but positive feeling. This album is a classic example of this. I can imagine this being a love it or hate it type thing. I fall into the latter category. I really like Talking Heads style but felt like they just didn't go far enough. To the extent that there are no tracks that stood out other than the Al Green cover "Take Me To The River". I enjoyed this album, but it wasn't my favourite. (2.555)

This is a deep dark indie rock album. It is full of very emotionally charged melancholy songs. It is beautifully arranged and Matt Berninger's vocals are deep, slightly monotone and full of sorrow and regret. His voice sounds not entirely unlike Tom Smith of The Editors or Johnny Cash without the deep south drawl. Their sound is really quite polished and enigmatic. But its not for me. I found it hard going listening to 43 minutes of heartbreak and grief. Individual songs would probably be pretty well received. But a whole album is just a bit much for me. It felt like the musical equivalent of a month of grey, cloudy, cold days. And as I live in the north of England, I need all the sun I can get. (2.125)

Erykah Badu has got a beautiful soulful voice that feels very much like Billie Holiday with a mixture of Missy Elliot for some 90s flavour. There was only one big hit that I recognised on this album On & on. But it was massive at the time and I feel like I Erykah should have had more successful songs than just this one. I love the way that the tracks run into each other leading to an overall smooth and funky feel to the whole album. This is an absolute gem and I will be come back in future. (3.750)

Having never been to Brazil, I cant really be confident of this statement, but I feel like Africa Brasil is representative of music in Rio at carnival time. This album is full of samba rhythm and party spirit and even makes a dancing impaired person like me want to move their hips. Strictly speaking this is a MPB or samba-funk album, which is a style of music I have never experienced before. It has lead electric guitar and strings. So appeals to a western ear. But add the Cuica (the hooting friction drum that you will absolutely know from other samba or carnival songs), cowbell and funky backing singers and the whole thing is just taken to a rich and fun place. Would listen to again. (3.000)

The upbeat sparkly guitar and drums stand in direct contrast to the somber and cleverly acerbic vocals, in this indie rock album. This album feels like a well written 80s daytime television theme that is hiding, in plain sight, a venomous hate letter addressed to everyone. Two big hits on this album "Girlfriend in a Coma" and "Stop me if you think you've heard this one before." It is easy to see why this was a hit with the cool kids of the late 80s. Its funny, sneering and gives you adequate opportunity to stare at your shoes and wonder why everyone else has it so much easier than you do. (2.899)

Full on 90s rap album that feels like a sexier, slicker version of Will Smith. It doesn't have the hard boiled and angry edge of NWA or Public Enemy. But it does have a lot more humour. I was surprised by how funny LL Cool Js lyrics are, how can you take a song like "Milky Cereal" seriously? But then again you have a much more serious feeling in "Illegal Search", showing that, even when rap is not taking itself too seriously, it is still the songs of the discriminated against. I can honestly say that I feel like I have only ever heard "Mama said knock you out" from this album. But I feel like I will be back to enjoy a little Jingling Baby. (3.125)

There are few artists that make me think of the American deep south like Creedence Clearwater Revival. John Fogerty's wailing vocals are so distinctive and have been emulated by many. The big hit from this album is "Bad Moon Rising". Full of twanging lead, acoustic guitar, cymbal and stamping bass drum. It feels like it might be being performed by the most talented one man band you have ever seen. But it never fails to get my tapping my feet. This album feels a mixture of blues, 60s rock and country. Blended expertly to never dip too far into any of these genres, but manages to showcase the best of each. (2.625)

Despite having a father in law that is quite heavily into Prog, I have never actually listened to this album. And I have also never synced it to the Wizard of Oz and got high. But after listening to it, maybe I will. It is pretty much what you have got in mind when you think of a Pink Floyd. Its dark, unsettling and full of beautifully constructed soundscapes. "Time" is a fantastic study of the monotony of life but learning to reflect on what you have an make the most of it before it is gone. Where as "Money" sounds much more like an earlier version of Pink Floyd. with a bluesy bassline and less conceptual despair. Where as the sombre piano, Clare Torry's wailing vocals and the spoken words of Gerry O'Driscoll and Patricia Watt in "The Great Gig in The Sky" provide a reflection on the central concept of the album. Mortality, death and time. Its a very high concept album that fully deserves its almost legendary status. (4.575)

A properly fun Punk/Pop album. More punk that mainstream Bananarama but maybe a little bit less than Blondie. The Go-Gos have an up beat guitar driven sound, with Belinda Carlisle's melodic vocals giving a fun and enjoyable feeling to the whole album. All of the songs are enjoyable but the stand out hits are "Our lips are sealed" and "We got the beat". Both of which I enjoy very much and would happily listen to as part of my day to day playlist. I have to admit that I have always enjoyed an all female band. I just think that they are cool and the Go-Gos have cool in spades. (3.750)

I am pretty sure that Carlos Santana is the most famous latin music artist in the world and yet I had only heard of one of the songs on this album. But when I listened to it I knew three. "Black Magic Woman/Gypsy Queen", "Oy Como Va" and "Samba Pa Ti". There is an interesting mix of musical styles in this album. The latin guitar, timbales and cowbell is present, as you would expect. But there is a definite psychedelic rock feeling at the start of Black magic woman and Hope You're Feeling Better. With some distorted synth organ and vocals making it feel a bit like Arthur Brown. But then you have Incident at Neshabur that starts like Duke Ellington has briefly taken over, then Iron Butterfly takes over. None of it should work, but it really does. This is a hybrid album and I like it. (3.500)

This is a quite a dark album and feels like Beyonce's rallying cry to women everywhere to at the very least explore the way in which an inherently patriarchal society impacts their aspirations, expectations and sexuality. The audio clips included in the song give a pointed insight into Beyonce's struggle to be recognised as talented and successful artist. As a white man, this album is not really made for me. But it allows me to explore the way in which a marginalised group feels by the everyday actions of people that look just like me. And it doesn't feel great. A very powerful album, masquerading as a beautifully arranged pop album. It is easy to see why Beyonce is a global superstar. (3.900)

A true classic and Mercury prize winner from my youth. It is a perfect example of the 90s feeling of being on the cusp of a technological revolution and things were changing fast. Breaking away from past traditional music making systems and moving into computer assisted rhythm production through sampling and painstaking waveform manipulation. I can appreciate the skill and talent that has gone into this album. It is a very technically accomplished piece of work. And I know that is what I say directly before saying "I personally don't like it". But that is not the case here, I like it very much. Just not in every situation. I think that I have to be in the right headspace to enjoy this album. Which is the case for most albums. But it is particularly noticeable with this album. I assume that is because of how different it is from other less sample based forms of music. (3.125)

I try to listen to each of these albums twice where possible. As I feel like in the past, I have been quick to judge an album. Normally this is me not enjoying the album, then later coming to appreciate its merits. Music From Big Pink is exactly this for me. The first time I listened to it, I was entirely unmoved and had that have been my only listening I would have written it off as an uninspiring drudge. However on second listening I have been able to appreciate the beautiful harmonies of Danko, Helm, Manuel and Robertson. And also identify that this is quite an unusual sound that has influenced hundreds of bands. There is a Soul/Gospel/Rock and roll fusion taking place that will touch all areas of popular music for decades to come. For me, it was well worth repeated listening. (3.375)

A funky 70s soul album full of everything that you would expect: strings, powerful deep bass, bongos, sax and jazz brush drumming. Its dramatic and feels like a blaxploitation Bond theme. Which in a way I suppose it is. The thing that really jumps out about this album is Curtis Mayfield's beautiful vocals. He is just so incredibly smooth. Even though he is singing about a drug dealer or some form of underworld criminal activity, he brings a level of cool to it that makes you feel like it is all relaxing and chill. I feel like this is absolutely the type of thing that goes well with a chilled evening at home. (2.800)

I dont think that I can appreciate instrumental jazz music. I can see the talent and skill required to play the fun and playful sax, the dominant trumpet, the catchy swing jazz drum beat, the seductive double bassline and the joyful piano... but ultimately one track runs into another and I find it hard to distinguish between the end of 'Freddie Freeloader' and the start of 'All Blues'. Because 'Blue in Green' has provided a link between the two songs. I appreciate that the album is essentially one piece broken up into themes. Which I understand. But I feel like maybe that I am expecting something to stand out to me within each of the the themes. And it doesn't. It is all enjoyable, but it could quite easily be background music and I wouldn't notice. I know that makes me unable to understand what this music is trying to say. But maybe I just don't speak its language. I would listen to this album again, but probably only to create a relaxed air whilst I was reading. (2.250)

This is a 60s, acoustic guitar and harmonies album. Its has a few blues-y moments here and there. Like at the start of "I Call Your Name". But the overall feeling is mostly folk-y or swinging 60s mop-top style rock. The big hit from this album is "California Dreamin'". And there are a handful of other familiar songs too. This is a fun album, full of enjoyable riffs and uplifting vocals. All four voices in the band compliment each other so completely that you cant imagine any of the songs sounding any other way that as they do on this album. I enjoyed this album, but I dont think that it is my preferred style. Im not 100% sure I would listen again. But not because I dislike any of the songs. I just dont love them. (2.500)

This is a loud and full on Punk Rock album. It feels fresh over 55 years after it was released. No massive hits from this album, but the song that I knew the most from it was "I Wanna Be Your Dog". And that was from an advertising campaign. But I suppose that speaks volumes about just how relevant and fresh this album still sounds. All of the instruments sound raw and as though they have never been played at anything less than top volume. It is almost impossible to me that this album was released only three years after "If You Can Believe Your Eyes and Ears" by the Mamas and Papas. They sound like they are from different planets and I have to admit I would prefer to be on the planet that this album comes from. That being said I could probably do without listening to "We Will Fall" again. I don't understand why you would choose to give 30% of this album to a bit of an odd chant. But I suppose that is what you do when you are figuring out your voice. (3.125)

The Faces were celebrating or stealing music of black origin in this album, you decide. This album is not a direct honky-tonk blues album. But all of the elements are there: 12 bar blues in the bass, jangly piano and blues vocal from both Rod Stewart and Ronnie Lane. Add to this that "Memphis" was written by Rock and Roll legend Chuck Berry and I come back to my original question. When a band of white guys from London put out an album that is so heavily influenced by music of black origin, is it a celebration or is it stealing? I am inclined towards the latter. But I dont know if this is because I am not a Rod Stewart fan and I find the lyrics to this album leaning towards the misogynistic. Not that I haven't found albums of questionable gender equality enjoyable (See Snoop Dogg's Doggystyle). I just feel like Rod and the boys seem to display a sort of laughing contempt for the girls that they so want to sleep with and kick out of their life. I'm just not into it. (1.900)

I frequently confuse The Kinks for The Beatles. And this album, for me, is a very clear example of how these two bands can sound very similar. Both have a 60s rock sound that is still influenced here and there by rock and roll artists of the time. I think that I recognised "Victoria" more than any of the other tracks. But I wouldn't say that I was particularly familiar with that song. Even after a couple of listens, I dont feel like I have very strong feelings about this album at all. It is absolutely fine and if it was playing at a friend's house or in a pub. It wouldn't want to male me leave but it also wouldn't make me ask who was playing. I'd just assume that it was a Beatles album that Id never heard before. (2.000)

Saxophone, Hammond organ and drums are the star in this instrumental jazz album. I have to admit that this style of jazz always makes me think of the end credits theme from the sitcom "Bottom". However, unlike that upbeat little tune, this album feel much more laid back and relaxed. I enjoy this album more than the other jazz albums that I have listened to so far. I still dont have an ear for jazz and as such most of the songs feel very similar. (2.500)

I really wanted to love this album. Partly because I enjoy rock and Led Zeppelin are considered by many to be one of the most influential and well regarded rock bands. But also partly because people that I know and respect really like Led Zeppelin. But unfortunately it was not really for me. Robert Plant's vocals are truly incredible and perfect. But I find his straining high pitched voice challenging to listen to for a full 40 minutes. The solos are really over indulgent and tracks like "Moby Dick", just feel really off putting to me. I understand how much talent is required to do it. But it still feels like a slog to get through it. My take away from the album is very much in this vain. Its really impressive and showcases a wealth of talent. But I'm not sure I want to spend my evenings listening to it. (3.000)

This is a Britpop album that seems to be rooted more in the "Hard Days Night" spangly guitar era Beatles sound. The massive hit here is "There She Goes" which was absolutely everywhere in the 90s. However it has been a while since I have listened to that song and it is easy to see why it was so popular. Its just so catchy and nostalgic without being maudlin. There is a rich sound from the other tracks with warm rich rhythm guitar and upbeat drums. But there are also interesting additions like tambourine, wooden and block. So the overall feeling is bit of a mix between Baggy and Folk rock. I can see why this was always promoted by HMV as one of those albums that you should buy. (3.800)

This album is full of haunting and experimental electronic soundscapes. Some songs like "Cemetary party" and "Ghost song" have a Pink Floyd feel to them. Whilst always keeping the light angelic feel that I think is a constant motif of Air's work. I love how mysterious this album feels. As though it is hinting at revealing a secret that you might not want to have ever found out. I had no interest in watching "The Virgin Suicides" but after listening through this album a couple of times, I might put it on my To Watch list. (3.955)

The combination of keyboard, drums and trumpet on this album made me think of the incidental music on the Peanuts cartoons from the 60s and 70s. And again I understand the joy that this music brings to people. But I find it a little bit too franetic and noodling. This is especially demonstrated in the track "Blues for Huey". With the only saving grace (for me) in this track being the person who says laughingly "Call an ambulance". Its not really for me. (2.125)

I can appreciate how Miles Davis is different to Hugh Masekla or Duke Ellington. I can appreciate how THIS Miles Davis album is very different to 'A Kind of Blue' or 'Collector's Items'. But the issue for me is that, even though I can differentiate between these different styles and types, none of the different types stands out to me as better or more unique than another. I enjoyed the dreamy intro to 'In a Silent Way' and I enjoyed the tippy tapping of the drums in 'Shhh / Peaceful'. But I can't seem to find what makes jazz enthusiasts love the genre so much. (2.000)

This is a loud punk album, with fast short rebellious songs about how things are no good. Which is pretty standard for punk. But what sets this album apart from other punk albums is Jello Biafra's warbling spooky vocals. It works so well and makes their songs so much fun even though the guitars and drums sound like you might end up in the middle of a mosh pit being trampled to death. Some American punk, like his album, feels like it is heavily influenced by the rockabilly scene and in a couple of tracks like 'Ill in the head' it feels like we move into psychobilly and had me thinking about the Killer Klowns from Outer Space soundtrack. I enjoyed this album and would listen again. Its a real party starter for me. (3.666)

On first listening I hadn't realised that this album is just guitar, banjo and Gillian Welch's voice. Each song sounds so rich and full that I almost didn't notice that, in fact the songs are quite raw and stripped back. This comes in direct contrast to the overlapping, contrasting and quarrelling sound of the past few jazz albums in this list (very well done list writer). This is how I imagine country music came into being. Just a person with an amazing voice singing songs about things that they know about and being able to relate that to others. And nothing is more relatable than sorrow and heartbreak. And this album has both of these in vast amount. I enjoyed the beauty and clarity of this album. But may not be able to listen to it regularly on account of how much emotion that it conveys. (3.456

I think that it would be criminal to not start this review with "Everyone back in the day had Frampton Comes Alive". And if you are between the age of 40 and 50 you will understand why. I had been told when I was growing up that live albums were to be avoided, because you dont hear the song as the artist intended it to sound and there are crowd noises included. But as I have got older I have questioned this. Surely music is made to be performed. So a live album IS closer to the way the artist wanted this to sound. In this case Peter Framton sounds studio sharp. The band is on point and all of the songs sound pretty impressive. I have definitely heard gigs that did not have this level of mixing and sound craft. So what is the sound of this album? If you have never heard Peter Frampton before he is a mellow rock superstar. Catchy guitar riffs and big drum finishes. I love when Peter Frampton makes his guitar sing. It is amazing. He is a properly talented guitarist. The big hits here are "Show Me The Way", "Baby I Love Your Way", "Do You Feel Like We Do" and a cover of "Jumping Jack Flash". As a child of the 80s I was much more familiar with 90s Big Mountain cover of "Baby I Love Your Way" and although I still find that version more nostalgic. I MUCH prefer Peter Framptons version. This is a classic album for a very good reason. (4.123)

This is full on 80s synth rock album. Loads of squashy synth sounds mixed with guitars and drums. Cyndi Lauper has a punk rock voice that is similar in sound to Toya Wilcox or Claire Grogan. But unlike those two Brits, Cyndi Lauper has a New York punk scene sound to her voice that makes it sound that bit more cool. Well at least to me, mostly because I am from the UK and when something is from somewhere you arent from, it makes it more cool. Big hits from this album are "Girls Just Want To Have Fun" and "Time after Time". I really enjoyed this album. (3.950)

This is a funky jazz combo. Heavy bluesy baseline with some electric organ to really bring the funk levels up. I have known the song "Green Onions" for a long time, but wasnt sure about the rest of the album. But it is a fun uptempo instrumental album. Full of impressive riffs and classic. I really enjoyed the cover of "Twist and shout" it feels playful and fun. Because of its more bluesy feel I enjoyed this album a little bit more than "Back at the chicken shack". But it has a similar sound. (2.750)

A full on 80 stadium rock classic. Full of face melting guitar riffs and Dave Lee Roth's trade mark suggestive and giving it all he's got vocals. At one point, I did imagine that Marty McFly in a radiation suit was melting my brain with his walkman during the track 'Eruption'. I also got a feeling of 'Hot for Teacher' from 'I'm The One'. So you can see where that hit evolved from. Absolute stone cold classic cover of 'You Really Got Me' that reminds me of my days playing 'Guitar Hero' instead of actually learning how to play the guitar. So many wasted hours. Overall, I can see why Van Halen became absolute rock gods and a generation of young men wanted to be in the band. (4.000)

Its big, loud and aggressive. But that is Motorhead. Fast paced guitar and drums coupled with the most gravelly vocals rock. This is the most classic thrash rock album ever. On account of it having the most famous thrash song in all history on it, "Ace of Spades". If you were to make an entry into the dictionary of what metal sounds like I am pretty sure that "Ace of Spades" would be included in that entry. When Lemmy sings it feels like he is accusing you of some personal slight against him. And I wouldn't have it any other way. This album was made to be played at top volume so you can absolutely rock out and annoy everyone in an area of one square mile. I love it. (4.250)

I enjoyed the instrumental aspects of this album. The electric guitar compliments the acoustic guitar. The Kora, balafon and (I assume) Sabar all come together to form a rich and enjoyable sound that sets a really relaxed tone. The thing that I find most disagreeable about this album is some of the qualities of Mansour Seck's voice. I fully appreciate that this is probably mostly as a result of me not growing up with that particular type of Afro/Islamic singing voice. But I find the wailing quality of that style of singing a little grating after a while. This is, of course, my personal preference and I am sure that this is an excellent example of this category of singing. (2.125)

Acoustic guitars and beautiful harmonies in this very relaxed Americana folk rock album. There is a feeling of nostalgia and reminiscence that runs through this album. I think that the use of piano and acoustic guitar in a downbeat way will always stir up thoughts and feelings of the past for me. The huge stand out hit on this album is "Our House", with its use of piano, harpsichord and acoustic guitar, this track has so much ennui that it is clear that it is more than just me that has found themselves listening to this track and thinking about every house that they have ever lived in and wondering if they would ever see those places ever again. Neil Young's vocals on "Helpless" set a particularly sombre tone. But I feel like that is one of Neil Young's special skills. The ability to make a song feel grave and grandiose all at once. Thankfully David Crosby, Stephen Stills and Graham Nash are there to provide a slightly more upbeat sound. But only slightly. (3.750)

I was never much of a The Who fan before any of the allegations. After listening to this album, it feels like there is definitely an interest in something not quite right.

My least favorite britpop artist, despite living close to the place that this band formed. I have always found The Verve really melancholic and whiny. There is a qualtity about Richard Ashcroft's voice that I find quite disagreeable. And the long psychedelic noodling sections of this album made me keep checking how long was left for some of the tracks. Not my favorite. (2.000)

I didn't realise that Credence Clearwater Revival originally did "Proud Mary". Which is a strange type of cycle. White guys writing and performing music of black origin that is then covered by black artists to make a more well known version of that song. This is then up against the Little Richard cover "Good golly, Miss Molly." All I can say is that this is bluegrass blues album and feels like it could easily be the soundtrack to the southern states of the USA. I enjoyed it, but I dont know if that that says something negative about me as a person. (3.000)

I try to listen to these albums a couple of times. And it just so happens that I have listened to this album three times today. And for some reason, the biggest hit on this album "Respect" is featured twice. So I have listened to it six times today, and it still sounds good. That is some seriously good songwriting and talent! Aretha Franklin is, in my opinion one of the very best female vocalists of all time. And while soul/gospel is not my absolute favorite style of music, I have a lot of time for it and do enjoy it a lot. This album has three key sounds: background organ, foreground piano and queen of it all Aretha's vocals. A classic that I will listen to again. (4.000)

New York counter culture at its finest. This album fills me with artists hanging out in New York lofts and putting the world to rights whilst being completely out of their heads. I really enjoy the laid back guitar and bass sound of this album. Big hits from this album are "Walk on the wild side", "Satalite of love" and "Perfect day". It still makes me smile, how many people have "Perfect day" at their wedding without knowing it is Lou Reed's description of taking heroin. Also one final observation. I feel like Iggy Pop is a speeded up Lou Reed. Or Lou Reed is a slowed down Iggy Pop. (3.800)

I came to the album a long time after it had been released. I was never really a fan of the Fugees and as a result I felt like this album was not really accessible to me. I really enjoy the concept of this album. The classroom discussions on love as so wholesome and really enjoyable. The relaxed and dreamy harmonising style of the music on the album is just perfect. And Lauryn Hill's vocals are just beautiful whether she is singing or rapping. I also find Lauren Hill's rap content interesting. There is the main theme of love, heartache and relationships. But on more than one occasion she includes some interesting thoughts on religion. I really enjoyed this soul/gospel/rap/doo-wop album and will absolutely listen to it again and again. (4.100)

Apparently Tarkus is a large armadillo-tank that was born on an erupting volcano, fought a number of enemies, was defeated by a Manticore and was finally superseded by an aquatic version of Tarkus called Aquatarkus. And this piece of work is a reflection on the futility of war. So, I only got the sense of what Tarkus was from the album cover. I get the sense of a battle taking place from the marching beat in the middle of Tarkus. And the rest I would have only been able to glean from the subtitles. Overall I like the idea of the narrative, but the work is so ambiguous that if you heard it on its own, it could be about anything. It is a frenetic, synth free for all that feels very 70s performing arts piece. Do I like it... maybe. I'm not 100% sure. I think I would have preferred a bit more definitive structure in the nutritive and a little less repetition of the music motifs. Would I listen again... probably. But I think that I would prefer to be high. Side two, or the other tracks as we now call them with the advent of using digital music devices, is a collection of musically diverse songs ranging from the short and sweet rag-time "Jeremy Bender" to the tongue in cheek rock "Are you ready Eddy?". It is absolute prog rock and I enjoyed it. (3.125)

Henry Rollins voice is the absolute epitome of the hardcore punk sound. Its that strained shouting voice that sounds frantic and almost unsure of what the next thing is that he is going to say. And it is clear to see that a number of hardcore punk bands like AFI and the vandals have been inspired by this style. The songs are loud and full of dirty thrash guitar. It almost feels like the vocals and the instruments are in a competition to see who can drown.the other out. It makes me think of clubs with cheap beer, plastic glasses and sticky carpets. So reminiscent of my student days. (3.850)

"In da club" and "P.I.M.P" WAS the sound of the early 2000s nightclub. I also remember 50 cent being absolutely massive. With all sorts of merch including his own Xbox game. So I was expecting a semi generic hip-hop album with references to feuds with other artists, shooting, smoking weed and sexual prowess. Which, by and large it is. But when you pair this with 50 cent's personal life you realise that this isnt generic, this is why other contemporary hip-hop albums sound the way that they do. 50 cent is a great rapper and writes about his actual life. This is a classic that I will be listening to again, even with the strangly titles "Wanksta". I wonder is wank means the same thing in America? (3.950)

An absolutely classic punk album. You can here the discontent from the 1970s and the angst from the 1980s all mixed up with the feeling of hopelessness and powerlessness that seems to be part of every teenagers growing up. Big hits from this album are "God save the Queen", "Anarchy in the UK" and "Pretty Vacant". Which I only found out recently was a disguised way of saying can't on the radio. Very clever you naughty punk anarchists. (4.250)

I had been avoiding listening to this album for a couple of weeks as I find that even though Neil Young is an incredibly talented singer, songwriter and artist. His voice is terribly sad and so filled with sorrow that no matter what he sings it feels very depressing. And I was entirely right. This album is an old fashioned country/southern states ballad album that is very much focused on sorrow and regret. The theatrical sections for example in "A Man Needs A Maid" lift feeling of the album a little. But it is still very sad. The big hits from this album are "Heart of Gold" and "Old Man". (3.500)

This album is what the indie rock scene had needed for quite some time. Some really catchy riffs and great guitar driven classic songs. Thanks Sheffield for producing yet another awesome northern band. The massive breakthrough hit "I bet you look good on the dancefloor" just took the world by storm and every stickyfloored rock club was playing it. I am also very happy that this album introduced the world to the emotional state of being mardy in the playfully "Mardy Bum". (4.125)

Mellow rock gold. It is a very well put together, melodic and chilled out album. There is some minor Santana influences with the samba drums and electric organ on "Your Gold Teeth" and I enjoy the full sound of "Show Biz Kids". It feels like the type of album that I would listen to at the end of the party. When everyone wants to have sit down and chill out whilst they finish their last drinks and chat. (3.666)

I am a fan of industrial rock and metal. Particularly because I enjoy the tongue in cheek theatrics of the vocals and grandiosity of the arrangement of the tracks. But this album came with an additional thing for me to enjoy a German language cover of the Queen song "One Vision". I thoroughly enjoyed this album, although I know that it won't be for everyone. As not everyone is as keen on being menaced by a gravel voiced stern Slovenian as I am.

You have to be doing something right if your songs are still being played and recognised by people half a century after they have been released. Undoubtably Fats Domino was an incredibly talented writer and performer and has influenced many current musicians and styles. Does that mean that I would put this album into my heavy rotation playlist? Probably not. But I can still appreciate the talent shown here and am glad that I had the opportunity to listen to it. 2.500

I have already discussed the contentious nature of Michael Jackson the person with "Off the Wall", so I won't discuss this further. Focusing on the music only, this album contains hit after hit. Four out of the eight tracks on this album are truly genre defining hits. One of which "Thriller" redefining the culture of the music video. The other four are hits in their own right. I would love this album if was only for the bassline to "Beat It." But that is what happens when you bring together amazing songwriters, super talented musicians and one of the most talented vocalists of the 20th century. 4.400

This album made me think about why a song becomes popular. It has on it one of Madness's most well known songs "Our house". This song will be played forever more as an 80s hit. However songs like "Primrose hill" that are in exactly the same vain won't. I enjoyed this album, but I was surprised that it just didn't feel as up tempo or lighthearted as I expected. And didn't have the high energy as ska or two tone bands like The Specials or The Selecter. "New Dehli" is a very much from a different time and not really alright anymore. (3.4000)

So powerful, performed beautifully and written with such technical and aesthetic skill that you can see why this was a massive hit and continues to be peoples favourite album. Adele is able to take some truly heartbreaking situations that are entirely relatable to everyone that listens to them, and turn it into beautifully composed and performed works of auditory art. I cant deny the skill and ability shown here. But, do I want to listen to this when I am already in a place where I have a difficult set of circumstances to deal with? Probably not. I have never fully understood the desire to listen to sad songs when you feel sad. I understand that when you are feeling at your most upset, it might be comforting to know that other people have been there. But not me. (4.000)

There is no mistaking Elvis Costello's voice. It is a mixture of harmony edged with a type of intelligent rage. I didn't realise how much I enjoyed Elvis Costello until Spotify identified that I am now old and suggests that I listen every time a playlist or album that I have put on finishes. And to be fair it is right. This album seems a lot more stripped back to just the twangly guitar, tambourine and drums. Add Costello's unique vocals and it sounds almost like a 50s Americana revival album. The biggest hits that I am aware of on this album are (Angels wanna wear my) Red Shoes" and "Watching the detectives". Both of which I could listen to again and again. I think this will be one of my go to albums in future. (4.250)

I like electronic music and I also enjoy soundscapes. So I was very much looking forward to this album. It is also the album that most people recognise when they think of Kraftwerk. This album feels much more serious than "The Man Machine" and the heavy weighting on the track "Autobahn" provides less of a showcase for the different sounds and themes that Kraftwerk can make. So I was a little disappointed overall. The album is still good and is a very good example of an electronic concept album. I feel like it was just not what I was hoping for. (3.000)

OK, so I have completely mistaken My Bloody Valentine and because of this mistake, I have been avoiding listening to them for years. I thought that they were a 2000's metal band like "Bring Me The Horizon". And although I have a place for that type of roaring vocal, metal band. Its not my favourite. Much to my surprise "m b v" is an experimental rock album. Full of noise, distortion and a dream like quality that makes some songs have an ethereal feel. And other tracks feel a little psychedelic. It is quite intense in places like the repetitive "nothing is" but I get what they are doing here. I am impressed and this has reaffirmed to me why I have decided to take this musical journey. (3.900)

This is an absolute classic album and has a number of different sounds contained within it. There are some huge hits and few songs that have gone on to have lives of their own after being sampled by artists later. I think that it is hard to overestimate the impact that this album has had in direct and indirect influence of other artists. At its core it is a funk album that can has a serious message like "Black Man". But it can also have more playful and light hearted side like in "Isnt She Lovely". I enjoyed this album but my only criticism is that some of the songs can feel a little bit self indulgent and repetitive. But when you are a musical legend, I suppose you have the scope to be a little self indulgent. (4.000)

When I think of Pretenders I always think of their big hits like "Brass in Pocket" or "Ill Stand by you". So I completely forget that they have a raw, rock and punky sound. Which was something that the video game series "Guitar Hero" showed when they used "Tattooed Love Boys" as one of their songs. And this became my favorite pretenders song for a while. Obviously without me checking out the rest of their album. Having now made up for that crime, I can say that I thoroughly enjoyed this album. (2.750)

This was one of those albums that everyone had when I was a kid. Permenantly on the 3 for £10 HMV deal and on everyone's list of their favorite albums. I have to admit that when I was younger I thought that this was a really boring album. But something happens when you hit 35-40 that means you slow down a little (at times) and can appreciate the orchestral flourishes that REM have put into their tracks. This doesn't stop this album from being both mournful and melancholy. But in a catchy and fun way. (3.750)

This is a proper Punk album. Short tracks, punchy guitar and full of energy. But when you compare this to Black Flag or the Sex Pistols it feels quite mellow by comparison. Joe Strummers vocals are by far the most melodic of the mainstream Punk bands. Does this have the angst and kick of London Calling? No. But you would be hard pressed to find a better debut Punk album. (3.500)

A soul and funk album that is perfectly fine to listen to. Personally I felt like it was a little generic. Perhaps that is my untrained ear or maybe it is because I cant appreciate soul as well as other types of music. But it doesn't feel as smooth, fun and fresh as someone like Solomon Burke. And hasn't got the soul of someone like Aretha Franklin. Overall it was absolutely fine. (2.250)

This is total 90s hip hop/rap gold. Incredibly misogynistic, full of expletives and with interludes of domestic violence, drive by shootings and sexual acts. I feel like biggie/Notorious BIG/Christopher Wallace is not the nicest of people. But I feel like he also knew this when reflecting on his life in "Suicidal Thoughts". It is a classic rap album but it is very much of its time. Even more so than Snoop Dogg, and that is saying something. Glad I listened, but not 100% sure I would return. (2.500)

Beck is always an interesting artist. Very good at combining different musical styles like funk, electronic, country and folk. Thus album is a much more chilled out affair. It feels like a fusion between country and smooth jazz. I have to admit that I prefer a more upbeat and fun Beck track. Thats not to say that this isnt good, I just like the other style more. (2.125)

I have liked The Police and also Sting since I was a child. I am not sure what it is about Gordon Sumner that I like. He is a strange vocalist. The only person to have both a Geordie and Jamaican accent at the same time. But somehow that works. This album has two very big hits "Message in a Bottle" and "Walking on the Moon". I feel like both of these are underplayed and I am quite happy to listen to them again as part of this album. "Bring on the Night" has a touch of "Edge of Seventeen" in the intro. But like a lot of these tracks it moves into a latin or Portuguese guitar melody. I enjoyed this album and would listen to it again. (3.500)

I had absolutely no idea who Ray Price was and what type of music I was going to listen to when starting this album. I have to admit that I am not a huge fan of 70 easy listening/crooning/county. I cant quite put my finger on what I dont like about it. Ray has a pleasant voice, the songs aren't challenging or unpleasant... I just find it a bit stale and slightly boring. Its just not for me. (1.500)

It wasnt until recently that I realised that many of Bob Marley's tracks are protest songs. Which I realise is quite dimwitted of me given that one of the tracks in thus album is actually called "Rebel Music'. But i feel like this is partly because reggae has such a laid back feel and the majority of Bob Marley's songs that have reached mainstream success are tracks like "No Woman, No Cry" which took on a new life in the 90s with the Fugees. I like the revolutionary feel of this album. I just wish it wasn't because Bob Marley was feeling as though he, his friends and family were all being treated like second class citizens. (3.000)

Its funny how songs like Independent Women Pt.1 get released as part of a movie release like Charlie's Angels. And this gives a band some serious exposure. Then the song is huge. But when the movie goes, so does the song. With Independent Women the song has far outlasted the movie. To the extent that I forgot that the actresses get a name check at the start. This is a classic late 90s early 2000s girl RnB/Gospel album. The RnB is all synth instruments and harmonies. But the vocals are just stunning as shown in the cover of "Emotion". You could absolutely tell that one or more of these ladies were destined for music greatness. As it turned out it was Beyonce. (2.800)

The first few songs are just 12 bar blues type tracks with a standard blues rock feel. Then "Stormy Monday" comes along and reminds me that when the Allman Brothers do instrumental, it is just really enjoyable to listen to. Then the tracks get longer and longer with only "Hot 'lanta" breaking up what seem to just be jam sessions rather than tracks. This must have been an amazing gig to go and see. Just a really chilled out feel and riffing galore. (3.125)

I wonder if the list of albums has a bit of clustering in the albums. I understand that Creedence Clearwater Revival was an incredibly influential band. But three albums within 119 albums? "Ramble Tamble" is a bit of a slog to get through. But putting a 7 minute song up front on your album is always a bit of a gamble. The style is a bit mixed with "Before you accuse me" being a classic 12 bar blues style song. Then "Travelin' band" is a full on rock and roll song. I didnt think that I knew any of the songs on this album. With the exception of the cover of "I heard it through the grapevine". Which I expected to be one of those, 'I didnt realise that was originally a Creedence song'. It isnt, but 'I didnt realise that was originally a Gladys knight and the pips song'. But I did know "Up around the bend" and "Ooby Dooby" from Star Trek First Contact. Overall, I think that I enjoyed this swamp rock classic. (3.500)

I know that the deep seated patriarchy of rap means that the majority of rap is talking about how great you are, how successful you are, how much money you have and/or how much better you are than other men doing the same thing as you. But Jay-Z takes this to a whole new level of chest puffing and strutting. Almost every track mentioned one of the following: How Jay-Z has made it his own way, how Jay-Z has a higher creative output than other rappers or how Jay-Z has made more money than other rappers. He is absolutely his own hype man. Which I realise is part of the culture, but does it have to be everything? It all just feels a bit hollow. (2.750)

Fully of skuzzy guitar and apathetic vocals. This is a truly 90s indie rock album. It reminds me of my childhood and spending almost a weeks wages on a new CD that I would take home and listen to on my stereo whilst pouring over the sleeve notes (if you were lucky) and enjoying that plastic-y smell of the new CD box. It is quite a laid back album and Stephen Malkmus' vocals sound quite similar to Conor Deasy of The Thrills. Pavement is a example of a band that seem, in retrospect, to have achieved much less commercial success than you would have imagined that they could have. The stage was set for them to be a huge hit. But I guess that we listened to what MTV and the radio told us to listen to in the 90s. Making it big without label support was still a while away in 1994. But I can say that I enjoyed it this album even if it is 32 years after Pavement would have wanted me to. (3.333)

I think that this album may have been the basis of every Kerrang compilation from the early 2000s. It is a rock album that is arranged expertly with melodic strings in places such as in "Gone the Dream". Tim Wheeler's vocals as smooth and provide a counterpoint to the rough and overdriven guitars. There are three absolute anthems on this album "Goldfinger", "Girl from Mars" and "Oh Yeah". I feel like I would hear one or more of these on every night out that I went on between 2001 to 2010. Which is impressive considering that they were 10 years old by 2006. This album also has a special place in my heart being a former student of Salford University. The Castle Irwell halls of residence had a Darkside and a Lightside. Which rumour has it was named after the final track of this album. (4.250)

This is a mellow, easy listening, slightly folky album. For such a comparatively short album it has three really big hits on it "America", "Mrs Robinson" and "A Hazy Shade of Winter". The last two often covered by indie rock bands. Its all goes a bit strange with "Voices of Old People" in the middle. But overall a nice album. Not one for the small speakers, as I found out trying to listen to it whilst I was having a shower at a campsite. The more subtle parts of the tracks get lost. (3.125)

Absolute classic Rap/Rock album. I love RUN DMC. They were the absolute pinnacle of cool with an amazing ability to restart Aerosmiths career. This album feels like everything that I loved about 80s rap. It is loud, punchy and fun. Massive hits on this album are "It's Tricky" and "Walk this way". (4.250)

Billy Joel always feels a bit like the American version of pub singer playing piano in some lounge bar. Not that there is anything wrong with this. It just feels a little bit like it is from a past time. And from the content of the majority of the songs on this album. That time was pretty patriarchal. The two major hits "Just the way you are" and "She's always a woman" are fairly damning of women being not particularly trustworthy or useful. It feels like poor Billy is going through a breakup here and is feeling quite sore about it. (2.500)

Like a mixture of king Louie of the apes from The jungle book and Randy Newman. This is a blue-y, scat style uber cool jazz album. I really struggled with it to begin with as I feel like this type of album has been parodied a million times in lots of different media. So I found it difficult to take it seriously. But it is quite playful and funny in a drunken and silly way. It appears to be set in a theatre with a live audience. But ll credit to the sound technician that got such a good recording in what seems to be a pretty intimate gig. (2.750)

This is a 90s female empowerment pop album. From the era of "Girl Power", there were a few strong female vocalists like Fiona Apple that put out some really good music. This album has a really interesting mix of almost TripHop with Tori Amos piano undercurrent. Fiona Apple's vocals feel a bit like Sarah Mclachlen. In that it feels both powerful and melancholy at the same time. I love a trip down 90s memory lane. Especially when it is an under represented artist like this. (3.000)

This album is possiblt the most mixed bag of styles out of all of the albums that I have listened to on this list. At its core it is a smooth soul/pop/hip hop album. But "Suit II Overture" is orchestral, "Dance or Die" is Samba/Rap, "Sir Greendown" is wurlizter organ 1950s pop, psychedelic tones in "Neon Gumbo", rockabilly in "Come Alive" and golden age of musicals in "Suite III Overture". I have never checked that I am still listening to the same album, as much as I did with this one. And the risk with doing that is that you run the risk of doing all these styles badly. Artists typically try and try for a perfect version of their chosen style of music for their whole career. But somehow Janelle Monkeys has managed to produce a good version of all of these styles. I am very impressed. (4.000)

This was one of the albums that my parents had when I was growing up. So I forget just how "out there" and experimental Bjork was in this album. As I heard it a lot. Bjork has an intensity that many poets would kill for. No matter what she is singing, it sounds like she is singing to save the lives of her, her children and the lives of everyone in the town or city she is in. And that is a bit much for some people. But I quite like it. The sound is a fusion of pop/jazz/traditional band playing. And all of this is arranged in such a way as to make it all feel new and a little bit disorientating. Again, I know that this might not be for everyone, but I really enjoyed it. (4.125)

America is a grim place. Bruce Sprinsteen seems to have a million stories of guys who take guns and cars out to the middle of America and then shoot and rob people. It sounds really awful. The feel of this album is really stripped back. Just Bruce Springsteen, a guitar, a harmonica and the occasional percussion like the xylophone in "Used Car". It is another album that will appeal to men of a certain age that want to reminisce about their misspent youths. Its melancholy, but not nearly as ennui as some of "Born in the USA" gets. But it is completely bereft of the joyous songs that "Born in the USA" has. So has a much more sombre feeling. (2.750)

It is easy to forget that Blur were a bunch of art school kids making music when they formed their band. They so frequently get put into the Blur/Oasis battle, that it you might think that what the two bands were doing were interchangeable. Also, Blur's most commonly played songs "Parklife", "Girls and Boys", "Country House" etc are also quite far away from the more experimental sound of this album. That being said this album does have two massive hits on it "Song 2" and "Beetlebum". The start of the album has an indie rock sound. The middle starts to feel a bit more punk. Then the end starts to feel like space music. Remember, Blur composed the return signal for the ill fated Beagle 2 mission to Mars. (3.600)

I have always loved Missy Elliott. She has a really smooth vocal and contrasting this against the bookend vocals of Busta Rhymes is perfect. I dont know if it is just the title influencing my decision here but there feels like there is a distinct 70s vibe throughout. Busta helpfully tells us that this is a Soul/Hip Hop/RnB record. And he's not wrong. It is properly smooth but much less female sex positive than 'Under Construction'. But I still enjoyed it. Even if Missy Elliott isnt fully encouraging he girls to get down. (3.750)

Dusty Springfield has an iconic 60s female vocal sound. She has a beautiful rich and fully upbeat swing time vocal set that just makes you want to stop and listen to her. A beautiful and often covered hit "You Dont Own Me" is right at the top of the album. Other big hits on the album are "Mockingbird", "Twenty four hours from Tulsa" and "Will you love me tomorrow" all tragically covered in comedic parody style. An absolute tragedy that these versions found me before Dusty Springfield. There is a lot of big strings and brass. With accompanying breathy and siging backing singers. Which might seem a bit cheesy if it was anyone else. But when it is Dusty Springfield, it just seems completely right and proper. (3.800)

Take a bowl of indie rock. Add to it a handful of folk. Then garnish with some art school experimental musical expression. And you come out with something that sounds a bit like this album. I like the White Stripes but not nearly as much as it sounds like the White Stripes like the White Stripes. Everything sounds intentional and performed for effect. Which is very clever, but it doesnt feel in any way relaxed. It doesnt make me dislike the album. But it certainly makes me less likely for this album to be my favourite. (2.750)

Very much in the vain of Donovan. This is a folk/pop album in the flower power style. It has a slightly creepy feel. Not unlike when old men tell you stories about events that seem implausible and times that you know couldn't possibly have been like that. It has an overall hippy feel and 60s musical accompaniment feels just one step down from a type of medieval reenactment. I couldnt hear any Lutes or Shawm. But I have a feeling that Love might have bee happy to find a place for them in this album. (2.400)

This might be the first album that was already one of the albums that I play regularly. It only took me 135 others to get to this one. It has a powerfully bittersweet feel. The synths sound amazing and it is very much in the vain of the Stranger Things 80s revival. Lauren Mayberry's vocals are just this side of cursive and really clear and sharp. I love the sound of this album and have already put this into my regular listening rotation. (4.400)

This is a mixture of Reggae and Soul. This album was absolutely massive in the 90s and "You love gets sweeter" was a huge summer anthem in 1998. This album really captures that pop/soul element of reggae that made Bob Marley so famous. The only criticism that I have is that Finley Quaye's fairly nasal voice, although perfect for a few songs, starts to become a bit challenging to listen to for about an hour. I am sure that is a preference for me, but it's the way that I feel. (3.000)

A really interesting mixture of SciFi synth and Hippie Folk Rock. Which I'll admit, I didn't think that those two styles of music went together. But this album proves that is can be done both technically, melodically and without losing any geeky sciency content. There is a melancholic feel to this album with a kind of hopeful thread running through it. Wayne Coyne's beautiful harmonic vocals are really powerful and help to mix the futuristic sounds of the synth with the hippie feel of the music. Overall this is a really fun album similar in feel to Air. (3.900)

This is the "The Who" album for people that dont like the The Who. It has two of the CSI theme songs and "Behind Blue Eyes" which I didnt realise was The Who. I cant deny that this is a good album with minimal noodling and so very good songs. (3.000)

OMD feel like the crossover point between Prog Rock and New Wave. This album feels like it has an Emerson, Lake and Palmer type story to tell. But it has more of a pop format. No extended odes or lengthy tracks showing the progress of a hero. The synths in this album also feel more rounded and less experimental. So give a more 80s bittersweet ambiance. I did not realise that I knew a song from this album "Souvenir" is the most recognisable song on this album, and you get it twice. (3.125)

Angst-y indie rock with a sexual equality viewpoint. PJ Harvey is a master of crafting musical worlds that have an uneasy and challenging feel. The first third of the album feels very much like a break up album. With PJ Harvey expertly conveying the darker emotions of being rejected and unwanted. It is in your face and has some angry growl-y guitars. By the time we get to "Man-Size Sextet" the addition of the strings puts a crazed rage into the mix. This feels like pure rage at the inequality between men and women when relationships end. And a desire for PJ Harvey to be on the other side of this divide. On the other side of the "Man-Size Sextet" we have the manic rebound of "50ft Queenie". Which feels like manic rebuilding of a life independent of anyone. The reflection of "Man-Sized" without the strings feels like a reconsideration of the crazed thought earlier. Realising that they were right and then figuring out how to put that into everyday life. The last quarter of the album sounds like a declaration that PJ Harvey wont be treated the same way again. I think that this is probably the best musical representation of the emotional turmoil faced by women at the end of a long term relationship. I say this as a man, so I could be totally wrong. If I am, I am sorry for the misinterpretation. (4.125)

This album makes me think of theatrical French cabaret. It has rich vocals, not dissimilar to a combination of Matt Bellamy of Muse and Tom Chaplain of Keane. But with more humour than either of these bands. It is a rich mixture of piano and strings with intimate vocals that have the feeling of someone sharing very important life knowledge. But in reality it is just the musings of a person who is tired of being serious. (3.900)

This could quite easily be a punk album. The guitars are loud, the drums are hard hitting, the vocals are loud and screaming and there is a "topping out the levels" type of distortion. But this feels different. Where punk feels angry at the world and ready to rebel, this album feels angry at itself and ready to self destruct. Kurt Cobain can scream and shout but also has the ability to carry an almost sweet melody, which makes the songs on this album have an almost eerie feel. Like when a nursery rhyme is in a horror movie, the innocence being trampled under the crushing weight of self loathing. Hits from this album include "Heart-Shaped box", "Pennyroyal Tea" and "All Apologies". But surprisingly not "Radio Friendly Unit Shifter". This album sends me back to my youth going to rock clubs and feeling connected to the other people that dont like themselves either. (4.000)

An interesting combination of folk and smooth blues-y country with just a little bit of jazz thrown in for good measure. Nick Drake has beautiful smooth vocals that seem to float on the wonderfully arranged strings and woodwind in "The Thoughts of Mary Jane". There is a real beauty in Nick Drakes songs. Even when he is dwelling on sombre subjects like in "Way to Blue" there is still a grandiosity and spectacle in the the orchestral nature of the song. It could quite easily be background music, but it can also be very inspiring. I really enjoyed this album. (3.800)

Bruce Springsteen's vocals mix with the guitar, piano and general American rock sound of this album to make a classic album. Before listening to other Bruce Springsteen albums, I had the idea that his sound was all American rock. Which it kind of is. But I thought that would have had the "We're #1" feeling. Or "God Bless America". But that really isnt the case. Bruce Springsteen's musings on American life seem very somber and in a lot of cases not favourable at all. I can see how that can really resonate with men of a particular age. Dark, moody and sad in places. This is quite an emotional album, full of reflection and introspection. (3.450)

This is very much an introduction manual for Indian music. And even at introductory level, I feel like I dont really understand what Ravi Shankar is telling me, as he plays an instrument and counts beats that (to my untrained ears) seem to bear no resemblance to what is being played. He is a very talented musician and what he is playing seems very complex to me. But that may be because it doesn't in any way follow the traditional structure of western music. Apart from it having a start, an end and it being produced by a selection of instruments. I enjoyed it and am glad that I listened to it. I can see why this very different style appears in western pop music. As it is so rich and interesting. (3.300)

Im not sure what i was expecting here, but this isnt it. A strange cross between 1980s synth-y pop and club singer. For people that are not in the north of England. A club singer is an mature singer that will perform covers of songs on an irregular basis in working mens clubs as a sort of weekend treat. Marianne Faithfull's voice is undoubtedly gravelly and distinctive. But there are times when it feels like she is trying really hard to do what she is doing. It All feels a bit much and not quite my thing. I am sure this will be someone's idea of perfection. But it's just not for me. (

A New York punk rock sounding album in the vain of Iggy and the Stooges or Lou Reed. Lots of upbeat energy is there in tracks like "Blister in the Sun". And there is some more gritty punk feel present too. The track "Blister in the Sun" was used in an advertising campaign in the UK. Which caused controversy in the band. However, had it not been for this, I would have not heard this song. Which raises the debate of, when is the use of a song not acceptable? Is using a song to promote a product beyond the pale? If so, is radio similarly distasteful. Especially if it is a commercial radio station? Personally I believe that exposure is exposure and this does not mean that a piece of music is devalued by being used in an advertising campaign. However it does run the risk of being forever associated with a thing. As per Reef's "Place your hands" when used on the UK television program TFI Friday. (2.666)

A fantastic example of glam rock. The bass is funky and ticks along with a warm and pleasing rhythm. The lead guitar sounds dirty and has plenty of distortion. The strings give the whole thing a level of gravitas and theatricality that makes this album a seriously important thing to listen to. But the thing that really elevates this whole thing is Marc Bolan's vocals. He sounds like he just arrived as a visitor from another place. Not unlike David Bowie, there is an ethereal or extra terrestrial quality to the way that he sings and the way his voice interacts with the reverb. It is absolutely mesmerising. There are a few massive hits on the album including "Jeepster", Get It On" and "Hot Love". Which, despite being full on 1970s glam rock staples. They sounds as good and as catchy today as the day they were released. (3.950)

I feel like I was expecting something darker from a German electronica/rock album. The fist track "Isi" has a sound of Charlie Brown and has a very good driving rhythm and beat. But the plinky-plonky piano makes it feel very much like a daytime sports program theme. "Hero" sounds a little more rock/punk but stills feels a bit lighter than I was hoping for. Overall I enjoyed it and appreciated that this is proto-industrial rock. So it was interesting to see where that genre came from. (2.333)

Dark 80s synth rock. I very much liked this album. I dont know what it says about me that I enjoy a creepy synth rock album that makes me think of "Goodbye Horses" from Silence of the lambs. I love the very 80s feel of Andrew Eldritch's deep creepy vocals. The driving bass guitar makes this a perfect driving album. "Lucretia My Reflection" gives me a mental image of driving on a motorway at night with street lights passing overhead. It feels like a gothic shoegazing 80s club soundtrack and this would be my scene. I will be adding this to my favorites. (4.333)

K.d.Lang's music always sounds so heartfelt and personal. She has a beautiful voice that is perfectly showcased in this album. This album is an interesting mix of country, folk, pop and cabaret. With k.d. Lang sounding alternately like a country music star in the more blues end of the spectrum or cabaret singer in a smokey blues-y theatre. The big hits are "Constant Craving" and "Miss Chatelaine". Both of which fir perfectly into this album and also shine on their own. The overwhelming feeling from this album is that the party is winding down and we all need to have a reflect on what the nights revelries mean for our sober lives. (3.750)

There is a chirpy upbeat musical number feel about this album. Had someone told me that this was an original cast recording of a musical, I would absolutely believe them. There is a definite 60s happy clappy sound to the the first third of the album. Then we move into a more romantic dreamy section and then back to a big theatrical number. Which really lends itself to thinking that this is a soundtrack. There is one absolutely massive hit on this album "Without You" which will forever be Ken Lee to me, following the phonetic translation of this song by a non-English speaking contestant on a singing talent show. A less huge but still notable hit is "Coconut". If you have ever said "Put the lime in the coconut" this is why. I enjoyed this album much more than I thought that I might and would listen again. (2.750)

Classic 70s pop/funk album. There is some great harmonies and rich smooth vocals. Slap bass and horns that give the mental images of some undercover vice cop show. Sly and the family stone have a really soulful and funky sound that ruled the world in the Saturday Night Fever era of disco. Its a really good album and fantastic example of this genre. But it's not my favorite. I enjoyed each of the tracks individually, but as a collection it is a bit much for me. I would probably return to this album to get inspiration for a particular style of music, rather than to relisten. (2.333)

I was very pleased to see another My Bloody Valentine album on this list, as i enjoyed the last one very much, and this one was similarly well received by me. All of dreamy, slightly wobbly and bendy haunting synth is present on this album. There is a breathy and dream-like quality to the vocals. But in addition to that there are some really catchy indie style guitar riffs, like on "when you sleep". The main guitar hook is something straight out of a 90s sitcom theme. But when you compare that to "i only said". The latter almost sounds other worldly. The two songs sound like back and forth between a human trying to speak and alien language and an alien trying to speak back. As though "when you sleep" is a message from the human race and "i only said" is the alien reply. I enjoyed this album and it helped me find a new genre, "Dreampop". (4.000)