So for my first album, I get Neil Young, an artist I've never really seen the appeal of, despite many people I enjoy listening to holding him in high esteem.
After listening to the album, my opinion hasn't changed. It's the voice, which is in full effect on the first couple of tracks. Too high for his range. Once this is toned down, it's a little more palatable.
Favourite Tracks - Till The Morning Comes - Great Trumpets, Birds - Lovely harmonies with the band.
Least favourites - Only Love Can Break Your Heart - The St Etienne version is so much better, in all it's 90s dance pop. Tell Me Why. Cripple Creek Ferry really annoyed me for some reason, but it's less than two minutes, so it's gone before I turned it off.
Initial thoughts - Some pretty good Southern blues rock. Fairly generic, but I suppose that's more to do with the amount of people who were trying to be CCR in the years afterwards. Best avoid the longer tracks though as they do drag a little.
After the years, after the memification of Wonderwall, after the cocaine albums that followed, this remains my favourite Oasis album.
Opener Hello is probably the most awkward track on here, due to the borrowing of the Gary Glitter song.
The wall of sound effect is to the fore here, with the three guitars giving the songs a huge sense of space and scale, and the production is able to capture a band going into the stratosphere.
Wonderwall is a cliche nowadays, but there's a reason everyone knows how to play it - Simple, straightforward, and full of emotion. A great song ruined by over exposure.
My friend asked me if this is Oasis' best album. I said "Maybe..."
A festive reminder that great art can be made by terrible people.
Enjoyed this a lot more than I expected, having had a resistance to "dad-rock" my whole life.
I think because it holds it's influences on it's sleeve? "This one sounds like the Beatles, this one sounds like the Stones, this is definitely Who-inspired". Either way, not a bad listen, would probably listen again.
Used to listen to this a lot when it first came out, but drifted away from them when the music started getting "stadium-sized". Listening again now reminds me why I liked the first two albums so much.
Heavily indebted to southern rock bands that have inspired them, but with much more of an indie-rock thrash to it. Lyrics utterly indecipherable. Love it.
Not really listened to Costello much outside of the bigger singles (and Shipbuilding, which I love). Quite surprised by this - Definitely not punk, not really new wave. But too spiky in both music and lyrics to be really "mainstream" fare.
Pretty good.
Still remains a pretty vital debut. Whilst there's nothing particularly original going on, it's done with humour and heart to make it feel great.
Great opener and not one I expected, hypnotic and massive sounding.
Vocally a lot more Thom Yorke than I expected. I only had familiarity with a couple of Wainwright's songs previously (one of which, The Art Teacher is on this album, but stylistically quite different to the rest of it).
Really enjoyed this on first listen, I'll be listening again.
I've never really got Springsteen at the best of times, so an album from past his height that threatens to veer into Christian rock on several occasions was never going to swing it for me.
Sorry Bruce, I'm sure this has it's fans but it just did not connect with me in any way.
Liked this more than expected. Country rock, great guitar sound in places. Dark End of the Street remains a brilliant song no matter who is singing it. A few riffs and a solo that have definitely been incorporated by other artists later on.
Great album. I downloaded a dodgy copy when it first came out that had Intervention as the first track, which I still maintain is the correct place for it, but the album holds up. Big songs, delicate songs, great production. First five star.
Bowie coming back sounding energised. My favourite of the final two albums, this one has a real bounce to it, and a boozy sax running through the album.
Never liked Weller at the time, but listening to this now, it's nice enough.
Solid blues-rock. Never going to change the world, but if you have it on in the background while doing other things, you'll definitely find yourself humming along to a couple of the tracks.
I dislike two types of music: Country _and_ Western.
That said, this wasn't _bad_, just nowhere near my comfort zone.
Might put it on again semi-ironically.
I mean, it's a classic. Whole Lotta Love still goes hard. Ramble On is the hardest anyone has ever geeked out about the fantasy book they've been reading. The Lemon Song is about lemons and _nothing else_.
Some amazing, smooth 70s soul.
Really not a fan of jazz, but this wasn't too bad.
The big songs are strong, but I feel I've heard the rest of it done by other, better bands.
Quite enjoyed this. Velvet Underground with some Kinks thrown in.
Love this. Timbaland's statacco beats still sound so good, and Missy just comes out fully formed here.
Never listened to Hendrix outside the big three or four tracks. This was great.
Okay, I'm 48 and have been listening to MBV for about 30 years on and off. I think I can finally say, I don't actually like this album very much. The next album, Loveless, remains phenomenal, but the slight under production of this, and the atonal swamp noises of Soft as Snow as the opening track I just find really off-putting.
Feed Me With Your Kiss remains a banger though, so there's that.
I've tried to get on with Dylan, but never really succeeded. That said, this is probably one of my favourites I've listened to.
Starts promising, with some Zombies-esque modpop, but loses steam towards the end.
Really wanted to like this, and suspect that if I'd listened at the time I'd have been a fan, but coming in in 2026, I've heard a lot of this done better by other people. Sadly felt too AOR with awful guitar solos.
Decent bit of pop music. Only heard the big two songs previously, but the whole album is a lot more cohesive than I expected. Church of the Poisoned Mind is great.
Goes on a bit. Only a couple of songs really stick out. Quite like the Who, but listening to this in full was honestly disappointing.
Slightly biased as I listened to this album A LOT in my early 20s. Listening to it now it still sounds phenomenal. Strong start with Dirge, building every few bars until it's bombarding you with a wall of fuzz. Death Threat remains a favourite, with its looping rhythm and scuzzy guitar. Aisha is possibly Iggy Pop's most unhinged vocal. Outstanding noise.
Overlong, but there's some gold in there. You can hear the bands it clearly inspired throughout it.
Two great albums for the price of one.
Felt a bit out of my comfort zone with this one, but quite enjoyed it.
Excellent, early 90s hip hop.
This remains a lovely little album.
Another gap in 'the classics' filled. Never listened to this before, always wrote them off as generic folk, but listening now, I really enjoyed this. Great album.
There's the apocraphal tale of the first Sex Pistols gig where there were only 12 people in the audience, but all of them went off and started bands. One of them shouldn't have bothered.
Poor 80s soul. Unpleasant Talking Heads cover. May have been important in terms of the British music scene at the time, but fourty years on it does nothing.
Another hole in the collection where I'd heard most of it, but never the whole album. Glad I've filled that now. It doesn't feel as vital as it might have done in the 70s, but it still has an energy to it.
I mean, it's Sparks. 5/5.
Pub rock par excellence. Underappreciated and occasionally great.
Good, a little samey across the album.
Another album that used to be bought up a lot that I never got round to. I think I wanted to like this a lot more than I ended up doing. Quite easy to hear the way it inspired a later generation of musicians (A couple of tracks are really reminiscent of early Blur's slower songs, for example), but as a whole it didn't really gel for me.
Enjoyed this more than I expected to, only knowing the big songs. It's a bit more grimy than you think.
5 / 5 for the quality and diversity of the tracks.
-1 for being nearly three hours long.
+1 for _absolutely_ committing to the bit.
Literally something for everyone on here.
Generic nu metal - nasal, whiny vocals, crispy guitars and a sense that just because they have a DJ quietly scratching in the background, it makes them edgy and modern.
Might have been distinctive at the time, but listening to this 26 years on, there were a lot of bands around the time who did this better. And I don't like any of them either, so this had no chance...
(It's on YouTube if you're looking).
Strangely compelling, cold war Marxist torch songs.
It's great. Spiky, yelpy, goes left when you expect it to go right. A rightful classic.
Completely different to the album I was expecting. Very good.
Significantly more enjoyable than some of the other early punk albums.
Great first couple of tracks, but loses steam on the second half.
One of my favourite groups of the last 20 years, and most of that is down to this album. From the hypnotic opening beats, to the weaving vocals of Tom and Hadyn flying from falsetto to baritone in a moment, to the lyrics often focussing on broken, violent masculinity; all delivered with maximal, slyly hilarious wordplay, that occasionally pulls words from the English language that have barely been used in a hundred years or so.
Sublime, romantic, ridiculous and repulsive. To quote the band themselves "Equally elegant and ugly". Magical.
The usual excellent songwriting with absolutely unexpected delivery. It might be their best album.
Pleasant enough. The big two songs are really good. The rest are standard 60s Psych-Folk fare.
Never listened to Soundgarden outside of the bigger tracks. Definitely more on the "-Rock" end of "Grunge-Rock", almost Sabbath-esque in places. Pretty good, but I'm not regretting sleeping on them for thirty years.
I'll be honest, if I was listening to this in the middle of summer, rather than a wet and dreary afternoon in February, I'd probably have given it another star.
Not heard this before - Well crafted songs with genuinely unexpected Mariachi horns. Works surprisingly well.
Loved this for years. It's not a hugely consistent album, but I quite like the eclecticism.
Bloody love Pavement. Not my favourite album of theirs though.
Liked this one a lot - Drifts from 60s psychedelia to proto-Sabbath, to proto-Krautrock.
"Hey guys, let's form a bland!"
Dull, dull, dull stadium rock nonsense.
Parts of it are very good, parts of it are great, a few bits of it aren't. But overall magnificent.
Pavement album #2 on the list. Their first album is a bit more ramshackle than the later ones but still has the Malkmus style nailed.
Bowie #2 on the list - The soul-funk years. It's great. End of.
Always great. You forget just how much of a 60s influence they have, but when the wash of feedback and squeal is toned down, like it is here, the songs really come into focus.
Neil Young album #2. I don't like Neil Young. Apparently, I like Neil Young and Crazy Horse a little more. Good rock sound. His voice isn't egregiously awful on this one, though it still grates. Guitar sound is great. Not bad.
If asked, the first CD I tell people I bought was something cool, but it wasn't, it was Tubular Bells 2.
Despite that, I never actually listened to the first one. Thought I'd like this more. I didn't.
Viv Stanshall was a national treasure though, so it gets a bonus point for his master of ceremonies and the wonderful, boozy tour of the house at the end of the Spotify version.
Never heard this at the time, but have picked it up in the last few years. It's very good. Weird, off kilter rhythms, spoken word, violent blasts of guitar. Twitchy and anxious. You can practically hear genres being created from it.
I left for five minutes to get a cup of tea, and reader, when I returned I honestly couldn't say if we were on the guitar solo for the next track, or the same one I'd left on.
Every song is a couple of minutes too long. Dull blues-rock.
Never really loved Iron Maiden from the songs I've heard, and this doesn't change my mind. Not bad.
(Super)Massive sound with the depth of a sheet of paper. Don't think I've ever actually sat through a whole Muse album previously (maybe their debut?), but it confirms a lot of what I expected.
Supermassive Black Hole and Knights of Cydonia are pretty strong though.
This album could just be the first minute of Superstition and it would still be an easy five stars.
Came into this project thinking I didn't like Queen, and I didn't mind this album, so I've learnt something today. Eclectic, less pomp than their big tracks.
Really didn't like some of this, quite liked other bits. The benefit of an album going on too long, I guess. Always assumed Rundgren was more rocky, so that was a surprise.
I love LDR, but I'm surprised this album made it onto the list, rather than one of her first two, which I'd assume are a bit more culturally relevant.
One big song, and nine songs that also exist, and sound like that one big song... It's a good song though.
Quite enjoyed this one - A bit more mainstream version of something like FKA Twigs.
I've never been able to put JA in a genre - Too early and flamboyant for grunge, too heavy and psychadelic for hair metal. Just a great, big noise of rock.
This is good, but not as good as Nothing's Shocking.
I really wanted to like this, I really did. Got excited at the first minute or so of YYZ, but the rest of the track didn't live up to it. If you like Prog, this might be good.
I've listened to a few of their bigger tracks previously, but not any whole albums. I regret that. You can literally hear the 90s UK indie scene being formed out of it. Short, sharp tracks, phenomenal guitar sound, nothing outstays its welcome. Clearly punk, but also post-punk. Listened to it four times already today.
I know there's the anachronism that the best music you've ever heard came out when you were 16, but god, 1993 was such a great year for music. I still get the neck-chills listening to this album, thirty years on. Wonderfully evocative lyrics full of council-estate glamour and some beautiful music anchoring it all, pivoting from glam thrash to Eno-y ambience on the opening minute of Pantomime Horse. 4.5/5, only because Dog Man Star does what this does, but even better.
Creepy, woozy, almost like something from a kids tv program that no kid would ever watch. Definitely hear the influence on Primus. Played this in the kitchen for about ten seconds before I realised this wouldn't be one to play with the family around.
I didn't dislike it, but I don't think I really enjoyed it either.
Another solid batch of tracks. Bowie's imperial phase in full swing here.
