I'd never listend to this album before, and frankly didn't know TBB other than their usual "Surfin' USA" stuff. Surprisingly this album is very different to that vibe. Less "perfect world", more seriousness. "Long Promissed Road" is probably my favourite song on that album. All in all a solid 3/5 for the whole album.
"Phaedra" by Tangerine Dream, a German band - which I'd never heard of before, despite being German myself. Probably because this isn't the kind of music I usually listen to. Very spacey, very experimental '70s electronic, packed with synthesizers. Definitely not my taste, but I can see the appeal for fans of the genre.
Interesting concept album. Hadn't heard of the artist or the album before. Very atmospheric, all instrumental (with a few sound effects in the background). Could be the soundtrack to a "Film Noir" crime movie. Certainly worth a listen, but for me it doesn't have any replay value.
Radiohead’s "The Bends" is a great record, and revisiting it after a long time was a real pleasure. I owned the original CD back in the day and still have a digital copy, which made returning to it especially enjoyable. Compared to their debut "Pablo Honey", it’s less grungy and far more refined, and you can clearly hear how it went on to influence bands like Coldplay and, in particular, Muse. I really enjoyed listening to it again.
Bob Dylan's "Time Out Of Mind" is an album I approached with mixed expectations. I generally don't enjoy Dylan's music- his voice in particular has never worked for me- despite fully acknowledging his status as a great songwriter. In fact, I often enjoy hearing his songs performed by other artists, as evidenced by the many great covers of his work. The album itself is very slow throughout, and while some tracks almost drift by, a few moments did manage to pull me in, especially "Standing In The Doorway". Would I listen to it again? Maybe, possibly, probably... but yet unlikely. I frankly don't know.
"Penance Soiree" by "The Icarus Line" was an album that immediately challenged my expectations. Judging by the cover alone, I was anticipating something closer to electronic or techno (shoutout to Moby), so the actual sound came as a surprise. I'd never heard of the band before, but I wasn't put off by that going in. Musically, there are clear similarities to bands like "The White Stripes" or even "Rollins Band", though it's harder to pin down a single genre- garage rock or post-hardcore probably comes closest. The songs tend to blur together a bit and can feel somewhat monotone, but despite that, I could see myself returning to this album at some point. It's not an everyday listen, and I'd need to be in the right mood for it, but it held my interest enough to warrant that.
"Bitches Brew" by Miles Davis is an album I approached with high expectations, as I generally love his music. Unfortunately, this one didn't resonate with me at all. It's extremely experimental and not even remotely comparable, in my view, to masterpieces like "Kind of Blue". I'd never listened to this album before and was genuinely surprised - sadly in a negative way - by just how different it is from the Miles Davis records I know and enjoy. The album leans heavily into experimentation with a wide range of instruments, frequent tempo changes, and a great deal of dissonance. The only song I truly enjoyed is "Miles Runs The Voodoo Down" which goes more into the classic jazz genre. The rest feels like the kind of music that only someone with a very trained musical ear can fully appreciate. I'll probably not return to this album in the future.
"Music for the Jilted Generation" by The Prodigy is an album with a lot of personal history for me. I was introduced to the CD by a friend back in 1994, at a time when we were stubborn metal-fan kids and anything that was not metal was automatically dismissed as garbage. This record, however, hit differently. The mix of hardcore and breakbeat elements with metal-style guitar samples matched the vibe perfectly - essentially electronic punk.
While I had not listened to the album in years, I am glad my "1001 Albums" journey brought it back into rotation. I am also grateful I got to see The Prodigy live in 2015, especially knowing that a few years later, in 2019, Keith Flint took his own life, even though at the time of this record he was "only" the dancer.
"No Good" is easily the most iconic track on the album, followed closely by "Poison". If I remember correctly, both later appeared on compilations like Bravo Hits, which probably played a big role in the band's commercial success. All in all, it is a great record, and given how much personal history it carries for me, my rating is almost certainly biased.
"Oar" by Alexander 'Skip' Spence was an album I went into completely blind, having never heard the artist or record before. Musically, it sounded like a blend of Dylan, Johnny Cash and The Doors at their most stripped-down - very grassroots, bluesy and at times downright depressing.
The backstory is as fascinating as it is tragic. Spence wrote the songs while institutionalized in Bellevue Hospital following a delusion-driven episode in which he threatened "Moby Grape" bandmates with a fire axe and was subsequently diagnosed with schizophrenia, spending around six months in the psychiatric ward before recording this album when released.
Despite the intriguing context, to my ears the album came across as pretty generic, with only "War In Peace" making a real impression. The rest of the tracks didn’t really hit me in the way I hoped. It’s not a bad album by any stretch, and I can see why it has cult intrigue and heavy influence over outsider and folk scenes, but it’s not something I usually listen to or that I’d likely revisit soon.
"Here, My Dear" by Marvin Gaye was an album I had not heard before, even though I own several Marvin Gaye records. On first listen, it struck me as fairly standard Motown and soul from the late 70s. It is not bad by any means, but it did not feel particularly exciting to me.
The album has a well-known and rather unusual backstory. It was recorded as part of Marvin Gaye's divorce settlement with his first wife, Anna Gordy Gaye, with a significant portion of the album's proceeds going to her. That personal context is often cited as a reason why some critics later reassessed the album more positively. I have to admit that I mostly disagree with that reassessment and side more with the original reaction to it as a commercial and critical failure.
Musically, it sounds like very generic soul and Motown of that era, similar to many other late-70s releases. Compared to Marvin Gaye classics like "What's Going On" or "Let's Get It On", this album lacks standout moments and does not hold my attention for long. That said, I could imagine listening to it again casually, just letting it play in the background without actively engaging with it.
"Everybody Knows This Is Nowhere" by Neil Young with Crazy Horse is an album I did not have much experience with before, as I have never really listened to Neil Young all that much. Overall, it felt like a perfectly ok record.
It is a nice mix of straight rock and folk rock, with Crazy Horse giving the songs a bit more grit. Still, nothing on the album really stood out to me, and there is not a whole lot to say about it. It is not bad at all, just nothing particularly special either.
All in all, it was fine, but it did not leave much of an impression.
"You've Come a Long Way, Baby" by Fatboy Slim - what a BANGER! I remember when it came out, I played it up and down while driving to work in my turquoise colored "Fiat Panda 750 CLX Fire" 😂. This album is just loaded with iconic tracks that still work perfectly today.
There are so many absolute classics on here like "Right Here, Right Now", "The Rockafeller Skank" and "Praise You", and hearing them again reminded me why this record was such a big deal.
Fun fact I also did not know until now: Norman Cook did produce the album using an Atari ST setup from his home studio.
"Aqualung" by Jethro Tull is an album I was first introduced to in a pretty indirect way, through playing the song "Aqualung" on Playstation Rock Band. That track stuck with me enough that I was curious to finally buy to the full album.
Overall, it is a solid record. It is not something I would put on every day, but when I am in the mood for it, I do enjoy it. The mix of rock, folk influences, and Ian Anderson's flute gives it a very distinctive sound that clearly sets it apart from a lot of other rock albums of that era.
I once read that the album is partly inspired by photographs of homeless people taken by Anderson's wife at the time, with the title track's character "Aqualung" being based on one of those photos- reflecting the pretty dark tone of parts of the record.
There is not much more to say beyond that. It is a good album that I enjoy, even if it is not a constant in my rotation.
"Let's Get It On" by Marvin Gaye is a very sexy record, full of smooth soul grooves and openly suggestive lyrics. It has that laid-back, intimate vibe that makes it incredibly easy to listen to from start to finish.
This is probably my favourite Marvin Gaye album overall. Everything flows effortlessly, and it feels more relaxed and direct than some of his other work. It's the kind of record you can put on without really thinking about it and just enjoy.
I also own the MFSL version of the album, and the sound quality is excellent. It sounds warm, detailed, and very well balanced, which fits the music perfectly.
"Leftism" by Leftfield was completely new to me, as I had never heard of the artist or the album before listening to it.
Overall, it felt like a fairly typical electronic album for its time. Some of it worked for me, some of it did not. I especially did not enjoy the tracks with vocals, which often pulled me out of the flow. On the other hand, I did like the more progressive house-oriented tracks, where the album felt more focused and immersive.
There is not much more for me to say about this one. It was fine in parts, but nothing that really stuck with me or made me want to dig deeper.
"Dusty in Memphis" by Dusty Springfield is an album where the first thing that really stands out is her voice. She is a fantastic singer, no doubt about it, and vocally this record is very strong.
"Son of a Preacher Man" is an absolute banger and easily the highlight of the album for me. Unfortunately, outside of that song, the rest of the record felt pretty bland. It is pleasant enough, but not much else really grabbed me or made me want to pay closer attention.
"Psychocandy" by The Jesus And Mary Chain was a completely new experience for me, as I had never heard the band or this album before.
The overall sound is very punk-ish, with that constant wall of guitar feedback being the most defining element. It is kind of cool at first, but since it is present in pretty much every song, it quickly became a bit too much for me. One song like that works well, but across a whole album it felt over the top. Also there is much too much reverb - it's all over the place.
I was also never much of a new wave or post-punk fan to begin with, so this style does not really click with me. That said, I do have to give them credit for the variety on the record. There is more going on here than I initially expected, even if it did not fully win me over.
I could see myself giving it another listen at some point, but probably not anytime soon.
"In the Court of the Crimson King" by King Crimson is an absolute classic of late-60s and early-70s prog-rock. I honestly cannot remember when I first heard it, but I have listened to this album many times over the years and I still really enjoy it every single time.
I am a big prog-rock fan in general, so this album naturally speaks to me. It has that perfect mix of ambition, atmosphere, and musicianship that defines the genre at its best. It also reminds me of other great prog albums from that era, like "Days of Future Passed" by The Moody Blues, both in mood and in scope.
Fun fact: the iconic album cover, with the screaming face, was painted by Barry Godber, who was actually a computer programmer and not a professional artist. Sadly, he died just a few months after the album was released, making this painting his only widely known artwork.
"Otis Blue / Otis Redding Sings Soul" by Otis Redding was an album I had not heard before, even though I was already familiar with Otis Redding as an artist. Listening to it now, it really surprised me how strong and consistent it is.
The album is a great mix of original soul songs and covers, and both sides work extremely well. One good example is "Respect". I already knew that Otis recorded the original and that Aretha Franklin later turned it into something even bigger and, in my opinion, better. Still, Otis' version absolutely holds its own. His take on "My Girl", originally by The Temptations, is fantastic, and the same goes for his version of the Rolling Stones' "Satisfaction", which sounds raw and powerful in a completely different way.
Overall, it is a really strong collection of soul music, both originals and covers, and it definitely feels like an album I will come back to again. Lots of replay value here.
"Penthouse and Pavement" by Heaven 17 is really not my style. To me, it mostly sounds like fairly bland synth-pop, and musically it did not grab me very much.
There might be strong or provocative statements in the lyrics, especially considering the time it was released, but that aspect did not really come through for me in a way that made the album more engaging. I did read that some of the singles were banned by the BBC, so I assume it must have been considered pretty outrageous back then.
From a personal listening perspective, though, this is not something I would come back to. One or two songs were ok, but overall it is not an album I enjoyed much.
"Foxbase Alpha" by Saint Etienne just did not work for me. I did not like the album, plain and simple, and none of the songs really made an impression.
It is not my kind of music, and I do not see myself coming back to it.
"Ctrl" by SZA is an album I genuinely do not understand being on this list. To me, this kind of heavily overproduced sound is pretty much the definition of what is wrong with a lot of todays music.
I honestly tried to listen to the whole album, but I could not make it through it. After about 15 to 30 seconds into most songs, I had to skip them. Nothing ever really settled or grabbed me in a way that felt musical.
For me, it mostly sounded like wailing layered over production, and not something I would personally call music. This one was a complete miss for me.
Would rate it 0/5 stars, but the system does not allow that.
"Surfer Rosa" by Pixies is a classic alt-rock album and one I really enjoy. Pretty much everyone knows the masterpiece that is "Where Is My Mind", but there are plenty of other great songs on this record that easily stand on their own.
While it is not something I would listen to every single day, it is an album I keep coming back to over and over again. It has become a real staple in my collection over the years, one of those records that never really disappears from my rotation.
There is not much more to say about it. It is just a solid album that holds up very well.
"Beyond Skin" by Nitin Sawhney surprised me right from the start. When I saw genres like electronic, downtempo, and drum 'n' bass listed, I expected something quite different. What I actually heard felt much closer to R&B most of the time.
Overall, it is an ok album, but not one that really stood out to me. Some tracks use Arabic scales and musical elements that honestly confused me a bit rather than pulling me in. I also read that the album carries a strong political message, from references to the India-Pakistan nuclear situation in "Broken Skin" to Robert Oppenheimer quoting the Bhagavad Gita at the end of "Beyond Skin". That is interesting on paper, but for me the focus is on the music, and musically it felt pretty bland.
I might give it another listen at some point, but definitely not anytime soon.
"Blood Sugar Sex Magik" by Red Hot Chili Peppers is a total staple of my youth. I still remember when a friend bought the CD and let me borrow it, and I immediately enjoyed it. It is one of those albums that just stuck with me.
"Under the Bridge" is probably the most iconic song on the record, and for good reason. But the whole album works because of that great mix of alt rock, funk, and a bit of rap, all tied together with excellent instrumentation and energy.
It is simply a great album, and I am really glad the 1001 albums list brought it back into my rotation.
"A Nod Is As Good As A Wink To A Blind Horse" by Faces is a pretty good classic back-to-the-basics rock album. It has that loose, raw, no-nonsense rock sound that just works.
The band and the album are probably not super famous these days, but I think most people will have heard "Stay With Me" at least once. The overall sound also reminded me of bands like Lynyrd Skynyrd, CCR, The Who, and the Rolling Stones, just that kind of straight-up rock vibe.
I really enjoyed listening to it again and it was a great revisit for me.
"Imperial Bedroom" by Elvis Costello and The Attractions was a bit of a surprise for me. I only really knew Elvis Costello from "She" (Notting Hill fans know), so I did not expect this more rock-flavoured sound.
There were definitely some good moments though, and I liked "Shabby Doll" a lot. Overall, the album is not bad at all, but it also did not feel like anything really special to me. Nothing here made a big impression.
Still, it is definitely worth a re-listen at some point, even if it is not an album I will think about a lot afterwards.
