All time classic with all songs relevant to my teens and early twenties. Great album suggestion to start of the process.
A nice sounding album that I think will grown on me the more I listen to it.
It feels unfair to lump this in with standard Britpop; it’s far too grand and theatrical. Suede always seem to go under the radar compared to the heavy hitters of the mid-90s, but the songwriting here is unmatched. 'The Wild Ones' is the standout moment—pure, melancholic perfection. If you want depth rather than just anthems, this is the one.
Undoubtedly a talented songwriter and performer, but this one didn't quite land for me. You can hear the immense influence she had on artists like Todd Rundgren and Elton John, but the style drifts a little too close to jazz and musical theatre for my personal preference. I can appreciate the artistry and the vocal range, but it lacks the driving structure and consistency I usually look for in an album. A classic of its genre, just not my genre.
A fascinating listen, even if it didn't completely rock my world. It’s impossible to ignore the ambition here—you can clearly hear the blueprints for the massive hits that were to come. 'The March of the Black Queen' is effectively the evil twin of 'Bohemian Rhapsody,' and there are moments of drama that point straight towards the Flash Gordon soundtrack. While the operatic density can be a bit overwhelming at times, as a piece of musical history showing the evolution of their sound, it is undeniable. Essential for understanding where they went next, even if it's not the first Queen album I'd reach for.
An absolute giant of an album that holds a significant place in my personal history. I originally bought this record in my 20s alongside my first acoustic guitar, using it as a textbook for fingerpicking and songwriting. Revisiting it today, it remains just as vital, though my focus has shifted to appreciating the raw, 'rack-style' harmonica playing that drives the tracks.
Beyond the musicianship, what strikes me most is the lyrical weight. Listening to tracks like 'Masters of War' today, it is sobering to realise that the issues Dylan was singing about in 1963 are no different to the headlines we see now; it is the same game, just different players. A masterpiece of independent artistry that is as relevant today as it was the day it was released.
A landmark album that serves as the missing link between the psychedelia of the 60s and the Britpop explosion of the 90s. While I hadn't listened to much of the band previously, the influence here is undeniable. You can hear the blueprints for Suede, Pulp, Cast, and especially The Divine Comedy in the sweeping orchestral arrangements and dramatic vocal delivery.
It proves that 'Indie' guitar music doesn't have to be gritty or lo-fi; it can be grand, cinematic, and beautiful. Tracks like 'The Killing Moon' are timeless, and Will Sergeant's textured guitar work is a masterclass in atmosphere over ego. A vital history lesson.
You can immediately hear why this is considered a masterpiece of American rock. The production is tight, the 'Esquire' guitar tone is legendary, and the energy is relentless. However, it is not an easy, casual listen. It’s dense and emotionally heavy, lacking the immediate 'sugar rush' of his later pop hits.
There are moments of brilliance—the harmonica work is raw and the driving rhythms are infectious—but it feels like an album that reveals its true colours only after multiple spins. I’m marking this as a solid 4 for the craftsmanship alone, but I need to sit with it again to see if it truly connects on a personal level.
A surprisingly gentle and reserved album that works perfectly as sophisticated background listening. It steps away from the high-energy theatricality the band is often known for, delivering something much more reflective and mellow.
It has a distinct 'Ibiza Sunset' atmosphere—I could easily imagine listening to this in a beach café while watching the world go by. While it’s 'no great shakes' in terms of excitement or dynamics compared to a rock record, it is a consistent, pleasant listen that sets a very specific, chilled-out mood.
After a detour into synthesisers, this was a welcome return to guitar-driven music. The opening track, '6'1', kicks off with a decent riff and sets a promising tone. The concept behind the album—a track-by-track response to the Rolling Stones—is intellectually interesting and adds a layer of depth to the listen.
However, while it is a perfectly fine rock album with a raw, lo-fi charm, it ultimately felt 'ok' rather than essential. It lacks the sonic punch and big hooks of the stadium rock I prefer. A solid listen for a Wednesday, but not one I'll be rushing to put on repeat.
This is a proper wake-up call of an album. After some of the more polite entries recently, this is nasty, aggressive, and undeniably British. It sounds like a band playing live in a small room with the amps turned up too loud, and that raw energy is exactly what makes it work.
Tracks like 'Tokyo Storm Warning' drive hard with a relentless rhythm, while 'I Want You' is a dark, claustrophobic masterpiece. The guitar tone is sharp and vicious—perfect territory for a Rat pedal. It’s a dense, angry record that definitely demands a second listen to fully unpack, but it’s a very solid return to 'Meat and Potatoes' rock.
A fascinating and influential guitar album that sounds surprisingly modern. You can immediately hear the blueprint for bands like The Strokes in the interplay between the two guitars. The riff on 'Friction' is simple but timeless, and the 10-minute title track is a genuine journey.
The vocals have a unique 'New York' attitude—part Jagger swagger, part Iggy Pop spoken-word tension—which complements the angular, 'anti-blues' guitar work perfectly. It’s definitely a 'musician’s album' that rewards careful listening. I’ve rated it a strong 4, but I suspect a session with headphones might reveal even more depth in the production.
