I had never heard of Supergrass before. The record isn't bad—a colorful mix of punk, Britpop, and the Beatles.
I was familiar with Buck Owens, but not this album at all. Now that I’ve heard it, I have to say: it’s excellent—it doesn’t lag far behind Johnny Cash, even if the style is a bit different. Released in 1965, it was the first country album to hit number one on the Billboard charts. For me, it gets full marks and is totally deserving of its place on this list.
What is there to say about one of the best albums of all time? Released in 1972, it was already The Rolling Stones' tenth release. Gritty, raw—blues, rock, gospel. Simply fantastic.
I listened to Adele's *21* this morning. Some of the tracks sounded familiar; they are great pop songs. Her voice sounds damn good, and the strings give the music wonderful depth. I really like the track "Don't You Remember" because of the sighing guitar. I wouldn't say the album is going to become one of my favorites, but it makes for very enjoyable listening.
I don’t own the record, and I’ve never listened to it like this before—at least, I don’t recall doing so. The singer has a nice, deep voice. Sometimes there’s a bit too much synthesizer for my taste, but otherwise, it’s a good album to listen to. Personally, I prefer bands like Madrugada, Nick Cave, or Wilco; they offer more than just a somber, melancholic mood—you also get the occasional full-blown guitar storm.
The album offers a wide range of genres, including punk, ska, reggae, soul, funk, and blues. There’s even some heavy metal thrown in. Why all of that on a single record? I have no idea. It’s not my thing at all.
Debut album, New Wave—not my kind of music.
We saw them at the Rudolstadt Festival four years ago. We found the music too bombastic and left after barely an hour. The album being reviewed here was recorded 25 years earlier and sounds different from what we heard at the concert. It is still bombastic, though—featuring plenty of orchestration, strings, trumpets, trombones, French horns, oboes, cello, and so on. It’s worth a listen; the vocals and the record's mood immediately remind me of Bryan Ferry from Roxy Music—an artist I would prefer. I’ve since read that this style of music is called "chamber pop." Well, I’m giving it a 3, but as for listening to it again? Probably not.
I know this record. Taylor Swift is actually just a normal girl. The hype surrounding her isn't good for her as a person—only for her bank account and the people making money off her! After Folklore, Evermore is the album of hers that resonates with me the most. It features sparse instrumentation; it’s contemplative and, at times, magical. You can hear the potential that was simply squandered on her overproduced albums—both before and after this one. I listened to the deluxe edition. 4 stars
To me, *Trout Mask Replica* by Captain Beefheart & His Magic Band is a bit crazy. It’s not an album you can just listen to casually; perhaps you need to hear it several times to grasp the music. But that requires time—something I didn't have yesterday. Sorry, just one star.
It starts with an interesting cover. I knew the band by name, but nothing more. They play experimental indie music. It’s not an easy listen, but—like when I listened to the record for the second time—something eventually sticks. In places, it’s perhaps comparable to Wilco; at times, the album also brings Sonic Youth to mind. I’m giving it 3 stars.
Avantgarde with a screaming, squeaky voice. I can hardly bear it.
*American Idiot* is a rock opera. It’s a band from the later era of punk—or at least the songs have a wonderfully punk sound. It makes for a great listen, provided you’re in the right mood or willing to get into it. It might not be the ideal choice for waking up first thing in the morning, though. Still, after the first listen, I’m giving it 4 points.
That is so awesome! Like a musical time capsule. I love the album. Janis sings so well; it sounds like sex and unbridled youth.
Not my music!!!
A fantastic album.
After listening to it, I have to revise my description of it from "pop" to "art-pop." The record isn't bad at all; it sounds catchy yet varied. 3 stars
This is completely new to me; back in the 80s, I rejected anything pop-related. I see now that the album was released in 1984. At that time, the only pop-leaning acts I listened to were, at most, The Cure or U2—and even that was only because of close friends. My music back then consisted mainly of Neil Young, Tom Petty, Bob Dylan, and Bruce. Plus some hard rock like Deep Purple or Rainbow, the early Scorpions albums, and anything that counted as "old music." Now, over 40 years later, listening to this album today, it doesn't sound bad at all. You can hear traces of The Beatles and Bob Dylan. 3 stars.
After the death of Kurt Cobain, Dave Grohl recorded this album just for fun. It turned into a long-running band history and a form of therapy. The record can be described as grunge; it’s raw and gritty, yet has a few beautiful moments. A good debut album. 4 stars.
Today I'm happy Green River from Creedence Clearwater Revival (1969). Without even listening to it today, I can say right away that this is one of the most significant albums of that era—and of CCR's entire body of work. I love these songs. 5 stars.
I think I'm on a roll now... Today, *Led Zeppelin II* was recommended to me. What can I say? "Whole Lotta Love" is right at the top of my list of favorites. And "Moby Dick" is arguably John Bonham's definitive drum track. It’s a fantastic blues album. I’d definitely recommend giving it a listen—any time, though it’s even better with a drink in the evening!
Yesterday, I got *Slanted and Enchanted* by Pavement (1992). It’s another one of those albums that completely passed me by. I know the band, but not really all that well. Now I’ve listened to the record. It seems like I need to listen to it a few more times. It’s good indie rock. 4 stars.
One of the best ever vinyl I bought. I loved the album, and in 2026—after listening to it repeatedly—I still love it, more than ever. There is no filler on the tracklist; it is a complete album. For those of us involved in the peace movement, it is a monument! Unfortunately, those warmongers are still around, because money rules the world! Sadly, the limit is only 5 stars!
Magicial memories.
The music on the album—which I’m listening to for the first time—sounds interesting. But it’s definitely not my cup of tea! I do listen to world music, but this particular style relies far too heavily on sampling and electronics for my taste. It might sound interesting at first, but the longer the record plays, the more annoying it becomes.
This is a band I wasn't familiar with before. I recognized the name, but I hadn't actually listened to their music until now. Elbow plays a blend of art rock, post-Britpop, and dream pop. The lead singer has a soulful baritone voice, and their cinematic arrangements incorporate the trumpet. If you really engage with the music, it’s sure to captivate you. It’s the kind of music I might want to listen to again on a rainy autumn evening.
This is the soundtrack from a Bollywood movie. It’s not for me—neither the movies nor the music. It’s not my style; what a waste of the time I spent on it!
This is the debut release by American indie singer Liz Phair. She sings in an almost monotonous, expressionless voice about sexual themes in a typical indie sound of this time. It may well be that the lyrics were the deciding factor in her inclusion on this list. I don't care for this kind of music; it doesn't appeal to me, nor does it draw me in the way other music—even music previously unknown to me—might. You can listen to it—it’s not painful—but that’s about it.
The album opens with lush strings in the style of Frank Sinatra. That mood persists; the music breathes the tradition of the last seven decades, the singer possesses a magnificent voice, and the backing music is pure retro. It covers the whole spectrum: early rock 'n' roll and rockabilly, country, a dash of pop, jazz, and blues all take turns—all carried by a voice that is truly something special in this day and age. I think Richard Hawley really took a bold step back in 2005. He creates an atmosphere of intimacy that is completely free of kitsch. Even though the music sounds old-fashioned, for those of us who are a bit older, it feels incredibly familiar—and simply beautiful. How did I manage to overlook this record? Perhaps this series isn't so bad after all.
This is the record featuring the iconic song "Tainted Love." I believe it was played everywhere back in the 80s. The album is packed with synth-pop—quintessential dance music of that era. It’s amazing that, even 40 years later, these songs are still being sampled. I actually hadn't heard the album in its entirety before; today was the first time I listened to the whole thing. It really feels like a concept album. Much like in a traditional cabaret, they sing about the old social order, mainstream pop music, sexuality—and the extremes it reached—as well as human misery. I don't particularly enjoy the music itself, but I have to take my hat off to the achievement and the wild sounds—completely new for the time—that these young men created using a Synclavier and a drum machine. Still, listening to it once is enough; time for something else now. As I said, most 80s music wasn't for me back then, and that hasn't changed.
Right from the very first song, a brash punk-rock sound hits you. That doesn't change, even though I can detect a few New Wave influences. The songs are mostly extremely short—some of them really dashed off in a raw, slapdash style. The record isn't bad, but here, too, I find myself asking: does it belong among the top 1,000? I was aware of the album when it came out, but that was about it. As for modern pop music, The Cranberries' "Zombie" is what stuck in my memory. My wife played Alanis Morissette's albums constantly. Otherwise, we were fully occupied with our first daughter. My wife was pregnant, and the following year we became parents for the second time. I learned a different profession and of course went to see Neil Young & Pearl Jam. Queen's *Made in Heaven* moved us to tears at the end of the year. And at Christmas, we were looking forward to seeing Bruce in Dresden and Berlin the following year...
This is an album that definitely belongs on this list! No ifs, ands, or buts—even if you’re young. I believe this album has influenced every young musician in some way. The world wouldn't function without it. As if by chance, today we’re visiting the famous Zeiss Planetarium in Jena. It’s the perfect setting for the music—and specifically the song "Shine On You, Crazy Diamond." When the starry sky opens up above you on the dome, you can practically imagine yourself flying through space—even though the song is actually dedicated to Syd Barrett. I imagine any music fan recognizes the song the moment those first quiet bars of "Wish You Were Here" begin. It’s an atmospheric record with a continuous theme—a sort of concept album. I first heard it in the late 70s. For guys living in a land from a bygone era called the GDR, Pink Floyd were like the unattainable kings of music. I still love their music. I think I own all their original records—which cost me a fortune.
I’m not a punk fan at all, but this iconic record is brilliant. I had a few buddies who were punks—in the broadest sense of the word. Things were completely different in the GDR anyway; there wasn't a clear division between fan groups. As long as it was generally about opposing the state (the GDR), we were united. Musical tastes were a different story, of course. But there were never any fights among the youth over music or appearance—only over girls. But that’s normal. Anyway, I actually discovered this record through other young people, and we’d dance to the music with our long hair just like the punks with their mohawks and chain-adorned outfits. This record is such an important one—perhaps *the* most important—of that era and for the genre as a whole. I can still really enjoy listening to it today, and I was just doing so. It brings back memories of those liberating years of youth. Despite being hemmed in behind the Wall, it was an incredibly awesome time. And when Neil Young sang that line in his iconic 1979 song "Hey Hey, My My"—"The king is gone but he's not forgotten / Is this the story of Johnny Rotten"—the music felt even more familiar to me. This record is pure punk, without compromise, it takes no prisoners. There is only one direction, and that is forward, never stop!
This record is pure gold! There isn't a single weak track; every song is consistently excellent. Yet there is one exception: "Highway Patrolman" shines even brighter for me. I was instantly hooked when the album came out. I had already loved *The River*. There was a shop in our area where you could buy West German products using Deutsche Marks. Some people had access to Deutsche Marks through relatives visiting from the West; we, unfortunately, didn't have very many. But you could still go into that store and breathe in the scent of the "free world"—it smelled of soap and perfume, the kind of thing you don't find anymore. There was chewing gum with little collectible cards, chocolate, and Matchbox cars. But I digress; the record was sitting on the shelf, yet it was out of reach—both physically and in terms of my financial (Deutsche Mark) means. Then, to my utter surprise, it was played in two parts on the East German youth radio station DT64. It must have been sometime in 1982 or early 1983. Side A was played in its entirety one day so listeners could record it (which the vast majority of young people did). Side B followed the next week. The broadcast featured great commentary from the host, and you could even have the script mailed to your home for the cost of postage. Guess what—of course, I did exactly that... This record reminded me so strongly of Bob Dylan's early years—two decades prior—that I became an even bigger Bruce fan from then on. After all, Bob was going through his Christian phase at the time, and Neil was in his electronic phase. The record was truly extraordinary for that year, which made it all the more compelling to me. Most of my friends listened to rock or hard rock. I did too; I had my favorite bands back then—Uriah Heep, Deep Purple, Scorpions, and Pink Floyd. But Bruce's new record stood alone like a solitaire, a jewel amidst the dreadful "Neue Deutsche Welle" (New German Wave) that was dominating everything in Germany at the time. I still love "Nebraska"; curiously enough, it sits alongside "The River" on my list of Bruce's best work.
I can barely stand this kind of music. I don't like rap at all—especially not the kind with dirty lyrics. There might be a bit of Black soul music in there too; I don't care much for that either—I’d much rather listen to Black blues. I only played snippets of most of the tracks; I don't want to ruin my Friday!
I liked Sting’s basslines back then; they were pretty cool. The music itself wasn't exactly the style I primarily listened to, of course, but "Message in a Bottle" and "Walking on the Moon" were played constantly at the time—you simply couldn't avoid them. In fact, I listened to the album in its entirety today. The sound has a bit of a reggae-meets-New Wave vibe. I hadn't really noticed that before, as I only knew the hit singles—the ones that got played in every club. There are a few instrumental passages that sound very experimental. That is precisely why I came to love Sting's albums later on, as well as his commitment to humanitarian and political causes. He began advocating for human rights early on, supported Amnesty International, and was eventually part of the "Human Rights Now!" tour. All in all, it’s a good album with hints of jazz; when you view it within the timeline of his career—it is the second Police album—it becomes clear how and why Sting evolved into such a deeply humane musician.
This album surely captivated all of us. Emerging seemingly out of nowhere, the band played pure rock and blues—always driving forward, never looking back, yet drawing heavily on influences from the history of popular music. The opening track, "Seven Nation Army," features a bassline so incredible that it is hard to believe no actual bass guitar is played on the song; Jack White experimented with a DigiTech Whammy pedal to create a bass-like sound, while Meg White provided a thunderous, stoic drum beat. As a garage rock fan, I was naturally thrilled and bought the record in various versions and colors. The cover art for *Elephant* is iconic. Unfortunately, I never saw the band live—something I truly regret. But as is the case in life, not everything is possible and everything has its time. Back then, raising children and building a house took precedence over attending concerts. A full 5 stars, without reservation!
I’m currently immersing myself deeply in the Elton John era. The album opens magnificently with the track "Funeral for a Friend/Love Lies Bleeding." Such a beautiful medley! And the synthesizers were used to serve the music, rather than smothering the entire sound—unlike how they were often used by other artists during the later New Wave era. Right after that comes "Candle in the Wind," that iconic song originally written for Marilyn Monroe and later rewritten for Diana, Princess of Wales. How we wept—whether in Great Britain, Germany, or anywhere else in the world. When the single was re-released in 1997, we played it constantly at home; Lady Di’s death affected us deeply on an emotional level. Next up is "Bennie and the Jets"; Elton’s piano playing is fantastic, as are the high-pitched vocals at times. After flipping the record over, we get the title track. What a delicate, beautiful song, accompanied by strings. It is one of the highlights of Elton John’s entire body of work. I could go on like this, but time is a bit limited. One thing is certain: this album cements Elton John’s reputation as a fantastic singer, performer, and pianist. He is a truly unique, eccentric talent. From the softest, most delicate moments to full-blown rock 'n' roll, he can do it all. His stage shows remain unsurpassed. I love this album.
I actually only know this band because they opened for Neil Young in 1993. Some songs from the album made the charts, but that didn't interest me at all—neither then nor now. I don't recall Soundgarden's songs getting much airplay on the radio (in Germany). The ballad "Black Hole Sun" is well-known, of course. They play a heavy, sometimes dark style of rock. A true grunge band.
Back then, we considered it hard rock; now, Wikipedia classifies it as one of the greatest and most influential heavy metal albums of all time. I don’t know what people read into it. In my opinion, that term didn't even exist in 1970. I’m reading now that bands like Led Zeppelin and Deep Purple are also supposed to fall under the heavy metal banner. That makes no sense to me, but never mind. To me, this record—like those from the aforementioned bands—is pure hard rock. Hard-hitting, sometimes melodic, with every instrument clearly audible. Simply a magnificent style of music. I can still see myself with long hair, headbanging amidst the hard rock fans. Thank God, I’ve always had a broad taste in music. What I listen to—and what I’m actually in the mood to hear—always depends on the situation! This record is really hitting the spot for me this morning! I don’t own it, and I’d never actually listened to the whole thing before. But this is simply great rock music; Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward are at the top of their game. It’s not just "Paranoid" that’s great; "Iron Man" is fantastic—heavy and dark. But really, I don’t want to single out any one song; it’s a number-one album, without a doubt. After just one listen, I really like the whole record—even though it’s early in the morning, and I’m still filled with painful emotions following the memorial service for Glen Hansard yesterday.
I’m not familiar with the album. The opening sounds like the Beach Boys, only more electronic and modern. The singer uses a high-pitched falsetto. At times, the music feels psychedelic and ethereal, creating a soundscape of strings, keyboards, and choral vocals. I almost think my stereo is broken, as the music sometimes sounds distorted—not clean at all; I have no idea why it was produced that way. I suppose 1999 was a huge year for pop music. I remember the hype surrounding Britney Spears; my eldest daughter’s room was plastered with posters of her. I was immersed in "my old music" and didn't pay much attention to the outside world—though it was impossible to turn on the radio without hearing all those pop anthems. Only our old heroes brought us joy; as you know, Bruce went on tour with the reunited E-Street Band. Back to the album: it’s not bad—no question about that—but it doesn't immediately resonate with me today. Three stars is fair.
