I've listened to new music a lot more in the past few years. By new music I mean anything that doesn't appear on the front cover of Mojo magazine. But Melodrama reminds me why I hate the formulaic approach to much modern music making. It's almost as if it's been written by an algorithm to hit all the right mass market consumer hot spots. A familiar theme for me in these reviews: no soul. Sorry.

If nothing else, this sounds like nothing else that had been put on record at that time. A real mix of styles, from Weeping to AB/7A, I love all aspects of this album. You could say AB/7A owes a debt to Kraftwerk, but Hamburger Lady sounds unlike any other artist (thankfully). In equal parts uplifting and downright scary, this is not an album I would sit down and listen to very often, but certainly one that has had a massive influence in my subsequent musical taste.

The sound of optimism in the future. I find this album very uplifting and enjoy hearing the full version of the title track. Sound so ahead of its time, and this version of the album cover has to be one of the most iconic sleeve designs ever.

A magnificent album that somehow managed to push through to the mainstream. Who knew that tales of messy sex, chopping up body parts and dead monkeys would be so popular? Everything is perfect about Doolittle; the songs, the musicianship, the production. Kim Deal's bass is an absolute beast and holds it all together. Note how the quiet, loud, quiet thing predates Nirvana by a couple of years. One of the few albums that I could play on rotation and not get bored.

Well that was a cheery start to Monday morning. It's not exactly Britney Spears. Pleasant, but you'd be hard pushed to call it music. More of a project.

What a delightful album. It was an absolute joy to discover this. It makes the 1001 project worthwhile. There's a downbeat soul feel throughout. No so much Move on Up, but take a look down instead. Things are happening, and not all of them are good. This is an introspective album from Curtis. Sadly not a lot has changed in America half a Century later. Add in the odd love song, plus THAT voice and you have the perfect album. This is a companion piece for What's Going On. Amazing. And short!

I am not a massive fan of intricate guitar work, but this album just sings from start to finish. Delicate but tough, lyrical and unique. I love love love Verlaine's voice, and his lyrics, too. There's nothing quite like this album, and that is one of the many reasons I love it.

An excellent album, which still sounds like the future, despite being released over 40 years ago. Standout track is Neon Lights - it’s almost-waltz like time signature somehow only serves to make it sound even more futuristic. Everyone should own this album.

By default I should despise this type of music. Middle class white men whingeing. My prejudices haven't changed much after listening to it. I didn't know the Glyn Johns connection. This still doesn't rescue it. You need some Roll with your Rock. This album lacks any rhythm. I felt like I was listening to the soundcheck for a ropey pub covers band.

This album keeps the misery of the blues without any of the accompanying spark. Everything is over-played, probably to hide the lack of much else. The riffs seem endless, and not in a good way. Just because you CAN play it doesn’t mean you SHOULD. Turgid.