1001 Albums Summary

This was loads better than I expected. But then my expectations were extremely low. As a start point for the Project, a very positive one.

BORING! Thank you nerds, I'd love to listen to you sing about space. NOT!

I feel like my position on the Who hardens every day. I just don't think they're very good. The big songs (Generation and TKAA) are stand outs, but otherwise, it's extremely MOR. Apparently they were bad boys. Not for me, Clive.

Yes, yes, yes. My Young knowledge was a little lacking to be honest, outside of Harvest and After the Goldrush. This was brilliant from start to finish, and on my list to buy on record. The first big hit of The Project.

Thank you Project Wizards! This is why you undertake these things, to have you taken out of your 'I mostly listen to Sufjan Stevens and 20 something white American female singer-songwriters' comfort zone. I was surprised by the musical invention, although I'm too woke to just skip over the casual sexism and glorification of violence.

Hello David! The first album that I've known really well, and I think this stands up well to any other Bowie period. My birthday pal showing no signs of letting up.

This is great isn't it? What a rush. I listened to it in the car, and belted out Monkey, Debaser and Here Comes Your Man. I also think there's a delicacy to Pixies that often goes unnoticed. So here I am, noticing it.

Bit of an awkward one, where I had to make three other people listen to it with me. We were getting ready to go out on the lash and Bjork's entirely acapella album was probably not it. She's very talented though, and obviously barking, to her credit.

See the previous entry - this was very good on a hangover. I found it a really interesting listen, from a band I had no knowledge of. It sounded very much like the start of the 80s, rather than the end of the 70s.

On October 2 2000, I went to see Radiohead in a big top in Warrington, the day after Kid A was released. I think about that night a lot. From the opening seconds of Everything... to the closing moments, this does everything that music should do. Loses 0.3 points for Treefingers. Bad Thom.

I'm reviewing this after the fact, and don't really remember much about it. Make of that what you will. I think they're an act that is much better live than listening on Spotify while you're proofreading.

Objectively good and nice, but also the moment that Elbow became a band your mum liked, instead of a really interesting cult band, as they had been in the early 00s. I saw this tour in Blackpool in 2008, they played One Day Like This second last and everyone just left during the final song, completely ignoring it. It was Scattered Black and Whites, which is 100000x the song ODLT is, and people are morons.

Glad to listen to this, and I think the production and songwriting is top notch. It's really noticeable that this is a vehicle for a few big bangers though, and the drop off from the singles to the filler is really large.

Hard to be objective about ol' JL. This album is fantastic though - probably more consistent than any other Lennon solo album, if not quite reaching the highs. Love, God and Working Class Hero are all in the very top echelons of Lennon songs, and therefore of human endeavour.

Made my dad listen to this with me while we were away for a weekend. I don't think it inspired him to take up The Project, but nor did it make him like me any less. So thank you Madonna.

PSB are fast becoming one of my very favourite acts of all time, and this album blew me away. There simply isn't anyone else who can combine this level of music confidence with lyrical vulnerability, all packed up in the most listenable, danceable package. I didn't know many of the songs on this album, but it's now a firm favourite.

Oh god no please make Mr Bluesky stop forever I don't like it I don't like it no no no.

I just found this...is fine. I think a lot of Elton, once you strip away the fact it's him, is just fine. It was quite boring really. He's got a cracking pair of lungs when he fancies it, but I think this just left my head as soon as it arrived.

I was excited to get this, but really it was the most trad jazz I could imagine, and lasted about four or five days. Started to feel like I was going a bit mad towards the end. Maybe that's the point?

I saw Calexico and listened to a seven minute long double bass solo. I started laughing after 30 seconds in a totally silent auditorium, and I think I ruptured my gooch trying to hold in the sound for so long. Despite that, I still love Calexico and really enjoyed this album, and you can't say fairer than that.

Muddy Waters, muddy recording. He had a lovely voice and I could imagine not minding hearing this at a festival in 1960. In fact, I'd probably be beside myself. But now, I don't know.

Yeah, great music, irritating voice. I probably had the wrong idea about Sisters of Mercy because their name is quite silly, but actually they reminded me a bit of Jesus and Mary Chain, which is about as high as praise comes.

For a long time I got mixed up between XTC and INXS, but no longer. XTC are the good ones. It's a really beautiful and atmospheric album, and one I'll definitely come back to, even if there are no truly standout tracks.

Didn't like The Band, for no real reason other than someone annoying from uni did like them. Turns out even a stopped clock is right twice a day, as this was really good. The Weight is an absolute all timer.

Boring and annoying. You can absolutely imagine how pleased with themselves the Stranglers were throughout recording this. Peaches is terribly irritating as a melody.

There's a song on this that lasts for 2 seconds, and to be fair, I didn't mind it. The rest was a bit more of a chore. I had to listen to Sufjan's Carrie and Lowell on volume 1 for an hour just to recover my delicate sensibilities.

If I have to spend 44 minutes listening to hold music, I'd at least expect a better phone deal at the end of it.

David, you lovely little sausage. Like everyone else, I mythologised this album, given the circumstances of its release, so I was a little concerned that it might not stand up in the cold light of the Project. Fear not, it's magnificent. How is Lazarus written by a 68 year old with months to live? It beggars belief.

Double David! And I think this is probably in my top three DB albums. It's really hard to pick a favourite track, because really it's a single piece of art. That's pretentious, but it's true and I'm not sorry.

Why is this here? It would be poor if it had come out six years earlier, when it sounds like it should be from. It's worse than Gay Dad's To Earth With Love. It wins a few points for the fact I was still relieved not to have Napalm Death or Jimmy Smith.

Brilliant brilliant brilliant. Is there anything better than Once in a Lifetime? It is just a tiny bit long, and could probably have done with a little more quality control, but we're nit-picking here.

Every now and then, you enjoy this album, then you remember Brett Anderson, and you're back to square one

So much good musicality. So much shouting. So long.

I don't know why I wasn't particularly excited when this came up. It is magnificent from start to finish.

You have to grudgingly hand it to them, this is an education from the University of Banger. Shame one of them is a Tory and they're both City fans.

Great to have on in the background. Halfway through you think it all sounds the same. At the end you look and realise that each song is actually on there three times.

Brilliantly eclectic, underpinned by the Captain's vocals, which stop it veering from 'fun' into 'silly'.

It's very good, and the production in particular is amazing. I liked listening to it. But...it's boring? Sigur Ros are boring. I know that's the kind of thing that you get thrown in jail for saying, these days, but there you have it.

Nah. On the strength of the year and the title I was pretty up for this, but it was disappointingly straight-forward indie-rock. Hard to fathom how this is one of the 1001 most important records, even though it's not actually bad per se.

Pogues-y, interesting and exactly what makes the Project what it is. Is it great? No. Am I glad I listened? Yes.

Woeful. Boring, artless dad rock. The biggest mystery is how much they paid the crowd to cheer between each song. Maybe they told them they were allowed to leave? The saving grace was how low the appalling singer was in the mix, so you couldn't hear whatever turdlets he was singing about.

From the ridiculous to the sublime. It's hard to think of a stronger run of opening songs than the first six on this (any of which would've improved Let It Be), and yet the two best songs - Beware of Darkness and the title track - come later. All Things Must Pass is my funeral song and maybe contains the best lyric of all time - daylight is good at arriving at the right time, it's not always going to be this grey. It loses out on the big five for being a triple album that could have been a great double or up there with the best single albums of all time, but God it's great.

He's a good rapper, IMHO. The clarity of the lyrics considering the speed of his voice is really remarkable. Unfortunately, that just means you can really clearly hear all the sexism, self-aggrandisement and so on. I'd say I'm not angry about this one, just disappointed. Wins marks for some great sampling, but couldn't quite rescue it. Maybe it's harsh to look back on this after Ye has gone full nut-nut, as you hear songs like I Am A God and realise that he genuinely means it, rather than appreciating it for (probably) the best song on the record.

Three hours?! Three! That's insane Jeremy! It's actually quite good, once you get over the fact that there's still several days of The Who being pleased with themselves ahead of you. The progression in songwriting from four years earlier is stark, and it hangs together as a concept album. People rave about it though, and I find that confusing. It's just OK. Obviously Pinball Wizard is one of the all time great bangers, and songs like Christmas are good fun, but there's a lot of filler.

Wigan's finest. And possibly Wigan's only. My heart sank a little when I had this, maybe because of having to hear the intro to Bittersweet Symphony during every single terrible England game for 20 years, but actually it's very good. The singles are great, and album tracks like Catching The Butterfly catch you off guard a bit. All in all, very enjoyable, and took me right back to buying it on tape aged 13 and wearing a fisherman's hat.

I was quite looking forwards to this; it's what The Project is for really - making you appreciate things that you'd never listen to normally. And it starts quite well - Bring the Pain, with Method Man, is a good song. It drags a touch though, and there's not loads of variety for me. Glad to hear it, probably won't again.

Woof! Is it me, or does Ian Mac have one of the best voices around - it really stands up among the rest of the goth scene (he's better than Robert Smith and the Bunnymen are better than the Cure. There. I said it.). I think on balance, I prefer E and the Bee's later, slightly less dark songs, but this sums up life in Liverpool in the early 80s pretty well I suspect, bleak as all eff.

Now we are talking. I hadn't heard of Dion before hearing this, and I really enjoyed it. It's not breaking new ground particularly, just good songs, performed well and given the Spector treatment (great production, not waving guns around and murder).

Just great. It sounds as fresh 32 years on as it must have done when it came out. The level of intensity throughout the album is really high, but it's not oppresive or unpleasant to listen to. Its influences seem really diverse, from the dance scene to soul and obviously trip-hop. I guess technically it's 'not my sort of thing', but it turns out it very much is.

This album gets three stars, but basically every song is either five stars or one star, with nothing in between. Sometimes his voice is the best part, and on some songs, it feels like he's singing a different song to the backing, in a different key. I'm sure that's very clever, but it's also quite irritating. Heaps of Sheep is a great song. Do more like that Bob!

Curiously, I've got a bit of a PJ blind spot, which I'm extremely glad The Project is forcing me to remove. This was really good - full of angst and vitriol, but not overwhelmed by it. It's very raw, and if pushed, you'd probably guess that it was a debut album, but still, lovely stuff.

This was nice. Classic Motown but with a little bit of extra funk to it. It's groovy (alright granddad) and maybe a bit ahead of it's time. You'd probably peg it as a mid 70s album at a guess. It didn't totally blow me away, but I was very glad to listen to it.

I got this for Christmas when I was 15 and was beside myself. But that's because it's 15 year old humour. From a 35 year old man. He is a great vocalist and the song construction is fun and all. But he's just talking about beating up his mum and partner, guns and his (urgh) pee-pee. Grow up. Regardless, it wins some points for Guilty Conscience, a genuinely great song.

Very cool. It's super dark and a bit foreboding. It also somehow feels very 90s, as you'd maybe expect Portishead to, but also a bit like something from the future. Lots of beeps and boops, which I wouldn't want to hear all the time, but I definitely enjoyed here.

Hoopla! I thought this would basically be dross, but actually it's dead good. It was quite a bit more interesting than I thought it would be, and a lot more varied. Breakdown was definitely the standout song for me.

It's hard to judge the Beatles on anything other than their own merits, because obviously this is better than almost anything else, despite the variance in quality on the record. One of the things that struck me as I listened was that, even though I must be well into the hundreds in terms of number of times I've heard this, you still notice new and enjoyable things in songs. The bass in USSR, the backing vocals on any number of Paul's silly songs. It's just great. Got to feel like Decca would have knocked this down to a single album though. Lovely to have my once-a-decade attempt to listen to Revolution 9 all the way through.

This was very nice, if also weirdly forgettable very quickly after. A lot of people with good taste (i.e. taste similar to mine) like C and the Qs a lot, and I can see why. It's also an album where it's hard to pick out a specific favourite song. It's more, as the kids would say, a mood. Again, longer than it needs to be

Yep, good. JJ has a cracking set of lungs, and is able to really display power and vulnerability. The band are talented, although at times I think it left me a little cold somehow. This might be the most I've oscillated between a 3 and a 4, and if Joplin's reading this, I apologise for coming down on the side of three.

So close to a five star! Without doubt the peak of Lou Reed's powers, for me. It's hard to find a weakness in here really, and hard to pick a standout. In the end, I think Satellite of Love just pips it. It's a simple song really, but worms its way into your head and has a level of openness and sincerity that I think LR occasionally lacks. Thanks for this The Project!

Can we have our Transformer back? I get why this is in The Project, because you can't ignore the influence that Adele had over the decade that this album kicked off, but that doesn't mean we have to like it. What I will say, is that the songs with a bit of get up and go (Set Fire to the Rain, Rumour Has It) are much better than the weepies. In particular the stench of Someone Like You really leaves you with a bad taste at the end of the album.

REM, the band we love to hate. Deeply uncool, but also extremely enjoyable to listen to. You can definitely feel that this is their debut, it's a little unpolished and raw, which is a good thing overall, but also means that you lose the clarity of voice and lyrics that later REM has.

Mega weird. Sometimes it's genius and sometimes it's like MES has scientifically worked out the quickest way to totally ruin whatever the rest of the band is doing. I'm not surprised everyone leaves The Fall. But having said that, there are a few songs that really stick with you and you can see the scale of influence. Spoilt Victorian Child combines being very funny with being brilliant, which is rare.

This was a time machine. 15 years old, bang into Pink Floyd and playing WYWH (the song) on guitar. I expected it to be worse in retrospect than it actually was. Shine on was really emotional, which is something The Floyd often lack, especially when you know that it's for Syd, and hear the (presumably apocryphal) story of him turning up during recording. And the title track remains an unqualified masterpiece. The emotion in the lyrics, the simplicity of the guitar, the very un-Floyd like lack of a seventeen minute outro, it's all there. It loses a bit for Have a Cigar and Welcome to the Machines being a little too proggy for my tastes, but overall, a very enjoyable listen.

No me gusta. People I like and respect are Dead Heads, and I think I understand the attraction, but for me it was very self indulgent and something of a let down. All the songs are longer than they need to be, and there is way to much of what sounds like jamming to me.

Stand will always make me think of Ben Wyatt's claymation in Parks and Rec, and for that reason alone, this album is brilliant. As it goes, it's really pretty good anyway. Stipe is one of those people who has effectively got two great voices - one for the fast numbers and one for the slow ones. That's impressive.

I did not expect to wish this album was longer. I think I knew that DP was a prolific and talented songwriter, but to see it laid out in this collection of simple and effective songs is quite something. It's still a bit too trad country for my tastes, so it's going to struggle to get into the high fours, but it's probably the most pleasant surprise of The Project so far.

It really is my favourite foreign movie. I think if this album was just Peg for 40 minutes I'd still score it quite highly, because you can taste the Saturday night cup of tea and see a young Lineker on MOTD. As it is, the rest of the album is also absolutely brill. I sort of don't want to like Steely Dan, because they seem a bit daft, but this is a marvellous listen.

It's really hard to think of an album that conjures up a period in time more than Forever Changes. The musicality is incredible, the lyrics are perfect and the overall sound is so cool. It reminds me (despite, I think, not being used in it) of the later seasons of Mad Men when Megan moved out to LA, and that's maybe the highest compliment you can give. A clear five stars. It's not In The Airplane Over the Sea (the perfect 5.0), so loses 0.2 on that scale, but it's the highest scoring album of The Project so far.

I didn't know this album very well, which surprised me. The first thing to say is that the cover is excellent. The album itself is really good in parts, but is probably just a little too one-note for me. It didn't take me on a journey like Pixies albums do.

I listened to this in Sarf London, which surely helped right? And to be fair, it's extremely evocative. She packs so much personality into her voice and the lyrics are somehow both really light and incredibly dense. I didn't know this album as well as I know Back to Black, but I think that helped, because it forced me to listen rather than to have it wash over me as something you know well can.

Really, really nice. Soft and gentle, a little bit country, and reminded me of Band of Horses quite a lot. I didn't even mind that I had to scour YouTube for it. I was staggered not to have heard this album before, because it felt right in my zone. I'd hope to buy the record, given that I'm unlikely to proactively find it on YouTube again.

Posh Damon and his pals, the Cheese one, the Tory Councillor and Graham Coxon, who is cool to be fair. This is actually a good record, if you forget that you don't like Blur. The singles are absolutely massive, and This is a Low is one of the best songs of the Britpop genre. The rest of the album doesn't match up, and it suffers in comparison to Definitely Maybe, from earlier in The Project. I remain Oasis over Blur.

Why didn't I enjoy this more? I don't actually know, except to say that I didn't really find it that interesting. The songs I knew were nice to hear again, and the ones I didn't were not ones that I'd hate to hear again, but I'm not seeing their place in the rock canon. It's always cheering to know that Marc Bolan's son is called Nolan.

I enjoy a four minute long Aerosmith song. I do not enjoy listening to 12 identical Aerosmith songs in a row. Weirdly little to say about it really, except that they're good at picking the lead single, as Love in an Elevator absolutely towers above anything else on here.

Timeless. A good description in a way, as time did seem to pass less quickly than normal during this mammoth trip through drum and bass-land. I guess it's quite impressive, on its own merits, but it's not fun to actually have to sit down and listen to. A bit like Orbital earlier in The Project, I feel harsh judging this after I'd listened to it during the working afternoon, rather than at 2am in a warehouse somewhere (which for the record, I'd hate).

I think this was the first Project album I could listen to on vinyl, and it helped the experience I think. She's such a wonderful songwriter, and has a voice that you'd recognise from a million miles away. Court and Spark doesn't reach Blue levels - there's nothing as affecting on River on here, and generally she sounds in a happier place on this record. Good for Joni, not as good for me. But still, it's an easy four, and the first album on the Project that I've just sent for another spin as soon as it finished.

Instinctively, I assume that classic albums aren't going to be as good as people say, but this was really superb. I knew about half of it a little and I knew the title track and Train in Vain really well. But it flew by, it's absolutely jet-powered and the vocals are sublime. I also think that they offer a real lesson in being 'hard' without losing a sense of melody and of fun. You can see why the Manics were so influenced by them, especially in the vocal delivery.

It's angry, it's powerful and it's more interesting musically than most of System's contemporaries in the nu-metal scene. It's way too self-righteous for me, and lacks quite a lot of subtlety. I think they could probably learn from Rage Against the Machine on that front - their political message is lost amid the music too easily. Having said that, it's one of the metal albums I like the most, and it's not their fault I'm not really their audience.

This is quite nearly as good as Bryan Ferry obviously thinks it is. The good songs are great, and 2HB in particular is a superb song. But so much of it is like something from a musical, and not even one of the musical's main songs, but one of the ones where they need to speed the plot along a little by having people singing exposition for no obvious reason. God I hate musicals. Anyway, for me, The Bob is really tough to get through, as is Chance Meeting. There's no questioning the quality, but there's also no questioning the lack of quality control. That feels like a harsh review for what's actually a fairly decent score, but I think I was mostly just a bit disappointed.

Yeah, for this pretty dedicated poo-pooer of hard rock, this was not too bad. I feel like they really trade on the absolutely undeniable banger that is Ace of Spades, and it's a bit of a slow downhill from there. Like most hard rock/metal bands, the guitar and drums are really technically impressive, and the vocals are extremely distinctive. Did I actively enjoy it? Not really. Am I glad I've listened to it? Yeah, I think so.

Hmm, I liked this less than Dry I think. It still had that same angst and snarl to it, but I think it was a bit more one-note. It's interesting to see how far she goes onto come in the next 10 years or so (say to Songs from the City...). Still, her voice never fails and it passed in a flash, so can't say fairer than that

Musically, I really liked this. It's lo-fi and sparse, but not so much that it fades into the background. I think my issues, such as they were, came with the vocal delivery on some tracks. While Malkmus can sing well, and does, especially on Here, which is definitely the standout song, he occasionally veers into Mark E Smith territory of just talking quite abrasively, but without the, ahem, Mancunian (MES is from Bury but don't get me started on that one) charm.

It's great Bob. It's not the absolute best Bob, partly because there is a little dip in the middle of the album (Outlaw Blues and On the Road Again in particular). But it's still ruddy great Bob, and the last two songs are up there with the best closers I can think of.

This was good - it reminded me of being a kid and going to my dad's office for some reason - not the songs specifically, but I guess because he often listened to this type of psychedelia from the late 60s? It drags a little in places, and sometimes falls into being deliberately obtuse I think, but White Rabbit remains a great song and it has a lovely atmosphere to it.

I enjoyed this way more than I expected. I had a perception of CSN that they were basically waiting for Neil Young to come along and that it might be a bit cheesy, but it's very enjoyable indeed. Their version of Everybody's Talking is great in particular (maybe better than Neilsson?) and between that and Teach Your Children the album closes really strongly.

Very good indeed. This feels like the midway point between New Order being 'the Joy Division band' and being 'the Blue Monday band'. It's got synths throughout, but also one or two moments of real post-punk, especially in the first song. Elegia is apparently about Curtis, and feels like a very literal and metaphorical goodbye to the great man all at the same time. It's a tremendous song.

An amazing mix of great music and shocking lyrics. The guitars and drums sound like Joy Division at times - not quite as evocative, but very heavy and dense. But every now and then, on songs like Night Shift or Sin in My Heart, you realise that the lyrics are sub sixth form poetry, and it takes you out of the place you're in.

It's just…very good. It isn't in my wheelhouse whatsoever, but you can't deny the talent and the attitude that runs through the album. The guitars really shimmer nicely and I love the way the voices intermingle. I think that promentalshitbackwashpsychosis enema squad is (a) the stupidest name for a song ever and (b) the highlight of this album.

Byrds? Magpies more like. I don't think I've ever heard a band that wears its influences on its sleeve more visibly than the Byrds. Quite apart from doing an extraordinary amount of (mainly Bob) covers - including the super My Back Pages on here - you can really here the impact of the Beatles I think. That's both positive and negative - Have You Seen Her Face could be on Rubber Soul and not seem out of place, while Mind Garden sounds like someone attempting to recreate Tomorrow Never Knows without any clue about what it is that makes the original what it is. A mixed bag, but generally it's very easy to listen to and will bear repeat listens

What a disappointment! I was really looking forward to this, especially after enjoying the Dolly Parton album earlier in The Project. Unfortunately, while she's a very good singer, it was all extremely samey. Also, I found her emotional range really lacking - we get it, you're miserable. It's why her cover of For No-one was so wrong. The point about For No-one (IMHO) is that McCartney sings it quite matter of factly, as...it's not about him. EH sings it full of self-pity, and the impact is way less.

Their debut, and a point where they seemed to really straddle rock, rap and hip hop more than they did later (when they released Hello Nasty, say, which was the first album I knew on release). It really works, and this album was good fun from start to finish. One or two songs feel a little too raw, and Girls makes you feel like you're going totally mad, but by and large it was highly enjoyable.

This was considerably better than the earlier T Rex album I had in The Project. It felt far more Bowie influenced and a little less of the Glitter-esque stomp yer feet and jumpsuits end of Glam. Baby Boomerang is a cracking song, and this is definitely an album I'll come back to repeatedly.

Listened to it in a lovely cottage in a village in the Peak District, which probably helps elevate this to a good mark. Quite a bit of it washes over me, as so much of this trad blues work does. I Can't Stop Loving You is a corker though. It took me quite an irritatingly long time to work out why I knew it so well, until I remembered that Elvis did it in his Vegas shows. I then went down a deep hole of watching Elvis' late-era Vegas performances on YouTube and marvelling at how good he was. I don't know how much I can really credit Ray with all that, but he sent me in a nice direction.

Yaaaaaawn. I have so little to say about this. It's not bad, it's not good, it just...is.

This has absolultely blown me away to be honest. It's probably the best discovery of The Project so far. I'd heard of Throwing Muses, but didn't know loads about them other than that they were a female-fronted rock band. I guess I'd expected something a bit like The Pretenders, and there are elements of that (Finished for instance), but actually the power of some songs and the delicacy of others provides an amazing emotional range. At times, there's a vocal effect that is a bit off putting, but when that's stripped away, like on Delicate Cutters, you're left with a fantastic song. Great stuff!

Absolutely gripping from the very start. I know they were influential across a whole load of genres, and I also know that the Manics cited them, along with The Clash and GnR, as their biggest influence. I really get it, not so much in the music, but in the righteous anger of the lyrics. Musically, I enjoyed it, despite not being my normal cup of tea. It probably relied a little heavily on effects like scratching, foghorn etc, but that's probably only a cliché because Public Enemy made it so! A really enjoyable affair, all told. London, England, consider yourselves...WARNED!

Hell's teeth this is bad. I get it, there probably wasn't loads to enjoy in the Deep South in 1965, but then maybe you shouldn't have burned all those Beatles records? It's so one-paced, the lyrics are unbelievably vacuous, and the mix is all over the place, to the extent that I had to check the sound settings to make sure something hadn't gone wrong. Nope, that's just the way Buck likes it. It's short, which is to its credit, and every now and then you can hear something slightly more than the most basic blues guitar (there's a tiny hint of a good lick in Memphis, swamped out by the dreadful recording quality) but there's not a lot more to say for it. Speaking of The Beatles, as I wish we were, the original of Act Naturally is on here. It's so dreadful that for the first time in my life, I wished Ringo was singing.

Simply the worst genre of music on the planet. I just don't get the appeal of identikit, unemotional swing, with a singer putting in as little effort into his delivery as humanly possible. Sinatra's popularity baffles me. He's no better or worse at this kind of singing than anyone else, because it's the laziest, most untechnical type of singing imaginable. And there's no depth to any of the songs musically or emotionally either. At this time, Elvis was writing Heartbreak Hotel and musicians of colour (who Ol' Blue Eyes would obviously have hated) were creating electric blues music. Why is this the prevailing genre? Fear of having to hear this kind of music is what's stopping me from going to an American wedding, as well as not knowing any Americans.

Tremendous stuff. I hadn't listened to The National much lately, but this album brought them flooding back to me and I'm now embarking on a major deep dive. Matt's voice is absolutely on great form throughout this and the intensity of the music is great.

Wow! For as long as I can remember I've been very vocal about Led Zeppelin being overrated, for nerds and very uncool. How wrong was I? This was absolutely superb. I couldn't believe how varied this album was, I thought it would just be endless guitar noodling and strained singing a la Whole Lotta Love. That's The Way in particular is so delicate and might be crashing straight into my favourite songs list.

Definitely a step up from the Live at 1960 record earlier in The Proj. You could hear the growl and emotion of his voice much more, and you can definitely see how much of an influence yer man had on the Stones or Clapton. Ultimately a lot of the songs are too long and descend into fairly basic blues riffs, but not unenjoyable at all

OK. But that's basically it. I read a little bit about them, in particular the way they were influenced by the British Invasion. You can hear it at times; there are Kinks-y guitars and a sense of urgency that might come from mid-60s Stones or Beatles. But ultimately, it's let down by too many quite plodding songs that feel much more rooted in quite basic American rock 'n' roll. They did the original I'm Not Your Stepping Stone, which is much better than the Monkees' version. That's something.

This was way better than I expected! I thought it'd be the kind of electronic/dance that I'd not enjoy, but it was very cool. It had that baggy, Hacienda style, partly thanks to the female backing vocals, but also the use of brass and extremely funky bass. It was also lyrically quite inventive, especially on Sketch, which was a highlight. The genre means it's never going to get the really big marks from me, but it was such a pleasant surprise. I'd put this on when I had people round and it was late at night, should that ever happen.

Dreadful. Unspeakably boring, very naff and far too much (i.e. any) flute. Musically, it's just dull - the first track actually misleads you, because the opening 15 seconds or so have the potential to be something quite different. Then it just drifts. Also, and I don't want to be too pious about this, the concept of this album is romanticising homelessness, a la Streets of London, and I strongly suspect that Iain Anderson and the gang didn't spend too much time on their research. Oh, also, word of warning in case you've totally switched off by this point, the final track on Spotify is a 14 minute long interview with Iain. No ta!

I actually think it might be the best Radiohead album. OK Computer will always have the special place in my heart, but In Rainbows probably beats it really. It's so welcoming, in stark contrast to quite a lot of Radiohead, and I think is definitely Thom's greatest vocal performance. He really shines on the slower songs like Nude and All I Need, while the power of the band (particularly Phil) are more evident in 15 Step, Weird Fishes or the Reckoner. Add into this astonishing piece of music the anti-industry method of release, and you have something really special. It's incredible that anyone could listen to this and still hold any of the clichéd RH views. The only bit I didn't enjoy was picking a favourite. I knew it would be Jigsaw, but then the final gut punch of Videotape comes along and blows you away so totally. Those lyrics! Best record of the Project so far.

A mixed bag from the Queen, I'm afraid. This was quite good fun musically and a few of the songs are lyrically strong. The pick of the bunch is probably Evil That Men Do, which is heavily political and very powerful. There's also an undercurrent of railing against the male dominated world of rap. Sadly, the song most obviously on that theme (Ladies First) is both musically one dimensional and lyrically is about one step above 'My name is Latifah and I'm here to say' amateurism. Like I say, some bright spots let down too often, so a pretty low score I'm afraid.

Moments of really classic Waits here. His voice is in full effect, which probably isn't everyone's cup of tea, and on the ballads he absolutely kills it. My Tom issue is the number of jazzy tracks that I'm afraid stray far too far into silliness for my taste. The centrepiece of the album is the magnificent Jersey Girl, which is so good that you only slightly wish it was the Boss' version.

Wowzers! I thought this would be absolutely OK, serviceable, slightly irksome rock. I know later QOTSA pretty well and thought it was fine, but this is much better IMHO. The guitar and drums were really tight and fierce, but the thing that really stands out is the quality of vocals. Just fantastic. It was generally nice and varied, if possibly a tiny bit too repetitive to sneak into the five star bracket. Great stuff though.

Weird and stupid, but weirdly and stupidly enjoyable. I only knew The Model prior to this listen, but to be fair, all the other songs sounded pretty similar to it. It was very good working music, which isn't always a total compliment, as it means it didn't really demand too much attention. One thing I would say about this record is that it's very easy to imagine The Mighty Boosh guys performing this during the episode where they get really into Crunk music. Again, this isn't totally a compliment. Ultimately, there are lots of pros and cons to this, and (weirdly and stupidly) it ends up with an extremely average score.

Highs and lows here. The album starts very strongly, and the first two songs in particular really showcase the strength of their songwriting and Barry's pre-disco voice. It drifts in the middle, but it's still in the three to four range. Then towards the end, it hits you with Dearest, which is, in my considered opinion, the worst song I've ever heard in my life. Suddenly it's Sunday morning and Radio 2 is on, you're too hungover to change the station, and Elaine Paige is playing a show tune. Wait, this isn't every other week where she plays Memory from Cats or one of the boring ones from Les Mis. This is actual torture! That's...that's not Elaine! It's the Martians! We're being taken over! They're trying to kill us with this horrible sound! After several minutes of rocking back and forwards, the torture sound abates, and there are Elaine's plummy tones: That was Dearest by Bee Gees, and now, Barbara Swington sings Memory.

Imagine a very bad Lenny Kravitz cover band, but instead of the usual singer, it's someone from the crowd who has, weirdly, never heard of music before. Imagine that for 119 minutes.

Rubber Soul is a funny one isn't it. There are no absolute, stone-cold, stand out tracks that would get in the top 10 Beatles songs (arguably In My Life, although it's a little overdone). But it's very consistent album and marks such a great leap forwards. Even the Ringo song isn't that bad. One thing that really came across on this album is that it's quite angry across the board. You Won't See Me, Norwegian Wood and the regrettable Run For Your Life are all of a piece really. I'm sort of criticising it, but it's obviously still amazing and brilliant and scrapes into the fives.

I was quite hungover and in a lovely cottage. It's possible that isn't the perfect place for this hardcore punk album. It wasn't totally terrible, and at times it was quite interesting, but equally quite a lot of it was just dreadful noise.

I think I like Prince, but if I'm honest, I've never found the energy to get really into him. There's no doubting the musical chops on this; he's a superb guitar player and singer, and the songs are extremely funky and fun. But it all just leaves me a little cold. There's not that much emotional range I think. Certainly when you compare it to Purple Rain say, this all just seems a touch too same-y for me. Not bad, but I was expecting to have the scales fall from my eyes in a major way

Unusually for an album of this length, this got better as it went along. By the end I was very into it indeed. This was the kind of thing that the Indie Kid of the 90s shunned, while the more out-there types got bang into it. Well I can see why now. It's superb working music, which, as mentioned previously, may not be a total compliment, but is extremely useful.

Goodness gracious me this is fantastic. I think because of the ubiquity of Eileen, I'd slightly misplaced Dexys as a bit of a novelty act, but definitely not any more! I absolutely couldn't believe the heart and soul poured into this album, in particular on Old, which is possibly the best new song I've found on The Project thus far. All in all, this was simply a joy to listen to, and one that I'm going to come back to again and again.

Pro tip: If you're doing a 91 minute long double album, don't put the only decent song at track one. This wasn't awful by any means, and he's got a smashing voice, but it all felt a bit too cheesy for me and I lost interest pretty heavily.

I liked this less than I expected to. The two big singles and Hold Ya Mouf are good fun songs and stand out from the rest, but otherwise, the lack of light and shade just got a bit abrasive. He's clearly a master at what he does, but it feels like this was the album that he made before he realised that you're also allowed to have a bit of fun.

Fine. It was fine. It's rock and roll of the kind beloved by Americans who also love cars and guns I guess. They can certainly play, and some of the songs are super-catchy, but overall, it felt very derivative and uninspiring.

Modern Argentinian tango on accordion and vibraphone. It's good to know this exists, and it's also good to know that I'll never have to hear it again. Within 40 minutes, it was hard to remember a time in my life that hadn't been soundtracked by intense accordion.

Lovely, lovely Paul and Art. They just don't miss. I read that this was released after Simon had spent a year in England, and you can hear it in the folk sensibilities (obviously Scarborough Fair but also elsewhere). Homeward Bound is an all time classic, and, getting this on Christmas Eve, I felt so choked by the final track it was incredible. I love the sense that the purity of Silent Night and the horrors of the news report are fighting for attention; what a perfect summary of the forced niceties of the season against the wider global reality. Talk about still relevant today. It only gets 4.0 just because there's a little filler in there, and I already know that there's at least two better S+G albums to come.

Ronnie Spector could sing the most boring page of the phone book and I would think it was amazing. I truly believe she has the greatest voice of all time. The Crystals are also effortless, and while Darlene Love feels a touch more forced, the whole album is packed with great vocalists singing classic songs. Add to that the absolutely majestic horns dotted throughout the album and the trademark Spector harmonies and 'throw everything at it' production, and you can totally ignore the fact that a lot of the songs are, basically, stupid.

What a lovely surprise it was to revisit this! I'd listened to it a lot on release, and really enjoyed it (especially call the police, which is one of the great songs of the 2010s for me). But I assumed it would just be one of those albums that is of a time and swiftly forgotten. Not so, it seems! You can really hear the Bowie and Talking Heads influence in this album, and it hangs together really well. The first album on The Project that I listened to while running, and it works well for that. Let's have two fewer false endings on the final track though eh lads.

I'd been ready for this to be dull, but it was actually much worse than that. It's so aggressive at the start, to the point that I had to check this was actually the right band. Mother is risible, horrible stuff, and the fact that the best song on it is a dirge about stalking that you'd run to turn over if it came on the radio says it all. Go away Sting!

Much better! I liked this, it was fun and very cool. He (Sly?) has a really rich voice as well, more than I was expecting I guess. I knew a couple of songs, and they were the standouts. It loses some marks for a totally needless jam for 13 minutes in the middle.

He was a bit of a joke, Moby, in the late 90s and early 00s. I can't really remember why now, because this album is pretty good! The two big singles are absolutely brilliant, and the emotion of Why Does My Heart Feel So Bad is still a real sensation. It's a great example of how a song can absolutely transport you to a time and a place in your life. Overall the album just starts to drag a little, and is probably skewed slightly too much to the upbeat dance songs for me, rather than the emotional sucker punch that Moby is capable of, but still a very enjoyable listen.

My first perfect score. The emotional attachment I have towards this album always meant that marking it down was very unlikely. It was the first album I bought on release, and was the defining album of my defining teenage friendship. But even disregarding that, I honestly believe that it warrants a perfect score on the strength of the music alone. Airbag is a perfect starter (that cry of 'I'm back to save the universe' still sends shivers down my spine). Paranoid Android is Bohemian Rhapsody for people who hate Queen. Subterrainian Homesick Alien is a lovely palette cleanser. Exit Music is a virtuoso vocal performance. Let Down is probably the best song ever, and the moment at 3 minutes 42 seconds when the vocal comes back in is maybe the pinnacle of music. Karma Police somehow descends into pure festival singalong by the end. Fitter Happier is way better than it has any right to be. Electioneering is (a) brilliant and (b) full of genuinely funny lyrics. Climbing Up the Walls is...sexy? No Surprises still makes me well up. Lucky is a song to sing loudly in the car. The Tourist is the song that I've imagined using in a film score more than any other. All told, not bad.

I knew this album was going to be good, but I don't think I was ready for how brilliant it was. Start to finish, it never drops, and the peak of Killing Moon is fantastic. What a great collection of songs this is. The final two tracks pack an emotional heft that other similar bands simply can't find. If this Project does little else, I reckon it's confirmed EATB as the finest band of the 80s for me.

Finally, The Who have produced a really good album on this Project. I felt like I was properly missing something about them. To be fair, the three standout tracks on this record are Baba O'Reilly, Behind Blue Eyes and Won't Get Fooled Again, which I already knew, but the rest of the album doesn't match up exactly, but there are certainly no stinkers, and Bargain was very good indeed.

Good, if not quite as good as Doolittle. It still has the hugely strong songwriting, but just isn't quite as interesting. Gigantic was a song I didn't know (or at least didn't remember) and it's brilliant, really sticks in the old noggin.

Extremely 1966. You can feel this coming out in a similar landscape to Rubber Soul, for instance, where old meets new. There's something about The Kinks that doesn't quite scream progressiveness and mysticism, but this is maybe not that far off. It's a good mix of ripe old fun and something more interesting though, and is a very enjoyable way to spend 39 minutes.

Disappointing really. I was quite looking forward to this, as a punky, female-fronted band should at least have been a bit of fun. Sadly, it was too musically one note, and the vocals were quite annoying. It reminded me a lot of Daphne and Celeste, which I'm guessing isn't what they were hoping for.

The opposite of yesterday! I have a real downer on Arcade Fire, mainly because they seem to attract the kind of Muse-esque fans, who take themselves way too seriously. However, this had a real heft to it and was a much more interesting listen than I'd expected. It's very of-its-time, and I have this feeling that they've been cancelled now, but a pleasant surprise nonetheless.

More Bobbles! Always a pleasure. However, I think that this, along with a bit of mid- to late-era Dylan, falls into a trap of each song being either (a) a traditional blues number or (b) a 23 beats per minute dirge. Luckily, I absolutely love his 23 beats per minute dirges, but I can definitely do without the type of blues that threatens to introduce a honky tonk piano at any moment. Also Bob, no-one has ever written a good 16 minute song. The closing track of this album is a brilliant 4 minute song that lasts for 16. Unnecessary.

This was a very pleasant surprise! The cover, the genre, the band name - everything screamed avoid, but actually, it was funky, interesting and unpretentious. I did a little further dive into the back catalogue after, and it seems The Project has yet again opened a new door.

God I hated this so much. What a bunch of cry babies. That horrible muddy, swampy guitar sound, lyrics that basically come down to how terrible their life is, titles that are straight out of toilet graffiti at an emo school, it's such a cliché it's unbelievable. Just grow up lads. The worst song of all is Nothing Else Matters, because you've spent hours having your ears assaulted, then you finally get to a song with a bit of light and shade, and it turns out the light at the end of the tunnel is an oncoming train of misery and self-pity. Genuinely one of the worst songs committed to record, and their ongoing popularity is a blot on humanity's already quite blotty record.

Very, very unmemorable. Quite boring MOR rock I'm afraid, as I'd been quite looking forward to it. Ironically, neither colourful nor vivid.

A trip. At times extremely funny, occasionally it's absolutely astounding, and often it's like being at a weird all-inclusive hotel evening show that lasts far too long. Listened on a plane, which I don't know was the perfect location. I'd like to mark this higher in a way, but (a) the version of Satisfaction is too silly to bear and (b) I was extremely glad when it ended.

What a great band 10cc are! This is a marvellous album, with the first two and the last couple of songs in particular highlights. It sags slightly in the middle, and for me, they're a band who will almost (I'm Not In Love excepted) engender respect and admiration rather than love. There's a tiny bit of emotional heft missing from their songs that stops this technically excellent band getting into the five star realm.

CCR should be prescribed for anyone needing a little bit of a dopamine boost. Every single facet of their work, from the bouncing guitars to the joyous vocals, is designed to make the world seem sunnier, and this album does just that. Obviously the centrepiece is Bad Moon Rising, which is one of the greatest songs of all time. If I was to steal a car in early 90s LA, I might leave the tape deck, but I wouldn't hold out much hope for the Creedence tapes.

Hard to rate in a way, because even when there is a nice song, you're so conscious of the Chris Martin factor that it gets in the way. There are bright spots on this album - Yellow is a low-key banger, and Trouble and Shiver are OK. The first track is appalling, so I guess it's good to get that out of the way. One thing that's really notable on this is the lack of any interesting production or musicality. It just...is. You couldn't call it absolutely dreadful I guess, because that would imply something was actually happening.

For me, this is the worst of the late-70s era Bowie albums. It's Dave, so obviously it's still got a lot to like and is still better than most other things, but it feels a tiny bit pastiche-y at times, which I think when Bowie goes full croon, he can do. Clearly, the title track is a masterpiece, and I think might be in the running for the best male vocal performance on record. It's remarkable that it still remains potent, despite being used on every BBC Olympics montage since ancient Greek times.

I really love this album, and probably hadn't listened to it in a good few years. I absolutely know why people don't like Wilco - it's sooooo lo-fi it almost isn't there - but there's a lot of interesting things happening across most of the songs, and they create a sense of warmth that quite a lot of lo-fi lacks. All in all, a lovely album to listen to on a train looking out on the bleak midwinter, which is what I did.

Delighted to listen to it. Delighted to know I won't be listening again. There's no doubting the quality, and obviously you have to acknowledge its influence in the year of 1967, when every Western band suddenly looked East, but as a whole piece, it doesn't do it for me. I'm very willing to take responsibility for that on my Westernised ears though.

Misery alert: I hate the song We Are Family. Maybe there's an undeveloped bit of my brain that can't just say 'that's a fun song that people like to dance to', but there we have it. Greatest Dancer is a good song, and the production is extremely shiny, but I'm afraid it's not for me.

The worst album yet, after 146 days. It has all the worst elements of metal, but with one additional factor: you can actually hear the lyrics. Oh good! Let's see if actually metal singers have deep thoughts and emotions when it isn't just screaming. Wait. Why does he keep saying 'doth' and singing about trolls and goblins or whatever? Is he 14 and a nerd? Hang on, this one's a misogynist, back-seat-of-the-bus giggle about fancying your teacher. That's a gear switch. WHY IS THE NEXT ONE ANOTHER DOTH ONE? Genuinely makes you think that castrating all teenage boys is probably the best way to save the planet.

This is more like it, a bit of Van The Man (Who We No Longer Listen To). It's brilliant, although I find the title track irritating for some reason. He's got an unreal voice though and it balances real depth with a sense of lightness throughout. Not quite a five, but a lovely way to spend a Sunday morning cooking.

Pretty OK to be fair. Way outside of my wheelhouse, but I actually enjoyed the little skits throughout it, which I often find unbearable. Lauren also has a very rich voice, that you feel could handle much bigger vocals than she's offered here. That Thing is a big old blast of nostalgia. Ultimately, it felt a touch samey and went on twice as long as I'd like, but it gets a three, which is probably more than I thought I'd give it.

Not my new favourite band. Immature, unimaginative and abrasive.

What happened to Metallica between 1986 and 1991?! This is so, so much better than the risible self-titled album from a couple of weeks ago. It's a band with serious muscle, not taking themselves too seriously and backed by some of the crispest, strongest production you'll hear anywhere. It's still a big macho guy shouting about how unfair the world is, and it's still a genre that doesn't float my barge, so it's never going to score super-high, but I enjoyed it, and I totally respect the quality. The final track lets it down quite badly too to be fair - it could be any generic terrible metal band.

Much better than Synchronicity, which was borderline unbearable. There's a lot to like about the instrumentation from The Police, although with woke 2024 ears, there's a lot of pastiche that veers close to cultural appropriation of the reggae scene I think. Unfortunately, every song has Sting's vocals on, one of the most irritating sounds on the planet. They should play it outside off-licences to disperse teenage delinquents. Still, not bad.

Where do you even start with a masterpiece like this? The first thing to note is that this album came out barely six months after their debut. This is a band with such creative force that they can pull 12 songs of such quality in such a space of time. I just love this album. I love the combination of naivety and confidence. Stuart knows he's onto something here, he knows that Tigermilk has made them the most interesting under the radar band in the country, he knows he's doing something all the luddites down south can't do, because he's got empathy, storytelling and delicacy on his side. I could talk through song by song about how great this album is, but let's pull out some highlights: Me and the Major is one of the all time great bops, and the harmonica towards the end is like a rush of joy. The Boy Done Wrong Again is a tear jerker. Mayfly is the most sublime ode to an insect on record. The title track is storytelling to rival any celebrated writer (who ARE these people? I like to imagine Stuart staring out from his bed at passers-by and creating whole backstories for Emily and the rest). And then there's Judy and the Dream of Horses. The second of my funeral songs that I've had on the project (the palette cleanser to Harrison really). It's a great story, it's idiosyncratic and relatable at the same time. The refrain between the verses is such lovely instrumentation, and the way it subtly builds from extreme gentleness into an all out danceable number by the end shows a band reaching the parts that no-one else can reach. A band like no other and their greatest album of all. Get in.

There is just so much going on in every song on this album, you get whiplash. Sometimes that works spectacularly - the switch from rap to soul in Way You Move, for instance - but sometimes it just feels like you're starting to enjoy something and then it pulls the rug from under your feet. One thing that is really noticeable on here though is the absolutely sublime production quality. The crispness of the brass peppered through the record is so nice. It's let down a little by too many nothing tracks, which (shock horror) could have been removed to make a more coherent, sub-two hour album. Fun though.

Can I interested you in some of the funkiest Hammond organ? Obviously the title track is one of life's great bangers, and just gives you a serotonin rush like little else. The rest of the album though - not for me. It's impressive and quite fun, obviously, but you're definitely pleased when it's over.

Yeah, this was much more enjoyable than I'd feared. It suffers in a way from having a very diverse set of collaborators, because the sound changes quite rapidly from song to song, but on the other hand, you get some Santana, which is always a treat. When it works, it absolutely slaps - I'm in the Mood is joyous - but when it doesn't, it feels a bit derivative of a very overdone genre.

I didn't recognise the name when I got this, but as soon as Another Girl kicked in I was beside myself! This is such a good album and one that I'll come back to. I read some other reviews slagging off the vocals, but they're right up my street - I love very imperfect singers, and he fits that bill nicely.

Let's start at the most important place: Buckley's version of Hallelujah is less good than Leonard Cohen's. Yes, yes, Cohen reckoned Jeff's was better. What does he know? Not a patch. Getting that out of the way, this album is a weird one for me. It's maybe too attached to a specific time and place (being 18 and 19, James College, York University) to mark objectively. Trying to focus purely on the quality of the songs is hard, but I think it actually isn't all that good. Sometimes I find it a bit overwrought and you just wonder if it would have the same impact if JB was still knocking about. It's still good obviously, but maybe not as good as its reputation.

I was weirdly un-nostalgic about this. I expected to be taken back to the late 90s, but then I realised that by 1999 I was already looking down my nose at the likes of Travis a bit. Ultimately, this is insipid, boring and pastiche-y. There's something about Healy's (very nice) voice that makes the misery not quite ring true. I really don't get the Radiohead comparison, given the level of invention that they'd showed on OK Computer compared to this. It's closer to David Gray than it is to Thom Yorke. Driftwood is good though. Little Fran Healy nugget by the way, when Sgt Pepper turned 40 (2007) the Beeb did a really good programme where contemporary artists covered each song. Fran did Lovely Rita, and his vocals were absolutely tremendous on a song he could easily have murdered. So well done for that, if not really for this.

Normally, I'm not a big fan of old school soul, yer Barry Whites and the like. There were times when this album veered into that hackneyed territory, but by and large I thought it was much more interesting than that. Great voice, good arrangement and well-written songs in the main. Loses a little bit for being a bit same-y and not overly inspiring.

Woooof! I'd never heard of this, or them, and it's tremendous. All of the words that are often red flags for me, like eclectic (usually means incoherent), ramshackle (usually means poorly played) and DIY (usually means bad production) sum up this album, but in a really great way. This feels like pure punk, but in ethos rather than just a Pistols/Ramones pastiche. At times it's really gentle and skilful, but never loses its power. There are so many influences and styles mixed in here, and it's easy to imagine lots of bands taking inspiration from this record. You can hear a specific song (I don't know which there's millions of them) that might be the only song Clap Your Hands Say Yeah ever heard, and you can at times find the roots of the Elephant Six movement that spawned Neutral Milk Hotel and others. Very good stuff indeed, and thank you Robert.

This was a really interesting listen. It has some of the classic Elvis tracks that are part of the global consciousness, like Blue Suede Shoes and I Got A Woman, but also, because it's so early in his career, there's times when he's being Elvis, rather than ELVIS. The voice is in a higher register and there's more of a vulnerability. It's a shame in a way that that happens on the songs that are the most trad rock 'n' roll numbers, because it lends a bit of charm. Ultimately, you have to mark this highly in the context of the time and the catalyst it provided for all that followed, as well as for the handful of great tunes in among the standards.

Ab-so-lu-tely marvellous. There's a strong argument that Cat/Yusuf is in the top few songwriters of all time. I guess the fact that whenever some schmuck like Rod Stewart covers a Cat song it's so terrible is testament to the fact he also performs them immaculately as well. The big hits on here really stand out, Sad Lisa is tremendous, Father and Son is one of the most emotional and moving songs on record IMHO (and I will be taking no questions on that), while Wild World is both poignant and toe-tapping. That little guitar run after the title line gets me every time. It loses 0.1 for reminding me of the existence of Rod Stewart and Boyzone, but this album is close to perfect. Actually, forget that. FIVE POINT NOUGHT STARS.

Quite possibly the weirdest thing I ever listened to. Possibly some context required: I listened to this while walking to Old Trafford in a crowd of around 70,000 people, very aware that while other people were chatting, drinking, chanting and so on, I was listening to Robert Wyatt have a bit of a breakdown. I read the backstory to this album, and it's so interesting, but quite often it just sounds like the other Wyatt album I've had - a singer singing a different song to the backing. It's got some lovely bits and pieces on it, and some that are laugh out loud funny. I'd recommend it to someone. But not necessarily someone I liked very much.

This was OK. I think the singles are very cool and extremely evocative of the time. Unfortunately, it's a bit full of filler, and when it flops, it flops pretty hard. Not unpleasant, but not one to return to.

What a stunning waste of a talented guitarist. It's like a science experiment has taken place to remove all the soul, love and nuance from music, and then distilled it through someone who has learned all of the technique of playing the guitar, but doesn't know what it can really do. The best song is a cover of the Kinks that is approximately six million times worse than the Kinks version. Dreadful.

Interesting one. I don't know loads about Kendrick, which is on me, as he's so highly respected by people whose opinion I value. I'm aware this is early in his career, and that To Pimp a Butterfly and DAMN are still to come (presumably at least TPAB is on The Project), and it came across like this. There's no end of talent, but it doesn't feel like someone who's totally risen above the 'generic rap/hip-hip' template at this stage. It's mightily impressive, despite that, and got me excited for what's to come.

Yeah, thanks Astrud, now I want a pina colada and it's 10am. An absolutely beautiful voice, so clear and sultry. She did the most famous Girl From Ipanema apparently, and you can tell that she must have been one of the standout vocalists of the era. It's a touch dull, if we're looking at it through cynical 2024 eyes, but regardless, a very nice gentle start to the day. Now, where's that pina?

Great stuff! Packed full of bangers, including the songs that maybe aren't as well known nowadays. In particular, Picture This was a song I didn't really know that was very, very good. The power in the vocals on songs like Hanging on the Telephone is great.

Disappointing, to be honest. A lot of this era of Jackson seems to sum up the very worst of the 80s (musically, I'm glossing over the fact that he summed up the very worst of any generation away from the microphone). Over-produced, style-over-substance and far too slick. The singles are great in a way, because they take you to classic discos and it's hard not to enjoy that, but it's only really on songs like Dirty Diana and Leave Me Alone that he gets any kind of true feeling or grit into what's basically the pinnacle of corporate muzak.

This is...not what I thought Iron Maiden would be like. I was expecting to have my ears pummelled by the most artless noise since I got forced to listen to Metallica. But actually, they're really good! The band are tight as anything, and there's a lot of invention. The occasional samples are great fun and undercut the slightly 'take it too seriously' vibe. I especially love The Prisoner starting with the oh-so evocative sample from the TV programme. It loses marks because the singer is a touch grating for my tastes, and I feel like he doesn't match the funkiness and grove of the band basically. Get Jagger on vocals and you have yourself a rock band.

Why are all these songs the same? Why are these people filling stadia instead of playing to eight people in a pub on a Tuesday night in Bromsgrove? It's technically fine, I guess, and it doesn't offend me or make me want to switch it off, but it's boring, and it's the least interesting music you can imagine.

Good god this is unspeakably boring. You know that dreadful film where the Beatles don't exist, so someone plays Beatles songs with Ed Sheeran (I think that's the plot, it was shocking). Anyway, this is like if the Fabs didn't exist, but nor did any other progressive sixties music, any drug or alt culture, or cultural revolution. It's easy to imagine this is what Don Draper put on when he turned off Tomorrow Never Knows halfway through. I love Don, but I don't want to live in that world.

Yeah, this was fun. Dirty, bolshy and well-delivered, with great production behind it. It suffers a little from length and gets a bit bogged down, but I can totally see why it's a popular album in the genre.

Just way too smooth for me. Hard to think of much to say about it really, other than that he's got a very nice voice and his band can play. They just do very little of interest with it.

Yikes! This was absolutely mega. Considering it was outside of my genre wheelhouse, I enjoyed this so much. What was particularly nice was that it felt very different lyrically to a lot of other hip hop we've had so far. Self-empowering without falling into Instagram post cliché, positive but not cheesy, and by and large avoiding the sexist pitfalls of their contemporaries. Loved it to bits.

The hits just keep on coming. I watched a documentary on Marley the night before getting this, which meant I was very in the mood for this. It's just brilliant. Darker and moodier than the cliché of reggae that people cling to, but still with some beautiful moments of lightness (it's clinically impossible not to feel better within 3.4 seconds of Stir It Up). Most importantly, it gave me a chance to get on my soapbox about the novel A History Of Seven Killings and sound terribly clever. So thanks Bob.

We're on a roll of big names and big hits. It's a five from me. What an astonishing collection of songs. I listened to it with 'er indoors on vinyl and we played it three times straight. There are maybe one or two weaker tracks on side one, but by the time you're on the home straight it's like a freight train coming at you. I saw some criticism of Bruce's voice in the other reviews, which I guess was a joke I didn't get? He sounds mega, at his stadium-filling best. Oh, and the title track isn't patriotic gang - maybe you, Donald and Ronald should try actually listening to it - brilliantly subversive pop music.

A tough one to mark. So clearly absolutely exceptional musicianship, but with just two tracks, it's a shame that the first one is a bit of a miss. The second, however, really showcases the range and skill of Davis and his band. What I found, I think, most interesting, was the intersection between this and mainstream pop of the period. It's clear that he exists in that world, even if it's translated to jazz. And actually, at around 12 mins into the title track, you realise the influence he had. There's a point where you swear he's inventing shoegaze, and also some of the chord progressions are wholly nicked by Pink Floyd in their Wish You Were Here era. Not my thing, not always an easy listen, but mightily impressive nonetheless.

I thought this was going to be rubbish! But I was not aware of the golden touch of David running across this record. His influence is so strong, and combined with Pop's rough and rowdy ways, you have a winning formula. There's times (Turning Blue!) when it sounds like very bad David, and you get the sense that he might have been holding something back for the Berlin Trilogy, but when it works, like on Success, it's an absolute diamond. Great stuff.

Dull dull dull I'm afraid. All three singers have great voices, and they mesh well together, but the songs are unbearably formulaic and drift really quickly into the background.

I've got to be honest, this massively passed me by. It was perfectly pleasant, but made no lasting impression whatsoever. Sorry, I love burritos as well.

If you could isolate all the bits that are Lauryn Hill in this album it would be absolutely brilliant. The music is great and her voice is simply stunning. Unfortunately, Wyclef rocks up every two minutes to ruin anything. Also, there's some of the worst skits I've ever heard on a hip hop album on here. But it gets a decent mark for the two big singles, which are both tremendous.

Magnificent. I love that sometimes I listen to this album and really focus on the lyrical power, and sometimes you can just let the sound envelop you. The recurring motifs in the music work superbly throughout, with the title track coming back into your consciousness throughout the album, meaning this works as a concept album pretty perfectly. There are a couple of minor things I will say - Save The Children is quite a poor song to the point of being skippable, and the scraper on Right On renders a really great song a bit irritating. But these are tiny quibbles that might point to me holding this otherwise faultless album to really high standards. Feel free to hate me, but a perfect 5.0 can't have a song that you want to skip on it, so it gets a magnificent 4.8 and a place in the GOAT conversation.

A lovely sounding album that probably suffers in comparison to yesterday's generational masterpiece. The two are thematically really similar, but Curtis probably allows too much soulfulness to dull the righteous anger that his social commentary deserves. It's all a little too nice I think, although that doesn't stop it being a lovely listen.

This isn't the album with Drop The Pilot on, just in case you're reading this before listening, we may as well lower expectations right now. However, it's still a really good collection of songs, sung brilliantly by Our Joan. It's a bit same-y, I'd say, but very nice indeed.

I had this on CD, and remember thinking that Tim isn't a patch on Jeff. I still think that now, although he does a good line in Doors-lite. It's a shame I don't really like the Doors. The stand out track for me is Nighthawkin', which sounds nothing like The Doors, but is basically Dan-esque yacht rock. Lovely stuff

I was so disappointed with this! I thought I'd love it, but it feels like they've really leaned into a pastiche of English pastoralism that (a) means nothing to me and (b) gets in the way of the often quite interesting musicality. They threatened this already with songs like Lazy Sunday Afternoon, but this felt like it was designed to give American audiences a comforting insight into English life that bears little resemblence to reality for most people.

Funky funky funky. I've had a minor level Beck blind spot, and at times, I remembered why, as it's probably a little too (think of another word, nope, I can't) funky. But there are some really great tunes on here, and it's extremely enjoyable, and ultimately, isn't that what it's all about? No idea what any of it means, but I like it.

The challenge with reviewing Sgt Pepper is it's a bit like trying to review 'air' or 'gravity' (the natural phenomena, not the French band or the Embrace song). It's just always been there keeping me alive. It almost doesn't matter that When I'm 64 is risible, or that WALHFMF is on here. When you have a record that's got Lovely Rita, A Day in the Life, She's Leaving Home and (IMHO) the incredible reprise of the title track all there, plus Good Morning, which really stood out on this listen, there isn't much more to say. it's wonderful, it's life-changing and it's magnificent. Then you add in the cover, the cultural impact and the sheer bravery, and you just can't mark it down.

This was good! Surprisingly so, really. I was expecting some horrible thrashing, but it's musically pretty interesting and has a bit of depth. The singer is obviously a bit of an irritant, but that's probably to be expected. But overall, a great discovery.

You've had what you thought were some normal garlic mushrooms on toast, and you've gone on a waltzer. Wait. Those weren't normal mushrooms at all! 37 minutes later you exit the waltzer, confused, scared but maybe a little exhilarated. This album is that, and it's definitely worth somewhere between 0.1 and 5.0

In some ways, this was a nice palette cleanser after yesterday's absolutely madness, but it was a bit of a disappointment. The songs that I knew were good - Time of the Season in particular is a cracking bit of late 60s West Coast stuff. But overall, I felt that it drifted a little, and was often just...fine.

Love this. A real blend of quite traditional sounding (to me, who has no idea what he's on about here) West African music with some extremely all-American rock guitar work. It was fun, it was great to have on in the background while I was working, and it is exactly what the project is for.

The third member of the Gilbertos to grace The Proj, and very nice it was too. Nice being the word, as it was all extremely gentle and a little boring at times. She has a lovely voice, although if I was to sum it up in an adjective, it'd be nice.

I was super-excited to get this, as Frank Orange is so obviously a major cultural touchpoint that I have yet to really experience. A bit like Kendrick in that sense. What I found was a real mixed bag. There were some absolutely brilliant tracks full of social and political commentary, with Crack Rock being the undoubted highlight. Then there was quite a bit that I would have expected on an Usher album from 2004.

The fact that Long Tall Sally still gives you a visceral sensation in your spine, 67 years on from its creation, is really quite something, and is most of all a testament to Little Richard's unrivalled vocal power. I've scored it low, because I'm listening with modern ears and a lot of it sounds very traditional and staid, but it's hard to ignore the fact that this will have been like music from Mars in 1957, played by someone from the future.

Way better than I expected for some reason. I knew the album a little, and expected something very middling, but there's such a lyrical power across the album, and really great musicality, that it has to score very highly indeed. A lovely Saturday morning album.

I was so hungover when I got this, and while that isn't Mr T's fault, it did mean that I entered it with extreme trepidation. I shouldn't have though! It was definitely one of the best rap and hip-hop albums I've had so far. Full of really powerful brass and genuinely quite funny skits (First Impressions is the absolute bomb). There's obviously horrible overcurrents of sexism and glorification of violence that loses lots of marks, but in general, surprisingly good.

Too slick, too shiny, too polished. I'm just not into it at all. It's like you can recognise the talent of the production, of the singer and of the songwriter, but still be left feeling like someone has chiselled a little bit of music's soul away forever.

This was so ridiculously up my street, it's completely unfathomable that I didn't know it better already. Its sound is so pure, so emotive and very, very creative. It reminded me quite a bit of Veckatamist, by Grizzly Bear, that must have come out at the same time, but was definitely better. One of the finds of the project so far for me, and something I'll listen to again and again and again.

Good, I suppose. I wasn't expecting to get too much out of this - it feels like it's very of its time really. But actually, there was more going on than I'd have given them credit for; in particular there are some really good, almost metal, guitar parts on Not My Idea, and she has a really instantly recognisable singing style. It's not earth-shattering, but it's pretty good.

Listened to this in the gym. I suspect that no-one else at Salford PureGym was listening to it at the same time, but maybe I'm being snobbish. It was a really interesting listen, with a good mix of quite traditional sounding 'world music', but alongside something much more recognisable as 'Western' jazz. It could have done with being a little bit less smooth for my taste, one or two of the tracks were definitely more modern feeling, and that's where my enjoyment lay.

This was the worst thing I've listened to. Maybe ever. Her voice is so cloying, every single lyric is vacuous, and the whole album sounds like it was created solely for sofa adverts. My hatred is limitless. The fact that she sings a duet with Stuart Murdoch on Write About Love and I love it is testament to the genius of Belle and Sebastian.

No thank you David. For all that Babylon has kind of entered into the ironic appreciation stage, this, on the back of Jones, was just more MOR, boring nothingness. He's a United fan, so gains 0.1 marks for that.

Stressful. Very, very stressful. What's wrong with this guy's voice? It feels like one of the muppets is being forced to sing a punk song at gunpoint. The bass playing is absolutely stonking though, so that's something, and it wasn't David Gray or Norah Jones, so won on that front.

I just don't really get the appeal of The Prodigy. We get it pals, you've taken loads of drugs and you've gone mad. It's fairly generic music in the main, and is only really elevated when they lean way more into dance than drum and bass. Then you get something fairly interesting. Whichever one of them sings has a stinker of a voice too. Having said all that, Breathe is a nostalgic song to listen to and impossible not to enjoy on a fairly primal level.

Yessir! Some lovely palette cleansing shoegaze and feedback. Was just feeling like I'd been on a bit of a poor run, and this was marvellous. The final two tracks are maybe just a smidge too heavy for me. I'm all for distortion and noise, but there's got to be a melody, and I feel they lost it a little. Overall though, a cracking listen to a band that I've always known from a distance, but now intend to get much closer to.

Better than I thought to be fair. Pharrell has got a good voice, these are well written songs, and, unlike some other artists of the genre, they seem to prioritise having fun over macho posturing. It reminded me of Outkast, who were probably their closest contemporaries, in that respect. The songs with Lenny Kravitz were particularly good I thought. Not amazing all round, but an enjoyable listen.

Really diverse set of influences on this I think - far beyond the grunge that I'd assumed I was getting. Bits of Zeppelin, bits of the more psychedelic end of Britpop, bits of heavier rock (unsurprising, given Josh Homme's involvement). Overall, a real treat and a pleasant surprise based on the artist name and album cover, both of which scream 'horrible noise'. Will definitely listen again.

In places, this is absolutely superb; the first four tracks are clear five star material, but I think it drifts a little towards the back end. The Murder Mystery is hard work, and I'm afraid that After Hours just falls on the wrong side of tweeness for me (and I have an extremely high tweeness threshold). One absolutely cracking nugget I didn't know before though - the opening lines of Candy Says are borrowed by Sparklehorse on Maria's Little Elbows, which is probably in my top ten songs of all time. So that was a real treat.

I could only stomach seven minutes of this. It is genuinely one of the most stressful and headache-inducing experiences of my life. How is it possible to find this enjoyable? I would confess to crimes I had never committed after the opening 15 seconds just to make it stop. I've selected the first track as my favourite, but really I mean the first second or so, when hope still existed.

Well, it was better than yesterday. Actually, it was basically fine. Upbeat Simply Red is definitely preferable to crooning Simply Red, which there is too much of here. Money's Too Tight... is an absolute stonker though, and lifts it up the rankings. Also, the first song is very good indeed. Some killer, mucho filler.

What an MOR double with Simply Red yesterday. The thing I almost always think about Dire Straits, with a few very notable exceptions (Brothers in Arms, Romeo and Juliet and Sultans of Swing for instance), is that it's all a bit soulless. Technically good, but doesn't really move you very much. Still nice to have on in the background and I'm still grateful for that two days on from the Guantanamo experience.

Really, really in my wheelhouse. Through my 30s my taste has distilled into 'whispering women singing about the pain of being pure at heart', and Lana gets it. Her voice is very dramatic, sometimes a little too much, but the music is great, and there are way more hits than misses.

Listened to it running, and that is exactly the right place for it. It's about the right level of prog for me, but still a bit pretentious at times. All in all, pretty good, but I'm unlikely to go back to it.

By and large, my kind of punk. Again, I listened to it running and that felt right. It started off better than it ended, and by the last song I was pretty done with it, but the singer's voice was decent and it wasn't unpleasant.

Oh Bruce, the banger machine. I didn't know this album all that well, apart from the title track and a couple of others. It felt grimier and less polished than the big beasts of Born in The USA and Born To Run. More down-at-home and somehow very personal. I liked that, even if it did lack some of the grandeur of his biggest hits. Once again, I'm left wondering who these people are who consider The Boss' voice to be anything other than absolutely stellar.

Five whole stars for this slice of early 90s indie house. Just sublime in places, with Sarah's voice bringing a whole load of sunshine. The standout for me is London Belongs To Me, which could easily have been on an early Belle and Seb album and not looked out of place, albeit with some amazing house beat behind it. When this finished, their mix of Jackie Collins Existential Question Time came on, and that was quite a way to carry on the fun. A big find, and one I want on vinyl ASAP.

Hmm. I was pretty up for this - I like garage rock and thought this would be really interesting, but it let me down I'm afraid. It didn't have the oomph that I'd been expecting, and was surprisingly generic I thought.

He's back, just three days later, our Lord and Saviour Bruce Springsteen. Now, clearly this album has the title track on, so cannot be anything less than amazing. Seriously, is there anything better than the little breakdown, the 1-2-3-4 and then back into the vocals? There really might not be. Overall, it's a little bit more uneven that Born In The USA was - Night is probably the only other absolute stand-out. But even The Boss' average is way better than most people's best, so it still scores very highly indeed.

I'm on a cracking run at the minute. Van the Man at his most ethereal, most beautiful, most weird and most listenable. Normally, if you're telling me a folk singer has got an album where each song averages eight minutes, I'm checking out, but these just drift by on an undercurrent of beautiful musicality. There's so much variety - sometimes you're in a French tavern, sometimes you're deep in a forest, sometimes it's just you and Van in a wood cabin (while he presumably tells you the perils of vaccines). Madame George is the highlight, but really, this is one of the peaks of music. It sums up an era, a genre and an artist perfectly. Love it.

It's not the best Talking Heads, but it's still excellent. I would say that there's parts of this record that are a bit flat maybe? But I'm nit-picking because expectations are high from David Byrne.

Sorry, I loved it. We're slap bang in the art vs artist quagmire, and I'm still doing the separation. Lyrically, I think this is right up there with some of the Smiths work, and the two singles from it are absolutely massive. First of The Gang To Die is just a huge, huge adrenaline rush. I'll be singing it for days to come now (so sorry, everyone, blame The Project). Thinking about it, I'm probably marking this down because of Moz, so it turns out the art and the artist aren't all that separate after all.

Deeply funky, incredibly talented, not totally my sort of thing, but absolutely great fun. I'm marking it down a little because I wasn't totally disappointed when it was over, but I'm sure that says more about me than Parliament.

Very musical theatre. Rufus is someone that I really think I should like, but it's all a bit too much for me. His singing style is affected and annoying, I feel like I'm at the front row while he plays the piano and stares directly at me. It's not that it's bad, it's that I don't like it very much. It feels a bit false. When he drops his guard, which he does on occasion, it's truly lovely, but that's all too rare.

As quintessentially Sunday-ish as watching both Premier League games through a hangover. From the first horns of the title track, to the very end, this is just smooth and nice. Possibly too nice.

I arrived at this as a Stevie-sceptic, and left a Wonder-maniac. Why isn't there a synonym for maniac beginning with W? Anyway, I only really knew Wonder's big singles, and found them all too cheesy, but this has real soul (obvs) and depth to it, as well as a big slice of sunshine. The closing two tracks were particularly brilliant, which is always a sure-fire way to get your mark up.

The hit factory do it again. I imagine that instead of writing a weekly shopping list, Lowe and Tennant just turn 'milk, eggs and toothpaste' into a six minute, joyous, melancholy epic. The combination of their vocals and the music feels completely unique and hits a part of your brain and heart that no one else can. To finish all this with Jealousy, one of the saddest, most heart-felt songs in their back catalogue, is just awe-inspiring. The good thing about this is that you know this is nowhere near as good as they get.

Sadly, this wasn't quite as good as I remembered it being. I absolutely love Spirtualised when they're being all floaty and dreamy, but I'd forgotten that there's quite a bit of fairly bog-standard indie/Britpop. Often he sounds like he's choosing to sing badly, when you know he can do better. Still very enjoyable and nostalgic, but a bit of a disappointment.

Not Talking Heads at their absolutely brilliant best, but still a good romp. You can tell that this is early in their career I think; it's not as adventurous as some of their later records. Still, it's got Psycho Killer on, which is one of the all time great songs to sing in the car. It also will always remind me of one of the best cold opens to a TV show ever, when Mac arrives at Paddy's in IASIP playing this on a boombox.

Really, really good. What a voice, what a songwriter. The big hits (Running Up That Hill, the title track, The Big Sky and Cloudbusting) are mega. It's missing out on five stars, because I do think it loses quite a bit of momentum in the last four songs or so, but I love this and will come back to it repeatedly.

This was quite a lot better than I expected. So far this project is really showing that I like Arcade Fire, which I was pretty convinced was not the case. It felt a bit more melodic and less urgent than early AF, which is up my street.

I found this disappointing to be honest, after really enjoying Iggy earlier on in the project. The production felt weirdly thin and weedy, and it was all just a bit blah all round. I daresay I'm missing its vital role in the canon, but for me it just wasn't that interesting or pleasant.

You can feel the power of the live performer in this, and that's pretty exciting, especially early on (I very nearly plumped for the intro as the standout track, as it got me pretty giddy). The songs don't really match the excitement of the performance, which is a shame. It's all quite basic and same-y unfortunately.

Just fairly horrible all round. They can play pretty well, and there was enough interesting and melodic guitar in places to scrape it into the two star banding, but it was, it's fair to say, not for me.

It's fair to say, however, that this is very much for me. Bowie is surely unmatched for his ability to combine something so weird and experimental with objectively great songs like Sound and Vision. I love the whole second side to this record to be fair, despite the fact that Dave's single greatest weapon - his voice - is barely used. People talk a lot about production and sometimes maybe too much, but credit has to go to Eno on this record; he really makes it.

Similar to Suicide a couple of days ago, mostly extremely no thank you. There were some elements of fun in this, and I listened to it running, which probably helped. The first track and a half was almost good. Then it very much was not.

I had great fun with this! It's positive, it's funny and it's very nice to listen to. The vocals are on point and the changing cast keep it all quite fresh. It's also quite silly quite often, which isn't so much for me, but there's definitely a time and a place for it.

I came into this thinking that I knew Screamadelica and it was good. I was not ready for the sheer strength and emotional connection I was going to get with this album. From the very opening moment to the comedown section at the end (how does this dance album also contain something as beautiful as Damaged?! How!) it encapsulates an era, a vibe and a place almost perfectly. It's not getting 5.0 on the basis of a couple of songs that are too straightforwardly dance songs for my tastes (Inner Flight in particular is a chore), but it's outstripped expectations so much. A word too for Andy Wetherall (RIP) for his Loaded mix. What a song that is, what use of samples. The introductory sample sends shivers down the spine and the opening brass is just an explosion of joy.

BORING! I was quite up for this. They're groovy right? I like that! But actually, I don't like hearing garage band covers of old rock 'n' roll standards and not very good musicality. Get a few marks for the opener and the Whisky one (I'm unwilling to even check the track listings, such is my disdain).

Brilliant from start to finish. The singles are massive - we'll come to Common People, but let's pause to acknowledge Something's Changed, Disco 2000, Underwear, Es and Whizz and Mis-Shapes - and it's well backed up by songs like L.O.V.E (I ain't typing that out in full Jarvis, no-one has time for that). It's a testament to an era, and to a counter-culture to the laddish glorification of normcore happening elsewhere. Pulp are knowingly weird, subversive and un-alpha, and I love them for it. And finally, it's become a cliché to love Common People I assume, but get the record, stick on the full length version, and glory in the total evisceration of poverty tourism, told through some of the starkest, most brutal poetry known to man. It's magnificent, and this particular listen has put it back into my own personal conversation for the GOAT song.

I remember hearing Static Resistance on the radio for the first time in the car, and really enjoying it, then getting onto the album. Listened to it a lot for a few weeks, and then totally forgot about it. Anyway, I was extremely pleased to have it back in my life. I listened to it running, and it is about as good a running album as you can get. Really well paced, very propulsive and just generally very good indeed.

Probably peak Elvis for me. When you think about what you want from EAP, it's the voice, isn't it, and here he has absolute full power without going into the Las Vegas era croon. Also, in Suspicious Minds and In The Ghetto, it has two songs that time has not dimmed in the slightest. Side note: isn't it weird to hear the non-live version of Suspicious Minds? I can't really think of another song where a live version is so much better known that the original (No Woman, No Cry?). It's not a five, because there's too many fairly derivative songs, but even they have the pleasure of hearing The King sing.

This...was quite good! My heart was in my boots when I got it, but I went out for a brisk run and listened to it, and it was way better than I'd feared. Obviously it starts with a 10 second long scream, which (a) is very funny, and (b) meant I set off at about four times my usual pace like I'd been shot out of a cannon. But after that, while it's really heavy and not my thing at all, there's, y'know, melody and skill to the music. A lesson to lots of other metal bands that it's OK to write actual songs that don't make people want to cut their ears off.

Just having a brilliant time of it in the last little while. I love everything about this album. It wears its influences really clearly, with The Boss and even Bob very easy to spot throughout. Musically, it's just got a lovely vibe to it that's ambient but never dull. I'd totally forgotten about this album, but looking back I'd rated it as my number one album of 2014 (yes, keeping those rankings to hand is totally normal, yes). Misses out because while it's great, it's not particularly original, so can only get as close to a five as the system will let me get, without giving it the top marks.

When you hear this against the early 90s PJ, it shows such a remarkable change. For one thing, her voice has matured and blossomed, to the point that it sounds a bit Kate Bush-y. There's also a cracking undercurrent of anger and protest in songs that skewer what it means to be English as the Tories began their endless running of the country into the ground, so that's nice.

Mental, basically. Very hard to judge this, because it so finely walks the line between absolute genius and terribly irritating, often in the same song. Three things stand out: the female vocals are from a different era to the music entirely, they should be wearing a daisy chain headband and singing about Aquarius; unexpectedly hearing the song that the gang dance to at the end of an episode of Always Sunny In Philadelphia made me LOL immediately; the cover of Under The Boardwalk is magnificent. But these are all confusing things. Ultimately, I've come down somewhere in the middle.

Horrible stuff. The vocals are unbearably drudgy and there is so much swamp all over the music that the whole thing sounds terrible. It gave me a headache, and I was very disappointed.

Just quite dull I'm afraid. After being really blown away by Innervisions, this felt like a different artist entirely; it's hard to believe the albums are only a year apart. Still a great voice and I enjoyed Creepin', but not one for me really.

One of the great white whales! The first thing I will acknowledge is that it isn't The Beach Boys fault that God Only Knows and Wouldn't It Be Nice have been over-played to the extent they set my teeth on edge. Seriously though, they've become a watchword for bland platitude advertising at its worst. Despite all that, this album is obviously magnificent. The vocal harmonies, the invention, the emotion in some songs (I Just Wasn't Made For These Times and Caroline, No in particular) are all absolutely on point, and it's just got a beautiful sound to it. Side point: What the Beach Boys needed was a John Lennon to their McCartneys - maybe they could do with being a little less polished at times. Look it's brilliant OK! Don't @ me for giving it 4.8.

With all respect, this album just feels like a bit of a mess to be honest. It's so eclectic - there's straightforward rock, leftover bits from the Screamadelica era and some very heavy stuff - that it just becomes a bit impenetrable. It's not bad as such, but coming quite hard on the heels of their masterpiece in The Project, it's definitely disappointing.

I really enjoyed this so much. It's a definite step up from the (still very good) CSN album from the year before. Young just brings so much soul and emotion through his voice, and a hint of more of a rock sensibility. It creeps into the five star category for never really having a lull or a dip in its entire run.

The worst art I have ever consumed. Dreadful. Worse than the thing I had to give 0.0 to because it made me feel sick. I've given it 0.1 because I was physically capable of hearing it, but I didn't enjoy a single second of this. By all accounts, Mr Rock is a middle-class white kid from the respectable suburbs putting on a cap and pretending to be a rock rapper. Go away. Imagine Rage Against The Machine if Tom Morello left, Zach had a lobotomy and they had absolutely nothing of value to say. You're imagine an album 100 times better than this.

Surprisingly nostalgic feeling, was old Ronald. It's quite repetitive and at times pretty irritating, but at other times there's quite a bit going on, and the female vocalist who pops up every now and then adds a lot of value.

Good enjoyable fun. How many samples is too many samples? Arguably, it's the amount the Avalanches use every single second of this album, but take nothing away from them, they now how to create complex and interesting songs that also get your feet going. Frontier Psychologist is a great song.

I enjoyed this a lot, but there is no doubt that his output is a little uneven. For every Wild Rose or Henry Lee, there's a confusing m'f-ing mess of a song around the corner. He's a genius, but I don't always understand him.

Marvellous, I'm in serious danger of having to acknowledge being wrong for the first ever time. Led Zep are not, repeat not, just for nerds who love widdling guitars. Thank You in particular was tremendous, and had the song writing style of Wings-era Macca to my ears.

Listened to it in the gym, and it was pretty up-tempo and engaging. I don't know that it's high art, but sometimes you just want to eat sweets and watch The Chase and that's fine.

A genius, at almost the peak of his powers (the best is yet to come, Project-wise). Is there a more electrifying sound than Crosstown Traffic's riff? It's hard to believe, listening to Jimi, that there are people who think Clapton is the better guitarist - he doesn't possess 1/10th of the soul or 1/100th of the funk.

The usual madness from the Fall. Equal parts daft as the B&Q paintbrush collection, abrasive as the B&Q sandpaper stock and refreshing as (I assume) the tea in the B&Q cafe.

On the one hand, why is this quite regulation slab of landfill Indie on here? On the other, I think I sang every word and it took me immediately back to some of the very happiest times of my life.

Sorry CCR, I think you left all your best songs on Green River. Pretty generic and at times a little dull, albeit still with Foggy's lovely voice shining through.

Is this album....offensive? It feels like cultural appropriation. It does not feel like an album I want to hear again. To be fair, it started OK, but it went very quickly downhill from there.

Yeah, this is cool. A really awesome sound and each song feels really complete and separate, which isn't always the case for me in this genre.

After the stellar rating for Too Rye Aye, this was a real comedown for the Dexy gang. It was too clean and polished for me. Apparently they went from an 11 piece to a 4 piece for this album, and I think they've lost some of that loveable chaos that epitomised their earlier work. Felt extremely 80s, in a bad way.

Two Felas in three days! Who am I, [insert name of promiscuous woman here]? This one was a definite step up, aided of course by Ginger Baker's superb drumming. Not so superb that I want the last 12 minutes to be one long drum solo though, that was too much for me.

Day 267, and finally some Stones! And a really good one to start with. Listened on vinyl, and quite a crackly vinyl at that, which really helped. Gimme Shelter is, of course, a clear highlight, but really the whole thing is such a mood, and such an iconic piece of music that it feels unfair to single songs out in a way.

Oof Marv, this was a lot les good than the early 70s work. Just a bit hackneyed I think and at times dull. There's no doubting the vocal quality, but I think if you're moving from a concept album that's 'the state of America in a post-Vietnam landscape' to a concept album about 'my divorce', you should maybe give up on concept albums.

There is quite a lot of not brilliant songs on BOTR, but there are some songs that are of such insanely high quality that the less good ones are quickly forgotten. The opening double of the title track and Jet (WHOO-OO-OO-OO-OOH) are pure adrenaline, while Let Me Roll It might be in the top 15/20 songs of all time for me. It closes superbly as well with 1985.

Fine. Good even! I get the feeling that I won't remember a single thing about The Adverts in about three days though.

I'll definitely remember The Residents! They're the ones where you're pretty sure the whole thing is a joke. What is going on? Has my brain broken? Have their brains broken? Something here is broken.

I started on the back foot by finding the title track quite irritating, but it's actually a perfectly decent album really, if not necessarily to my tastes.

Brilliant, and in my opinion, very underrated Bob. The best known tracks that (almost) bookend the album are very good, but there's some really highlights in the middle, not least Idiot Wind and Jack of Hearts. It's also very 60s-ish isn't it? I've got a bit of a theory that Bob went straight from the 60s to the 80s in his music, and we're still very much in the Blonde on Blonde/Highway 61 era here.

Why. Are. You. Here? I think that even in 2003, sitting on the porch roof of our student house and listening to this album, we knew that this was not going to be an important artefact. Still, it's always nice to hear what four Irish lads who've been on holiday precisely once to California have to say. To be fair, it's inoffensive and quite sing-a-long, so it's crept into the lowest possible three star mark.

Oooh, the Nick Cave origin story. Oh. Oh no. This is horrible noise and terrible shouting. Normally, I've found, when you get a noise/shouting album, they tend to also be short. Not this one.

I'll say what I often say about trad-ish jazz. I listened to it while working and it's excellent for that. Did I fail to notice it had finished for quite some time? Yes.

I love Orange Juice. I love the drink and I love the band. This is just great, energetic, slightly knowing, very Scottish pop, and I am totally and utterly here for it.

Hello sir, remember me? I do actually Robbie, and it wasn't exactly brilliant 27 years ago. It ended up being about as good as The Thrills, and you can't say fairer than that. I always maintain that the best thing to do with Robbie's voice is to bury it as low down as possible, and unfortunately they forget to do that on quite a few songs. Still, Old Before I Die is brilliant, and I totally forgot about the hidden track and got the fright of my life, so you can't say fairer than that.

Pap. God life must have been depressing in 1957 for this boring old nothing to be something to get giddy about. Quite a lot less good than Robbie Williams.

I hate Queen, and my greatest fear on doing this project was that I would be proved wrong and have to either revise my opinion or double down while knowing I was wrong. Luckily, I still hate Queen. What an absolutely dreadful joke of an album this is. Is it meant to be funny? Is singing about how much you love your car cool now? Not even the appearance of Bohemian Rhapsody, which I guess even I have to concede is not without merit, fails to elevate this boring old nonsense. Why do people like them so much?

Now we're talking! This was great. Very unusual decision to leave the big hit til last, but it kind of paid off, because I was very in the zone for it by the time it arrived. I will say this for The Human League. At their best, they remind me a little of some of the Pet Shop Boys less good songs.

Weirdly forgettable somehow. I've never really listened to Can, but I know they influenced lots of bands that I'm very fond of. I got the connection, and I think it's pretty good, but it hasn't done anything to me deep inside.

See Queen. One of my most deeply held convictions is that RHCP are the most overrated band of all time, and luckily, I'm right again. Why dose the dreadful man shout over everything. Some of the songs (e.g. Around The World) might be in the running for the most obnoxious noise on the planet). Strangely, when he sings, like on Scar Tissue and Porcelain, you then notice that the rest of the band are pretty good (and yes, in Flea's case incredible). They should tell him that and maybe he'll stop ruining everything.

Do I like 20 minute long instrumental post-rock noise? Let me answer that in the affirmative. I do. I'd listened to Tortoise for the first time a few weeks ago because they're repeatedly referenced in Stuart from Mogwai's autobiography, and while they don't carry anything like the heft of Mogwai, you can see the connection. I think they really need to find the overdrive pedal though; so mang songs are crying out for a big GNRRR to break up the Casio keyboard demos.

Very boring I'm afraid. Just really vanilla dad rock and not at all for me. Guitar solos are cool and all, but have you ever thought about not doing one?

This had a really clear throughline to a lot of artists from the current day that I really like - people like Courtney Barnett or even Soccer Mommy. It feels very of a piece with very specifically 90s feminism - i.e. a slightly 'ladette' culture of empowerment, so I guess it's like Hole in that sense. Still, whatever, enough social history, is it good? Yes! It's really listenable, and I thought the lyrics had a lovely mix of vulnerability and confidence.

Before the start of this Project, there were a lot of bands that I lumped together as 'not for me'. What I've discovered is that while a band like Deep Purple is indeed deserving of that category, I'd really screwed the pooch by putting Black Sabbath (and Led Zep!) in there too. This is a really, really good album. Very spacey, heavy without becoming noise, great vocals and enough variety in the songs to keep it interesting. The only song I knew - Changes - is a little bit too overwrought, but I really like how that's followed up by FX and Supernaut, as it totally breaks the spell. Good stuff.

Shut up man. This is the worst kind of Country and Western IMHO. Extremely plodding, every song has an undercurrent of toxic masculinity, and the actual musicality is limited AF. There are one or two nicer moments, but for a 36 minute album, it doesn't half drag.

Lots of people have praised the use of really diverse guest vocalists on this, and I get that - but it also slightly makes the album feel a bit disjointed. Having said that, it's at the intersection of rock and electronica that really appeals to me, and when it gets it right, it's very good indeed. Overall, I couldn't quite get into it enough to push it into the fours, but it's a good three and I'm glad we had it.

Supremely nostalgic feeling, and exactly what I know and love. In some ways, it's a tough listen, knowing that this would be ES's final album before he took his own life. The sadder songs (i.e. most of them) get an additional resonance, and something like Everything Means Nothing To Me is extremely tough going in that sense, despite being beautiful. Incidentally, how much does that sound like All Of Me Wants All of You by Sufjan? Those two artists are totally of a kind I guess. Anyway, great stuff, and only missing out on the five by a hair's breadth.

Didn't have weeping to the opening bars of Jingle Bells on my to-do list for June, but we are where we are where we are. Just the perfect album, no notes at all. Her guitar playing, vocals, lyrics and production are all beyond amazing. About eight songs could be my favourite, certainly California, My Old Man, A Case Of You are all worthy. But River is the most moving and affecting song I've heard in my life, and has to take top spot.

I'm a big Sabbath fan, have been for weeks now. However, I think this one wasn't a quite in the league of Vol 4. It felt a bit more in the traditions of straightforward rock, rather than the kind of hippyish heaviness that the earlier albums I've had so far offered. Still, they're well written, powerful songs and the quality of musicianship is high.

In a way, I found this a bit disappointing, because my expectations were absolutely sky-high. That's not to say it isn't absolutely excellent, because it is. Maybe it didn't help to have it so close to Blue, because it suffers in comparison. I liked the sad songs a lot more than the chirpy ones, which probably says a bit more about me than our Carole.

Did you know that Jimi was a good guitarist? Jimi was a good guitarist. It probably means that he's a bit under-rated as a songwriter to be honest, and songs like Wind Cries Mary showcase just how good he is on that front. Occasionally, this album descends a little into high-quality jams, which is fine, but it would probably be a better 45 minute album than a 60 minute one in my opinion

I read about her a bit, and she sounds...a lot more interesting than the music she makes. This was perfectly acceptable Saturday morning fare, but just a bit on the dull and repetitive side to warrant further listening.

Hungover for this one, and really dreading it. True to my expectations, it was extremely puerile (were 'yo momma' jokes even cool in 1992?) and at times downright unpleasant. However, it creeps into the threes just about, because musically it was a lot more fun than I had it down for, and the vocal was much more towards the J5/De La Soul end of the genre than I'd feared.

Basically the same as my previous Funkadelic review - not my bag, but I respect the skills involved to a huge extent. This album starts with a 10 minute rock guitar extravaganza that puts more traditional rock guitarists to absolute shame. It ends with a load of weird sound effects including a gaseous cow(?). In between there's a load of good funk that was very nice to have on while I worked.

What is he loooiiike?! Great question Neneh, I'm like someone who enjoyed this album to a surprising degree. Buffalo Stance remains a banger, and to follow it up with Manchild is a super-strong start. After that, it never quite reaches those heights again, although Heart is excellent. It's let down quite badly with The Next Generation, which sounds suspiciously like at best a message of 'it's morally incumbent on us all to have children' and at worst a straight up Pro Life message. But leaving aside my distaste on that front, a very good and enjoyable album.

The most aptly titled album of all time. This is fine, nice and OK. Possibly the most three star album I've ever heard.

Yet more of the CSNY universe, and another quite enjoyable one. It's all very pleasant, if slightly unmemorable.

It feels over the top to call the second side of Abbey Road the pinnacle of all human existence, but also correct. For this particular listen I tuned in on a very scratched vinyl copy, which really added to the experience. Imagine hearing this record for the first time! Imagine listening to She's So Heavy and considering that this is the band that six years earlier had been the She Loves You moptops! It's insanity. Every aspect of this album is so perfectly considered and realised, and like always, the fact that this is my thousandth listen doesn't stop me noticing new things. The thrum of the bass throughout Come Together, the handclaps in Here Comes The Sun and the sheer joy of the harmonies on Octopus Garden (a stellar entry for Ringo by the way, and made even better after watching Get Back). The hard part, as ever, was picking a favourite track. It could be Something - the greatest love song of all time. It could be Here Comes The Sun - what an album George had by the way. It could be McCartney's vocal performance on Oh Darling even (it isn't that, to be fair). And then, when all is said and done, you have the medley. Scraps of genius from the two finest artists of their or any other lifetimes, melded together by the greatest producer the world has ever seen to form more than the sum of its parts. Ultimately, I've gone for The End, the closing, majestic pinnacle of the medley, signing off the Beatles career in perfect, spine-tingling style. All three guitarists getting their turn in the spotlight, their beloved Ringo having his first ever drum solo, and then the line that sums up the band, the era, the movement they did more than anyone to kickstart and the decade itself. And in the end, the love you take is equal to the love you make. And then, because they're perfect and recognise that life's a bit of fun, they chuck in Her Maj, just to take the edge off. What an album, and I've not even mentioned Golden Slumbers, which makes me well up just thinking about the purity of Paul's vocal when he first sings the chorus.

I had extremely low hopes for this album to be honest. I assumed it would be totally bland hair rock. At times it was, but then at other times it was really surprisingly good. A bit more sixties than I expected and quite a lot more melodic. Sneaks into the fours.

Grossly immature and quite stupid. I was a bit taken at first, but really, 58 minutes of this is far too much to bear. G does not love.

Goodness me, this is great stuff. It's so atmospheric and takes you straight to the heart of the Warhol Factory and all the creativity that goes with it. It's hard to pick a favourite really, because it hangs together so beautifully. Heroin though, what a song. It's so cool it hurts.

One of the albums that got me through the great lockdowns of 2020 and 2021. Obviously it's heavily inspired by another momentous event of that period, the murder of George Floyd, and that heaviness is really apparent throughout. Above all though, it's just a really listenable album, and a great gateway into a genre that isn't necessarily one I'm comfortable in.

So much fun, even if it's repetitive and plain silly at times, it's still a pure shot of dopamine.

Aah, I loved this at the time and then immediately forgot about it. it's still good, although somehow already seems a bit dated. My Girls has a good emotional heft, and there's plenty more great songs on here. A bit samey at times, but a worthy four.

Like Wish You Were Here but more so, I was a bit worried that this wouldn't match up to my 15 year old's memories. It did and more. I listened on record, as nature intended, and you can see why it's still held up as the exemplar of high quality sound. While it's an album that's about the whole, there are also a number of really standout moments - the 'I'm not frightened of dying' bit, the vocal kicking in in Breathe, the opening riff of Money (otherwise the album's worst song IMHO). And above all, the astonishing virtuoso vocal throughout Great Gig In The Sky - real goosebumps and shivers all over. Smashing.

Shut up man. God I really think Vertigo might be the most irritating sound on the planet. What happened to them? Early U2, while still quite annoying, at least knew their way around a banger or three, but this is just pap from start to finish.

There's a little bit of a Pavlovian reaction to hearing the opening drums on Not If You Were The Last Junkie On Earth. It takes you right back to being 13 or 14 and thinking that the Dandy's were very cool indeed. Overall, it's decent enough, and quite listenable, if totally paint by numbers. Too long by half, but glad to have heard it.

Brilliant stuff. I think I'm a bit down on The Cure, even though I think every single one of their big singles is brilliant, including Pictures of You, from this record. It's got a great overall vibe to it, and a real consistency. It's also a rare hour plus album where you're disappointed when it's finished.

Extremely stupid, but sufficiently good-humoured to get away with it. It's got a fair bit of funk to it, and decent instrumentation in places. Once again, it needs some serious quality control and editing on it to take it to a fun-filled 35 minutes, instead of a long, drawn-out 65.

Is this a joke? It's like standing quite close to the tip while someone throws a load of scrap metal into a big box of scrap metal. I don't know what to make of it to be honest. At times it's interesting I suppose, in the way that The Intense Humming of Evil is interesting. But mostly it's like something scientifically designed to hurt your ears.

Beautiful and lovely shoegaze, the genre of my saddest dreams. Actually, this was good but not brilliant to be fair. Yer man from Spiritualised will always tug at the heartstrings, but I don't think it quite has the swelling emotion of the very best (MBV or Galaxie 500 say) shoegaze.

So good, they should really re-record it with a proper singer. With absolutely stonking guitars from Stoke's finest, the throughline from this to Generation Terrorist is clear as day. The drumming is incredibly powerful, and the melodies on the big hitters are surprisingly complex and beautiful. Seriously though, get a better singer in.

Just a load of piano to be honest. He's clearly very talented, but not really for me. If I wanted to make a film about a lovely hotel lobby, I'd call Keith for the soundtrack (and I imagine he'd be insulted and say no).

It's painful to say, but one of the most notable things about this album is the sheer quality of drums. Also, I read a bit about this being a concept album - always a risky business - and it really hung together well for me. An all round much more enjoyable time than I expected, if a bit silly at times.

Hard to analyse this really. You can smell the Red Reef, feel the sticky floor of York's Gallery nightclub and taste the 2004 garlic burger from Oki's the second the intro to Jenny starts up. I actually thought, despite familiarity breeding a level of contempt in the last few years, it held up well. Somebody Told Me is still a huge banger, All These Things is massive, and Brightside, in its own way, is completely undeniable. It's not doing anything clever, but it's dopamine.

Great stuff. Just the level of noise and distortion that I'm looking for, with melodies that still hit home and provide some light and shade.

Wow-ee I was disappointed by this. It's waaaay too countrified for me, to the point of being grating. You're from Sarf London Mick, stop sounding like you grew up on a ranch.

Lovely, lovely, lovely Leonard. The voice is so rich and sonorous, it's like a lovely mug of something hot with booze in it. This is a truly great collection of songs, with Raincoat the standout. Listened twice through back to back and will do several more times in the coming days.

Let's attempt to analyse this outside of the context of Lewis' many reprehensible actions. It's quite bad. You don't get that sense of raw electricity that Elvis or Little Richard gives. Maybe it's partly the recording, maybe it's the fact that the Beatles did his best songs way better than he could.

Listened on the train while speed-reading a science fiction book I wasn't enjoying. Considering that strange set of circumstances it was not bad.

Beefy mate, I'm not sure this is quite it. Certainly it's far less accessible than Safe as Milk. There's a really burgeoning category of albums on here that come under 'more fun to make than hear', and this falls into that.

Why oh why is this so long? Why is it so revered? Why does every good song (of which there are a few) get immediately followed by a horrible stinker? The good songs, such as 1979 and By Starlight are really, really great. But it's 28 songs long and on a lot of them Corgan just ruins everything like a skinny, pompous Mr Blobby.

Nice enough, but quite boring and forgotten almost before it ended.

This was a bit of funky old fun. Starting with the big groove of Papa Was A Rolling Stone is a ballsy move, and it doesn't quite live up to that peak, but definitely a lot of fun to hear.

More LenCo, and this one is even better. Truly one of the greatest, most consistent albums I've ever heard. The guy just doesn't waste a beat. So Long Marianne is an absolute all time great. Thank you project.

Hmm. Yeah, it's very good, but it also feels just a touch generic and like they hadn't quite found their sound. Something major happens between this and London Calling to see them go much more muscular and meaningful.

A load of fun here. Good, hearty androgynous rock. Weirdly, the main thing I knew about them was that they were Morrissey's favourite band growing up. It's tricky to see the influence really.

Same problem as always with the Byrds - they just don't strike me as authentic or original. It's probably harsh, but they seem a bit false to me. Nice enough, but they don't move me.

Shut up please. It's so artless, there's no nuance, no light and shade, no nothing. It also, weirdly, doesn't even feel very heavy. I've seen some complaints about the lack of bass in the mix, and maybe that's it. It sounds like hearing it from quite far away (but not far away enough) at a festival. It's better than their self-titled album, but way worse than Master of Puppets.

Yes please! I was very pleasantly surprised by this. It's hugely upbeat, both in a musical and lyrical sense, it's genuinely funny at times, and right in the middle it has a run of really top drawer songs, where you can feel how much they must have influenced many more famous and less good hip hop artists in the coming decade or so.

Do you know what? Just a weird album from some weird guys. I'm not against that at all, and loads of this - the big hits obviously, plus quite a few others, are really cracking pop music that is basically undeniable. But still, very odd. The Boss cover is probably the most apparent case in point there.

I liked it, but I didn't love it as much as I'd hoped to. Lou's voice is always tremendous, but it's quite a distance away from the heights of Transformer. Oh Jim, despite not being the excellent late-90s chunk of Indie of the same name from Gay Dad, is very good indeed.

Ah ha, Elton John's greatest hits album is here. I was ready to be extremely cynical and miserable about this, but the quality of songwriting is absolutely stellar from start to finish. It's annoying in parts, because, y'know, that's Elton, but when he writes a banger he writes a banger. The second album (I listened on record) is particularly monstrous.

Very high class R&B over very of the moment, XX-style, skittish beats. I liked it a good deal, and I was really pleased to discover it.

When this album came out, and won the Mercury, I thought it was very good. I think it's only now, 19 years on and considerably more in touch with my emotions, that I really feel the full extraordinary power of the feelings that shine through this. Their voice is filled with pain and sorrow, but never weak, the instrumentalisation is pitch-perfect and resonant, and the lyrics! My god. So many songs - You Are My Sister, Fistful of Love and Hope There's Someone for instance - have that perfect lyrical balance of simplicity and elegance that is so hard to reach. I could talk for days about this record. And do.

I wasn't hugely into this first time round - I rejected grunge and emo a bit. I was very wrong. I listened to this while running through the streets of Pendleton, Salford. As I hit the A6, traffic fumes in the air, and the ugly skyline of Manchester shimmering in the weak morning sun, Black Hole Sun came on, and I felt an almost overwhelming sense of love for this disgusting city and this cruel old world. That was unexpected.

About 4,000 times more fun to make than to listen to. It scrapes into the twos for being interesting, I guess, but it's basically a bunch of loons messing about in a recording studio and making people pay to sit through it.

The best Aerosmith so far, but that's not saying loads and loads. It's very silly and enjoyable rock, isn't it, but imagine if this was your thing? If you really, really liked Aerosmith? Certifiable.

Lovely music to work to, boring music to listen to.

Oh god I can feel an essay about the Flaming Lips coming on. Suffice to say, this album is, like Don Draper's Kodiak Carousel, a time machine. It's futuristic, it's nostalgic, it's sending me directly to Glastonbury 2003. I love it, I love the, for want of a better word, vibe of it. I think the lyrics are extraordinary and I think most of the music is brilliant. It is a low five, because there is probably a little bit of filler in and around the greatness, but you forgive it all for the 'What is this?' vocal coming in on Are You A Hypnotist?.

An endurance test of nonsense, interspersed with some really lovely songwriting. Why don't they just, I don't know, not start with ten minutes of the same noise, and get onto the songs that have meaning and tunes?

Pure dirt from Jarvis and Co. I really want to rate this higher than Different Class, because there's no doubting is cooler and more artful. The title track is obviously total sauce, but there's also the growling and yowling through quite a lot of the songs (the scream in Help The Aged!) that gives it a much more grown-up feel than anything that's gone before. It's probably a reasonable case to make that this was the end of Britpop, and what a way to go out. Weirdly, I think that my favourite song on it - A Little Soul - is also a good example of why this gets top fours, not bottom fives, because it doesn't really fit on here and the album could maybe be a bit more cohesive.

Yes, very nice guitar work BB. No, I'm not finding this especially interesting. Also, stop giving us live albums from the sixties, the quality is uniformly awful.

My heart sank at more Mothers, but actually this one has clearly been through some sort of editing process, or they were on different drugs that meant they could actually hear what the audience might hear. Much more in the enjoyable end of the psychedelic spectrum.

Sometimes, you have to wonder what the critical reception to Amnesiac might have been if it hadn't been released straight after Kid A and got the reputation for having its cast offs. Although it can't match up to KA, it's really strong on its own merits. Spinning Plates, Pyramid Song, You and Whose Army, the superior Morning Bell and, of course, Glasshouse, are all really sophisticated Radiohead songs, and it was a real pleasure to listen to this for the first time in ages and ages.

What time is it? It's banger time. Really, a very stupid album by what I suspect are some quite silly people, but then you get smashed around the face by You Shook Me All Night Long and the title track, and you have to accept that you're rocking down to your stocking.

Might this be the most recent five star album on this project? Yes, I guess it might (although if Punisher or Yawn appear on here, then I take this back). It's got such a soulful, fun, heartfelt vibe to it, and it was really great to see this leap across genres and be considered outside the confines of 'music of colour'. He's got a smashing way with words too.

Do one. Go away. Stop. I hated every second of this from the moment it started to the end of the world's stupidest encore (with the exception of about five seconds of The Sage, which I thought was OK). Imagine being this smug.

Cleansed the palette from the ELP ordeal here. I only knew Prefab Sprout for the King of Rock and Roll, but it's clear that, like so many of their contemporaries in the Scottish 80s scene, they really knew how to write a brilliant pop song. I'll listen to this again and again.

Facile and boring. I didn't hate it or anything, but I can barely bring myself to credit it with a review. In fact there you go. That'll do. Have a fart noise, the band would probably like that, and it basically sums this album up.

Super stuff from NC. It's too long, and is basically one five star album and one three star one, let's get that out the way. But I guess Cave has earned the right to put out a totally needless double album. Anyway, there are many, many good songs on here, and the overall tenor of the record is one of supreme power but also vulnerability, and I like that a lot.

Yeah, just OK. I'd read a lot of reviews about the volume of homophobia in the lyrics, and yes, that's terrible. It was a shame, because there was relatively little sexism and glorification of violence (relatively little, as opposed to none). But it was musically fairly good, I'll give it that.

Thought I'd hate this, and it'd just be noise. It was definitely noisy, but I actually quiet enjoyed it. I think I'm glad it's 21 minutes long though.

Fantastic. I wonder if this will be my highest rated Neil Young, or if Harvest will pip it. Let me tell you, it's hard to think of a better opening quartet of songs. I've been singing OLCBYH ever since listening to it (I'm quite an annoying person to be fair).

Very smooth, very cool, albeit a little bit background-y as a consequence.

This is the first bit of Kinks that I feel I've really got and appreciated. It's got a number of good songs on it, and it feels like they're taking it seriously for the most part. There are still a few songs where you really wonder if they need to be like this. A music hall one near the end is particularly grating, and probably felt like a great lark in the studio. A bit Maxwell's Silver Hammer-like I guess, but without the charm. Anyway, it closes with one of the greatest songs of all time. I used to play it busking, and the man who was meant to move you on from outside Yorvik Viking Centre would let me stay an extra hour if I played him it.

Pure unadulterated nostalgia. I don't know if it makes me a bit of arriviste to say that I probably love this as much as In Utero or even Nevermind, but I don't care. I think the format let's you really feel the emotion and pain in Kurt - not just in his voice but in his playing style. And that's all offset by the lovely little interchanges between the band. Just very moving stuff. Also, the last three songs are an incredible way to end, any one of them could have been my fave.

The most three star album of all time. It's entirely serviceable, it's precision engineered to be used on emotional bits on the X Factor, and its boring as hell. They were a band once!

This contained a fair old whack of filler, and two of the most extraordinarily beautiful songs I've ever heard in my whole life - Here He Comes and By This River. Honestly, I've listened to Here He Comes about eight times and just want to cry. It feels like those are the jumping off point for his move into ambient, while the rest are more obvious homages to Bowie and Talking Heads etc, only done less well. I'm so glad to have heard this, even if it doesn't get a super high mark.

Jeez, no thanks! Not good punk rock. In fact, very bad punk rock. It might actually have been OK if it had come in at 25 minutes or something, like the recent-ish Minor Threat album, but it dragged on, and that's the one thing the genre isn't meant to do.

Hugely better than my expectations, which were absolute zero! Musically, it was really interesting and quite inventive, and it flew by very nicely indeed.

Ironically, it all felt very insincere indeed. If I'm honest, I'm still listening to most albums waiting to get back to listening to two very specific Brian Eno songs, so clocking in at over two hours was always going to mark poor old MJ down.

Christ on a high-pitched bike, what is this? Just the weirdest, most nonsensical album you can imagine. Apparently it's a concept, but the concept seems to be 'what if a talented group of songwriters deliberately made a stupid album'. It's rescued a bit by I Laugh In Your Face, which is funny in a good way, as opposed to laugh-out-loud stupid.

Fats here, bringing it home in 17 minutes, after four hours of Bee Gees and MJ Cole nonsense. And some of those minutes are Blueberry Hill, a song I find very nostalgic for reasons I can't quite place. All in all, very pleasant stuff.

I wasn't looking forward to this, because the Live/Dead album was so self-indulgent, but this is loads tighter, loads more 'actual songs' instead of noodling jams. You could tell this was good, because halfway through listening to it, Ellie came into the room, and when I told her this was a Project album, she said she assumed that it was just 'the sort of rubbish you listen to normally'. So that's something. Great stuff, and will be listening to it again.

In which we listen to Summer Breeze and some minor variants for far too long. By no means bad or unpleasant, but still quite pleasing when it had finished.

Very disappointed to learn this wasn't actually an obscure Idlewild album called Everything But The Girl. I wanted to like this a lot more than I did. I thought it might be Cocteau-esque, but it was just...quite boring. Speaking of, I do hope that the Twins are on here.

Wow! What an unexpected pleasure this was. I knew that I'd enjoy it in a nostalgic, weren't the 90s fun, way, but I think that's actually selling it short. Funnily enough, I think Alright is easily the worst song, and it's a good example of how bands never shake off their novelty hit. Finally, I was absolutely blown away by the raw energy of Caught By The Fuzz, a song I know really well, but maybe listened to properly for the first time in an age. Also, to end that song with a back and forth harmony that must have been a deliberate Beatles nod to Hold Me Tight is proper class.

Good fun, this. Not loads to say about it really, except that I enjoyed it and wouldn't turn it off if it came on, but nor do I think I'll ever agonise over what to listen to and end up with Heaven 17.

Mindless, fun rock, that packs a good punch, especially in Too Late For Love. Basically, I could write the same review for this as Heaven 17 (which I'm sure the Leppards will be thrilled about) - I enjoyed it, but won't be seeking it out.

If you ever go to Berlin, I'd definitely advise the Ramones museum. For three euros, you get entry, a beer and a pin badge. Or you did in 2012. I bet it's more now. The economy, am I right? Anyway, this is an absolute blast of muscular punk. You can really see the impact it had on the whole scene, and on artists that ended up quite far away from the Ramones tonally.

Pre-commercial success Norman here. It's extremely hardcore dance, isn't it. You can feel the rave influence, and you can imagine it might be great fun sweating away to it in the discotheque.

Very throwaway, but not without its charms. It front loads all the big hits, and their cover of Comfortably Numb is the kind of thing I would tell a Pink Floyd fan is better than the original, even if I didn't believe it.

Learn to spell Noddy. It didn't do loads for me to be honest, although Mama We're All Crazy Now (see - spelling is easy) is a bop and a half.