My 1001 Albums Journey

Album	You	Global	Diff
Spy Vs. Spy: The Music Of Ornette Coleman John Zorn	5	2.24	+2.76
Dr. Octagonecologyst Dr. Octagon	5	2.7	+2.3
Bone Machine Tom Waits	5	2.85	+2.15
The Scream Siouxsie And The Banshees	5	3.04	+1.96
Autobahn Kraftwerk	5	3.09	+1.91
Dirty Sonic Youth	5	3.1	+1.9
Third Portishead	5	3.13	+1.87
Bitches Brew Miles Davis	5	3.3	+1.7
Deep Purple In Rock Deep Purple	5	3.31	+1.69
The Chronic Dr. Dre	5	3.31	+1.69

Album	You	Global	Diff
Rumours Fleetwood Mac	1	4.45	-3.45
Bad Michael Jackson	1	3.81	-2.81
Songs From The Big Chair Tears For Fears	1	3.75	-2.75
Graceland Paul Simon	1	3.72	-2.72
After The Gold Rush Neil Young	1	3.61	-2.61
Rust Never Sleeps Neil Young & Crazy Horse	1	3.51	-2.51
Blue Joni Mitchell	1	3.5	-2.5
Aja Steely Dan	1	3.47	-2.47
Tusk Fleetwood Mac	1	3.47	-2.47
Fleet Foxes Fleet Foxes	1	3.43	-2.43

Artist	Albums	Average
Led Zeppelin	4	4.75
Aretha Franklin	2	5
Portishead	2	5
Pink Floyd	2	5
Nirvana	2	5
Jimi Hendrix	2	5

Artist	Albums	Average
Joni Mitchell	3	1
Fleetwood Mac	2	1
The Verve	2	1
Steely Dan	3	1.67
Paul Simon	2	1.5
Michael Jackson	2	1.5
Elvis Presley	2	1.5
Morrissey	2	1.5

Beatles

3/5

Just like Rubber Soul, Revolver feels like a transitional album between the old and the new Beatles. It’s better than Rubber Soul in my opinion, with a lot of creativity and some very interesting experimentations – the last song, "Tomorrow Never Knows", sounds amazingly, modern, it could totally have been made in the 90s (and still be original). But the rest of the album is a mixed bag, with some songs that don’t particularly stand out. It feels like something’s still missing before they truly reach their peak. Still a very good album for me, a solid 3,5*. Too bad the rating scale on this list is so limited, I end up giving the same note to albums that are wildly different in terms of quality.

Harvest

Neil Young

3/5

Country and country-rock usually bore me, and I’ve never been a big fan of Neil Young’s voice, so I was fearing the worst. To my surprise, however, he really makes it work in this album. There’s a very pleasant, laid-back atmosphere throughout Harvest, with a couple of odd tracks that really stand out (in a good way), like There’s A World. Probably not something I’ll listen again, it’s just not my kind of music. But I totally get the vibe. It’s a honest album by a honest singer who never pretends to be something he isn’t.

The Score

Fugees

4/5

I didn’t care much for this album when it came out – the singles were too much on the R&B side for me – so I’m glad I gave it a fresh listen 30 years later. The hits - "Ready Or Not" and the "Killing Me Softly" cover - are actually among the least interesting tracks in this album. Not only have they been overused, they also tend to eclipse what is essentially a very mature hip-hop album. I don’t like Lauryn Hill’s R&B voice – but her rap flow is impeccable. The beats, although a bit simplistic, are very efficient, and quite a few songs are more old-school than the singles would lead you to expect. "How Many Mics" and "The Score" are great tracks ; "Family Business", "Fu-Gee-La" and "Cowboys" are quite impressive, with a real narrative and a great mix of jazz samples and darker sounds. Overall a very well produced album that probably converted more than a few younglings to hip-hop back in the days. Loved it ! Almost gave it a 5*, but I'll keep those for my cult albums.

Get Behind Me Satan

The White Stripes

2/5

Not a bad album, the instrumentation is quite intiguing with a mix of very different sounds that sometimes go surprisingly well together, but sometimes fall flat. I don’t care much for the singing, which feels like generic pop (or pop-country) to me. Lyrics are super boring. The guitar is nice though, too bad they don’t use it more often ! And the blues parts (like Insting Blues) were definitely more exciting. An interesting experiment that unfortunately shows the inherent limitations of duo formations – it lacks in depth and complexity, and I think they would have really benefited from a third musician. Not something I’d listen to again, but I’ll give them a 2,5* for effort and originality.

Rust Never Sleeps

Neil Young & Crazy Horse

1/5

Meh. I kinda like Neil Young when he does country-rock, but this album is just 90 % country. Worse, it’s (very) slow country. I really can’t relate, sorry. There’s only so much harmonica and soft guitar I can take in a day, and I reached my limit about halfway through the album. This must be a North-American thing. Something about pick-up trucks and long boring drives. I tried to find reasons to give it a 2*, but there’s really nothing that stands out, it just sounds like every country album ever. Neil Young has done much better albums, why include this one ? Do we really need half his discography on this list ?

Club Classics Vol. One

Soul II Soul

1/5

Is there a word in English to express "the opposite of nostalgia" ? Because that’s what I feel when listening to this album. I was a teenager when that kind of music was around, and I hated it. I really tried to give it a fair chance by listening with a fresh ear - but no, I still hate it with a passion. It’s the by-product of a bygone era that should absolutely remain bygone. Did it pave the way for other stuff like trip-hop ? Maybe. But I cannot think of any circumstance where I would want to submit myself again to such musical torture.

Electric

The Cult

2/5

Not a terribly bad album, I found it reasonnably pleasant to listen, but it's so unoriginal that I’ll have forgotten everything I just heard by the end of the day. Sounds like a generic imitation of every single rock and hard-rock band you’ve ever heard between the late 70s and the late 80s. What’s it doing on this list exactly ?

Guero

Beck

2/5

Every time I listen to a Beck album, I have the same contradictory feelings : he’s a very talented artist, and yet his music feels emotionless, and bores me after a few songs. He’s clearly a creative and curious mind, with an interesting "let’s do music with everything we can put our hands on" ethos. But I feel this attitude kind of works against him, because each of his records is a melting pot of a little bit of everything, yet fails to achieve a clear identity. This album is a perfect example. It isn’t bad, it’s well executed – but it’s all over the place, and in the end I’m left wondering what it was all about ; no song stands out, and I didn’t find any kind of passion anywhere. I’ve come to the conclusion that Beck is a music nerd who sees music as a technical challenge. He just wants to have fun, but doesn’t necessarily think about his public. Listening to Guero felt like watching someone else build a model plane or a Lego set : everything clicks right into place, the end result is faultless, but ultimately you’re not the one having fun.

Is This It

The Strokes

3/5

A pleasant album by a band I knew nothing about. I didn’t find it particularly original or groundbreaking, but the mix of punk-ish beats and late 90s indie rock vocals gets the job done if you’ve got half an hour to kill. Nothing memorable, but on this list I’ve learned to take what I can get. Who knows what horror I’ll have to listen tomorrow.

All Things Must Pass

George Harrison

3/5

I had never bothered listening to this album, I’m glad I finally made the effort. Nothing life-changing here for me, but it was quite pleasant, with some surprising moments (like Art of Dying, that I really loved). Sounds like what The Beatles could have become if they had been to Woodstock. Maybe I’m just a hippie at heart, but I was totally cool with the psychedelic / spiritual vibe (some tracks almost have a Pink Floyd-ish vibe, like the second version of Isn’t It A Pity). I’m not planning to let Krishna into my life any time soon, but it’s nice to listen to positive, wholesome music once in a while. It is indeed really long, but the songs are varied enough so it doesn’t get too boring. However, the best tracks tend to get diluted into the whole, and it’s hard to stay attentive through 23 songs. I didn’t find the final jam session annoying, as some people apparently did ; I followed the original tracklist order, and it was quite all right, sometimes even more interesting than the first two discs. There are some excellent blues moments in there, it's totally worth it. I almost added one star for "Out Of The Blue". A good 3* going on 3,5*.

Paul Simon

2/5

A few years ago I was at party. People were laughing and drinking. Then out of the blue a guy started playing the guitar. He played really well, and he had a really nice voice. Everybody stopped talking and listened with excitement. We listened to one song. Then another one. Then another one... Then people started exchanging glances – how long was this dude gonna play ? No one wanted to be rude and interrupt, so we spent a good 40 minutes in quasi-silence, and the cheering turned into half-repressed sighs. Excitement became boredom, then unease. I’ll say it again : he played and sung beautifully... But we felt like the party had been hijacked by someone who just wanted a captive audience, and by the time it was over we felt relieved. Listening to this album reminded me exactly of that particular evening. Paul Simon is a great songwriter, he can play and he can sing, there is no doubt about that ; he crafted more than a few beautiful pieces of music. I’ll gladly listen to a couple of songs. Three or four if I’m being polite. But any more than this, and I’ll start feeling like I’d rather be doing something else. Something more exciting, and more importantly something not entirely centered on Paul Simon. Kuddos for the first song, though. Very surprising to hear a (good) reggae song at the start of the album, I didn’t expect that.

Aladdin Sane

David Bowie

3/5

I have an ambivalent relation with Bowie. On one hand, a huge part of his work has a pop vibe I don’t really care for ; on the other hand, he was clearly a risk-taker, constantly experimenting with new sounds, and managed to produce some amazing pieces of music. This is reflected in most of his albums, where I can usually find 3-4 great songs I love, while the rest I forget as soon as I’ve finished listening. I had never listened to Aladdin Sane, but I found the same ratio here. The title song Aladdin Sane is a phenomenal track, with the sax and piano almost going into free jazz territory ; Cracked Actor is a great rock song ; Time is a burlesque gem I could listen three times in a row ; and Lady Grinning Soul is a very surprising song I truly enjoyed. But other songs like Drive In Saturday, Panic in Detroit, Prettiest Star or Let’s Spend The Night Together just left me indifferent. A nice album overall – Bowie never really made *bad* music – but also not an album that will radically change my opinion of him.

Lady Soul

Aretha Franklin

5/5

Not much to say here, it's an excellent soul album from start to finish. Aretha Franklin truly has no equal. Lady Soul is full of heart and energy, with a vibe that almost feels like blues in some tracks (like the legendary Chain of Fools). A few other songs are slightly less impressive than the others, but overall this album is still a strong contender for "Aretha's best". Really can't decide which I like best between this one and I Never Loved A Man.

The Doors

5/5

I’ll admit I’m heavily biased – back when I was an angsty teen, I did so many drugs on this album (and when I say « on », I literaly mean on the jewel case) that just listening to it probably still triggers a chemical response in my brain. That being said, and putting aside the annoying mythos Jim Morrisson would later come to build around himself, I still think this is an absolute beast of an album. There’s no fat, not filler, it’s mean and lean, there’s not a single bad track. It’s just pure blues-rock with a unique tonality and lyrics that are a million times more intriguing and original than any other song in the same period. To put out such an incredible record as a first effort, AND have at least three of the tracks become absolute classics that are still used in popular culture almost 50 years later, is certainly no small feat. « The End » still sends shivers down my spine to this day. Am I being an edgy fanboy for still loving that song ? Maybe, but then so are Coppola and Marlon Brando, so I really don’t mind the company.

This Year's Model

Elvis Costello & The Attractions

2/5

This album sounds exactly as I expected from the art cover : very British, quirky and a bit full of itself. I don’t doubt its influential nature ; it might have been a novelty back when it was released, but it’s hard to appreciate now that this kind of music has been endlessly rehashed. It actually sounds like an early blueprint of what a lot of pop, pop-punk and Britpop acts would later try to do in the 90s (probably because they grew up listening to this). It’s not unpleasant, I even liked a couple of songs (like The Beat), but overall I found it mostly bland and unexciting. The words "inoffensive" and "forgettable" come to mind.

Bandwagonesque

Teenage Fanclub

2/5

Never heard of them. I’m not sure I understand why they’re on this list though. It’s not a bad album, it makes for pleasant background music... but there’s nothing that really stands out for me, it’s just the kind of indie rock we were drowning in during the 90s, with a slight touch of The Beatles sprinkled on it. I reckon they might have been pioneers, going for distorted guitars and dreamy voices before everybody started doing it... But many bands did it better a few years later, and it now sounds very dated and very forgettable. I’m sure their heart is in the right place, but it just bored me.

Signing Off

UB40

2/5

I only knew UB40 from their mainstream hits in the late 80s / early 90s. It was associated in my mind with "uninspired pop-reggae", so I was expecting the worst. However, listening to their first album made me realize it was actually not *that* bad. Well, I still think it’s boring, don’t get me wrong. But it’s not abysmal-boring, just regular-boring. As often with reggae (Bob Marley excepted), it’s loooooong and dragged-out. Listening to the whole album felt like a 3 or 4 hours ordeal. Man, reggae really IS music for stoners with a lot of time on their hands... There are a couple of slightly more interesting and dynamic tracks here and there (like Burden Of Shame, with its nice use of synth sounds, or the classic Food For Thought), probably so the listener doesn’t fall asleep half-way through the album. Overall not a very pleasant experience for me, but I’ll admit they’re not the commercial hacks I thought they were. The cheesy sax is somewhat a welcome addition, and the jazz / blues influences do bring something new to the table in terms of experimentation. I’ll give them 2 stars for originality.

Green River

Creedence Clearwater Revival

3/5

A plain, honest blues-rock album. Very straightforward and pleasant to listen. A little too much on the country / bluegrass side for me, I think I prefer CCR when they do straight blues (like in the last two songs, which I really liked). Not my favorite CCR album, but still a good one overall !

At San Quentin

Johnny Cash

2/5

Not a big fan of country music, but even I have to admit Johnny Cash has a great voice. I’m sure he’s very good at what he does (you can’t have such a lenghty and productive career without doing something right), so I was ready to listen to this album with as much good will as I could. The result, however, was not very satisfying. I kind of liked most of the song, but it was a bit hard for me to enjoy them, since nearly a third the album is just Johnny Cash talking. Between the very average recording conditions, the lengthy speeches, the exasperating blips and the crowd noises, I was constantly distracted from the music, and it made the experience far less enjoyable than it could have been. I definitely have nothing against Johnny Cash, and I’m ready to listen to more of it – but this album just doesn’t cut it for me.

Here, My Dear

Marvin Gaye

2/5

There are only 3 situations where I can understand playing this album in full : 1) You live in a 1980s romcom. You are sad because the person you love doesn’t love you anymore. You’re watching the rain fall through the window at night. I feel sorry for you. 2) A beautiful lady you just met suddenly starts undressing in the candlelight, asking you in a husky voice to make sweet love to her. Go for it, tiger ! It’s probably a dream anyway. 3) You’re Marvin Gaye, and you want to annoy your ex-wife. Seriously, this is an uninspired, self-indulgent album that I could have done without. It sounds like Marvin parodying himself, cranking up the sweetness and cheesyness to 11. Apparently he released this record to pay alimony... Hence the mix of low effort and distasteful whining and bitching about his ex-wife (seriously, who names a song "You Can Leave But It’s Going To Cost You" ? Don’t air your dirty laundry in public, man...). The jazzy instrumentation is good, I’ll grant him that, and a couple of songs are smooth and soulful enough for a casual listen. But many other tracks are boring and lack true emotion. A whole album of this was just too much for me. Clearly my least favorite Marvin Gaye album. Even a 2* feels a bit generous. 3/10

Basket of Light

Pentangle

3/5

An excellent surprise for me, I thorougly enjoyed this wildly experimental album. It seems like the late 60s and early 70s produced dozens upon dozens of psychedelic folk bands, with very mixed success. The bad ones just threw together a guitar, a few medieval instruments and a sitar, then sung in high-pitched, LSD-altered voices until your ears started bleeding. The good ones... the good ones did exactly the same, actually, but somehow made it work. Pentangle falls into that second category. It’s probably because, contrary to some drug-fueled neo-medieval folk projects (yes, I’m looking at you, Incredible String Bands), the singers can actually sing (beautifully, even) and the musicians can actually play. It makes for a very nice mix of true Celtic folk music and modern experimental rock with a pinch of baroque. I quickly found myself lost in an intriguing musical landscape full of misty groves and unexpected meetings (the sitar / banjo combo in House Carpenter works amazingly well !). It’s not a perfect album, far from it – some experimental parts clearly fall flat. But for me, it’s really the bright side of psychedelic folk. I’ll definitely check the rest of their discography. A strong 3,5* (and a hard choice between a 3 and a 4*... I might still edit my rating later).

A Walk Across The Rooftops

The Blue Nile

1/5

Typical 80s nonsense. The lyrics are asinine, the singer is inept. They probably play this music in the elevators of Hell. I’ll grant them a couple of interesting attempts at experimenting with synth sounds, like in From Rags To Riches. But that’s not enough to save this disaster of an album. Why is it even on this list ?

Head Hunters

Herbie Hancock

4/5

An excellent jazz album I was not familiar with. I never thought synthesizers could work so well in a jazz band, and I’m glad I discovered this record. The intro to Watermelon Man blew my mind, and the overall mood is fantastic. It’s almost perfect – it’s just missing an ineffable little something I can’t quite put my finger on. But I will certainly listen to more Herbie Hancock in the future.

Catch A Fire

Bob Marley & The Wailers

3/5

This album was a good surprise for me. Most of the songs didn’t sound familiar at all (I’m a reggae ignoramus, so no surprise here), and were actually much better than I expected. Perhaps because it’s something of a transitionnal album between early Bob Marley and his later, fully-developped reggae period, I found it musically richer than what I usually associate with reggae music. You can still hear the blues, soul and gospel influences behind the music, and there is a variety of moods that make the album as a whole quite interesting. I really liked "400 Years", a song I had never heard before, and "No More Trouble" had an almost blues-like vibe. This album will certainly make me dig deeper into Marley’s earlier works. A solid 3*, or even a 3,5* for me.

Welcome To The Pleasuredome

Frankie Goes To Hollywood

1/5

After the intro, I was expecting something truly awful. Instead it was merely very boring. I’ll admit there’s some creative ideas, it’s not *shockingly* bad... but there’s also much better synth-pop / new wave music out there. The album as a whole is a mishmash of songs that somewhat seem randomly put together. « Relax » has a catchy tune, but it’s basically just one sentence repeated over and over and over again until you want to puke. Some of the songs were probably good for clubbing at some point, but the rest is too corny, with too much synth, too much filler... And I truly hate the singer’s voice (yes, I know, it’s entirely subjective). It was honestly painful to listen to for me, and I had to skip a few songs towards the end to preserve my sanity. It’s exactly the kind of stuff that made me hate 80s music when I was growing up.

Enter The Wu-Tang (36 Chambers)

Wu-Tang Clan

5/5

A great album that defined more than a decade of hip hop. It’s an absolute classic full of legendary tracks. You can almost touch the raw energy of an enthusiast crew of newcomers eager to prove themselves. Let’s be real : the music itself is far from perfect. The production is rough and still a bit simplistic, very far from the absolute gems that RZA would later come to produce. The sound recording is pretty awful (I swear it feels like they’re in someone’s basement), and the overall lack of experience is obvious. From a strictly musical point of view, it probably doesn’t deserve more than a 4*. Later Wu Tang albums are objectively better produced than the 36 Chambers. However, its importance in the history of hip hop can’t be ignored. It’s the album that started it all. It gave birth to the Killa Bees super-possee, served as a platform to launch countless artists who would later have a fantastic solo career, like Method Man and Ghostface, and turned the Wu Tang into a production powerhouse with a myriad of affiliated bands like Killarmy and Sunz of Man. And let’s not forget the subjective component... I’ve listened to this album so many times over the years, I can’t give it any less than a full 5*. ‘nuff said !

A Rush Of Blood To The Head

Coldplay

3/5

Soft and comfy pop-rock isn’t usually my cup of tea, but the guys from Coldplay somehow make it work. They hit just the right spot in terms of tone and atmosphere, with a good balance between dynamic instrumentation and ethereal, dreamy voices. It’s not super original, it sounds like a more accessible and mainstream version of Radiohead with a (big) touch of Britpop, but it gets the job done. Not exciting enough to add to my playlist, but good enough for a rainy afternoon once in a while.

Fragile

Yes

2/5

Ah, Yes... A band I’ve heard many times in passing during the 80s, without ever trying to know more about them. I was eager to listen again with a different perspective. Sadly, it was an underwhelming experience. It’s not bad – it’s certainly creative, the jazzy moments are nice... But I’m really not on board with the vocal part of the album, the singing feels lifeless. Despite numerous good ideas and laudable attempts to innovate, the end result just leaves me mostly indifferent. Heart of the Sunrise was the only song that I kind of digged (and only the instrumentals), but it was too little, too late. Won’t listen again.

Moving Pictures

Rush

3/5

I never gave Rush a chance before. That was a mistake I’m glad to have corrected. It’s a hard album to rate – first because it’s uneven, and second because it sounds like three or four different genres at once. The vocal parts are annoying. Not only because of the singer’s poor voice, but more generally because I think they’re dated and irrelevant. They add a layer of cheesiness this album really didn’t need. The instrumental parts are, however, awesome. YYZ is an incredible piece of prog rock, and the orchestration on The Camera Eye is absolutely epic ; some moments almost made me think of Magma. I’m amazed that it’s such an old album. Parts of it sound super modern, I can totally see how they contributed to shape prog rock. I’ll definitely look up their other works. Would have rated it a 4* for the instrumentals alone, but the vocals made me drop a star. It was a hard choice though, I may edit my rating later after I give it another listen.

Black Metal

Venom

2/5

It really hasn’t aged well... and it probably wasn’t that good in the beginning. I think I heard this album when I was 15 (and already a metal fan), and even back then I thought it was rather primitive, raw and murky. It’s so badly recorded it’s painful – I had to push my speakers to high volume to hear anything beyond a soup of messy distortions and static. The riffs are pretty bad, but there’s a few catchy songs here and there if you listen with a kind ear. It’s actually not very "metal", except for the menacing, depressed voice of the singer. It could almost be crust before crust was a thing. I won’t deny it was an influential album that contributed to the birth of black metal (mainly by cranking up the ridiculous « Yeah ! Satan ! » vibe), but I’d rather listen to other proto-black metal bands. I’ll give it a 2* for historical interest.

Another Green World

Brian Eno

3/5

I listened to this album back to back with "Music for airports", and I was pleasantly surprised since I wasn’t familiar with that side of Eno’s works. It’s actually quite interesting, even if I’m not really into that kind of art rock (or is it proto-synthpop ?). Will I ever listen to it again ? Probably not, but I still enjoyed listening it once. Nice effort. 5/10

Countdown To Ecstasy

Steely Dan

2/5

Second Steely Dan album I encounter on this list, and I’m starting to develop a violent allergy to this band. I truly don’t get the hype. It’s bland, generic and boring. It’s not even dad rock, it’s the musical equivalent of dining on a glass of water and a slice of white bread. People seem to praise their special blend of rock and jazz, but I love rock and jazz, and I only found residual traces of them in this album. Even more than the music, I find the affected, upbeat singing absolutely excruciating. I felt like I was trapped in an endless mall where every shop was exactly the same, full of automatons with painted smiles trying to sell me canned happyness. If that’s "ecstasy", please give me torture. Ok, I’ll admit the album as a whole wasn’t as terrible as Aja. "Boston Rag" was kind of ok, and "Show Biz Kids" had an almost psychedelic vibe for a minute or two. But it was really not enough for me to suffer through so much triteness. I’ll give it 2* because it’s probably objectively a bit better than I make it sound. It’s just too far removed from what I consider exciting music. I find it terribly depressing that there are no less than FOUR (4 !) Steely Dan albums on this list, while a lot of amazing artists don’t even get one.

Back At The Chicken Shack

Jimmy Smith

4/5

A jazzman I knew nothing about and discovered thanks to this list. I loved this album ! Made me feel all warm and fuzzy. Or maybe that was the whisky. Equally great as background music and for active listening. It’s smooth and relaxing, but never boring. The organ works really well, and there’s a lot of inventivity in each track. I’ll definitely go back to the Chicken Shack !

Songs From The Big Chair

Tears For Fears

1/5

I only knew "Shout" and "Everybody wants..." from back in the days, when it was on every radio station. I wasn’t interested then so I never cared about the rest of the album. It was probably a wise decision, because I would have hated it with a passion. I’m a bit more indulgent now... I’ll admit the two main hits aged surprisingly well, something that cannot often be said of 80s pop. As for the rest... it’s still not my kind of music. I don’t hate it... but as often with 80s slow pop, it mostly leaves me utterly bored. I’d rate it a 1,5* for the two main hits, but that’s about it. I'll admit it's completely personal though, I don't really have anything bad to say about the band.

(What's The Story) Morning Glory

Oasis

2/5

A slight improvement on their previous album... but still a no for me. It’s pleasant enough to listen as background music, but I can’t help but feel these guys just thought « Hey, let’s redo the Beatles for a modern audience ! » and called it a day. It’s bland pop-rock tailored for radio stations, derivative to the point of feeling like plagiarism. And what’s with the murky sound ? You’d think after the success of their first album they’d have invested in better production. Or maybe they drank their previous earnings at the local pub. I’ll be generous and give it a 2* out of misguided nostalgia (« Wonderwall » was constantly playing everywhere in 1995, so it does bring out memories), but it probably deserves less.

Damaged

Black Flag

2/5

A classic punk album that left me sadly underwhelmed, as often with our spiky friends. I can respect the "low-fi / raw sound" ethos of early punk rock bands (a trait they share with black metal) ; it was partly due to material constraints, but also a statement against the overly clean production style of mainstream music. However, the consequence is that you get punk (or black metal) bands that are great live performers and can set a crowd on fire, but can’t record a listenable album to save their own lives. Such awfully murky sound and simplistic guitar riffs are really hard for me to enjoy at home on speakers. This album is a great soundtrack to drink yourself silly with your mates, crush beer cans with you skull and pick fights with random strangers. But since I’m too old for that shit, I’ll pass. I’ll still rate it a 2,5* out of respect for the punk movement and for the unhinged energy of Henry Rollins. But let’s be real – objectively speaking, this is not very good music, and British punk did it better years before.

Pills 'n' Thrills And Bellyaches

Happy Mondays

1/5

Can someone explain this band to me ? Because I truly don’t get it. I don’t understand what they’re trying to do, and I don’t understand what people see in them. It just feels so completely amateurish to me, it was painful to listen. The music is abysmal, and the singing feels like nails on a chalkboard (seriously, the singer sounds like the local tavern drunk was allowed on stage for a live karaoke session). I tried listening as background music, but even then it was exhausting. Sorry, I just can’t.

Led Zeppelin III

Led Zeppelin

4/5

Not much left to say that hasn’t been said before... It’s not the best Led Zep album, it’s not my favorite one either, but it’s still a timeless record with more than a few legendary songs. "Since I've Been Loving You" still sends shivers down my spine. Too bad a couple of other tracks are among their weakest.

Elephant

The White Stripes

3/5

After listening to Get Behind Me Satan, I was afraid of giving White Stripes another try. Fortunately this one is a much better album (and I honestly don’t understand why we needed Get Behind Me on this list) – more heart, more energy, more heavy (and cool) guitars... I still have zero interest in their lyrics, and I still find the singer’s voice vaguely annoying... but at least this time the music is good. Seven Nation Army is a superb track, I had no idea it was an original White Stripes creation. I’m still not a big fan of duo formations, but I must admit they really made it work in this album. I’m adding Elephant to my music collection.

Third

Portishead

5/5

I was already a big Portishead fan after Dummy, since I consider this album to be the pinnacle of trip-hop. When they reformed in 2008, I feared the worst – band reunions are often a disaster, especially after a 10 years hiatus. But I was wrong – instead, they gave us both their swansong and their most original album. Portishead have shed the gimmicks and comfy vibes of trip-hop to venture into new, more disturbing territories – somewhere between depressive synth-pop, industrial music and minimalist electronica. It’s a bleak and tortured emotional landscape, criss-crossed by fleeting moments of hope like faint rays of sun filtering through dark clouds. Beth Gibbons’ voice is more mesmerizing than ever, and balances perfectly the oppressive and quasi-industrial beats that pulse through most of the songs. It’s cold and uncompromising, making for a demanding album. It’s not something you can listen as background music - complete attention is required to appreciate the constantly evolving structures and textures of this hallucinatory trip, and it’s clearly conceived to be listened as a complete album, not just a collection of songs. A masterpiece in my opinion – even if I completely understand how some people could find it asphyxiating. Everytime I put on this album, I end up listening it two or three times in a row.

Nick Of Time

Bonnie Raitt

1/5

While I can’t think of any circumstance where I would actively want to listen to this, it wasn’t as terrible as I expected. Easy listening country-rock with 80s synths and cheesy looks ? Absolutely not my idea of fun, but I’ll admit it’s a honest effort from a honest artist. That alone puts her above some of the hacks I’ve come across here. Let’s say it’s a 1,5*. I don’t really undersand why she's on this list, though. Sounds like she’d be more at home with "1001 Albums For Truckers Driving Route 66".

The Only Ones

3/5

A nice surprise. Feels like the missing link between punk and pop-punk. I was amazed to see that it’s a 1978 album, some bands from the mid-90s actually sound almost the same. Not a big fan of the singer’s voice, and some tracks are clearly far better than others. But the funky keyboards were a welcome (and surprising) addition to the punk vibe. A laudable effort.

I Never Loved a Man the Way I Love You

Aretha Franklin

5/5

A perfect soul album, perhaps one of the greatest ever released. I used to think it was a bit too polished compared to some of her other works (it doesn’t have the raw energy of Lady Soul, for instance), but after a second listen I realized how incredibly well-balanced this album is. There’s absolutely no filler, each song is exactly as it should be. The instrumentation is just the right kind of smooth, and Aretha’s voice is probably at her peak. Pure classic !

Blonde On Blonde

Bob Dylan

3/5

I’ve never been a big fan of Dylan, an artist I find overrated. Blonde On Blonde, however, is one of the albums I can appreciate, probably because it’s on the blues side of his work. Dylan really doesn’t have a good blues voice, to be honest – it’s more like a constant droning – but the orchestration and songwriting somehow make it work. It’s kind of a mixed bag. The album starts on the wrong foot, with a shrill and overbearing harmonica that quickly becomes annoying. The piano moments were far more pleasant – I enjoyed One Of Us Must Know, even if Dylan still managed to slip in a few harmonica screeches here and there. Leopard Skin was right up my alley, and a few of the last tracks were pleasantly laid-back and (mostly) harmonica-free. Overall, it’s a reasonnably fun album to listen. But as often with Dylan, it ultimately sounds a bit tame and lifeless – like blues made for very polite people, or the soundtrack of an early Woody Allen movie.

Chemtrails Over The Country Club

Lana Del Rey

2/5

She’s got a beautiful voice, no doubt about that... But absolutely nothing else happens in this album. I could barely finish. It’s the kind of bland, inoffensive music that coffee shop chains play in the background while hip customers pretend to work on their laptop. I listened at home, and by the end of the album I tried to order coffee from my wife. She was not pleased. Thanks, Lana. I'm still rating it a 2* for her voice. Now someone please give the lady some real music to sing to...

Punishing Kiss

Ute Lemper

4/5

I didn’t know Ute Lemper before, but this was an excellent surprise. It’s a very intriguing and audacious album, with a dizzying array of influences, and yet a very distinct personality. Ute Lemper blends sultry cabaret music, baroque pop, neo-classic and film noir soundtracks in a unique way, magnified by her incredible voice. It gets even weirder with the lyrics – a strange mix of grotesque sex jokes and dark narratives. It’s reflected in the production, which oscillates between cheesy and disquieting. It’s like the soundtrack of a lost Bond movie no one dares to release because it ends with a BDSM orgy in Venetian masks. The list of talented people who have worked on this album is also super impressive – Nick Cave, Tom Waits, Elvis Costello, and even... Philip Glass ?? The whole album felt like a guilty pleasure, and I suspect it’s exactly the way it was intended to be appreciated. I also understand how some people would hate it ; I actually even surprised myself by liking it. A hard album to rate. In the end I’ll go with a 4* because fuck it, so many albums on this list are generic 60s rock or 90s Britpop bands, it makes me super happy to hear something different for once.

Dr. Octagonecologyst

Dr. Octagon

5/5

This album has always been one of my favorite hip-hop albums, so I was already quite familiar with it. I gave it a refresh just to be sure – and yep, it’s still great. I reckon it’s not easy to get into that kind of sound ; it’s a demanding album that requires at least a basic hip-hop culture to be fully appreciated. It's also super weird (as always with Kool Keith, who's clearly a mad bastard). It’s abstract / ambient hip hop, and you have to listen to it that way. Don't expect any banger - it’s low-key, sometimes even a bit jazzy, with a lot of attention going to production and atmospheres. It’s an experimental / concept album with metal-esque artwork, disturbing themes and lyrics, haunting loops, and an overall gloomy mood that makes it close to horrorcore (with a big grain of salt, because it's also full of silly jokes, absurd punchlines and hilarious lyrics... "Oh shit, there's a horse in the hospital !"). It may not be Dan the Automator’s best work, but you can feel QBert’s presence all through the album with his phenomenal scratches. As for Kool Keith, he was still a bit rough around the edges at the time (it was his first solo album), but his droning voice contributes greatly to the general unease the album tries to convey. Still a classic in my opinion, but clearly not the album I’d pick to introduce someone to hip hop.

21

Adele

3/5

Having spent most of the 2010’s in an iron box buried deep underground, I had zero idea who Adele was. I was, however, quite wary of what seemed to be yet another mainstream pop idol designed by comittee to appeal to sad teenagers. I’m glad, however, that I gave Adele a chance. I was right, but I was also wrong. I was wrong because she’s clearly a very talented young woman with an amazing voice and a real soul / blues sensibility. « Rolling in the Deep » and « Rumor Has It » are great songs that convey a lot of emotion. I also liked « Lovesong ». The fact that she forced Spotify to play her songs in order and not as a random mix also speaks hugely in her favor in my opinion... The rest of the album, however, is a mixed bag. The production is far too polished to my taste, and I still think this is music specifically designed to please everybody. It’s smooth and comfy - it’s the musical equivalent of a safe space. I have nothing against safe spaces, but I want music to shock me out of my comfort zone, and this album certainly does not do that. Adele won’t become my favorite singer anytime soon, but with better production and a little bit of risk-taking, she may yet do some interesting things.

Foo Fighters

3/5

I found this album a bit boring when it came out in 1995. It hasn’t really got better with time. I’ll admit it’s impressive that Dave Grohl managed to become an entire rock band almost by himself to create this album... but apart from that, there’s not a lot to be excited about. There's a few nice moments here and there, but it often sounds like a parody of Nivana. I rated this album a 2* at first, but I think it was a bit harsh. Despite its lack of originality, it was not unpleasant to listen, and it's clearly a honest effort. There are so many far worse albums on this list, I'll add 1 star.

Time Out

The Dave Brubeck Quartet

4/5

The pinnacle of West Coast cool jazz. Objectively speaking, it’s a perfect album – laid-back yet inventive, masterfully executed from start to finish, and featuring a few tracks that have become all-time classics. Take Five is one of the most covered jazz standards ever for a reason – and the original interpretation is still one of the best ones to this day. The only reason I’m not giving it a 5* is because it’s just slightly too smooth for me. I’m not too big on cool jazz, which means it’s not a record I listen to very often ; maybe once or twice a decade, on a rainy sunday afternoon. I prefer my jazz with a little bit more risk-taking and insanity (yes, that means free jazz). But it’s still a solid 4,5* for me.

Surfer Rosa

Pixies

4/5

I must admit I’ve never been very receptive to the Pixies in the past, although I couldn’t really explain why. A couple of my friends were super into them back in the 90s, but I was never that interested. I’m glad I gave Surfer Rosa a fresh listen today ; I appreciated it much more than I used to. The energy level is crazy, and there’s more than a few awesome tracks. It’s really proto-grunge / noise rock at its finest. « Where Is My Mind ? » brings back fond memories of road trips and hazy parties – and it’s still very good, even after so many years. Overall an excellent album with a lot of personality. The Pixies are still a little too much on the noise side for me (I like my guitars a bit cleaner), but I salute the effort nonetheless, and I’ll try to give a fresh listen to their other albums when I have the time.

Trout Mask Replica

Captain Beefheart & His Magic Band

2/5

I usually enjoy experimental music, and I appreciate its value as a force for innovation. However, not all experiments are successful. Sometimes their value lies not in themselves, but in what they opened the door to – which doesn’t mean they’re interesting to listen to. For me, this album falls in that this category. It may have had an impact on many musicians, but it feels too raw and transitionnal, and I find it really hard to listen to. The 60s were full of weird experiments ; some of them were even weirder than this album, and yet remain much more enjoyable to listen. Ummagumma came out the same year, and it’s infinitely stranger – and yet more haunting – than this. My main gripe is probably that the singer has a terrible, terrible voice. It’s harsh and grating and it got on my nerve so much that I had a hard time listening all the way through. I would maybe have liked it better if it had been an instrumental album. My knee-jerk reaction was to rate it a 1*, but after reflecting on it I'll still add an extra star for its sheer uncompromising madness. Despite being almost unlistenable, it's still more interesting than the heaps of radio-friendly, vanilla pop we got on this list. 3/10

Parachutes

Coldplay

3/5

On the same level as "A Rush Of Blood" (or maybe slightly better, but to be honest, they’re so similar that I have a hard time telling them apart) – pleasant to listen, but ultimately neither very original nor very memorable. Comfy pop-rock that builds (with class and talent) on the legacy of dream pop, shoegaze and a bit of grunge to create something sweet and relaxing, fit for rainy afternoons and long distance bus trips. I enjoy it, but I won’t remember any of it.

A Hard Day's Night

Beatles

5/5

This album was playing over and over at home when I was a kid, so I literally grew up with it. I cannot review it in an impartial way – it was the very first thing people told me was "music". It will always have a special place in my heart, for it sounds like home and happy sundays. I know the Beatles will later go on producing more complex, experimental albums, but sometimes, simple is good too. A Hard Day’s Night is just that : pure, simple unadulterated fun. It’s the sound of a whole generation, and I can understand why. It may not be the pinnacle of songwriting, it’s pretty basic, shamelessly cheesy... but it’s a masterpiece of efficiency. Does it objectively deserve a 5* ? I don't know, but millions of horny teenagers seemed to think so in the 60s. Who am I to object ?

Paul's Boutique

Beastie Boys

3/5

A great hip-hop album with a festive vibe and a lot of silly jokes. It was a shocker when it came out, but it hasn’t aged that well in my opinion. The beats are a bit outdated, and the « I’m constantly screaming » school of rapping can be somewhat hard to listen now - with the exception of « Looking Down The Barrel... », still a banger for me. I’ve always had a very ambivalent relation to the BB ; they never were my favorite kind of hip-hop, but it’s hard to deny their originality and influence on the local rap scene. « Hello Nasty » is a far superior album in my opinion. « Paul’s Boutique » is a solid 3,5*, but I can’t go any higher.

The Stranger

Billy Joel

2/5

This album was a relatively good surprise. I only knew Billy Joel through his cheesy 80s hits, so I expected something terrible. But The Stranger was something else. It’s a surprising mix of influences, with some very 70s music and a few interesting experimentations that probably helped define the sound of the 80s. The first couple of songs were really good, but the rest of the album was unfortunately less exciting, and some song were very forgettable. I had a reasonnably pleasant moment overall ; but ultimately, it’s really not my kind of music, nothing really struck a chord or made me excited. I’ll give it a 2* for effort and originality, but I can’t go higher, since I’m pretty sure I won’t listen again.

Rubber Soul

Beatles

3/5

A good Beatles album that saw an obvious leap in complexity, departing from feel-good pop territory. Not that it’s necessarily a good thing – I’ve always admired the Beatles for their simplicity, the way they initially managed to « do more with less ». Maybe that’s why this album has never been among my favorites and doesn’t speak to me the way other albums do. The band sounds more composed and more professional than before - but also seem to have lost a bit of its original energy, without having reached their technical peak yet. But I guess you can’t catch lightning in a bottle with every album. There’s a few excellent tracks (Norwegian Wood, Michelle, Girl...) along the way, while some others are not as striking or memorable. Overall always a pleasant listen, but not an album I come back to very often.

(Pronounced 'Leh-'Nérd 'Skin-'Nérd)

Lynyrd Skynyrd

4/5

I had always stayed away from Lynyrd Skynyrd because of their ridiculous image (I can’t take seriously a band that calls an album "God and Guns", sorry), but apparently the original founding band had very little to do with the parody that LS has become (as a matter of fact, every single musician playing in this first album is now dead, so it’s literally not the same band...). Well, I’m glad I gave a chance to their debut album. It’s an excellent Southern rock offering, really impressive for a first effort. Almost every track is an instant classic, and they obviously had a huge influence on many later bands (yes, I’m looking at you, Guns N’Roses). A solid 3,5* going on 4*.

Deep Purple In Rock

Deep Purple

5/5

I have a limited knowledge of Deep Purple, a band that I had always thought as lost in that weird buffer zone between 70s rock and proto heavy metal. I’ve heard their mainstream hits, but never tried to dig deeper. I was absolutely amazed to discover such a modern-sounding album. It’s great from start to finish, incredible vocal energy, fantastic riffs. It’s not a missing link or a transitionnal band, it’s just pure, good rock music. « Child in Time » can easily rival some of Led Zeppelin’s best pieces. A true discovery for me, probably the first real « I’m glad I have listened to this album before I die » moment since I started participating. I’m getting the rest of their discography right now.

Endtroducing.....

DJ Shadow

4/5

A beautiful, very atmospheric record that I come back to every few years. As one of the main players of the Mo’Wax label, DJ Shadow helped bring instrumental / abstract hip-hop to maturity while staying true to its underground roots. He perfected the art of layering, made a few fantastic albums, and yet never stopped being a DJ (I’ve seen him perform in a club in the early 2010s, and he didn’t disappoint). His first album displays the same weakness many abstract hip-hop LPs from that period do : it’s a bit hit-and-miss, with some excellent ideas and some less judicious ones. Another thing I regret is that Shadow is not really a scratcher, something that could have benefited some of his compositions. Overall, this album is still a classic for me, even if it’s a bit rough around the edges. Building Steam, Stem and Organ Donor are haunting, eerie pieces of music that I never get tired of. Ideally I’d rate it a 4,5*. It’s really a pity that the most abstract side of Mo’Wax is so under-represented on this list. DJ Krush, an even better artist than Shadow in my opinion, would have fully deserved a place here – but apparently it’s almost impossible to be on this list if you’re not American or European.

Smokers Delight

Nightmares On Wax

2/5

Ambient music for trendy lounge bars... I guess if you bore people enough they’ll order more drinks ? Seriously, I didn’t *hate it*, it was kind of all right as background music while I was working. It does indeed set a relaxed mood. But that shit is just soooo repetitive... even Brian Eno’s "Music for Airports" required more attention and brainpower to process. I’ll give it a 2* because I didn’t detest it, but I don’t understand why it’s on this list. It’s super generic, any semi-competent DJ can reproduce this.

Liege And Lief

Fairport Convention

3/5

That was... actually quite good ! I didn’t expect much since I’m not a big fan of folk-rock, a genre that often tries to put lipstick on bad rock music by adding random folk instruments. But this is absolutely not the case here – it’s even the other way around. Strictly speaking, it’s very traditionnal folkloric music with celtic and medieval influences, and a few modern guitar lines sprinkled here and there. That worked quite well in my opinion. The songs seem all nice and sweet, but if you listen closely to the lyrics... it’s actually not that sweet, there’s quite a lot of vengeance and bloodletting going on, as is often the case with old folksongs (Matty Groves is a song from the 17th century about a lady who seduces a commoner, who later gets stabbed to death for it by her husband...). The album does get a bit repetitive after a while (Matty Groves, Reynardine and Tam Lin are clearly the highlights), and it is a bit too quiet at times. But the singer’s voice makes up for it. Objectively it's maybe a 2 or a 2,5*, but I'll give it a 3* because real folkloric music (not the US redneck version) is sadly under-represented in this list.

American Idiot

Green Day

3/5

I hadn’t seriously listened to Green Day since the distant days of "Dookie". Although I'm not against skate-punk and pop-punk on paper, GD have always been a bit too much on the pop side even for me, so they’re clearly not my favorite in this subgenre (I’d rather listen Offspring or Bad Religion any day of the week) . I still enjoyed this album though ; it's more mature than their early works, without losing too much of their former energy. Some good songs, some less interesting stuff... A weird mix of 2-minutes and 9-minutes tracks... Nothing groundbreaking, but all in all a nice feel-good album to work by on a sunny afternoon. 6/10

Bad

Michael Jackson

1/5

I knew I had to come across Michael Jackson on this list eventually, and I dreaded it. As far as I can remember, I’ve always hated both the man and the artist. It’s difficult to explain why – it was like hate at first sight. As a child in the 80s, I found him vaguely repulsive and weird, as if he was an alien parading in a badly imitated human-skin disguise. As a teenager in the 90s, his music was the embodiment of everything I hated in pop music – shrill, artificial, full of fake enthusiasm and synthetic noises. As an adult, I simply had zero interest in his antics (and better music to discover). Anyway. It’s hard for me to listen, let alone review, an entire album of this nonsense. I did it though, for the sake of this challenge. I tried to keep an open mind, but in the end it didn’t change my stance – I still think it’s pretentious, style-over-substance, fame-obsessed garbage. Almost every single track grates on my nerves like nails on a chalkoard. His constant high-piched yodeling and his stupid yoo-hoos and yee-hees simply drive me insane. I’ll admit that Smooth Criminal is not a bad song – it’s groovy and very listenable, once in a while. But that’s about it. Usually, I would rate this kind of album a 2* despite my dislike, because I objectively recognize its influence. But for once I’ll make an exception and judge entirely from the heart. Yee-hee !

Emergency On Planet Earth

Jamiroquai

3/5

A tricky album to review for me. On one side, it’s shocking to see how much of this music is directly borrowed from or copied on 1970s Motown sound. It goes far beyond simple "influences", sometimes bordering on blatant imitation. For the European public of 1993, who had not necessarily been exposed much to such music, it may have sounded super original. But the fact remains that it’s by and large a repackaging and rebranding of older music for a new audience – not unlike what the Stones and the Beatles did in the early 60s to make a name for themselves. I know the line between plagiarism and inspiration can be a blurry one – but Jamiroquai stands right in the middle of that grey area, not without a certain dishonesty (and don’t even get me started on the ridiculously fake political posturing... Dude, you can’t call your "brothers and sisters" to "go paramilitary" when your main hobby is collecting luxury cars). On the other hand, one must admit that Jay Kay is an extremely talented musician / imitator. He managed to produce a carbon-copy of early soul / disco / funk music, down to the very details, the mood, the lyrics and vocal gimmicks. It’s so impressive that I almost suspect him of being a time traveller. Fortunately, he’s not *only* an imitator, and he did inject a few personal twists into the mix. The end result is a groovy, funky, jazzy album that I don’t find particularly original, but that is still pleasant to listen, and certainly did convince a new generation that music went beyond bland pop and commercial rock. So yeah. Good music, but please give credit where credit is due...

Illmatic

Nas

5/5

One of the best Hip Hop albums of all time, period. I won’t deny that I’m biased since I’ve always been a massive East Coast rap fan. However, this album has truly been pivotal in the history of hip hop, and ushered New York rap music into its golden age. Distancing himself from West Coast gangsta rap and from the very political (but often musically simplistic) conscious hip hop of the 80s, he proves that one can indeed talk about thug life while still being a gentleman about it. Nas displays a smooth, impeccable flow from start to finish. It may sometimes seem lackluster (it doesn’t have the raw insanity of an ODB or the heavy hammering of a Biggie), but it’s just technically perfect, never missing a beat. But as good as he is, Nas is not the main reason this album is so great. Most of all, the production is absolutely stellar, with so many big names of the NY hip hop scene involved that it feels like a best-of album : DJ Premier, Pete Rock, Large Professor... As usual in rap music, the rapper gets all the credit - and it’s a shame, because Illmatic is a perfect example of why production makes at the very least half the quality. Soul and jazz samples blend perfectly, and helped shape the thoughtful, melancholic vibe that defines a big part of NY hip hop. The beats and samples from « NY State of Mind » haven’t aged a day. « Memory Lane » has always been a personnal favorite of mine, and « Represent » could be the official anthem of NY rap in the 90s. A true classic !

Sex Packets

Digital Underground

2/5

Before rap music was on MTV and the radio, before rappers started putting out records... hip-hop was a festive culture that had mainly one goal : play records and tell jokes so people would dance and have fun at block parties. This is indeed a party album that somehow feels connected to these roots : it doesn’t take itself seriously, it doesn’t try to be « artsy », it’s just plain old-fashionned fun. I lack knowledge of the specific context of this album, so I can’t really judge if it was relevant or not when it came out. It does however feel outdated now ; it’s old-school even for 1989, and not all the beats and lyrical experiments have aged well. Some songs are really, really long – which is nice when you’re high and dancing, but quickly feels boring when actively listening at home. By the end of the album it felt like a chore. Tracks are hit and miss – some are funky, while others are annoying I didn’t hate it, but I won’t listen to it again, one try was enough.

Definitely Maybe

Oasis

2/5

I remember hearing this album everywhere the year it came out. It was on the radio, it was at every house party... But even in 1994, it felt uninspired and unoriginal to my teenage ears. It lacked soul and energy, it was just... vanilla (especially since it was the height of the grunge craze back then, and compared to Nirvana, Oasis felt like old people music). And the Beatles had already done so much better... I saw them live at a festival in 1996, and it didn’t change my mind one bit. So. Here we are now, about 30 years later. I tried to put aside my disdain for Oasis and give it a honest listen. I really tried. But nope... still don’t like it. While I don’t hate it with a passion anymore, I found it far too generic and derivative. It’s not BAD bad ; I even enjoyed « Bring It On Down » (the only track that aged well in my opinion). But overall it’s just... meh. Most of the songs are very forgettable. If played at a party, « Supersonic » or « Live Forever » will make 45 years-old people like me nod in recognition, and it will be a nice excuse to start a conversation. But that’s about it...

Moondance

Van Morrison

3/5

I only knew Van Morrison by name. I expected something polite and boring, but it was actually a very pleasant album. While it is indeed a bit too much on the easy-listening side for my taste, the soul, folk and country influences blend well together, and Van Morrison totally makes it work thanks to his genuine love for these genres. It’s full of heart and emotion, and I can totally see myself listening to this again. On the downside, there’s not a lot of variation throughout the album, most songs follow more or less the same pattern (except Moondance, a beautiful song). It’s also a pure product of its time, so much that it almost sounds like the soundtrack of a generic movie about the late 60s. He was obviously a talented artist back in the days, but maybe not original or excentric enough to leave a lasting impression beyond that time period.

The Blueprint

JAY Z

2/5

As usual, I’m disappointed with this list’s picks in the hip-hop category. I’m pretty sure by now the author has a non-existent rap culture, and just checked which albums were trending each year... I love hip-hop, but Jay-Z is hardly a groundbreaking artist, and The Blueprint isn’t really his best work. Nothing beats his first album (with the Black Album a close second). The Blueprint is... kind of all right, I guess ? It’s not bad – it’s reasonnably good mainstream hip-hop, and Jay-Z earns extra points with me for not assaulting us with 37 useless skits and 23 featurings with the latest trendy MCs. It’s a well-trimmed album with 12 tracks that go straight to the point. That being said, the production is a mixed bag. I was filled with hope after Takover, which had fantastic sampling ; but most of the following songs fell back into the kind of heavy "club hip-hop" nonsense I hate. The last track, Renegade, was the only other song I really cared for – probably the high point of this album in terms of production (thanks to Eminem). Jay-Z’s flow sounds a bit flat, it’s like he’s just going through the motions. To be fair, Jay-Z never had a particularly great flow to begin with, but he at least showed passion in his first album. Nothing really memorable happens here – it’s all rehashed tropes and tired brags we’ve already heard a thousand times. It’s never as obvious as in Renegade, where Eminem’s perfect flow suddenly eclipses everyone else. Fortunately it’s a short album that doesn’t overstay its welcome. It’s all right for a casual listen... but surely there were better picks available ? 4/10

Freak Out!

The Mothers Of Invention

2/5

Today I learned that edgy ironic hipsters were already a thing back in the 60s – and that they were exactly as cringey as their modern counterparts. Parody is funny if it’s one or two songs at the end of an album. If most of your album - especially your first album as a band - is based on mocking other bands... well, you’re not funny, you’re just annoying, and you only prove that you spend a very unhealthy amount of time thinking about what other people do. Musically speaking, this album was a just a whole lot of nothing for me. It tries to be experimental, but with far less success than other bands of the same time period. The psych-rock parts are not particulary well done, and haven’t aged well. I didn’t care much for the lyrics either. Maybe it’s just not my kind of humor. Parody in music has never been something I find particularly funny. Listening to this album felt like being forced to watch a long one-man show by a stand-up comedian who never makes you laugh. I'm sure some people found it hilarious... but for me it was mainly cringey. I'll give it a 2* for originality, but I have zero interest in this kind of music.

Ogden's Nut Gone Flake

Small Faces

4/5

How have I never heard about these guys ? Great psychedelic vibe with a touch of The Who and a pinch of British Invasion. The singer has a very distinctive voice. A few super weird moments that almost sound like very early Pink Floyd. Loved it ! Makes you wonder how many great bands slipped through the web of fame and were unjustly forgotten... I have to check their other albums.

Aja

Steely Dan

1/5

I was expecting something more jazzy, or at least jazz-rock... But this is just a bland mix of mall jazz and vanilla funk. At the very best, it sounds like the opening credits of a late 70s exploitation movie. But most of the time it feels like a tired third-rate band playing at the bar of a cheap cruise boat for old people. I’m sure the musicians play very well, and I’m sure someone will find something good to write about this album. I’ll even admit they kind of grew on me by the end of the album... but it was too little, too late. I already gave them 40 minutes of my life, I can’t be bothered to find something better to say about them. It’s just about the opposite of what I personally like in music.

The Wildest!

Louis Prima

3/5

Interesting album, to say the least. Full of cheeky weirdness and nonsensical fun, with some good jazzy moments and a contagious joie de vivre. Not exactly my cup of tea from a musical point of view, but it was a nice discovery. Definitely enjoyed it !

Haut de gamme / Koweït, rive gauche

Koffi Olomide

3/5

I’m really on the fence about this album. On one hand, I’m super stoked to finally have a non-Western album on this list. Non-English and non-Western music in general are so dramatically underrepresented that I feel they should get an automatic 4 or 5* just for existing and allowing people to broaden their horizon. On the other hand... I don’t really like Koffi Olomide, and I think it’s a really weird pick. It’s not that he’s "tailored for Western audiences" as some reviewers have suggested – he’s a HUGE deal in Africa, a legendary singer in his own country. But he’s also very far from being the most interesting or original African artist in my opinion. Musically speaking, it’s very uneven. He has a fantastic voice, no doubt about it. I always enjoy his singing. But the conga instrumentation is awfully basic, and the songs tend to be very repetitive. From a strictly musical point of view, I’d probably have rated this album a 2*. Taking all factors into consideration, I’ll go for a generous 3*. But I wish this list would have picked Malian blues or Ethio-jazz instead of a modern mainstream artist.

Goodbye Yellow Brick Road

Elton John

3/5

I was never really interested in Elton John. Not that I don’t like him – I’m just not familiar enough with his music to have a strong opinion about it. This was the first Elton John album I actually listened from start to finish. At the end of the first song, I was in awe. It was amazing, and I thought I was going for a 5* album. But then... the songs started piling up, and it became apparent that Funeral For A Friend was the exception. This album is really all over the place – some good songs (mainly the jazzier ones with a lot of piano), some average songs, some super cheesy stuff, and a couple of abominations (Jamaica Jerk-Off is criminally bad). In the end, I was left puzzled. I can appreciate the talent, the creativity and the passion Elton John has poured into this double LP. It’s objectively a great album, no doubt about that. But personally... only a third of the songs really brought me excitement, and only a couple of them were truly great. I guess it’s just not my kind of music.

Here Come The Warm Jets

Brian Eno

2/5

Not bad for a first album. It’s clearly still a bit chaotic and rough around the edges, but there are a few great moments here and there. I liked the riffs in Baby’s On Fire, and Driving Me Backwards struck a chord with me. I totally understand why Eno and Bowie would click later on. I would have given it a 3* for the instruments alone, but I really disliked most of the singing (Dead Finks was almost painful), so it’s closer to a 2*. Definitely not a bad album, it grew on me as I listened, and I enjoyed it more than I would have imagined... but I don’t think I’ll replay it anytime soon. 4/10

Dire Straits

3/5

Dire Straits are a mystery to me. Every time I play one of their records, two things happen : 1) I think "woaw, this is actually much better than I remembered. They’re good !". 2) I put away the record and forget about it entirely for years. They somehow manage to make music that is at the same time well-crafted, pleasant to the ears, technically very good, and yet kind of bland and forgettable. That’s probably the reason they’re often considered "dad rock" (well, that and the fact that if you grew up in Europe in the 80s or 90s, there was a 99 % chance that your dad or uncle listened to them). This album is no exception. It’s an excellent debut album, it’s really good music, no doubt about that. But I can’t help but feel that they’re late to the party, making heartfelt, honest blues-rock 10 years after blues-rock was a thing. I have nothing but respect for them, but I can’t say they’ve ever blown my mind. For me it’s just nice background music. Down To The Waterline and Sultans of Swing are still great songs though.

Here's Little Richard

Little Richard

4/5

Saying this has "historical value" would be an understatement, since it’s quite literally the birth of Rock’n’Roll Among all the original forefathers of Rock’n’Roll, Little Richard has always been my favorite. His enthusiasm is absolutely insane, and his voice has a special quality that makes me feel warm and fuzzy, even if I can’t really explain why. He has an amazing presence that makes it impossible for me to not smile whenever I hear him. Sure, it’s very gimmick-ish, relying on basically the same structure repeated over and over again... but I don’t really mind. The level of energy thoughout the album is crazy - even 70 years later, many bands can’t even dream to approach it. In the end I’ll go for a 4* because it’s still a bit rough around the edges, with a murky sound (hard to avoid with pre-1960 records) and songs that all sound a bit too similar to each other.

Better Living Through Chemistry

Fatboy Slim

1/5

A very dated album in my opinion. It’s super long and repetitive, nothing really stands out, and it can probably be fully appreciated only if you’re full of illegal chemicals. I’m not a huge fan of big beat in the first place, it’s too close to dance and house music for my taste – but I find it even harder to listen in "album mode". Big beat is explicitely designed as clubbing music ; it doesn’t make much sense to blast it on speakers at home unless you’re having a party. And even then, it's super basic. I initially considered giving this album a 2* because I enjoyed the first few tracks. But by the end of the album, the repetitivity was seriously getting on my nerves. Certainly won't listen again. A completely dispensable album in my opinion, especially since You've Come A Long Way Baby is already on this list too...

Mama Said Knock You Out

LL Cool J

2/5

Back in the mid-80s, when hip-hop still had a strong underground component, LL Cool J was one of the first rappers to go mainstream and make the genre popular. But in 1990, the hip-hop scene was already firmly established, and I’m not sure this album brought much novelty to the genre. It’s a pleasant enough listen, it was good for his time, but quite a lot of tracks now sound very dated. He’s a good emcee, no doubt about that – tracks like Eat’em Up L Chill, Mr Good Bar or Mama Said Knock You Out are still classic examples of old-school NY rap. But it’s not something I’d really want to listen anymore except for the historic value.

The Idiot

Iggy Pop

3/5

Not my favorite Iggy Pop album (my preference goes to "Lust for Life", and I usually prefer angry Iggy to stoned, sad Iggy), but I enjoyed it nonetheless. Putting aside Bowie’s influence (or even direct intervention), it’s a mixed bag of really good songs (I love « Nightclubbing » and « Mass Production » are fantastic) and half-hearted efforts (« Funtime »...). Nothing sounds really bad, but nothing sounds extremely original either. I probably don’t know enough about the context to be fair, though. Another « morning album » to slowly wake up without having to think too much.

Achtung Baby

U2

4/5

A great album that saw U2 reinvent themselves. The ethereal vocals and sonic experiments with distortion (bordering on fuzzbox abuse) probably influenced a lot of bands in the mid-90s. They were clearly ahead of their time. I already knew this album from back in the days – but I didn’t own the CD, so I think I never managed to listen to it from start to finish. It’s much bettter and much more creative than I remembered. I used to think the album just had a couple of good tracks, but I actually really enjoyed most of the songs, including the less famous ones. Ideally I’d give them a 3,5*, mainly because it’s still a tad too pop-ish for me... but I’ll add half a star for the legendary "One". I think I actually had my first kiss on this song at a house party (as a good part of my generation probably did...).

Metallica

4/5

The swan song of Metallica, before they became an average garage rock band... And yet a great album in my opinion : it’s the perfect balance between metal and mainstream hard rock. People used to give them shit for "selling out", but let’s be real... Without this album, Metallica would only be remembered by a handful of nostalgic metalheads endlessly talking about the same 3 great thrash albums. Metallica allowed metal to enter popular culture, and I’m pretty sure this album was a gateway drug into metal for millions of teenagers – that can’t be a bad thing ! So yeah, it’s not thrash anymore, the production is a bit too clean, it somewhat lacks agressivity... but it’s still a very good album with at least three powerful hits and half a dozen very good songs. The "slow but heavy" riffs tend to become a bit repetitive towards the end, but I still enjoy this album.

The Freewheelin' Bob Dylan

Bob Dylan

2/5

I don’t really get Dylan. Is it a generational thing ? Or maybe it’s cultural, and you need to be American to fully appreciate his relevance. He’s not a bad artist, he certainly contributed something to music – but I don’t think he deserves the gigantic amount of praise he gets, either. He might be a fine songwriter and composer, but he’s neither a very good singer nor a very good instrumentalist. Anyway. This album kind of embodies all the gripes I have with Dylan. It starts really well, with an iconic song that I always enjoy listening. Then the songs start piling up... and they all sound exactly the same. There’s very little variation, very little risk-taking, all the tracks rely on the same structures and vocal gimmicks. And the harmonica... so much harmonica... It all feels a bit flat and lifeless – like Dylan’s voice – and you end up wondering where it’s all going, and wether he will display more passion at some point (spoiler : he won’t). There’s nothing really wrong with any of the songs taken separately... but by the end of the album, I was just bored out of my mind. Maybe I just have to accept that Dylan must be enjoyed only at very small doses.

Hot Shots II

The Beta Band

2/5

A weird mix of (too many ?) influences, that unfortunately never coalesce into a clear musical identity. It’s not an unpleasant album, far from it ; I enjoyed it as background music, thanks to its meditative and melancholic vibe. But I’m not sure I quite understand what they were trying to do. It somehow feels unfinished and a amateurish, like a very well-produced demo. Overall there was nothing truly memorable for me here. I’ll probably have forgotten everything I just heard in a few days. They could also use a better artistic direction... With a terrible band name, terrible album name and terrible cover art, it’s like these guys don’t really want to sell records.

Pet Sounds

The Beach Boys

3/5

An important and influential album. They certainly experimented with a lot of new sounds and styles, and it’s impressive that they could still reinvent themselves and make such great music by their 11th album (!), at a point in their career where most bands usually start to decline. As revolutionary as it was back then, I’m not sure it aged that well though. Some songs are still pretty awesome, but many others sound a bit tame now. I think I prefered The Beach Boys when they were doing brainless, happy surf music ; maybe it wasn’t as sophisticated as Pet Sounds, but they had a raw energy that this album could sometimes use. I enjoyed listening to it, I acknowledge its objective importance, but it didn’t excite me as much as I would have liked. Maybe I’ll come back to it in the future to try to get a new perspective.

Black Holes and Revelations

Muse

4/5

A really good surprise for me. I wasn’t interested in Muse back when it was all the rage (I probably wasn’t the target demographic), so I never gave them a chance. I wasn’t expecting much from this album... but I ended up listening twice in a row (to my own surprise). I know perfectly well that it’s not super original, that it’s derivative, that it’s partly a louder Radiohead clone... Nonetheless, I think they really make it work, and definitely bring something to the table (at least more than other imitators from the same time period). There’s a scope and an ambition in this album that I really appreciated – it’s loud and bombastic, the orchestration is epic, and there’s some surprisingly heavy guitars. It’s not a gamechanger, but it’s pop-rock done right. Will definitely listen again.

The Dark Side Of The Moon

Pink Floyd

5/5

Pure musical poetry. I could listen in a loop for hours. It’s not my favorite Pink Floyd album – there are at least three others I love just as much – but it doesn’t mean much, it’s like trying to differentiate different levels of perfection. 10/10

Tusk

Fleetwood Mac

1/5

It’s my second Fleetwood Mac album on this list, and it only confirmed with absolute certainty that their music is not for me. I find their music derivative, bland and uneventful. They obviously rely on a wide range of different influences, but they somehow manage to turn each and every one of them into something boring... Everything felt so slow and dragged-out that I wanted to claw my eardrums out after three songs. How this band became so big is a complete mystery to me.

Junkyard

The Birthday Party

3/5

Not an easy album to get into... It’s raw, angry, and as melodious as a bag a razorblades. It sounds like what I imagine psychosis must feel like, and the fine line between noise-rock and just noise is crossed more than a few times. Nevertheless, I enjoyed the dark and disturbing mood. I’m giving it a 3* for its originality and no-compromise attitude, and because fuck polite music.

Suzanne Vega

1/5

Sorry, I just can't. If Boredom had a child with Vanilla, it would sound like this album.

That's The Way Of The World

Earth, Wind & Fire

2/5

I understand the appeal, they’re obviously good at what they do... But it’s really, really not my kind of music. I have a deep-rooted allergy to disco music (and by proxy to the disco side of soul), and I was sincerely hoping Earth Wind & Fire could change my mind. But despite my best efforts, I just couldn’t get into it. I enjoyed a couple of tracks, then it became exhausting ; the high-pitched chorus and syrupy voices are just too grating for me, and I had to (painfully) force myself to listen to the end. Sorry, maybe next time...

Chirping Crickets

Buddy Holly & The Crickets

3/5

Pleasant enough album to listen while sipping my morning coffee. I had only listened to Buddy Holly’s first solo album before that, The Crickets were a first for me. I didn’t know they had such a huge influence on the Beatles ; and to be honest, I didn’t really feel it while listening, they sound miles behind the Beatles. It’s a bit hard for me to enjoy that kind of music the way people enjoyed it 70 years ago. The singing sound really dated, I feel it hasn’t aged as well as some other bands. I only really got into it by the end of the album, and I kind of liked "Last Night". I’d give it 3* for the (limited) fun it brought me, the super nostalgic vibe and the historical value.

The Boatman's Call

Nick Cave & The Bad Seeds

3/5

I had already listened to this album years ago, back when I was trying (with mixed success) to get into Nick Cave. I’ve always seen him as a versatile and capricious artist, capable of the best as well as the worst. Fortunately this album falls into the reasonnably good Nick Cave category. I did enjoy the somber and brooding mood, the soulful singing and the minimalist arrangements. It’s beautifully sung, and the whole album really stands out in his discography with its unique identity. It slowly grew on me, and I think it really benefits from being listened to as a complete album. The lyrics, however, kind of ruin the mood for me – he sometimes sounds like an edgy goth kid who just heard about mortality and agnosticism for the first time. It can be whiny and self-indulgent, and I have a hard time taking him very seriously ("People ain’t no good' doesn’t strike me as a particularly deep assertion...). A pleasant album overall if you’re in the right mood. I’d rate it a solid 3*, or a 3,5* if I could.

3 + 3

The Isley Brothers

5/5

So smooth you could slip and fall by listening too hard. The Isley Bros are insane. They’ve been making music for 60 years, and they’ve managed to constantly reinvent themselves from decade to decade without losing their energy. They did killer swing in the late 50s, sick rock n’roll in the 60s, soul and funk in the 70s... It’s hard not to be in awe of their talent. To my great shame, they only came to my attention through the intro sequence of Final Destination VI (the band performing on the top floor is playing one of their hits from the late 50s). I took a instant liking to them and started exploring their early discog. Now this 1973 album pops up on the list and blows my mind again... Ok, it’s not 100 % perfect – it’s a bit too sweet and cheesy for my taste, some tracks are a bit too much on the disco side... But overall it’s an incredibly rich and generous album, with slick guitar work, songs that go all over the spectrum of soul and funk, and a couple of absolute bangers like Sunshine. I’d have rated it a 4* if they had other albums on this list. But since it’s the only Isley Brothers album here, I’ll add a star for their whole discog. And it’s not just a name, they’re really all brothers !! Family reunions must be super groovy.

Nixon

Lambchop

1/5

It started relatively well... until the horrible fake high pitch began in "Masculine You". At first it sounded like Farinelli with the flu. Then they did it again. And again. And again... Like nails on a chalkboard. Stop. Please stop. STOP THIS OH MY GOD I WANT TO CLAW MY EARDRUMS OUT. I’d rather listen to cats in heat for 60 minutes than submit myself to that again. It didn't help that the whole band seemed to be asleep through most of the album. "Nixon" managed to lull me to sleep AND make my skin crawl at the same time. I guess it's a feat in itself ?...

Marquee Moon

Television

3/5

Kind of worked for me. I don’t know enough about the context to take it into account, so my review is purely based on first impressions. There’s nothing particularly memorable about this album, nothing particularly original or inventive, but it’s pleasant enough to listen. I don’t like the singer’s voice, but the instrumentation is all right, with some good guitar work. I really liked the post-punk vibe of the first three tracks, and the title song Marquee Moon almost feels psychedelic at times, with the long dragged-out guitar line. The album gets a bit weaker after that though, but never really bad. The last song left me a good impression. It’s a 2,5* for me, neither good nor bad. At first I wanted to rate it a 2* for its lack of strong identity. But I’ve come across so many albums that were almost painful to listen on this list that I felt it would be unfair. So I’ll go up to a 3*. I may have been influenced by the fact that after listening to some shitty music today, I was starved for anyting half-decent.... so I might come back to this album later and change my review. Or not.

The Atomic Mr Basie

Count Basie & His Orchestra

4/5

A great jazz album, especially if you’re into big bands. It’s classy yet full of life and energy, impressively well-ordered and coordinated. All musicians are equally good. It’s a tad too old-school for my taste, but considering Count Basie was active as early as the mid-30s, it’s amazing to see how well he evolved with his time.

Infected

The The

1/5

The absolute worst of the 80s, without much of the good... It doesn’t help that it’s basically the work of a one-man band. Well, one man and his beatbox. I found it hard to listen to such a dated sound without the help of heavily tainted nostalgia glasses. A couple of songs started well... then became unsufferable after 20 seconds. Definitely not for me.

Play

Moby

3/5

I feel conflicted about this album. On one hand, I’ll admit Moby is talented. He has a curious mind, he clearly knows his way around music history, and he’s tried his hand at many different styles (including tech-house and slow contemplative ambient music). On the other hand – and this was my biggest gripe with Moby back when he was all the rage – I’m kind of annoyed that so many people (including music critics) seem to think that he’s some kind of pioneering genius. Electro, trip-hop and abstract hip-hop DJs had been doing the shit he’s doing for years before Play was even released, some of them with more talent and inventivity (like DJ Shadow). Moby didn’t really invent anything ; he captured ideas that were already present in the wild and repackaged them (beautifully) for a larger audience. His biggest accomplishment in my opinion is getting the art of sampling out of the basement, helping it become acceptable for radio stations. "Play" is a beautifully crafted album, I won’t deny that. It’s full of haunting melodies, with a few loops that can really get stuck in your head. But it is ultimately not as original as it seems. To no fault of its own, it has also been so overused that it’s hard to hear it in a neutral way... Overall, it hasn’t aged very well in my opinion. It feels a bit flat and superficial now.

All Hail the Queen

Queen Latifah

4/5

A Queen Latifah album is like a good bottle of wine – you have to slowly sip a glass or two and learn to appreciate it. If you try to binge-drink the whole bottle, you’ll end up with a hangover and miss the point entirely. Sure, this album sounds VERY old-school – the production is so minimalistic that it’s basically just a background beat, and it can be repetitive at times. The beat is old school even for 1989, it could almost be an album from the mid-80s. But this is largely compensated by the natural, charismatic flow of Queen Latifah, whose obvious enthusiasm and presence make for a very solid offering - in addition to finally giving a voice to women in the world of hip hop. All in all a great album. It think it aged surprisingly well – even now that we have a plethora of good female MCs, the Queen is still one of the best.

Pretenders

3/5

Not bad for a first album, a few nice moments. A bit more punk than I would have imagined. I love Chrissie Hynde’s voice, she seems comfortable with a wide range of different styles. It still sounds a bit dated in my opinion, and the songs are really hit-and-miss. I loved « Space Invader », « The Wait » and « Lovers of Today », while tracks like « Private Life » sounded terribly outdated. I spent the album hesitating between a 2* and a 3*... Too bad the grading scale is so limited. In the end it’s probably not an album I’ll listen again, but I don’t think it’s bad, so I’ll go with a 3* for effort.

After The Gold Rush

Neil Young

1/5

Third Neil Young album I come across in this list, and I’m already starting to suffer from Neil Young fatigue. According to the author of this list, he’s apparently as important to the history of music as the Beatles, since he’s been granted just as many albums (7, if you’re wondering) – which I find preposterous. Neil Young is not a bad artist, but let’s be serious for a moment. Anyway. This is clearly my least favorite Neil Young album. For some reason his voice is even more high-pitched and shrill than usual. It made me cringe so much I had a hard time listening to the end ; even my cat was annoyed, and ran away in horror when Neil started to sound like some weird redneck Farinelli. The songs are quite repetitive, following almost the same structure, and a couple of tracks are annoyingly cheesy ("Only Love Can Break Your Heart" was unbearable). I have much respect for some of Neil Young's albums, but this one was terrible. The whiny voice is an instant no for me.

Eternally Yours

The Saints

3/5

An unremarkable but nonetheless pleasant punk album. Nothing life-changing here, it’s neither hardcore nor pop punk - just regular, standard punk music for people who aren’t completely drunk (yet). It lacks a bit of punch and all songs sound pretty similar (as is the case with most punk albums, honestly), but there’s also nothing really bad. Probably won’t listen to it again by myself, but I could at least blast a few tracks at a party without having my friends run away in terror.

Risque

CHIC

1/5

One of the most boring and repetitive albums I’ve come across in this list. Probably a great album if you’re high as a kite and having sex with bikini models at a pool party. But since that never happens to me, I’ll pass.

S.F. Sorrow

The Pretty Things

3/5

I really enjoyed the experience. A nice concept album with a strong psychedelic twist, like The Beatles on LSD. Sometimes a bit chaotic and nonsensical, you have to embrace the crazyness to fully appreciate it (well, I guess I’m a hippie at heart...). Not a game-changer, but I will probably listen again one day. A solid 3* for me.

Master Of Puppets

Metallica

5/5

I've listened to this album so many times over the years that I can't really review it in an objective way. It was one of the first metal albums I ever listened, and it got me through middle-school. Although I love Ride the Lightning even more, I reckon they're both about equal in quality.

On The Beach

Neil Young

3/5

4th Neil Young album... But it’s all right. This one was actually good. Not fantastic – I doubt I’ll ever use that word to describe a Neil Young album – but quite enjoyable, at least. I really prefer Neil Young when he does country-blues or country-rock instead of just pure country (or worse, nasal whiny ballads), so this album was right up my alley. All the "blues" track, and especially Revolution Blues and Vampire Blues, were pretty cool, and On The Beach was a superb song. Still not my kind of music, probably won’t listen again, but I had good time reviewing it.

The Hangman's Beautiful Daughter

The Incredible String Band

1/5

This album should absolutely be used as advertisement for "Drugs are bad". My ears are bleeding.

Ambient 1/Music For Airports

Brian Eno

3/5

I’ve always had an interest in ambient music, an umbrella term that refers to so many different styles (from intricate musical landscapes to utilitarian sound bordering on non-music) that it's hard to define. But I’ve never been a big fan of Brian Eno, who I see as the Edison of ambient music : he received far too much fame just for capturing some ideas in the wild, repackaging and marketing them, while ambient was actually very much alive before him - with much more interesting stuff like Reich’s minimalism, Tangerine Dream's trippy experiments or Vangelis and Jean-Michel Jarre’s dreamy soundscapes. But I'll give credit where credit is due ; "Music for airports" is an interesting piece of ambient. Voluntarily unsophisticated, with simplistic structures and superficial ambiances, it’s specifically conceived to be forgotten. The album is honest, it does precisely what it says it does - background melodies that you can occasionnaly listen to, or not. If you pay close attention, some of the loops can be quite eerie or haunting. I'm not sure it makes airports more interesting (to be honest, it would be funnier if airports played Pantera), but it does at least fullfill its goal. Its musical value remains limited in my opinion, mainly due to its lack of complexity. But it does have a soothing and unobtrusive quality that would absolutely make me play it while painting my garage or reorganising my bookshelves. I’d ideally give it a 2,5*, but I’ll be generous and round it up for its unconventional nature. 5/10

Cosmo's Factory

Creedence Clearwater Revival

4/5

I’m not overly familiar with CCR except for a few select songs, so this was a great occasion for me to finally catch up. What a great find ! It’s an excellent blues rock (or swamp rock ?) album that kept me interested from start to finish. For an album made in 1970, it sounds amazingly atemporal, with influences going back to the early 60s and some very modern-sounding tracks. Not necessarily my favorite kind of rock, but they have an energy and an authenticity that make me crave for more. I’ll definitely come back to this album (and the rest of their discography). Hard choice between a 4 and a 5* - ideally I’d give it a 4,5*.

Music for the Masses

Depeche Mode

3/5

Over the years, I’ve tried to get into Depeche Mode about half a dozen times. It never worked for me – maybe I didn’t listen to the right songs or the right albums ? This time, I tried my best to give « Music for the Masses » a chance. I must admit I was finally hooked. It won’t become my favorite band anytime soon, but the cold, brooding atmosphere of this album really struck a chord, and a few tracks left me a lasting impression despite all my initial prejudices. I had never realized Depeche Mode could sound so similar to industrial. I don’t regret giving it a new try !

3 Feet High and Rising

De La Soul

4/5

An impressive first album that aged relatively well, considering how old-school it is at heart. For new listeners, however, it’s probably hard to measure the sheer novelty De La Soul represented back in the days. They didn’t check any of the boxes rappers were supposed to check in terms of fashion, lyrics and attitude (they were even called the hippies of hip-hop for a while...). The music, driven by the innovative work of Prince Paul, was also a bit of a revolution, injecting new diversity into hip-hop with samples from all over the musical spectrum. Their humorous lyrics, laid-back attitude and festive vibe made them rightly famous. It was nice to refresh my memory on an album I hadn’t listened to in a decade. Still very pleasant in my opinion, even if a few tracks sound a bit dated now. It’s also not my favorite DLS album, I personally prefer their later, slightly darker work. Technically, I’d rate this album a 3,5* - but this list suffers from such a massive inbalance between pop-rock and rap (not to mention other less popular genres) that I’ll round it up to a 4* to make a point.

The Hissing Of Summer Lawns

Joni Mitchell

1/5

This is the second Joni Mitchell album I get on this list. I really disliked the first one. This one is slightly better – mainly because it’s not just her and a guitar. The second song, Jungle Line, is an interesting experiment, and works quite well. There’s a few other nice moments throughout the album – as far as instruments are concerned. I’ll admit it’s creative, and if it was strictly an instrumental album, I may have rated it a 2* or even a 3*... Unfortunately, Joni’s singing completely ruins the experience for me. I can’t really explain why, but her voice just rubs me the wrong way... It doesn’t help that I have absolutely zero interest in the stuff she sings about ; I can’t relate and I don’t care. I know that many people like her, so I’m probably missing something... But listening till the end of the album was almost physically painful for me. I just can’t, sorry.

Vol. 4

Black Sabbath

4/5

What is there to say ? Classic Sabbath stoner-doom sound. Not my favorite Sabbath album, but still a very pleasant one. Some of the tracks were so ahead of their time that half the doom metal bands still use the same kind of riffs 50 years later. Ozzy’s voice is even more high-pitched than usual, which can be annoying, but the band is experimenting with new sounds and it makes the overall experience interesting. Every track is a surprise, and there are some fantastic moments here and there. 7/10

Scott 4

Scott Walker

1/5

Hard pass. I understand what he’s trying to do, but it’s just not working for me. The first song left me hopeful – it had some emotion, and a nice « duel in the sun » vibe... but I found the rest of the album boring. It’s just too cheesy and dated, it feels like something you’d hear at a wedding in the 50s. Well, at least it’s short...

Red Headed Stranger

Willie Nelson

2/5

I used to think I disliked country music, but I have to admit the country albums offered on this list have been reasonnably enjoyable (well, at least I didn’t hate them), and I’m slowly changing my mind in that regard. This album started well with a nice Far-West vibe, and I immediately felt transported to the Frontier in the early 19th century. Listening to the first few tracks felt like sitting on my porch in the desert, watching dust devils and changing shapes in the clouds. Quite a nice feeling... But alas, watching clouds and dust devils also gets very boring after a while. I totally understand the laid-back vibe, it’s nice when you’re in the mood – but a whole album of it is a bit too much for me. When the last track ended I was glad it was over. I have nothing but respect for Nelson, he obviously knows what he’s doing. But it’s the kind of music I can only appreciate at very small doses.

Who's Next

The Who

4/5

One of the few albums from The Who I had never listened before. As usual, it's a great rock album, with a lot of energy and a wide range of emotions and atmospheres. Not my absolute favorite, but still a great offering. The musicians all know what they're doing (that was not always a given in the early 70s...) and seem perfectly at ease with any kind of beat. 8/10

Live At The Star Club, Hamburg

Jerry Lee Lewis

4/5

Not my favorite kind of music, but I must admit it’s a fantastic live performance with an insanely festive vibe. The energy is through the roof, and I totally get why rock’n’roll was such a musical revolution back then. Most of the songs are covers, credited or uncredited, so no point for creativity here – but Jerry Lee Lewis revisits them with a very personal touch.

Tom Tom Club

1/5

I enjoyed « Wordy Rappinghood », it’s funny and playful and doesn’t take itself seriously (fortunately, because this is some Benny B level of rapping). Lorelei is not too bad either, it has at least some originality. But I definitely could have died without listening to the rest of this overly long, dull and repetitive album. It’s the kind of experiment that was probably interesting in the early 80s, but sounds totally irrelevant to me today. A single funky bass line, a couple of coconut drums and silly lyrics are not enough to make a compelling album. « Marchez marchez les hippopotames... »... sorry, just... no. It’s the kind of music you’d expect to hear at 04:00 in the morning at a cheap holiday resort party, after everyone has left and the shirtless old DJ is trying to hit on your drunk mom. I cringed for most of the album after the first track.

What's Going On

Marvin Gaye

3/5

A nice soul offering. No song really stood out for me, but it’s well crafted enough as a whole, the music flows smoothly from start to finish. As usual with Marvin Gaye, it’s oozing with sweetness to the point you sometimes feel like you’re drowning in corn syrup – but since it’s clearly his forte, I can’t really hold it againt him, and anyone probably knows what to expect when playing a Marvin Gaye record. As often with soul music, Jesus is also involved at some point, which I always find a bit weird – but I understand it comes from the gospel roots of the genre, so why not. Not really my kind of soul music (Marvin Gaye has always been a tad too much on the soft & sweet side for me, I like my soul a bit groovier). But it’s still a good record overall.

Garbage

3/5

For some reason I paid zero attention to Garbage when their title album was released in 1995. I guess the mid-90s had so many indie / post-grunge pop-rock bands that it was hard to keep track. I’m glad I filled that gap. Although not my personnal cup of tea, this is an excellent first album, with more talent or originality than many of their contemporaries. It’s a bit too much on the pop side for me, but I like the way they mix many different influences, ranging from punk to trip hop. Production is top-notch (especially for the time), and some tracks sound really modern. Overall a very well-made album that certainly had some influence on later bands. I’d love to give it a 3,5*, but since I can’t, let’s say it’s a solid 3*.

The Velvet Underground

3/5

The hype surrounding the Velvet Underground used to put me off, so I never gave them a fair try in the past - a mistake that is now fixed. Their eponym album is a very decent folk-rock offering with a few twists. I expected something trippier and more experimental, but I still dig the overall vibe. To my own surprise, I enjoyed the ballads more than the rock tracks. Some hypnotic moments here an there. Nothing life-changing, but a pleasant listen.

Jack Takes the Floor

Ramblin' Jack Elliott

3/5

To say that I don’t have a country music culture would be an understatement - I’ve always found folk performers quite hard to get into, mostly because I lack an adequate frame of reference. It’s a very "localized" genre, with its own tropes, mythology and private jokes, most of which I don’t really understand. However, I found this album surprisingly pleasant to listen compared to other country records. It’s got an intimate, mellow atmosphere that made me feel like I was sitting at a campfire in the middle of nowhere. Old-school folk performers seem to have a very down-to-earth relation to their listeners, mixing music with jokes, tall tales and shout-outs, which makes them something of a missing link between itinerant storytellers and modern musicians. Maybe I’m just indulging too much in the old country music mythos, but I did enjoy it. As often with country, however, I also found it a bit repetitive, and the last few songs started to bore me. I probably won’t become a country music fan - but it was still a nice change from what I usually listen to.

Synchronicity

The Police

2/5

I never really got into The Police - a band I’ve always found overrated – but I’m at least familiar with their first two albums, which are decent enough for casual listening. Synchronicity, however, has very few redeeming qualities in my opinion. The punk and reggae influences that made Outlandos d’Amour interesting are gone. It’s a bland mix of easy-listening jazz and rock, with a touch of elevator-quality "world music". The only song I really like is "Mother" (the only one not by Sting...), mainly because its weird unhinged vibe. "Synchronicity II" is almost interesting, but it’s too little, too late. As for the famous "Every breath you take"... it’s so corny it gives me stomach burns. All in all a very forgettable album that only comforts me in my opinion of The Police.

The Healer

John Lee Hooker

3/5

I’m less familiar with John Lee Hooker than I would like, so I was happy to discover this much-vaunted album. The first track left me sightly disappointed, since it had a « happy feeling » that just didn’t do it for me. But the rest of the album was mostly great – especially « In the Mood » and « Sally Mae », which are exactly what I’m expecting from Blues music : deep, slow, harsh and sexy at the same time. All in all a great Blues album, all the more impressing since it was composed when John Lee Hooker was already 72. The numerous featurings are a welcome addition, although not essential to the album. A good 3,5* for me.

Stankonia

OutKast

3/5

Although I never really liked dirty south as a subgenre, I used to give OutKast a pass because Andre 3000 is an absolute beast of a MC. His flow is extremely technical and versatile, making him one of the best MCs of his generation. The three first OutKast albums were solid offerings, with a dark and sober tonality. I’ve listened to AtLiens and Aquemini quite a few times, and they never get old. Stankonia, however, marks a drop in quality in my humble opinion. It’s more pop-ish, loud and messy than their previous works. The production is all over the place, and there are far too many skits. This album is a perfect example of why a good MC isn’t enough to make a good hip hop record – although the flow is still great in itself, it tends to get drowned in a cacophony of sounds. With Stankonia, OutKast is flirting with pop-rap. Kind of a disappointment. The only truly great track of the album for me is "X-plosion".

Siamese Dream

The Smashing Pumpkins

4/5

For anyone who grew up in the 90s, this album sounds like the generic soundtrack of the decade. It’s been imitated so many times that its originality has now been diluted in the giant pool of pop-rock ; but in the mid-90s, every band tried to sound like Smashing Pumpkins (or like Nirvana), and every wannabe singer tried to emulate Corgan’s very peculiar vocal style. The whining voice and the distorted riffs have been done a zillion times by now, but Smashing Pumpkins were indeed the ones to start the trend (or at least introduce it to the mainstream – I still think they sound like a more presentable, radio-friendly version of Sonic Youth). Anyway, it’s hard not to acknowledge that this is a solid rock album with a few fantastic tracks (like Disarm or Soma), and that it had a great impact on its time, However, I’m still not a fan of the lead singer’s whiny voice. It annoyed me back then, and it still annoys me now. I had a hard time listening to the entire album without pause - I’m probably too old to ingest such a huge portion of raw teenage angst in one serving. After a while all tracks just start to sound the same, with the same gimmicks and the same tortured tremolos. I'll still give it a 4* for creativity and influence, and I totally understand people who worshiped this album back in the days. But let’s be honest, I probably won’t listen to it again ; it feels like travelling back in time, it’s fun, but the emotion just isn’t there for me.

Rumours

Fleetwood Mac

1/5

Boring generic pop-rock with as much spice and energy as a boiled turnip. A few interesting blues and disco sounds here and there, but not enough to make the album worthwhile. It's not a *terrible* album, it may have been relevant at some point (in a few songs, you can clearly hear the seeds of the "feel-good" tonality that would later define a big chunk of the 80s pop music), but it's just not for me. I'm pretty sure I'll have forgotten every song by tomorrow. Except maybe "The Chain", which I kind of enjoyed a little. How this album is one of the highest-rated ever on this list is beyond me.

War

U2

3/5

A difficult album to rate for me. Like most U2 albums in my opinion, it's a mixed bag. Some songs are great, while others are more forgettable. "Sunday Bloody Sunday" remains a powerful song to this days despite its overuse over the years, and "New Year's Day", although a bit cheesy, is an iconc hit of the 80s. Listening to it again after so many years, I also gained a new appreciation for a few overlooked tracks (I really enjoyed "Like a Song", and "Drowning Man" wasn't bad), while others remained... meh. I was suprised to see that this album is so old (1983 !). I remember hearing Sunday Bloody Sunday everywhere in the early 90s - a testimony to its lasting popularity. Not my favourite kind of music, but clearly a landmark in the landscape of mainstream rock. It was ahead of its times, and it aged much better than I would have imagined.

Veckatimest

Grizzly Bear

2/5

I had never even heard of the band before listening to this album, so I approached it without any bias. My first impression is that it’s really a melting pot of many, many different influences, ranging from 70s psychedelic rock to Radiohead and everything in between. It’s an interesting effort, and I can’t blame a musician for trying. And it does, at times, succeed : some songs are dreamy soundscapes that managed to surprise me. My second impression is that it sometimes tries to be too many different things at once, and ends up lacking a strong identity. It’s a bit too much on the hipster side, a bit too whiny, a bit too sweet... and I can’t help but thinking « I’ve already heard this before ». It’s really not a bad album, but I can’t rate it as a 3 since I’ve given 3 stars to much better albums before. It deserves a 2 for effort - maybe a 2,2 and a Macchiato, because I have a soft spot for strange dream pop.

Blue

Joni Mitchell

1/5

I was expecting a blues album.... I was sadly disappointed. I don't quite know what to say. I recognize her talent, it's quite well-sung, but it's really, really not my kind of music. I tried very hard to let myself be convinced, but by the end of the album I was bored out of my mind. The instrumentation sounds incredibly basic to my (admittedly profane) ears, and I have zero interest in songs about break-ups and broken hearts. Sorry Joni, nothing personnal. It's not you, it's me.

Live At The Harlem Square Club

Sam Cooke

4/5

A great soul / jazz performance with a lot of heart and energy. It sometimes sounds pretty close to old school rock'n'roll, with a superbly festive atmosphere. Must have been insane to see it live, the crowd is on fire. I usually stay away from live albums since they often sound terrible (and I find the noise of the crowd distracting). This album is better than what I expected in that regard, but the sound is still a bit too murky for me. However, I did a quick comparison between the live and studio versions of the songs ; the live versions are so different from the studio takes that it's not even the same music anymore, so I guess it's worth it. "Chain Gang" was stuck in my brain for most of the day, and I had to give it a second listen. A solid 4* for me, and I can totally understand people who'd give it a 5*. Sam Cooke had fantastic potential, it's sad he was murdered at 33.

Like Water For Chocolate

Common

3/5

A relaxing album with jazzy beats and a very pleasant flow. It feels a bit like the swan song of 90s hip-hop, right before the 2000s turned rap music into something more mainstream. It’s technically good, Common is an interesting MC, even if he doesn’t bring that much to the table in terms of innovation. There was no surprise, no « woaw » moment - just a good craftsman doing his thing, sometimes in a very tongue-in-cheek manner. A few tracks are a bit too funky or RnB-esque for my taste, but I can get over it. I really liked « The 6th sense » and a couple of other songs. I saw some people complain about the length of the album... It’s true that it can feel a bit overstuffed towards the end (« Geto Heaven » was especially annoying), but hey, at least Common isn’t conning us with a 35 minutes album featuring 17 skits and 12 collabs. Would probably listen again, but mostly as background music.

NEU! 75

Neu!

4/5

I don’t know a lot about Kraut Rock outside of Tangerine Dream and Klaus Schulze. This album was a great surprise, I enjoyed it far more than I would have imagined. Weird blend of ambient and psychedelic rock, sometimes bordering on drone music. I loved the first part of the album, the soundscapes were very trippy (although LSD SHOULD have been provided to complete the experience), and more pleasing to the ears than Kraftwerk. The second part of the album was... surprising at first, but it slowly grew on me, and I ended up enjoying its tortured tone. Overall a nice effort, I’m glad to have discovered Neu. I followed up with their first and second albums, which I probably liked even more than this one (especially the first one, which is extremey hypnotic and meditative). I'll give the album a 3*, and add one star for the rest of their (sadly underrated) discography. 6+1/10

The Rolling Stones

2/5

A very average cover album... It’s a bit annoying to see it on this list, not EVERY first album is worth listening. It’s just a Britification of American blues classics, repackaged for the UK. It might have been interesting for a public that had never been exposed to American blues... but now it just sounds derivative. « Route 66 » kind of made me laugh, it sounds a bit weird when sung by a very British person whose most adventurous trip back then was probably taking the train to London. Instruments aren’t bad, but Mick Jagger’s voice hasn’t really matured yet. It’s certainly not terrible, but it doesn’t compare with what the Stones would later become... A 2,5* at best, for historical value. There are much better albums to put on this list instead of this one. Why does it always have to be British ? Why not try a bit of Malian Blues or Tuvan Rock for a change ? The world is a big place...

Electric Warrior

T. Rex

3/5

I was surprised to learn that T. Rex were so big back in the 70s. « Get It On » is the only song that sounded familiar to me – probably something I had heard a few times in movies or tv shows, but never bothered checking out. It does sound fairly modern for its time (the last song especially), although I expected something a bit more dynamic from an album titled « Electric Warrior ». A nice album overall, quite pleasant to listen while drinking my gallon of morning coffee. I'll try to give it another listen in a few days because I feel I might have missed some of its complexities. 6/10

Cheap Thrills

Big Brother & The Holding Company

5/5

A fantastic blues-rock album. I used to prefer her solo albums, but Cheap Thrills may have become my favorite one thanks to its raw and unapologetic vibe. An instant classic ! I see people talk about « psychedelic blues », but there’s nothing really psychedelic here (except maybe the amount of LSD and psilocybin the band was probably taking at the time) – it’s just excellent blues with a Summer of Love twist. The band itself is all right, although not on par with Janis Joplin’s performance. Janis could sing the phonebook and it would still sound sexy and powerful. She carries the whole album on her shoulders with an insane energy that hasn’t aged one bit. 9/10

The Notorious Byrd Brothers

The Byrds

3/5

I knew absolutely nothing about this band before, and I didn’t expect much from what seems like a very dated psychedelic folk band. But it was a pleasant surprise, and I quite enjoyed the album. Sounds a bit like Simon & Garfunkel, but softer and trippier. Some songs are a bit too country for me, but there’s always an interesting psychedelic twist somewhere that make them worthwhile. This is not usually my kind of music, but for some reason it seems to work here (not sure if it’s the band itself or my receptive mood today), and by the end of the album I was almost ready to buy a Volkswagen van and join a community. It gets a bit repetitive – a longer album would have been boring, but this one is really short with mostly 2-minutes song, so it didn’t bother me.

Kings Of The Wild Frontier

Adam & The Ants

3/5

I have no idea how to review this. The whole album is so silly that it seems like a joke. Silly costumes, silly attitude, silly lyrics... It’s almost brilliant in its silliness, and I don’t know if Adam Ant is a misunderstood genius or a scammer whoring for attention. I suspect the second option is closer to the truth... The shameless stealing of the "Burundi drums" doesn’t really speak in his favor. And I’m not talking about cultural appropriation – no, it’s just about copying someone else’s work (without compensation) and taking credit for it... That's just dishonest. And yet, I have to admit I kind of enjoyed this album. I listened to it multiple times because I couldn’t make my mind about it. I started by hating it - then loved it, then hated it again... Now I don’t really know. There are some weird moments and some interesting moments... For some reason I can't get "Ants Invasion" out of my brain. Well, at least it made me think, which is the whole point of this project for me - to get out of my comfort zone. I’ll rate it a 3* for now , but it’s entirely possible I’ll come back to it later and edit my rating. 5/10

A Northern Soul

The Verve

1/5

This list looks more and more like "1001 Albums British People Need to Listen Before They Die"... I’m sorry, but the giganormous Brit-centric (and more generally Anglo-centric) bias is starting to show, and it's depressing. Do I really need to listen to every band that had some small degree of passing fame in the UK in the last 50 years ?... Verve is not a terrible band, and this album is not terrible either. But I really fail to see what it brings to the table in terms of creativity. With about as much punch as a glass of water, it’s rehashed, vanilla pop-rock tailored for radio stations. There are a few dreamy / psychedelic moments that could have been interesting, but they pale in comparison with what Radiohead was doing at the same time. Tolerable as background music, but also entirely forgettable. Certainly not my idea of an essential album. I tried to find reasons to rate it a 2*, but not one song stood out, not one moment surprised me – so no. 2/10

The Velvet Underground & Nico

The Velvet Underground

4/5

It’s hard to review an album that has been so overhyped and overpraised over the years... The last time I listened to this album, I was much, much younger. I didn’t care for it back then (I really can’t remember why), but I enjoyed it far more this time around. Quite a lot of songs – most of all the mythical « Heroin » - sound very Doors-like, so it’s hard not to compare them ; but this album came out only 2 months after The Doors’ first album, so it may not be a direct influence. I think both bands just really managed to capture the spirit of their time, with a mix of sultry blues, psychedelic musings and vaguely disturbing vibes. The lyrics of Heroin must have been a shocker back then (and probably still are today). Overall a great album - thick and hazy as opium smoke, obviously influential, and still very modern by many aspects. I considered giving them a 5*, but it’s a tad too sweet for my taste (the Doors were definitely more unhinged IMHO), and Lou Reed’s voice somewhat still lacks in maturity.

There's No Place Like America Today

Curtis Mayfield

4/5

Loved the discreet funky vibe, smooth arrangements and emotional songwriting. The instrumentation is great, even if it lacks a bit of punch. Not a big fan of his voice on this album, though - I usually love Curtis Mayfield's semi-falsetto, but this time he's going a bit too high for my taste. The album as a whole is a strange mix of social commentary and sexual tension, with a little bit of Jesus thrown into the mix to make it even more confusing. I’m not entirely sure Sexy Jesus is the answer to social oppression, but whatever sails your boat, man. A pleasant listen overall, even if it doesn't reach the phenomenal power of his debut record (Curtis). It’s often corny, but it's so incredibly smooth that my sex-appeal probably increased by 10 % just by listening to this album. A solid 4*.

Drunk

Thundercat

1/5

As a hip-hop, metal and jazz fan, I was excited to see that today's album was made by a guy from Compton, who had played in jazz bands and with Suicidal Tendencies before starting a solo career. I was expecting a wild experimentation in stylistic crossover, and I was really looking forward to it. What I got instead was a pretentious and nonsensical soup of bad RnB, childish lyrics, forced high-pitched voice and Nintendo sounds - a Frankenstein Monster stuck in the Twilight Zone somewhere between "unintelligible rambling", "cringey hipster joke" and "boring elevator jazz". It does indeed feel like being drunk, I'll give him that. He’s also meowing at some point. Literally. Although I’m not sure which is the worst – the meowing, the unsufferable RnB voice or the absurd lyrics about anime characters. My cat certainly shows more depth when he’s meowing at me. At least he’s actually got something to say, and he's actually a real cat. Just to be clear, I'm usually completely on board with weird experiments... That's not what's bothering me here. It's his horribly grating voice and the "hipster ironic vibe". The only thing I didn’t actively hate was the electro / astral jazz vibe. Had it been a purely instrumental album, I might have tried to find something good to say about it... But the singing was so maddeningly irritating that I just can’t be bothered.

Get Rich Or Die Tryin'

50 Cent

3/5

I’ve been an avid hip-hop listener for 30 years, and I never quite got the hype sourrounding this album. When it first came out, I used to hate it for its commercial nature. Later on I mellowed out a bit, acknowledging that it probably did something right in relation to the 2000s zeitgeist. After giving it a fresh listen, I have mixed feelings about it. For the good : this album certainly freshened up the dying gangsta rap scene, after 2pac and Biggie’s death had given the final blow to an already not-so-popular subgenre. With his in-your-face attitude and dark energy, 50 Cent injected a bit of insanity and provocation into rap music at a time when hip-hop was well on its way to become polished mainstream music. The production value is quite good. There are a few gritty and heavy beats that make for memorable anthems, and are still super efficient today. There are also, alas, a lot of very simplistic and noisy beats tailored for clubs and attention-impaired teenagers. As for the bad... Well, 50 is just a pure product of the star system. His career was almost entirely built upon the single fact that he was shot and survived. A huge chunk of his fanbase were just edgy teenage boys who drooled on his bad boy attitude without knowing much about hip hop. This could be forgiven if it was a good album – but it isn’t, not really. 50 just isn’t a particularly good rapper. A full-time member of the Constantly Mumbling school of hip-hop (ok, it’s not his fault, he was shot in the mouth...), he’s got raw energy but little technique. Most of NY hip-hop crews would just chew him and spit him out for breakfast. Why this list picked him instead of steamrollers like KRS One, MOP, Das EFX or Onyx, I can’t figure. A one-album wonder, 50 Cent had a short and disappointing career. Last I heard he was selling vitamin water... which kind of shows what kind of an artist he is. This just confirms that GRODT is a pleasant but superficial album by a bullshit artist who was just lucky to be in the right place at the right time (and in the right hands, thanks to Dre). Still, I understand why he's on the list, and it's certainly not the worst rap record here. 5/10

A Little Deeper

Ms. Dynamite

2/5

Here we go again, UK-centric bias at full speed ! Oh well. Let’s give her a chance... The good : pleasant enough to listen. Nice singing voice, and not a bad rapper either. Production is good, with some catchy samples and clean sound. Nice mix of RnB, rap and Caribbean inflences. A diverse musical landscape with some melancholic moments and a few more dynamic tracks. I liked "Put Him Out", where she sounds like a more polite version of Lil’Kim. The bad : flat, consensual and generic. Clearly tailored for radio and mass consumption (her producers worked on Britney Spear’s album, so it’s not very surprising). Sounds like basically every female pop-rap and neo-RnB act between 2000 and 2010, just slightly better executed. Verdict : a reasonnably talented artist, but a mainstream project somewhat devoid of originality. For someone called "Dynamite", she kinda lacks fire. Maybe it would be better if she got angry and cursed sometimes ? But then the BBC wouldn’t invite her... I’m afraid I’ll have forgotten this album in two days. I’ll give it a 2* though, because I didn't actively hate it as I did a few other albums here. Also – why the hell is this on the list ? This is ridiculous. Ms. Dynamite was famous for about 2 minutes in the UK, she made 2 albums then stopped her career. If she’s here, why not Diam’s ? She’s got twice the number of albums to her name...

Natty Dread

Bob Marley & The Wailers

3/5

I’ve never been a big fan of reggae music – it’s just too slow and happy for me (or I’m too impatient and depressed for it). But even I can recognize that Bob Marley is an incredible musician, so I’m always glad to give a chance to one of his albums. This one was pleasant enough. As usual with reggae, I enjoyed the laid-back vibe for about 2 or 3 songs, then I had to do something else while listening because it was just sooooooo slow... But it makes for good background music if you’re in the right mood. The songs are beautifully written and executed, and I really enjoyed the studio version of No Woman No Cry, which I had never heard before. No idea how to rate this objectively, I know too little about the context. So it’s a purely subjective 3* for me.

From Elvis In Memphis

Elvis Presley

1/5

To me, this album sounds like the textbook definition of "has-been". How anyone could release this two years after the Summer of Love and think it’s still relevant is a mystery. Even in 1969, this was already music for old people. There’s a definite lack of enthusiasm and energy in this album. Presley’s voice has lost its smoothness, and he sounds like he’s constantly mumbling or yawning. The music is average and conventionnal, never displaying any kind of emotion. Add the country vibe into the mix and that’s a recipe for boredom for me... A couple of songs were slightly less bland (like Power Of My Love, where you can almost feel Elvis wake up), but that’s about it. I tried really hard to give it a 2* out of respect for a historical figure of music... but I just can’t, there’s absolutely nothing that excites me in this album.

Apple Venus Volume 1

XTC

3/5

That was... weird. I have no idea what I just listened. I don’t even know if I like it or not, since I can’t decide what it was exactly. I’m not familiar with XTC, so I have no idea about the context. But "cheesy musical theater meets new wave meets psychedelic orchestral pop" was certainly not what I expected when I woke up this morning... There’s not a single song that struck me as something I’d want to save for a playlist or listen on it own ; but at the same time, the album as a whole was super intriguing from start to finish, and certainly made me curious about the band. I’ll give them the benefit of the doubt and rate this album a 3* for now – mainly because I still haven’t been able to process it, and I don’t want to be unfair. I’ll certainly come back to it in a few weeks or months and try to get a new perspective on it.

Born To Run

Bruce Springsteen

3/5

I don’t know much about Springsteen, but for some reason I’ve always had a good impression of him – an unpretentious musician doing his thing without drama. This album (apparently one of his early ones) only confirmed my impression. Although it’s not my musical cup of tea, I can recognize the talent. It’s got heart, and Springsteen sounds like he’s having fun. Musically speaking, it’s a bit overproduced for my taste, but also richer than I expected. There’s a lot of different influences, and I don’t quite know how to define the end product – orchestral blues-pop ? Some instruments sound rehashed and artificial, but you can feel the artist is at least trying to build something that goes beyond consensual country-rock. The result sounds surprisingly modern for a 1975 album. Lyrically speaking, it’s cheesy, but in a honest way. He’s talking to and about the common people (without being a conservative prick, which is in itself a feat when you rely so heavily on the "Heart of America" mythos), and he’s not pretending to be something he’s not. A reasonnably pleasant listen overall, but I doubt I’ll ever come back to it. I’ll give it a 2,5* for effort, and round it up to 3* for honesty.

Mott

Mott The Hoople

3/5

Mott, an alien from the planet Hoople, was saved from a grisly fate by local superhero Frank "Madman" Einstein when the voracious she-alien Zenelle tried to mate with him and eat him. Despite his weird appearance, he’s an overall good guy, and repaid Madman many times over for his help. If you don’t know who Madman is, he’s a zany but lovable hero created by indie comics legend Mike Allred (who is obsessed by cheesy 50s science-fiction, weird religions and underground rock - I think he even was in a band at some point). His comics are extra pulpy, with a notorious retro vibe and feel-good stories... ... What ? Wrong Mott ? Were we talking about the band ? Ugh... Well, they have long hair, they sing about Memphis and Cadillacs despite being from Herefordshire, and their most peculiar trait is being British on an absolutely-not-biased list made by a British guy. Not terrible, but not terribly good either, they’re the David Bowie that Temu delivered to Hereford when City Hall ordered one. Ok, I'm being unnecessarily harsh. I'll give them a 3* because they helped me wake up in a good mood this morning, and I enjoyed the first half of the album far more than I probably should have. There. Can we go back to talking about aliens ?

Abattoir Blues / The Lyre of Orpheus

Nick Cave & The Bad Seeds

4/5

Interesting double album that I was only half-familiar with. It’s a bit hard to review, since the two albums are quite different from one another... It’s like taking a long walk in a palace with dozens of rooms (and two very different wings). Some rooms are crumbling and decayed (Baby You Turn Me On sounds like much earlier Nick Cave), others are surprising and flamboyant (the opening title Lyre of Orpheus for instance, which I find magnificent) ; some are silent and deserted, others are full of people having an orgy (the crescendo in Hiding All Away is incredible !). I massively prefer Lyre of Orpheus – an intense, moody and soulful album, which is probably one of Nick Cave’s masterpieces. The atmosphere of the whole album is incredible, with a lot of subtleties and a passionate vocal performance. Abattoir Blues doesn’t make as deep an impression. It sounds more conventionnal, but its lowkey art rock vibe grew on me in the end. It’s well crafted and executed, and there is enough diversity between songs to keep the listener curious. Very nice overall. I will absolutely come back to it. A strong 4* (I would have given a 5* to Lyre of Orpheus alone, and a 3* to Abattoir Blues alone).

Pink Moon

Nick Drake

3/5

I had never heard of this artist before. At first I found the music rather flat and emotionless, but it slowly grew on me. "Things Behind The Sun" was a turning point, and convinced it was actually good. The emotion is there – it’s just low-key and subdued, the listener definitely needs be in the right state of mind and take the time to fully appreciate the general tone and mood of the album. I can recognize the talent ; I understand why it’s on this list, and I definitely understand how this would speak to some people on a very fundamental level. But from a personnal point of view, I have a hard time relating with the lyrics and the emotions the artist tries to convey. Maybe I’ve never felt depressed or melancholic enough ?... It’s not something I’d listen again anytime soon, but I’m glad I gave it try. It’s pretty short anyway, so it never overstays its welcome, as too many album do.

The Nightfly

Donald Fagen

1/5

Yacht rock (or jazz) at its finest : annoyingly clean, bland, derivative, and as exciting as gossiping about the neighbor’s latest affair while sipping on a watered-down Margarita. This is music for people who have no musical preferences, and will just listen to anything that’s playing in the background – as long as it’s polite and inoffensive enough to be immediately forgotten. I was sooo not surprised to see that Donald Fagen is one of the guys from Steely Dan... Because of course he is. These guys apparently come from an alternate reality where the quality of music is judged by its ability to lull people to sleep. And Donald is the best there is : with the musical personality of a paperclip, he can take any instrument, any musical style, and turn them into something so boring and emotionless that you’ll think Brian Eno’s "Music For Airports" is a punk album. I’m sorry, I just can’t. Soft rock needs to stay buried. 0/10

Electric Prunes

The Electric Prunes

2/5

A weird album. The songs are all over the place, with good rock tracks, some nice psych moments and a few crazy experiments. There’s even a soft ballad... It’s like they were still struggling to find a clear identity. I didn’t hate it, but it wasn’t memorable either. The whole thing sounds like a pure product of its time (right before the Summer of Love), and it didn’t necessarily age well. "I Had To Much To Dream" and "Sold To The Highest Bidder" are good songs, but the B-side lacks inspiration. I’ll give a 2* to the album as a whole. But I respect the effort. They made me curious though, so I checked their other albums. Their later works are somewhat more interesting. "Just Good Old Rock and Roll" is exactly what it says it is, and "Mass in F Minor" is pure psychedelic insanity. Both would probably have been a better choice for this list. It’s a pity the 1001 list is so obsessed with first albums, even when they’re clearly not the best.

Justified

Justin Timberlake

1/5

Party music for horny teenagers. Designed by studio execs, produced by committee and performed by an obnoxious manchild who can neither write nor create his own music, it's more an industrial product than an album. Even the Neptunes’ production felt derivative (the blatant "Paint It Black" rip-off in "Nothin’ Else" being the cherry on top). Not only is the end result a torture to listen – it’s also everything I despise in music. 1/10

Otis Blue/Otis Redding Sings Soul

Otis Redding

5/5

An instant and definitive soul classic. I usually would not give a 5* to an album featuring so many covers, but it's just perfectly executed from start to finish, there's not a single weak track. I can put it on a loop and listen all day long. 10/10

The World is a Ghetto

War

4/5

This list has been really generous to me as far as soul music is concerned ; War is yet another great discovery I wouldn’t have made without it. I had never even heard the name of the band, and even if I had, I wouldn’t have guessed it was a soul-jazz formation (as naming conventions go, I would expect something like « The Fantastic War Ensemble and Their Amazing Cousins »). Anyway. It’s a really convincing mix of jazz, soul and funk, sometimes going into psychedelic territory. The experimental approach is typical of the early 70s funk and free jazz scene, but they also bring strong soul roots to the table. Totally works for me ! On the downside, the jazzy parts were a little weak (the sax was super cheesy), and the album as a whole sometimes sounded too much like a technical exercise, somewhat lacking fire. I’m totally going to listen to the rest of their discog though. A solid 4* for me.

The Specials

3/5

The kind of album I had never listened in full, but had already heard half the tracks somewhere without knowing the band’s name. It was nice to finally listen to the original opus. I’m not big on ska and reggae (mainly due to the inherently repetitive nature of the genre), but this album is indeed full of classic anthems. Loved the youthful energy and the 60s retro vibe, which creates a weird mix of nostalgia and teenage rebellion. A solid 3* for effort and originality.

Sign 'O' The Times

Prince

2/5

I’ve always liked the Prince persona more than his actual music, and this album only confirms that view. It’s not a bad album per se (although not as good as Purple Rain in my opinion), but it’s definitely not my kind of music. While I’m sort of impressed that he managed to make an entire double album with little more than a drum machine and a synthesizer, I found the overall production terribly dated. Not only does it sound awfully 80s, it sounds like early 80s, with all the worst gimmicks of that time period. I find the constant claps and breaks painful to listen. I’ll admit there’s a wide variety of styles involved, Prince is clearly at ease with almost any genre. However, too many of these genres are of the kind I dislike – like Rn’B, my personal Nemesis. The only redeeming grace of this album is Prince’s voice, which is as warm and sexy as ever. I’ll give it a 2* for effort and objective talent, but I honestly took very little pleasure in listening.

Live!

Fela Kuti

4/5

Now THAT is right up my alley ! Been waiting this stuff for a while. Fela Kuti is one of the music giants of Africa, and he fully deserves a place here as the godfather of Afrobeat. Considering his giganormous discography, however, I find it odd that this list chose to pick a live album that is neither his best nor his most iconic. It’s probably because there’s a Western musician involved... Music critics are notoriously timorous when exposed to non-Western music, and need to be reassured by familiar names. This album is still a fascinating example of how African music, after changing and evolving in America, gave birth to gospel, jazz, soul and blues, then came back to Africa thanks to artists like Fela, and was once again mixed with indigenous music to create new sounds. I’m usually not big on live albums, but this one is really good. It’s full of energy and super groovy. The various influences blend seamlessly together, backed by haunting beats. My only gripe is the relative lack of vocals – Fela doesn’t sing a lot, and when he does it’s often low-key, mostly eclipsed by the instruments. It’s a pity because the first song clearly shows how powerful he can be. As a result, I found the album to be a bit too much of an instrumental performance (especially the last track with its dizzying drumming duel). Still a great concert, a strong 4* for me.

Sunday At The Village Vanguard

Bill Evans Trio

4/5

A warm and beautiful jazz album. The fact that it’s a live recording is irrelevant, since you barely hear the crowd. I’m not a big fan of this kind of trios, I usually like my jazz with at least some horns peppered on it. The complete absence of horns throughout the albums makes it a bit too quiet for me, and I often end up listening as background music – which is a shame, because the piano is amazing and clearly deserves the listener’s full attention. But whenever I make the effort to listen with focus, I’m awed by the subtlety of Bill Evans. The bass and drums offer a solid performance as well. My only regret is that it’s always so perfectly contained. I wish they’d go a bit crazy sometimes. 8/10

Nevermind

Nirvana

5/5

A no-brainer for me. I won’t even pretend to review it impartially, since it was one of the defining albums of my teenage years. Although I was never part of the weird cult that developed around Kurt Cobain, Nevermind blew our collective minds when it dropped, and made every other rock band sound like dad rock. This was the music we were waiting for without even knowing it – a perfect embodiment of the jadedness, cynicism and muted anger that made up our specific brand of teenage angst back in the 90s. When this album popped up on the list, I realized I hadn’t actually listened it in full for years. I was apprehensive, because I was not sure how well it had aged, and I didn’t want to be disappointed. Fortunately, I wasn’t – it’s still awesome from start to finish. I even gained new appreciation for a few underplayed tracks that I used to overlook. I was also surprised at how incredibly cohesive the whole album sounds, navigating with ease between different styles and moods without ever losing its strong sense of identity. Maybe it doesn’t slap as hard as back in the days. Maybe it’s not perfect. But it was the right music at the right time, and it paved the way for many good things. And there’s a hidden track !! Kids who didn’t grow up with CDs can’t begin to imagine how exciting it felt to discover a hidden track (usually by chance, when your CD player suddenly started blaring at you after 10 minutes of silence). 9/10

Joan Baez

2/5

Nothing surprising here if you know who Joan Baez is. I can appreciate her voice (although I understand how it would sound annoying to some people), and the songs are mostly light ballads, so it was not unpleasant to listen. I’m not into that kind of music at all, but at least she’s not as whiny and full of herself as Dylan. I don’t know enough about the context to understand precisely what kind of role she played in the folk revival, but it was certainly a laudable effort for a 19 years old girl. Her specific brand of folk music leaves me mostly indifferent, and the songs all sound the same to me (except Donna Donna). But it was all right as a morning album. I’ll rate it a 2* for effort, but I won’t listen again. 3/10

Green Onions

Booker T. & The MG's

4/5

Smooth like honey ! I wasn’t entirely convinced at first, it seemed a bit lacking in complexity. But I think it’s because it flows so naturally that you kind of forget you’re listening... I ended up playing it three times in a row, and when you really pay attention, it’s actually slicker than it appears. But I’ve always been very partial to the fuzzy vibe of the Hammond organ, so I may be biased (on that note, Booker T. mentions in an interview that he was heavily influenced by Jimmy Smith, whose album "Back To The Chicken Shack" popped here some time ago. This list is starting to make sense !). Nevertheless, it’s a nice mix of jazz and blues that prepped the stage for the birth of soul music. Everything is already there : the warm sound, the groovy instrumentation... They only needed a smooth voice to sing over. In this particular case it would really have helped the music shine, and I can think of a couple of singers who would have totally killed it on these tracks. The lack of vocals is clearly the reason why it sounds a bit flat after a while. Still a strong 7/10 for me.

Youth And Young Manhood

Kings of Leon

3/5

A nice surprise for me, I didn’t expect to enjoy it that much. I always thought KoL were just another late pop-punk clone, but I was wrong, the addition of the Southern blues-rock vibe to the punk act is indeed an excellent idea. A lot of catchy songs here, and a lot of energy. The lead singer should absolutely stop trying to imitate Janis Joplin, though. It doesn’t work and he sounds ridiculous (it absolutely ruins Trani, a song that would otherwise have been great). Even when he sings normally, I’m not a big fan of his voice anyway. A hard choice between a 3 and a 4*. It would have been a perfect 3,5*... I tried listening again in the evening, but a second listen was too much, and I found myself bored. It just lacks a little something I can’t define to make me really excited. 6/10

Live At Leeds

The Who

2/5

I listened to the original 6-tracks release. It’s a good live album, no doubt about that. The Who had great energy on stage. I kind of understand why this record would be included on the list, since most tracks are not featured on any other album. Even My Generation, the only album song, is a 15-minutes epic so different from the original that it’s worth a listen (even though I prefer the studio version - this one sounds a bit too much like 3 or 4 songs crammed into one, and it's so stretched-out that it becomes tedious after a while). But one listen was enough, and I doubt I'll listen to this live ever again. In addition, I don't think Live At Leeds is truly "essential material", it feels a bit like a placeholder. It’s a very short record, and there’s already quite a few Who albums here. This space would have been better used by giving a chance to another artist not represented on this list. I considered rating it a 3* at first, but I’m substracting 1 star for this reason. 4/10

Grace

Jeff Buckley

3/5

Back when I was a stupid teenager, I would have laughed at the idea of listening to Jeff Buckley. It was music for chicks who kept diaries or people who were scared of loud music. So I was kind of happy to see this album pop on the generator today – I could finally prove that I was now a sensitive adult with complex emotions and a nuanced understanding of life ! Well, as it turns out, being an adult is overhyped. Don’t get me wrong, I’ll gladly admit that Jeff Buckley was a very talented artist. His voice is a perfect example of the "soft whispers / broken voice / anguished screams" rollercoaster style of singing that was the mid-90s trademark, and he definitely influenced a lot of musicians. The production is rich and well-polished. The title song "Grace" is indeed amazing, and belongs to the best of what the 90s had to offer. That being said, and despite his talent, Jeff Buckley constantly reminds me why I usually dislike the singer-songwriter "genre" (or whatever you call people singing sad songs without crediting the band). It’s an inherently self-centered, self-absorbed genre that relies on a limited set of tools (but mostly the voice) to convey emotions that are invariably sad and whiny, and almost always about the singer himself. It’s not very subtle, and I find this constant emotional outpour exhausting. It’s basically music to cry yourself to sleep. It gets even worse for musicians who died young like Buckley (with bonus points if they were hot) – people are constantly ranting about how sad and tragic it is, as if their unfortunate (but entirely avoidable) demise somehow made their music better. It doesn't, and I wish people would stop abusing and overusing the word "tragic". So yeah... Nice album, but super overrated in my opinion. I like emotions to be subtly alluded to, not shouted at me. I’ll give it a 3* for talent and influence – but it’s clearly not something I’d listen again, I just can’t relate with all that drama. 6/10

Buffalo Springfield Again

Buffalo Springfield

3/5

"Psychedelic country" was not something I expected when I woke up this morning... An interesting listen, to say the least. I don’t usually like country music, and I’m not a fan of Neil Young’s voice – I find his particular type of nasal droning quite exhausting. But this album is a weird mix of influences (including attempts at imitating the Beatles ?...) that sometimes blend well together, and sometimes don’t. It’s a bit rough around the edges, with a few good songs and some weaker ones, but I salute the effort. Although I’m not sure it played an essential role in the history of music, it’s at least original, and I enjoyed it as background music. 5/10

Tommy

The Who

4/5

I already knew this album, but I was glad to give it a refresh. I enjoyed it far more this time than the last, partly thanks to this list and the new perspective it gave me. I don’t care much for "rock operas" in general. It’s a nice concept on paper, but I think it’s almost inherently doomed to fail - mainly because it’s usually too long, which dramatically increases the chances of having a ton of filler or weak songs. You also need a lot of time on your hands to appreciate them : it's meant to be listened as a whole, it makes little sense to just play a couple of tracks ; but not everyone has the the time or the mental space to sit through 75-90 minutes of music. Very few bands can pull it off – even the masterpiece that is The Wall is a weak link in the otherwise perfect discography of Pink Floyd. However, The Who kind of did it right. They obviously drew a lot from The Pretty Thing’s S.F. Sorrow (Pete Townshend denied it, but I don’t believe it for a second), another contender for the "reasonnably well-done rock operas" hall of fame. The Who added a layer of professionalism to the more dilettante approach of SF Sorrow, but also lost a bit of the crazyness in the process. Tommy is better structured (less LSD, probably) but also less spontaneous. I couldn’t care less about the "story", to be honest ; but I really loved the construction and the overall mood of the album. It’s musically very competent and well-balanced, alternating quiet, psychedelic and dynamic moments with gusto. The long psychedelic tracks like Underture are my favorites, and the short instrumental intermissions are very well done, giving the listener time to breath between the songs. There are a lot of awesome tracks, especially towards the end, and almost no bad song, which is remarkable. And I love the cover art ! I probably won’t listen to this record very often despite its obvious qualities, mainly because it's too long and convoluted (even a bit chaotic at times) for a casual listen. But it is indeed a landmark album. 8/10

xx

The xx

2/5

I was not too surprised to learn that they first made a name for themselves by licensing their music for TV... It does indeed sound like the soundtrack of a hip Netflix series about angsty young Londoners. I kind of enjoyed it as background music. The gloomy atmosphere grew on me after a while, and there’s definitely a couple of nice loops here and there. But the beats are too minimalist for my taste, and the affected, blasé vocals are a bit annoying. It feels a bit empty, like comatose music for hungover people, and the whole band seems to be on the verge of passing out. Maybe they needed another X ? 4/10

Elvis Presley

2/5

I never got the Elvis hype. It might be a generational thing, or maybe just my own personal sensibility, but I never managed to enjoy his music. I still did my best to give a chance to this album. To make things simpler, I’ll just go with the questions I usually ask myself when rating an album : 1) Is it original ? Not really. This album is entirely made of covers, there’s not a single original song. Elvis was a great showman and performer, but not a songwriter (I don't think he ever wrote or composed a single song in his career). That leaves only his voice, which is nice enough, but hadn't fully matured yet in this album (by his own admission). 2) Is it important in the history of music ? Certainly, although not necessarily for good reasons. I can fully believe that if you were born in 1940, this record would have sounded groundbreaking – especially if your parents didn’t let you listen to black music, and all you could access was sanitized radio stations. It was indeed the first rock'n'roll album to get that kind of success. But the more I listen to early 50’s rockabilly, the more I realize how little Elvis actually invented, and how much better were the black artists (and a few white ones) who came before him, and yet never got as much credit. I’m certainly not blaming Elvis himself - he didn’t invent segregation, and he genuinely loved rythm'n'blues. And the fact that he became the “white face of rock’n’roll” at least helped this kind of music become acceptable to a mainstream audience, an evolution that would eventually also benefit black musicians. But in an ideal world, Elvis would never have become “the King”. 3) Did I enjoy it ? A little. He gets the job done, but I find his energy underwhelming, especially compared to Little Richard’s debut album. Just listen to both versions of Tutti Frutti back to back – there is absolutely zero doubt who is the greatest artist... As for the folksy bits, they just bored me. 4) Will I listen again ? No. If I ever crave 50s rock’n’roll again, I’d rather listen to Chuck Berry, Little Richards and Fats Domino. Maybe they didn't have that special "smooth voice" that Elvis developped later in his career, but they are in my opinion infintely more powerful. Overall, a record I’m glad to have listened once for its historic value, but not something I’ll remember or care for in the future. This album's biggest merit is to be a first album. 4/10

Blood On The Tracks

Bob Dylan

2/5

Third Dylan album on this list for me (4 more to go, apparently...), and I’m still not convinced. I still dislike his nasal voice and his singing style, and I still have little interest in his stories. I guess I’m simply not receptive to his so-called poetry (I’d rather just read *actual* poetry). I’ll admit I’m biased though, since “singer-songwriters” have always mostly bored me – people droning about their life and heartbreaks in a soft voice just don’t interest me that much. It’s not Dylan’s worst offering, though. The instrumentals are more polished than in some other albums, and at least this one doesn’t constantly assault you with shrill harmonica sounds. As usual, the only songs I really appreciated were the bluesy ones, like Meet Me in the Morning. His folk songs are kind of all right, but they all sound the same to me. So yeah, I didn’t hate it. But I know I’ll have forgotten most of it by tomorrow. 3/10

Tom Petty & The Heartbreakers

Tom Petty and the Heartbreakers

3/5

A very unsurprising album – it sounds exactly like its (terrible) cover art : a bit kitschy, a bit dated, and quite tame despite its attempts at projecting a bad boy image. It was probably ahead of its time, already feeling like proto-MTV music in 1976. It clearly shares common DNA with mainstream rockers like Bruce Springsteen or Bon Jovi, who even has a similar heart logo (one that seems specifically designed to boost the income of second-rate tattoo parlors). It’s clearly built around a few hits and tailored for mainstream radio stations, and there is little innovation or risk-taking – it’s purely feel-good, unpretentious music. It hasn’t aged very well, but I kind of enjoyed it on a nostalgic level. Maybe I was in the right mood, but it was not an unpleasant experience. It’s easy-listening enough, and it’s a short and straightforward album that does exactly what you’d expect from it, without overstaying its welcome. 5/10

Band On The Run

Paul McCartney and Wings

3/5

Not fantastic, but not bad either. A few songs sound surprisingly modern (“Nineteen Hundred and Eighty-Five” could absolutely have been made in...1985), McCartney clearly shows he can be creative when he wants. There’s some nice riffs here and there, and a few really surprising sounds (the first couple of minutes of Band on the Run sound downright funky, Zoo Gang could be krautrock, the opening of Let Me Roll It almost has a stoner rock feeling...). The best bits are actually the ones where McCartney stops trying to be an ex-Beatles and just does his own thing. Unfortunately, there are not enough of these moments – too often, it’s just the intro, or the first half of a song... then he reverts back to form, turning what could have been a great track into more conventional pop-rock. It’s a pity he didn’t go all the way, it could have been a much better album with a little more risk-taking. Nice effort, but I'm not sure I’ll listen again. 5/10

Frampton Comes Alive

Peter Frampton

1/5

Another artist I had never heard of, but who was apparently huge in the 70s. It makes me once again realize the extent of my ignorance. While I’m glad I could tick another box in my “stuff I needed to learn about” list, I can’t say I enjoyed it. I’m sure this album was relevant at some point, and Frampton is certainly a competent guitarist (although not a very good singer), but it hasn’t aged well in my opinion. This kind of music has been so rehashed over the years that it just feels super generic now. It’s too cheesy for me, and the fact that it’s a live album (and a super long one at that) is not helping – the good parts, like the surprising “talking guitar” in Do You Feel Like We Do, are drowned into an ocean of average stuff. The recording quality is dubious, and the "soft ballads" are terrible. I had a hard time finishing it. And then there's the dreadful cover picture, where Frampton looks like he's either dead or masturbating... I considered rating it a 2* for historical value, but I was so bored by the end of the album that I just can’t. 2/10

Dusty In Memphis

Dusty Springfield

3/5

A complete discovery for me. I had no idea “Son Of A Preacher Man” was originally sung by a British artist. Blue-Eyed Soul is not my favorite kind of soul, but Dusty Springfield has a charming voice, and the instrumentation is nice ; it feels cinematic and yet intimate at the same time. I enjoyed most of it. However, I can’t shake the feeling that it’s a sanitized version of American soul music. It somewhat lacks the grit and intensity that made me fall in love with Aretha, Ann Peebles or Roberta Flack, it's a bit too clean and polished for me. “Son Of A Preacher Man” and “Windmills Of Your Mind” are great songs, but the other ones didn’t move me that much. A nice listen overall, but it could have been better. Not memorable enough to deserve a 4*. 6/10

Pretzel Logic

Steely Dan

2/5

I could fill a whole essay with the numerous reasons why I dislike Steely Dan, but I don’t have the energy. Let’s just say their music irks me on a very fundamental level, and makes me want to hit someone in the face with a shovel. I have no problem acknowledging they are technically very competent, but that’s irrelevant. Many artists can produce technically perfect music and still be as exciting as a piece of cardboard. I’ll even admit that it’s the least unsufferable Steely Dan album I’ve listened so far. The instrumentals are generally solid ; but I really hate Donald Fagen's soulless singing. The only song I really loved in this album was East St. Louis... which is actually a Duke Ellington cover. All the other songs are just too dull and emotionless for me to care. 4/10

Brothers

The Black Keys

2/5

Is this supposed to be a parody ? Because it sounds as if a couple of college students met in a basement and tried to ironically recreate the blues records their dads used to play when they were kids. It’s a pity because I was ready to love this album. Blues meets garage rock – what could go wrong ? As it turns out, quite a few things. The production is bloated and loud ; sound is sometimes so saturated that I had to check if there was a problem with my speakers ("Never Gonna Give You Up" is barely listenable, it’s like listening to static). The blues vibe is so overdone that it’s almost caricatural. I’ll admit there’s some nice beats here and there. As tired and rehashed as they may be, the old blues tropes are still working to some extent, and The Black Keys did manage to inject a couple of new ideas into them (I found "Too Afraid To Love You" quite original). It’s good music for drinking in a pub, but it quickly gets tiring. Most of the songs are very formulaic, reusing the same gimmicks over and over again. One hour of this was just too much for me. 4/10

Brothers In Arms

Dire Straits

3/5

The literal definition of "dad rock" for me, since my dad owned the album and played it constantly back in the days (it was probably one of the first CDs he ever bought). Since I'm all grown up now, I guess that actually makes it granddad rock... As a kid, I used to find it dull. Over the years, I learned to better appreciate Dire Strait’s musical competency – but it still never really struck a chord with me. This time around was not very different. They’re good at what they do, no question about it. But most of the songs don’t really excite me ; no matter how seriously I try to listen, they tend to just fade into the background after a while. I did however appreciate a couple of songs that I had totally forgotten over the years, like "The Man’s Too Strong". The album also features a lot of interesting experiments with various instruments, something that I had completely missed back in the days. That alone makes this record worth a listen. I’ll give it a 3* for overall quality, and because Money For Nothing remains a true anthem. But I doubt I’d spontaneously listen to it again. 5/10

Felt Mountain

Goldfrapp

4/5

Loved it ! Goldfrapp somewhat came late to the trip-hop party, but they certainly brought something to the table in terms of inovation. While Alison Goldfrapp is not my favorite singer, she’s comfortable with all sorts of vocal experimentations, from trip-hop to ethereal / dream pop and post-rock. There’s a touch of Cocteau Twins here, a bit of CocoRosie, and even a splash of something like Sigur Ros. Will Gregory (who has worked with a ton of talented bands in the past) managed to create a unique atmosphere, experimenting with a wide range of samples and real instruments (props for using a theremin and a crank organ !). The production still feels a bit rough around the edges, but I really enjoyed the cinematic vibe and cabaret influences. I could absolutely imagine them doing an album (or a movie OST) with Ute Lemper. Can’t go as far as a 5* because a few songs still feel a bit unfinished, like they ran out of ideas before the end... But I’m definitely adding this to my rotation. It's a pity they later evolved towards a more synthpop style, something I'm not really fond of. 7/10

Private Dancer

Tina Turner

1/5

Powerful voice... but unfortunately not much else is going on for me in this album. I have zero interest in the instrumentals (that seem to be little more than electronic drums and a cheesy synth). The production sounds like the worst of the 80s, it’s almost painful to listen. I tried to find reasons to give it a 2*, but I just couldn’t. I have nothing but respect for Tina Turner, she might have been an icon at some point in the 80s, but I can’t find any musical excitement here. Her voice is the only redeeming feature of this snoozefest. It should be clear by now that Tina Turner’s most magnificent contribution to pop culture was ruling the Thunderdome. 2/10

OK Computer

Radiohead

5/5

A true masterpiece, probably one of the greatest and most inventive soundscapes of the 90s. I've listened to this album a dozen times over the years and I'm always amazed by its depth and complexity. So many different layers of sound, so many influences are blended here - and yet there's a unique identity that you immediately recognize even after a few notes. I can understand why so many people would consider it depressing music. But I've listened to my share of depressing music over the years, and for me this ain't it... Sure, there's a couple of very dark songs. It's a soul-crushing album about alienation that shows very little hope. But it all gets sublimated into a higher sense of peace and beauty, and in the end it sends more of a bittersweet vibe. It's all very subjective, of course... Not necessarily my favorite Radiohead album, but absolutely worth a 5*. 9/10

Who Killed...... The Zutons?

The Zutons

2/5

I liked the retro vibe, especially in the first song. Unfortunately, the whole album relies on the same gimmick, so it quickly become repetitive. It's fun and unpretentious, but it's also so tame and conventional that it fails to really grow a personality. I enjoyed listening, but I know I won't remember anything in a few days. I considered giving it a 3*, but ultimately it feels more like a weird attempt at resurrecting Britpop than something that was truly relevant in 2004. Or like ironic music for mustache-twirling hipsters. Not sure why it needed to be on this list. 4/10

Dirty

Sonic Youth

5/5

I have fond memories of this album. I remember buying it as a teen in 1992 without really knowing what it was ; it completely blew my mind, introducing me to noise rock, distorted guitars and post-punk imagery. Sonic Youth played a more seminal role in my musical education than the grunge movement, and Drunken Butterfly still sends shivers down my spine. I hadn't listened to Dirty in a decade, but I still enjoyed it this time around. I really love Kim Gordon's weird vocals, and the demented, dreamy guitars still hit me hard. It is indeed one of the most polished and accessible SY albums ; it's not as messy and experimental as some of their previous works, but it gained them a lot of credibility as a solid alternative act, and paved the way for mainstream acceptance of hyper-saturated sounds (without which a lot of mid-90s bands would have remained underground). It's not a perfect album, but it's pivotal by many aspects, and it will always feel special to me. I would objectively rate it a 4*, but I'm adding a star out of sheer nostalgia. 9/10

Bitches Brew

Miles Davis

5/5

Now that's my kind of jazz ! A gorgeous dreamscape with just the right mix of classic and experimental, complex structures and mad improvisations. It's hypnotic and meditative, sometimes even bizarre, but always vibrant and soulful. The electric elements blend perfectly with the more traditional instruments, and the line-up is insane. Even the cover art is beautiful. Truly a masterpiece ! It's a very laid-back and atmospheric album overall, absolutely not as messy or chaotic as some people make it sound (often in weirdly angry reviews, as if they felt personally attacked). If that's too strange for you, you clearly haven't listened enough music in your life. There are far, far more bizarre things out there... One of my favorite Miles Davis albums. I'm looking forward to his more conventional works as well, jazz is tragically under-represented on this list. 9/10

Fear Of Music

Talking Heads

3/5

Talking Heads is one of those bands I've always heard about but never took the time to listen. I know they have a cult following, so I was glad to finally give them a try. It was not what I expected, and I'm still in the process of digesting what is clearly a generous album. Overall, I'm not sure I really like it, but it's mostly because art rock never struck a chord with me. The band is competent and inventive, with some stunning instrumental moments, and I don't have anything bad to say about them. There's a ton of different influences here, and they do blend quite well together, creating a unique, slightly unhinged atmosphere. But it's a tad too much on the pop side for me, and not as weird or experimental as I had hoped. I really loved a few tracks (like the magnificent Memories Can't Wait), while some others left me indifferent. To sum it up, it's a great album in a genre I don't really enjoy. I can appreciate it intellectually, but emotionally it doesn't do much for me. I'll gladly give their other albums a try though. 6/10.

Superunknown

Soundgarden

4/5

A solid grunge album I had somewhat neglected back in the days. It was nice to hear that unique mid-90s sound again. Even if it's not my favorite track (I'd probably go for Limo Wreck instead), Black Hole Sun remains an essential grunge anthem. The muddy, gritty guitars totally kick ass, and the vocal parts are amazing. There's a wide range of styles and tempos, with some sludgy moments and some downright hard rock tracks, so the album never gets boring despite its length. It only lacks a special little something I can't define to get a 5* - let's say it's great, but falls short of being genius. 8/10

Toys In The Attic

Aerosmith

3/5

I had a very brief interest in Aerosmith when I was 13, but I outgrew them as soon as I discovered real hard rock and metal. Listening again decades later, I'm amazed at how tame they feel. It's much more old-school and conventional than I remembered. Not terrible, but not terribly good either, they sound a bit like a discount Led Zeppelin. That being said, I still enjoyed hearing them play with old standards ; tracks like Big Ten Inch Record are a lot of fun. A very forgettable album overall, but I still had a good time. 5/10

Raw Power

The Stooges

4/5

Amazing punk album with kick-ass guitars. Pre-Berlin Iggy rocks like an angry teen with no future, but can also turn into a Tom Waits-like crooner with tracks like "I Need Somebody". Not a perfect album, but I had a ton of fun listening. Great music to get drunk and piss on your asshole neighbor's car. 7/10

A Date With The Everly Brothers

The Everly Brothers

2/5

I'm usually not interested in this kind of music, but it was still fun to listen. It's a pure slice of American history, so dated and typical of its time that it almost sounds like a parody. It also made me wonder how the music we love today will be perceived in 60-70 years. Probably just as cheesy and dated, for the most part... Musically speaking, they sound like a competent act, if you're into this very specific genre. I liked the old-school blues and doo-wop vibes. The vocals are all right, and a couple of tracks (like Sigh, Cry...) remain surprisingly catchy. They kind of grew on me after a while, and I enjoyed it more than I expected - even though it was probably more out of curiosity than for its musical value. Certainly not something I'd come back to, but I can understand their appeal back in the days. This kind of band was already an endangered species in 1960, though. The rock'n'roll tsunami would soon make them irrelevant. 4/10

Nilsson Schmilsson

Harry Nilsson

3/5

I had never heard of this guy, it was an interesting discovery. The nickname "American Beatle" is appropriate, there's an obvious spiritual similarity. I enjoyed it overall, it's fun and unpretentious music with a weird twist. Vocals and instruments are good, ranging from "competent" to "slightly unhinged". The songs are a mixed bag, I liked half of them (especially Gotta Get Up, which has been stuck in my head for two days, and the almost psychedelic Jump Into The Fire), but the other half were boring (Moonbeam Song is terrible, and don't get me started on the coconut song...). Without You is cheesy, but in a good way ; I only knew the Mariah Carey cover before, I didn't even know it was a cover. Not exactly a masterpiece, but still a nice little slice of 70s pop-rock. 5/10

Rio

Duran Duran

3/5

I would usually dismiss this kind of music as typical 80s nonsense - but in this particular case, Duran Duran proved me very wrong. This is synthpop done right : production is top-notch, and the synth sounds are not just a stupid gimmick, but an organic part of the music. The band doesn't shy away from various sonic experimentations ; it's a pity they didn't go far enough in that direction : they were clearly onto something, but kind of decided to stay on the beaten tracks of pop music. Still, it has aged surprisingly well for a 1982 album. Despite my dislike for the new wave style of bland, emotionless singing (unless it ventures into industrial territory like Depeche Mode), I still enjoyed the album as a whole. A couple of songs, like The Chauffeur, have truly bleak and unsettling instrumentation. Not something I'd listen to every day, but it's much better than similar bands of the same time period, and I'm willing to give their other albums a try. 6/10

Hybrid Theory

Linkin Park

3/5

Easy listening rap-rock for angry teens. Old-school metalheads tend to shit on nu metal and rap-rock in general, but I think it's unfair ; it was probably a gateway drug into metal for a new generation of kids, and I think it's a good thing. Yes, it's edgy and whiny. It's overproduced and noisy. Musically, it's not very good, relying on too many rehashed gimmicks (although I did really enjoy a few of the breaks and scratches). But it gets the job done - it's the musical equivalent of vodka-redbull : cheap, goes down easy, and fuck the headache you'll certainly get tomorrow. The teenager in me had a lot of fun listening to this album. 6/10

Tapestry

Carole King

2/5

Probably the favorite album of your white middle-class mom who claimed to be a hippie for about two months in 1969. Sorry, it just doesn't do anything for me. Production is all right, there are a few nice melodies, and she is indeed a good songwriter. But I find her (slightly) nasal voice annoying, like a female Bob Dylan trying to impersonnate a classic soul singer. Then again, I've always loathed the alleged "singer-songwriter" genre, so I might not be the most impartial judge. I didn't hate it, but I was bored long before the end of the album. 4/10.

american dream

LCD Soundsystem

2/5

An interesting but ultimately futile attempt at reviving New Wave long past its expiration date. They're certainly competent, but they try so hard to sound like an 80s band that it sometimes becomes a bit laughable. It's also needlessly long and overbloated ; I enjoyed about half the album, then it turned into a chore. The last song felt endless. 4/10

Axis: Bold As Love

Jimi Hendrix

5/5

An instant classic. Jimi Hendrix was a god, no other musician ever came close to sounding like him. Mitchell's drums are also crazy good. This is psychedelic rock at its best - technically excellent, superbly produced, soulful, both groovy and hallucinated at the same time... The diversity of styles featured here is also insane - classic rock, jazz, blues, psychedelia, and even a bit of noise rock 20 years before it was even a thing. I could play it on a loop all day long. 10/10

It's Blitz!

Yeah Yeah Yeahs

3/5

An interesting mix of punk, synthpop, dream pop and modern indie rock with some original ideas and a convincing lead singer. On paper I should love it ; in reality, I didn't enjoy it as much as I expected. There's just something slightly off, something I can't explain but that bothers me in some of the songs (especially towards the end). Maybe it's just not punky enough for me ; maybe it's a bit too radio-friendly, a bit too dance-oriented... Some of the loops and synth lines show real inspiration, though. It was good for a casual listen, and I salute the effort. But I'm not sure I'll come back to it. 5/10

Fishscale

Ghostface Killah

4/5

I'm happy to see Ghostface on this list, even if the album choice is debatable (Supreme Clientele is a much superior record in my opinion). Of all the Wu Tang crew members, Ghostface had one of the best solo careers (second only to Method Man), staying true to his gritty roots while producing a ton of bangers. Fishscale is a good example of that - released in a time when other rappers were all surfing on the bling / ego trip trend, it proudly maintains a cinematic street-level approach, carried by Ghostface's tormented voice. Thanks to his powerful flow, his great rhyming and storytelling skills and the top-notch production (J Dilla and MF Doom never disapppoint), this album stands out in the mid-2000s hip hop landscape as a particularly raw and authentic release. It's not a perfect album though, and there are still a few filler tracks of lesser quality. Ghostface doesn't have the enthusiasm of his debut album anymore, I really wish they had picked an earlier album from his discog. 8/10

GI

Germs

4/5

Listening to this album on the subway in a cold and grey megacity where freedom and human rights are a fast-disappearing commodity felt very appropriate, and probably made me even more sympathetic than usual towards angry, screaming rebels. Many punk albums leave me disappointed after a couple of songs, sounding repetitive and shallow. This one, however, was much more pleasant to listen ; it's raw, dirty and straightforward, but the instruments and production are better than usual, and the vocals feel hauntingly tormented. It made me want to kick stuff and people, so I guess it got the job done. There's also enough variations in terms of tempo and structure that it doesn't get boring. It really feels like the blueprint of a lot of later bands. Certainly not an everyday listen, but a nice discovery nonetheless. It doesn't deserve such a low global rating, so I'll be more generous than usual. 7/10

Aqualung

Jethro Tull

3/5

I had never listened to a Jethro Tull album before, and it was not at all what I expected. I didn't know they relied on so many blues, folk and psych elements ； that was a really nice surprise (is "psychedelic hard-folk" a genre I wasn't aware of ?). You can even hear traces of Black Sabbath and early Pink Floyd in the first track. I loved the singer's voice, and I also enjoyed the flutes that so many reviewers seem to dislike, they really add a funky vibe to the mix. Locomotive Breath is an awesome blues song, but the soft ballads like Wondering Aloud are much less interesting. It won't become my favorite band, but it was pleasant enough, and I'm willing to give their other albums a try. 6/10

The Stone Roses

2/5

I didn't know anything about the Stone Roses, it was a complete discovery (and a weird coincidence - I heard the opening track "I Wanna Be Adored" in a dive bar the same day this album popped up on the generator). It's a surprisingly atemporal album for 1989. Some tracks could totally be from the mid-90s, while a few others sound more like 70s folk-rock. The instrumental parts are all right, but the singing is too soft and pop-ish for me. I loved about 2-3 songs, then I felt bored. I even gave it another try the day after, and it was still the same. Nothing really stands out for me - it wasn't unpleasant to listen, I understand why it's on this list, but I certainly won't add it to my rotation. 4/10

Blur

3/5

Blur is one of the handful of Britpop bands I can appreciate. However, this album - which I never took the time to listen in full before - was a bit less exciting than I hoped. First couple of songs are great (Song 2 is famous for a reason, it sure caught lightning in a bottle), and I really enjoyed Death of a Party and the hallucinated feel of Theme from Retro. But the remainder of the album kind of drags on, and sometimes feels a bit dull. Most songs have great instrumental openings, then fall flat due to pop-ish (and often exceedingly muted) vocals. Don't get me wrong, it's not bad music ; Blur is a competent band, they're more diverse and creative than Oasis, and I can appreciate their various influences (from Bowie to The Pixies) and sonic experimentations. But overall it remains a pure product of its time ; even if it has aged reasonnably well, it fails to rise to the level of "classic album" in my opinion. A pleasant listen, but not truly memorable. 6/10

White Ladder

David Gray

2/5

This is what happens when you order Neil Young on Temu. It's not necessarily awful, it might even work fine for a couple of days, but it's still a cheap and unoriginal copy. I'll be generous and add a star because it was just bland and inoffensive enough to listen without effort while crawling out of my jet lag induced coma. 3/10

You Want It Darker

Leonard Cohen

5/5

Despite my general aversion for the so-called "singer-songwriter" genre, I've always given a free pass to Leonard Cohen because of the darker tone of his work. While I'm usually an enthusiastic person in real life, I like my music somber and brooding, and this album doesn't disappoint in that department. Both the instruments and the voice sound beautiful, yet heavy with existential dread, with only a few slivers of hope (or at least acceptance) to release the tension. Despite this almost soul-crushing mood, you will find no self-pity here ; its feels more like the dark gospel or the deathbed confession of a dying man, going through various stages of grief and anguish before reaching peace. As often with Leonard Cohen, the music is thoughtful and elaborate. His charismatic voice (especially impressive given his age) and the sheer poetry of the lyrics make this album a glowing black star that stayed with me for a long time after I finished listening. A profound and haunting masterpiece. 9/10

Don't Stand Me Down

Dexys Midnight Runners

3/5

Considering the low global rating and the bad reviews, I was expecting something dreadful... But I actually enjoyed it more than I thought I would. While not exactly ground-breaking, it’s honest pop-rock with good production, clean instrumentation and more energy than average. It’s also quite ahead of its time – it can absolutely hold its own against a lot of mid-90s bands. That being said, describing this album as a "neglected masterpiece" is obviously a far-fetched exaggeration by snobbish music critics. It’s good fun all right, but it’s certainly not a genre-defining album, and I’m not sure I’ll remember much of it in a few days. Moreover, including all three albums of this band on the list is obviously preposterous, one would have been enough. This list is so weird sometimes... 5/10

Born In The U.S.A.

Bruce Springsteen

2/5

Never been a big Springsteen fan, although I do respect the man for championing downtrodden blue collars without hypocrisy or demagogy. This album - probably his most misundertood and misappropriated work - doesn't really resonate with me since I'm not American, but I do understand the appeal. Musically, however, I'm not convinced. Except for a couple of appreciable hits, it sounds like very generic mid-80s radio rock, with many of the annoying gimmicks that defined that time period (the cheesy horns and keyboards being the worst offenders). It's just a collection of easy-listening songs that never reach the level of cinematic storytelling that made Born To Run special. Not unpleasant to listen, but definitely not something I'll come back to. 3/10

The Bends

Radiohead

4/5

A great Radiohead album, but not my favorite one. Although it's a gorgeous rock offering, it doesn't resonate with me the way some of their later works do. It feels both like the culmination and the end of an era. Building on the grunge / noise / indie rock momentum that started in the late 80s and became mainstream in the mid-90s, Radiohead brings this trend to its natural conclusion with an album that feels like a definitive and unsurpassable treaty on the genre. As such, some of the songs are still a bit too close to that typical mid-90s, whiny sound (at times, it almost feels like the Smashing Pumpkins...). The band clearly hasn’t left its comfort zone yet, and is still far from the bleak alien realms they would later come to explore. An album I'll always listen with joy, but not on par with the perfect masterpiece that is OK Computer. 8/10

Diamond Life

Sade

2/5

Checks all the boxes for my Cheesy Eighties bingo : - Keyboards and fake claps everywhere. Who needs actual drums ? - Pseudo-soul voice that will make actual soul singers cringe. - Over-the-top "smoothness" that people somehow used to find sexy back in the days, but now sounds like the soundtrack of a softcore porn flick. - Kitschy sax oozing with bad taste. For the love of God, LEAVE THE SAX ALONE. Saxophones are for jazzmen, funk bands and Lisa Simpson. - Oooh-hoo, yoo-hoo ! Pa-pala, pap-palala ! - I think I’ve literally heard this music in an elevator. I’ll admit that Smooth Operator is a nice hit, and Hang On To Your Love is a semi-enjoyable song... But everything else just painfully reminds me of all the reasons why I hated pop music during the 80s. Still, the 80s produced far worst crap. This album feels caricatural, but it's not entirely unlistenable. 3/10

In Utero

Nirvana

5/5

Nirvana's best album - raw, blistering and unapologetic. It will absolutely blow your brains out. 9/10

Slayed?

Slade

2/5

I’m sure these guys were once considered the maddest lads in Wolverhampton on a Friday night, acting all crazee and shirtless... but half a century later, it’s hard not to chuckle at how tame and corny this all sounds. I’d probably enjoy seeing them live in a pub ; other than that, it’s barely listenable. I'm not sure what they bring to this list, considering bands like Mott the Hoople and T Rex are much more interesting specimens of the British glam / proto hard-rock scene. And don’t get me started on the ridiculous cover art, which looks like a promo shot for an unreleased Guy Richie movie about a gang of small-town reprobates with dubious pastimes, terrible teeth and hilariously British nicknames. I didn't hate it, there’s even a couple of fun riffs here and there, but overall I really can’t take this very seriously. 3/10

Automatic For The People

R.E.M.

3/5

I don't think I've ever listened to a REM album in full before - it's not really my cup of tea, so I never bothered digging beyond their radio hits. It's not necessarily a bad thing, because I don't think I would have been able to fully appreciate their music a few years ago (unless it's Losing My Religion. I never get tired of this song). It's still not really my kind of music, but I did enjoy this album more than I expected. The instrumental parts are very good, and Michael Stipe is an amazing vocalist with a very peculiar voice. They do have a truly unique sound, with a bittersweet, melancholic vibe that you can't mistake for any other, and kind of stays with you after you finish listening. It's a solid album overall, even if a bit too much on the pop / folk side for me. Certainly not an everyday listen, but I may give a try to their other albums. 6/10

Machine Head

Deep Purple

4/5

An epic proto-hard rock album. Smoke On The Water never gets old, and it's only one of the many killer tracks featured here. I know it's considered their best work by many people, and it's probably technically true, but I didn't enjoy it as much as Deep Purple in Rock, though. It just doesn't speak to me the same way - maybe because they dropped the slightly psychedelic vibe and replaced it by something closer to blues, or maybe because it's more "rock" and less "metal", if that makes sense. Overall I find it tamer and cleaner than In Rock, with vocals that feel a bit less powerful. Still a great record I'd listen without hesitation any day of the week ! 8/10

Millions Now Living Will Never Die

Tortoise

4/5

How did I not know about these guys ? This is exactly my kind of music ! It’s a beautiful, meditative album full of haunting loops and melodies, and it absolutely does not deserve such a low global rating. The album constantly experiments with a wide range of sounds and styles without ever losing its cohesiveness or intensity. There’s clearly a lot of different influences here, from krautrock to jazz, minimalism and early 90s electronica / IDM ; but they all blend together quite well, and the album never feels bloated or overstuffed. Tortoise managed to keep things simple and straighforward, even in their more experimental pieces. That being said – and that’s my only gripe with this album – I feel a bit uncomfortable about a few songs, and mainly the opening track : as great as it is, Djed takes the "influence" aspect dangerously close to plagiarism territory. The first half of the song is a very obvious NEU imitation, right down to the tonality and rythm of their first album, while the second half is closely modelled on Philip Glass' Qatsi period. It sometimes feels like the band is just trying to showcase their imitation skills, and it makes for an album that sounds a bit rehashed or derivative. Fortunately that's not the case for every song ; tracks like Glass Museum or Along the Banks of Rivers feel more organic and natural. A hard choice between a 4 and a 5*. Ultimately I’ll go with a 4* because they copied a bit too much, and invented too little in my humble opinion... but I’m definitely getting the rest of their discography ! 8/10

Be

Common

4/5

I used to love this album 15 years ago, mainly because of the warm and charismatic flow of the gentleman from Chi-City. It has a very laid-back vibe, with uplifting lyrics and smooth jazzy beats that show that hip-hop can go beyond brags and disses. Even Kanye's production, which I'm usually not a fan of, is absolutely spot-on here. In addition, it's a lean album that goes straight to the point without putting you through a dozen useless skits. However, my tastes seem to have somewhat changed. This time around, it felt almost too upbeat, too polite and too clean... and I found myself wishing for something a bit rougher. Or maybe I'm just getting pickier with age. While I'd subjectively rate it a 3* or a 3,5* now, I must admit that it's still a very well-crafted album, and probably Common's best. It certainly deserves a 4*. 7/10

69 Love Songs

The Magnetic Fields

2/5

A difficult album to rate – not only because I have mixed feelings about it, but also because it’s hard to give a unified rating to what is basically 3 or 4 albums folded into one. To be honest, there’s almost nothing I like here musically. Soft indie pop with a bittersweet vibe bores me very quickly, and had this been a standard 12-tracks album, I would probably have given it the lowest rating possible, especially since I’m really not a fan of the singer’s droning voice. However, regardless of how I feel about the music, you’ve got to admire the sheer commitment (and even madness) it takes to create such a gigantic tapestry of songs and call it an album. I can only respect a band that so boldly goes against the usual norms of the format. To honor their insanity, I tried really hard to appreciate it – I painfully pushed myself through all 69 songs, grinding my teeth at every turn after the first hour or so. Were my efforts worth it in the end ? Not really, unfortunately. I recognize the talent, and I respect the concept – the idea of a collection of semi-parodic love songs exploring the various tropes and stereotypes of the genre is fun on paper, and there’s a clear humoristic vibe that I can totally dig. It’s also more experimental than it sounds at first, with an interesting mix of pop, cabaret music and strange jazzy beats. However, the execution leaves me mostly indifferent ; the songs are a mixed bag of nice and awful tracks, and start to feel terribly repetitive after the 20th or 30th song you listen in a row. So yeah. It’s not my cup of tea, and I will never ever listen to this album again. But despite my own lack of personal interest, I’ll add 1 star for originality and audacity. 4/10

Young Americans

David Bowie

4/5

I usually dislike "blue-eyed soul", often finding it artificial and derivative, and I was kind of ready to bash this album from the get-go... However, Bowie proved me wrong, showing me once again that preconceptions should never get in the way of good music. Sure, it did at first sound a bit like a bored artist toying with a musical genre he doesn’t even like that much. But it quickly became obvious that Bowie approached the source material with genuine respect, and he clearly had fun doing it. He also didn’t pretend to advance or better the genre – as he said himself, it’s just “plastic soul”, which means he was very aware of the artificial nature of his endeavor. I wasn’t sure Bowie could pull it, since his voice kind of lacks the power or raw emotion that defines soul music. But he made a real effort in this regard, using his own strengths (like his Curtis Mayfield-like falsetto) to give a convincing performance. What really got me on board, however, were the brilliant instrumentation and backing vocals. Despite a few weaker tracks, I find the end result really convincing, especially with brilliant songs like Right or Fascination. Overall, it’s really good soul music with an interesting art rock twist ; it manages to pay tribute to the genre while at the same time creating something truly Bowiesque. A nice discovery for me ! 7/10

Live And Dangerous

Thin Lizzy

3/5

Never been a big fan of Thin Lizzy. I tried to get into them a couple of times in the past, but it just doesn’t do anything for me, and this album was no exception. I have nothing bad to say about them, they’re competent rockers who can spit good riffs and entertain a crowd ; but nothing really stands out or excites me here, except maybe for the famous Boys Are Back In Town and a couple of guitar solos. Most of the album just reeks of leather, sweat, beer and greasy hair, and feels a bit too cliché and outdated for me. I’m not sure exactly how ahead of their time they were, but the opening of Massacre sounds so much like Iron Maiden that it’s uncanny. Something was clearly in the air in the late 70s ; Thin Liz were potentially onto something... but then Iron Maiden happened and did it much better, making them kind of irrelevant. I enjoyed listening once, but I'm not sure I'll repeat the experience. Thin Lizzy is probably one of those bands you really need to see live to appreciate. 6/10

Younger Than Yesterday

The Byrds

2/5

Second Byrds album on this list for me, which means they don't benefit from "first time tolerance" anymore. Overall, I found it less interesting than “The Notorious Byrd Brothers”. The psychedelic vibe is more low-key here, reduced to a couple of weird riffs and background chimes, except maybe in Mind Gardens. Instead, what we get is mostly Beatles-like pop-rock – just not as good as the Beatles. It's not unpleasant to listen, but it clearly lacks personality, and no song really stands out in my opinion. The whole album is a pure product of its time and can hardly be considered “essential”, which is not what I expect from this list. And there are no less than FIVE (!) Byrds albums on the list... The author must think they’re really, really important in the history of music, but I'm not sure I share his enthusiasm. I mean, it's a nice band, but come on... Five albums ? 4/10

A Love Supreme

John Coltrane

5/5

The first album on this list I could honestly rate without listening (although I did give it a refresh, but that's not the point). I've listened to it so many times over the years I almost know it by heart ; it's been in my personal top 10 ever since it first blew my mind almost 30 years ago. Coltrane is the musician who converted me to jazz, and he's still my favorite jazzman to this day. Although "Olé" will always be my most beloved jazz piece (and maybe one of my favorite pieces of music ever, regardless of any genre), A Love Supreme is a pretty close second, and the closest thing to a perfect album for me on this list. I won't even try to explain it or convince anyone. This is indeed like love - you either feel it or you don't, and any other discussion on the subject is an exercise in futility. 10/10

Eagles

2/5

Outdated country rock that may appeal to American dads (or truckers) born in the 60s and 70s, but doesn’t speak to me on any level. I'm sure they're good at what they do, but what they do just doesn’t really interest me. The blues-rock tracks like Chug All Night are kind of fun, but all the country parts bore me, and soft ballads like Most of us Are Sad are awful. I didn’t hate it, but it's mostly because it’s too inoffensive and unoriginal to bring out any particular emotion. Just easy-listening background music that I won't remember by tomorrow. 3/10

A Night At The Opera

Queen

4/5

A crazy, silly, brilliant album that perfectly sums up the very peculiar genius of Queen. No one else can mix pop, glam rock, country music and cabaret tunes in one album and get away with it... This mad melting pot of genres and influences is held together by Freddie Mercury's charisma and by talented musicians who effortlessly jump from style to style. To be honest, this is not really my kind of music, in the sense that it's not something I'd spontaneously listen to ; I don't personally vibe with it, but it's hard not to acknowledge the talent and creativity at work here. Bohemian Rhapsody alone is such an epic song that it makes up for the worst filler track of the album (yes, I'm talking about the car song). 7/10

Low

David Bowie

4/5

An interesting but uneven album that's hard to review, considering the huge difference between A-side and B-side. A-side is pure Bowie art rock, enjoyable but also quite predictable. The inclusion of weird krautrock sounds is welcome, but can sometimes feel a bit artificial (and clearly copied on some of the music Bowie could hear in Berlin). It’s in B-side that things get interesting. The Bowie-Eno collaboration is at its best here. They really captured the quintessential mood of krautrock and new-age ambient music, going into Tangerine dream (or even minimalism) territory with otherworldly sonorities and beautiful, meditative loops. Warszawa, Weeping Wall and Subterraneans are the real gems of this album in my opinion. Had the whole album been of this calibre, it would have been an instant 5*. But the first half is too conventional for me, so I’ll have to downgrade it a bit. It's still a fascinating and original work, overall ; I’m not surprised Philip Glass made several symphonies about the Berlin trilogy. Bonus points for the cover art from The Man Who Fell to Earth, a strange and beautiful movie where Bowie looks truly alien. 8/10

Surrealistic Pillow

Jefferson Airplane

3/5

Maybe I'm just a hippie at heart, but this album made me want to eat a bucket of shrooms, protest the Vietnam war and join a commune. It’s honest, straightforward Summer of Love era folk-rock with a solid blues vibe and a psychedelic touch (although it’s actually not that psychedelic, the song structures are still very traditional by many aspects). The songs are a mixed bag, with some absolute bangers like Somebody To Love or White Rabbit, but also a few less interesting filler tracks. All in all, it's a short and unpretentious album that lets itself be enjoyed like a mellow, vintage weed. Although it didn’t exactly blow my mind, I’ll happily give the rest of their discography a shot. 6/10

Murmur

R.E.M.

3/5

A surprisingly modern-sounding album for 1983 - there's a lot of different vibes here, with elements of post-punk and new wave as well as the seeds of future 90s indie rock. To its credit, it also supremely ignores all the stupid gimmicks that were fashionable in the early 80s music industry. I find it intellectually interesting, but the music itself doesn't excite me that much. I enjoyed Michael Stipe's very peculiar voice, and the album as a whole kind of grew on me ; it was quite pleasant to listen as background music. However, no song really stood out or blew me away, and I'm not sure it will leave a lasting impression. A laudable effort, but not necessarily something I'll listen to again. 5/10

A Christmas Gift For You From Phil Spector

Various Artists

1/5

This album is the musical equivalent of drinking an entire bottle of maple syrup. I think I now have sugar-induced brain damage. I didn't join this project to listen to the same kind of artificial, cheerful garbage I already have to suffer four weeks a year in every retail store trying to sell me useless shit. Fuck off, spirit of Christmas. 1/10

Heroes

David Bowie

3/5

Third Bowie album in as many weeks, and it's starting to feel a bit repetitive. I'm really not sure we needed that many on the list. A very typical Bowie album. Vocals are decent but unsurprising. Instrumentals are great, but not as original as in Low - there are more pop elements and less krautrock weirdness, which disappointed me. The three ambient tracks on B-side were much more interesting (especially Neukoln) than the rest, but also too short ; it felt like an unfinished experiment. I'd rather listen to Kraftwerk or Eno's solo work from the same period. It was reasonably pleasant overall, but I probably won't come back to it. 6/10

Ágætis Byrjun

Sigur Rós

4/5

I discovered this record around 2001 not long after its release, and I've had a love/hate relationship with it ever since ; depending on my mood, I may find it either boring or captivating. It's a bittersweet, atmospheric album full of Icelandic weirdness that carries you through a bleak and alien dreamscape - but only if you allow yourself the complete immersion experience. The blend of electronic sounds, smooth instrumentation and traditional Norse vocal harmonies is a great addition to the post-rock genre, and creates an almost psychedelic vibe. That being said, it's not easy to get into, since it's clearly not something you can just casually play for a few songs. The quiet (or even catatonic) mood is not fit for everyday activities, and will clearly deter some listeners. I can totally understand how it could come across as needlessly slow and drawn-out. Some songs really are too long ; a bit of editing and a couple of more dynamic tracks would have gone a long way to give it a more balanced dimension. Ultimately, I think it fully deserves a place here thanks to its innovative aspect. I may not listen to it often, but it's definitely an album with a unique personality. 7/10

Talk Talk Talk

The Psychedelic Furs

3/5

I was ready to hate on this album for being yet another generic release by yet another half-forgotten Brit band... but it kind of grew on me, and in the end I enjoyed it more than I expected. I found the balance between pop, punk and new wave elements quite enjoyable here, and I really liked the way they use the sax. Nothing memorable overall, it's a pure product of its time. I probably won't listen again, and I'm not sure it was really needed on this list - but it was quite all right for a one-time listen. 5/10

Smile

Brian Wilson

1/5

I'll admit that Smile fully deserves a place on this list, if only for its weirdness and over-the-top nature. With its strange mix of pop, complex vocal harmonies, circus music and even animal sounds, it really is one of a kind... That being said, I personally found it unsufferable. Its novelty surprised and amused me at first, but after the 3rd or 4th track, it just became physically painful to listen ; the constant high-pitched choruses, the fake cheerfulness and the cartoonish vibe made me want to claw my eardrums out. It sounds like an unfinished Broadway musical about clowns living on a farm. Queen might be the only band flamboyant enough to get away with this kind of silliness ; but Brian Wilson is no Freddy Mercury, and the end result feels like the parody of a parody, somewhere between the grotesque and the unnerving. I wanted to give it at least a 2* for originality... but by the end of the album I was so exasperated that I just couldn't. I'm glad I'll never have to listen to this again. 2/10

The Marshall Mathers LP

Eminem

5/5

A master class in rapping, rhyming and cinematic storytelling, aided and abetted by a stellar production. Eminem further cements his position as one of the best MCs of his generation with an incredible flow, a unique mix of white trash, horror core and hardcore rap, and a level of irony and burlesque rarely seen before in hip-hop (except maybe with Kool Keith). Juggling between multiple fictive personas, he creates a vivid and theatrical gallery of monsters that only serves to mirror the society that produced them. The level of pearl-clutching this album seems to cause is absolutely hilarious, and only proves that it's still relevant today. People whining about the slurs and the violence clearly don’t understand the difference between an author, a narrator and a character. Do they also think Borat is a real documentary about a real Kazakh man ? Anyone who listens to Stan or Kim and doesn’t understand that the whole album is satire / social commentary just deserves to be laughed out of the room. Yes, it’s crass, juvenile, provocative. It’s the hip-hop equivalent of shock-rock, it’s meant to be over-the-top. And this record completely hits the mark in that regard, reaching ridiculous levels of trashy dark humour that haven't really been matched since (or maybe by R.A. the Rugged Man and J-Zone). It’s absolutely no coincidence that the last track is a South Park tribute ; they all come from the same place of anger at the world and its insanity. 9/10

Brilliant Corners

Thelonious Monk

4/5

I was already familiar with Monk's collabs with Coltrane and a few of his late 60s live recordings, but I didn't know this album. It's a solid jazz record from start to finish, with a sweet vibe and fantastic perfomances by Monk, Rollins and Roach. It's clearly on the cerebral side (I'm sure I missed a lot of the subtleties involved due to my limited knowledge of hard bop), and it sometimes feel like it lacks a bit of fire - but it never gets boring, and the originality and complexity of Monk's compositions are obvious. Bemsha Swing has become such a classic, I think I've heard at least 3 or 4 different versions of it. The use of a bell-piano in Pannonica was a nice bonus, I don't think I had ever heard something like that before. Will definitely play again ! 7/10

Music in Exile

Songhoy Blues

4/5

A few months ago, as I was (again) complaining about the overabundance of mediocre pop-rock on this list in a review, I wished for a bit of Malian blues for a change... Today, my wish is at last fullfilled ! I had not heard about Songhoy Blues, but as a longtime fan of Ali Farka Touré and Boubacar Traoré, I'm really stoked to see a new generation of gifted artists carry on their legacy. It's a bit sad that Traoré himself is not on the list, but these guys are good enough to make him proud. Music in Exile is a solid desert blues album, with competent musicians who bring a modern sensibility and more dynamic rythms to the genre while retaining that laid-back, bittersweet vibe I've always loved. There is also no weak song in the entire album, and it never gets boring. Considering the tragic context in which this album was first put together, it's surprisingly full of luminous moments, which somewhat makes it all the more heartbreaking (and speaks to me on a very personal level, since Timbuktu is a place I know and love). It's a bit rough around the edges, and I kind of regret that they didn't go far enough in the renewal of the genre, sticking relatively closely to the fundamentals of traditional Malian blues. However, considering it's a first album, it's quite understandable, and I'll gladly give a try to their later works. Will definitely listen again. 7/10

Horses

Patti Smith

4/5

I had already heard this album in passing 20 years ago, but I barely remembered anything about it, so it was nice to give it a refresh. I was skeptical at first, the instrumentation seemed a bit basic in some of the tracks (for some reason, I misremembered this record as much more punk than it actually is). It’s also not easy to get right away into the very particular mood of the album and the poetry of the lyrics. I gave it a second listen in the evening and it did the trick – I was entranced. It’s a beautiful, moody album with a wide range of emotions and atmospheres, and vibes ranging from a more punkish version of the Velvet Underground to Joplin-style blues and spoken word poetry. Grace and Elegy are gorgeous pieces. It’s not a perfect album, some tracks are less inspired than others (Kimberly was not very interesting, sounding almost like 80s pop, and Break It Up felt very conventional). But overall, it’s extremely creative, and it really allows Patti Smith’s charismatic personality to shine. It's a pity she's such a hit-and-miss artist - some of her later albums are awesome, but others are really terrible in my opinion. But early Patti Smith definitely kicked ass ! Will certainly listen again. 7/10

Crooked Rain Crooked Rain

Pavement

3/5

Knew them by name, but never gave them a try. A pleasant listen overall - very typical mid-90s indie sound, with the immediately recognizable laid-back vibe, fuzzy guitar and bittersweet (or stoned) vocals of that time period. I would have loved them if I had discovered them back in the days, but now it doesn't do much for me. I've heard that kind of sound too many times, and I've moved away from it. Now it just sounds like another mid-90s clone (even if I know it's unfair to them, since they were certainly closer to the original than to the copy). There are a few nice experiments with noise and weird basslines (or even the jazz piano in 5-4), but it's not radical enough to keep me excited the way Sonic Youth does. I'll keep these guys in mind, but I probably won't go out of my way to dig deeper into their discography. 6/10

Melody A.M.

Röyksopp

2/5

Easy-listening background music with very little depth. It's the musical equivalent of an Ikea piece of furniture - simple, efficient and reasonably fashionable, but certainly not high-quality or lasting in any way. Even the band's name sounds like a new model of Ikea coffee table. I usually enjoy electronic music, but downtempo is not really my thing. I'll admit that this album creates a pleasant atmosphere, but it also feels too simplistic in terms of structures and sampling. "Eple" is catchy but rather basic ; "Royksopps Night Out" is the only track that sounds a bit more complex, with a few interesting loops and a noticeably darker tone. The other songs feel completely interchangeable, and were quickly forgotten after being heard. I didn't hate it, and Röyksopp were probably pioneers in their own fashion, but the album mostly left me indifferent. There would have been a million better picks for this list in the electronica genre. 4/10

Purple Rain

Prince

3/5

I have nothing bad to say about this album - it's a masterpiece in its own right, with funky melodies, sexy vocals (or screams) and a lot of zany musical ideas. That being said, it's really, really not my kind of music. No matter how good the production is, it still sounds terribly 80s (my Nemesis era), with all the gimmicks and cheesiness of that time period. The perpetually overexcited vibe is also exhausting, and I can only listen to a few tracks at a time before my brain starts hurting. Subjectively speaking it would be a 2* for me, but I'll add one star for Prince's obvious talent and the huge influence of this album. It still beats Michael Jackson any day of the week. 5/10

Dummy

Portishead

5/5

An absolute masterpiece. I've listened to this album countless times over the years and it never gets old. It's bright and gloomy, sweet and bitter, comforting and unnerving at the same time, like a moody black sun radiating hope and melancholy. The instrumentation and samples are plainer and soberer than in most trip-hop productions of the same era ; it's a masterclass in efficiency, with simple yet haunting loops, hypnotic basslines and impressionist scratches. Beth Gibbons' otherwordly voice shines all through the album like a beacon in the mist, and there's not a single filler track, everything is right where it's supposed to be. Not only the best trip-hop album ever in my opinion, but also one of my favorite pieces of music from the 90s in general. 10/10

Appetite For Destruction

Guns N' Roses

4/5

A classic album that aged reasonably well, considering how cheesy it is and how insanely overplayed it has been for the last 40 years. It's full of bangers, and the energy level is through the roof. That being said, it doesn't hit as hard as it did back in the days. It sounds a bit cartoonish to me now, I've long since moved away from this kind of rock. Some of the guitar riffs that blew my mind as a teen are definitely shallower than I remenber. And even though it's a very good album overall, I can't understand why the list didn't pick "Use Your Illusions" instead - it's one of the most sold albums in history, and a titanic influence on the mainstream 90s music scene. With better production and an arm-long list of classics (including epic ballads and bluesy songs), it's certainly more historically impactful than this one. Once again, Robert Dimery seems to obsessively go for "first albums" regardless of any other consideration. Still, Appetite for Destruction is a lot of fun, as long as you don't take it too seriously. 8/10

Hejira

Joni Mitchell

1/5

This album almost made me cry - out of boredom at first, then out of annoyance and frustration. I guess it would have been too pedestrian and common-sounding to call her album "Exodus", so it had to be in Arabic to appear more profound. Considering the religious meaning of the word in Islam, it's like comparing yourself to a prophet to describe your own cocaine-fueled roadtrip... But whatever. Of course she's wearing a fucking beret while holding a cigarette (with a dick protruding from her pocket instead of a baguette). It proves she is a free and very distinguished woman. At least the cover is honest, since the music itself is just as vain and self-indulgent. At no point during this album can anything vaguely resembling rythm be found. Joni actually barely sings at all - as often with the self-absorbed sham that is the "singer-songwriter" genre, she's just mumbling adolescent pseudo-poetry and insignificant anecdotes in a monotonous off-key voice. And of course most of the lyrics are about herself, because she's a fascinating individual we all need to know more about... This was truly painful to finish for me. I'd rather listen to spoken word, or simply to someone reciting actual good poetry. 1/10

Time Out Of Mind

Bob Dylan

2/5

This list feels like a broken algorithm that keeps on suggesting that I might like Bob Dylan, although I've already told it multiple times that I didn't. Oh well, let's give it another try... Fortunately it's a bit more tolerable that his early works. This time Dylan doesn't feel the need to throw a tsunami of disjointed harmonica tunes at us. However, he does sound like a discount Tow Waits, and it's really hard to think of this music as relevant in any way in 1997 - to be honest, it even feels downright anachronic. But I could at least listen to the full album in one sitting without cringing. The distinct blues vibe probably helped a lot ; songs like Cold Irons Bound were reasonably enjoyable. Too bad they're sitting next to unsufferable tunes like Make You Feel My Love. I still think Dylan has a terrible voice, and that his lyrics are wildly overrated. After so many tries, I'm pretty sure I'm never gonna be a fan ; at best I won't run out of the room if someone plays his music. 4/10

Blackstar

David Bowie

3/5

There's clearly too many Bowie albums on this list (you could cut that number in half and still have a good idea of who Bowie is), but considering the context, I was curious to hear what this one sounded like. The title song "Blackstar" was amazing - a heavy, emotional piece that cut deep and left me wanting for more. Second track had a solid sax line, reminding me of Bowie's craziest instrumental works. Unfortunately, the remainder of the album was not on par with this magnificent opening. The next few songs were kind of uninspired, feeling like rehashed versions of something Bowie already did many times over during his career. Certainly not bad songs, but nothing truly memorable either. I can only respect someone who was still able to produce an entire album while so close to death ; that's true comitment to music. However, I'm really not sure this album would have gotten so much praise if Bowie didn't die soon afterwards. It's a good album, but not his best work. 6/10

Unknown Pleasures

Joy Division

4/5

As someone who loves gloomy music without being depressed in the slightest, I really enjoyed this album. It's nowhere near as dreary as people make it sound (but then again, I think doom metal and depressive suicidal black metal are fun, so my scale might be a bit off). It's cold and bleak all right, but it's also got a distinct punk vibe that brilliantly balances the proto-goth side of the album. I also enjoyed the discreet use of various electronic sounds - just enough to make things interesting without feeling artificial or synth-ish, like new wave can sometimes be. Sounds a bit like Kraftwerk's gothy little cousin. Overall a captivating and very influential album that I probably like more than their second record. This one is leaner, more straightforward and impactful. Not really an everyday listen, but a solid album nonetheless. 8/10

Fifth Dimension

The Byrds

3/5

A very pleasant psych album. Not exactly groundbreaking, but straightforward and unpretentious, with a sweet and soothing vibe that just made me happy to be alive. But maybe I was in the right mood today. Compared to other drug-fueled projects from the same time period, the psychedelic aspect is quite discreet, you don't need LSD to enjoy it (although it would certainly enhance the experience). While I really think there's far too many Byrds albums on this list, I'll also admit that the 3 records I've listened so far are different enough from one another to avoid feeling too repetitive. It's a bit unfair that the Byrds were so massively forgotten after the 70s. 6/10

More Songs About Buildings And Food

Talking Heads

3/5

Since I've started this project, art rock is a genre that has been slowly growing on me ; I've learnt to appreciate the iconic Eno signature, the weirdly flat vocals and the post-punk / krautrock / Berlin influences. It's never gonna be my favorite genre, but at least I understand it much better now. Talking Heads is typical in this regard. Ten years ago, I probably wouldn't have cared for their music. Now, I don't know... On paper I'm on board with most of what they do ; I can appreciate it intellectually. This particular album is technically very good, and I really wanted to like it - but for some reason it left me vaguely unsatisfied, like finishing a puzzle to find out there's a couple of missing pieces. I can't quite put my finger on it ; maybe it's the relative lack of emotion, or maybe it's still a bit too tame and pop-ish for me, with no real radicality or transgressiveness. Retrospectively, it shines a new light on Fear of Music, which I think I liked better (probably because it sounds more unhinged). In the end it was a nice album to listen, but not something I see myself playing again soon. Maybe in another ten years... 5/10

Peter Gabriel

2/5

Peter Gabriel is certainly a very creative artist, but this album is just a bit too messy for me. It's all over the place, feeling more like a disjointed collection of singles from various bands than like an actual album. It's a mix of different styles that do not always blend well together – blues, soft rock, pop, art rock influences from Bowie, weird cabaret tunes that sound like Queen, and even a strange heroic-fantasy ancestor to "Eye of the Tiger" (Down the Dolce Vita). Some tracks feel bland and boring as only soft rock can be, others are more experimental – without being really mind-blowing – and a few are downright annoying (Excuse Me...). Its main redeeming quality is its weirdness, something that I can absolutely get behind. But the crazy moments are not really put to good use, and they're too far and few between to really become a thing. The end result fails to coalesce into a coherent record. I probably won't listen again as an album, but I could see myself giving another try to a couple of individual songs (mainly the last three tracks, which I found far superior to the rest). 4/10

Coat Of Many Colors

Dolly Parton

2/5

Dolly Parton is a great artist with a crisp and pleasant voice, and I know she's an icon in her own country. She writes her own songs (thousands of them, apparently), and she even appears to be a really nice person. I can only respect her work and career - but country just doesn't seem to be my kind of music, no matter how hard I try. I think it's really an acquired taste ; barring a few exceptions, I feel absolutely no connection to the melodies, themes and mythology of the genre. It doesn't even bore me, it's just... background music I don't really understand. That being said, even I can recognize that this album belongs to the good ones. The music is never unpleasant or pretentious ; Dolly has a sweet voice, and sings with a touching simplicity that just feels very natural. A subjective 1* for me, but I'll add one star for talent and authenticity. At least it's not country-pop. 3/10

A Girl Called Dusty

Dusty Springfield

3/5

I'm on the fence about this one. It's quite pleasant to listen ; Dusty has a great voice, and sounds sexy and soulful enough to make this kind of music work. The instrumental part is also well done. However, it's a pure product of its time - nothing groundbreaking or even surprising happens in this record. And considering it's basically a compilation of covers, the whole exercise feels a bit... pointless. It smells like a money-grab, with a selection of tunes that have just been repackaged and rebranded for the UK market without adding much to the originals. I enjoyed listening with my morning coffee, but I won't play it again. I almost gave it a 2*, but it's not that bad overall - just a bit trite. I also appreciate the fact that it's a short album (as was usually the case in the 50s and 60s). 5/10

American Gothic

David Ackles

3/5

I'm always excited when I get an album with low global ratings, or any divisive album with polarized reviews. It usually means things will at least be interesting. I didn't join this project to reaffirm my opinion about albums I already love, but to be exposed to new, strange music I wouldn't encounter on my own. First observation : this is very nice ! I really enjoyed it. Well, not all of it, some songs were better than others – but considering I'm usually allergic to "singer-songwriters", that’s already a big surprise for me. I liked the old-school jazz / cabaret approach, maybe because I feel culturally closer to it than to traditional Americana. I’ll take theatre music over country-folk any day of the week, especially when it’s so gorgeously produced. Second observation : contrary to what some reviewers are saying, there is absolutely nothing weird about this album. If you think this is weird, you've just not listened to enough music in your life. So what if it sounds theatrical ? Music has been intimately linked with theatre for centuries (ever heard of opera ?...). I'm actually disappointed by the fact that Ackles didn’t embrace it more radically – it could have been even better with more operatic strangeness. Conclusion : not bad at all. I was almost tempted to give it a 4* just to bounce it up a bit in the stats. It's not exactly my kind of music, I doubt I’ll spontaneously listen again, but it absolutely deserves a place on the list. I’d rather get this than a umpteenth insipid album by Dylan or Neil Young. 6/10

Pearl

Janis Joplin

4/5

A beautiful but unfinished album, just like her life. It probably got picked for the list because of its posthumous nature, even though it's not as good as Kozmic Blues. Her voice is still amazing, but was starting to suffer from the constant abuse. The instrumental part is also a bit duller than in some of her previous records ; the Full Tilt Boogie Band might not have been the best formation for her, and the album suffers from a few weaker tracks (like Half Moon or My Baby). Still, there are superb songs in this record, with great blues and soul moments, classics like Cry Baby, and even a fun prosperity gospel parody with Mercedes Benz. I enjoyed it very much, but it's not my favorite JJ album (which means very little - she's still head and shoulders above most of her contemporaries). 7/10

Destroy Rock & Roll

Mylo

2/5

It started all right, with a couple of tracks that sounded like they could be abstract hip-hop. Unfortunately it quickly devolved into a boring dance / house mix that was already irrelevant in 2004. There's nothing original or innovative here ; it's good clubbing music, but not much else. Maybe I'd listen while painting my garage. Easy to listen, but ultimately a bit pointless. The only reason I didn't give it a 1* is because it didn't actively annoy me. There is so much great electronic music out there, why pick this snoozefest instead ?... 3/10

Franz Ferdinand

4/5

Upper tier 2000s indie rock. It's not post-punk, it's post-post-punk with an art rock twist. They certainly make it work, thanks to excellent guitar lines and convincing vocals that sometimes sound like a less zany (but also less pop-ish) version of Talking Heads. I also appreciate the fact that it's a lean album with no fluff or filler, and basically not a single bad song. I enjoyed it more than I expected, and ended up listening twice in a row. Despite great vibes and an undeniable energy, however, it's not mind-blowing either, and I'm not sure I can really consider them "essential" (as a matter of fact, it's been removed from the 2018 edition of the book). The music sounds too polished at times, and I probably would have loved it more if it was dirtier or crazier. Hard choice between a 3* and 4* - ideally it's a perfect 3,5* for me. I'll give it another try in a few weeks if I have time to make up my mind... 7/10 ?

Urban Hymns

The Verve

1/5

What a bloody snoozefest. Like Oasis, but even slower and duller. Almost everything in this album is derivative, it's hard to find a single original idea or emotion. Almost every song is also needlessly long and dragged-out ; I was bored out of my mind after three songs, and I really struggled to keep on listening. I'll admit it's slightly better than the other one we got here (Northern Soul), but the fact that there are TWO Verve albums on the list is preposterous. They're not an essential band, not by a long shot. Please drop Northern Soul in the next edition and make room for one of the many legendary artists that are weirdly not represented here. I tried to find reasons to give it a 2*, but it's just too insipid to deserve anything else than a 1* from me. 2/10

The Lexicon Of Love

ABC

1/5

Pretty much the perfect embodiment of everything I hate and despise about 80s music. I'll admit the band is competent - it's probably better than most of the drivel produced in the same time period. But it just reminds me too much of everything I disliked while growing up in the 80s - drum machines, clap sounds and bubblegum lyrics about heartbreaks just make me want to puke. The only way this kind of synthy nonsense can work for me is when there is a dark side to it, like with Duran Duran or Depeche Mode. But ABC is so annoyingly tacky that they sound like a mindless caricature. It's music for psychopathic Wall Street yuppies and coked-up MTV barbie girls, and I find it exhausting. Favorite lyric : "Zoobidoo bidoo doo doo, love has no guarantee !". Enough said. 2/10

The Chronic

Dr. Dre

5/5

I had a long review prepared about this album, explaining why it's both imperfect and essential, and why I love it but can only give it a 4*... Then I read the top reviews, and it made my blood boil. There's so much pearl-clutching and hypocrisy going on in the reviews that it’s hilarious. People whining about offensive language and violent lyrics, while probably being perfectly fine with late 70s rock, punk or metal – genres that heavily rely on sex, hard drugs and violence, and were vehemently condemned for various moral reasons by the older generations (who were just as hypocritical, with their own outlaw country songs full of conjugal murder, underage romance and highway robbery). And don't get me started on 80s pop with its mountains of coke, brainless lyrics and constant sexualisation of anything with a pulse... Not liking this record (or hip-hop as a musical genre) is perfectly fine, but trying to justify it with “boo hoo it’s gangster culture” is just disingenuous – even jazz, the chillest of all genres, was once considered "gangster music" by its detractors. Popular music has always been fuelled by anger, transgression and (often childish) posturing ; the language changes, but the intention remains the same. So fuck it, it's a 5*. There's more heart and honesty in The Chronic than in half the polite, self-absorbed records on this generator. It’s a masterpiece with insane production value and a list of talented guests (including the sadly underrated Lady of Rage) that easily make up for the flaws in Dre’s rapping and the crassest aspects of the album. Sure, Dr Dre isn't the best lyricist in town, and he would later do better (and more mature) stuff with Aftermath. But the beats are already phenomenal here, and definitely cemented West Coast rap as a force to be reckoned with on the hip-hop scene. 9/10

Autobahn

Kraftwerk

5/5

I tried to find a reason not to give this album a 5*... but I just couldn't find any. I love pretty much everything about it - the experimental aspects, the minimalism, the simple but efficient hooks, the eerie atmosphere, the retro-futurist vibe... It's like a dreamier, more accessible version of Neu (and of Kraftwerk's own earlier records). Half a century has passed since Autobahn was released ; it's not the sound of the future anymore, but the sound of a future that could have been. It felt like a lucid dream, driving through snowy landscapes dotted with weird machines escaped from an alternative, futuristic version of the 80s reminiscent of Simon Stalenhag's work. It's so trippy and peaceful that I can play it on a loop. Bonus points for contributing to the birth of popular electronic music. Kraftwerk's first and second record are even more interesting in my opinion - but let's be honest, they're so experimental and deconstructed that they were (sadly) never gonna become mainstream music. Autobahn played an essential role in helping this kind of sound gain wider acceptance. 9/10

Ellington at Newport

Duke Ellington

4/5

Ellington is a legend and absolutely deserves a place on this list. This record is both soulful and electrifying, creating a groovy but complex soundscape that works really well in all circumstances, wether it's as background music or for focused listening. Considering Ellington was active as early as the 1920s, it's amazing to see how well he managed to reinvent himself (the man was born in 1899 and played through the Prohibition... that's not something you can say about many musicians on this list). I don't have anything bad to say about this record, except that it lacked the little extra emotion required for me to go up to a 5*. I'm also not very big on live albums. I was on the fence though, this is a solid 4* for me. Diminuendo / Crescendo is an amazing piece of jazz. Most people in the reviews seem to have listened to one of the extended versions (the only ones proposed on streaming platforms), that range from 18 to 40 tracks. Doing so will absolutely drive you into overload - it's needlessly long, and collates pieces that were not part of the initial performance. The original vinyl release (which I base my rating on) was only 5 tracks long for about 40 minutes, which is much more manageable. 8/10

Stand!

Sly & The Family Stone

4/5

I only knew Sly & The Family Stone by name, so this album was a great discovery for me. With an amazingly diverse register, they mix so many styles together that it's hard to know what you're listening to exactly - is it soul, funk, disco, blues, psychedelic rock ?... I don't think I've ever heard such an organic melting pot of influence ; but thanks to incredible guitars, it never feels artificial or disjointed. Themes and lyrics are quite varied too, with a fun mix of sexy vibes, drug-fueled trance and political statements. The combination of moaning guitars and vocoder effects is insane, and blends perfectly with the groovy rythms. Some tracks are a bit too disco for my taste (like Somebody's Watching You), but apart from that I really enjoyed it. I was going for a 3* at first, but Sex Machine absolutely blew my mind, so I can't give it less than a 4*. I'm pretty sure I will play it again. 8/10

Dub Housing

Pere Ubu

4/5

An interesting album that doesn't deserve such low ratings. This is exactly the kind of surprising discovery I signed up for. Some people seem to have a very narrow definition of what music should be ; after reading the reviews, I was expecting something overly weird and experimental, but this album is nowhere near as strange as they make it sound. Sure, it's not something you'll hear on the radio, but it's still very listenable overall. It's just a quirkier, more unhinged version of Talking Heads. I actually find it more interesting than Talking Heads, since I've always thought Byrne didn't go far enough into crazy territory. So yeah, it's a bit weird, but it's also unapologetically funny, and it's an honest album that does its own thing without trying to appeal to mainstream taste. It certainly has personality. The way they experiment with sound sometimes prefigures what noise rock would later do in the 80s (Blow Daddy-O had an almost Sonic Youth vibe), and the chaotic keyboard lines are super fun. Not something I'd listen every day, but I'll definitely keep this band in mind. It's a subjective 3* for me - but I'm adding 1 extra star for originality (and also to boost their stats). 6+1/10

Too Rye Ay

Dexys Midnight Runners

2/5

Annoyingly cheerful feel-good pop. Maybe I wasn't in the right mood, but the overly upbeat chorus and Rowland's irritating, whiny voice were not a pleasant experience for me. Every song tries to be Come On Eileen, without much success ; you have to wait to the end of the abum to get this one. And even then, it's a song that has been overplayed to death, which makes it hard to enjoy. DMR is a one-hit wonder that deserved to have one album on this list - but certainly not their entire fucking discography. It also doesn't help that I got this right after a winning streak of five excellent albums... Too Rye Ay sounded artificial and vacuous by comparison. And I belong to the minority of people who kind of enjoyed their third album, so that says a lot. The whole thing is very weak in my opinion. I started by giving it a 1*, but I realized I was just being grumpy, so I bumped them up a bit. I'll admit there's a few catchy moments here and there, and I didn't truly hate this album - I just found it very boring. 3/10

Wild Gift

X

3/5

A surprisingly enjoyable punk album with competent and creative musicians. They came late to the party - this kind of sound was already a bit dated in 1981 - but the addition of a rockabilly / country twist works pretty well. There's also no bad song in the whole album, something rare enough to be noticed. I had a great time blasting this with my morning coffee, and even listened the album again in the evening. Good vibes and good energy ! 6/10

Eliminator

ZZ Top

2/5

Greasy blues-rock that reeks of leather, cheap beer and seedy dive bars. I'd probably enjoy this a lot more if I was in a biker gang, but since I'm not, it fell flat for me. There are a couple of really fun songs, but also a lot of tracks that sound just too 80s for me. I saw ZZ Top live in a festival in 1994, and even back then it already felt like outdated music from another era. Maybe it's just not my culture. I get that they're good at what they do, but what they do doesn't really interest me, so I'll pass. 4/10

Live Through This

Hole

4/5

An excellent grunge album with tremendous energy and badass guitars. Courtney Love absolutely deserves more recognition for her music. For some reason I never listened to this album when it was released - I may have heard Doll Parts on the radio, but that's about it. Probably just because I didn't know anyone who was into Hole at the time (and back in 1994, that was a huge part of our access to new music...). I really regret it because I would have loved it. Same kind of angry and unapologetic vibe as Nirvana. It doesn't quite reach In Utero's level of blistering intensity, and it can sometimes be a bit repetitive, but it's still quite noisy and punkish at heart (the Kim Gordon influence can clearly be felt here). A great album overall, I'll definitely check out the rest of their discography ! 7/10

Pieces Of The Sky

Emmylou Harris

1/5

Just when I start thinking I might actually not completely hate country music... the generator throws this at me. It's the embodiment of everything I despise about the genre - soppy, cheesy drivel filled to the brim with every possible Americana stereotype, tired old trope and formulaic gimmick in the book. Which is even less surprising when you realize all the songs are actually covers... and not even good ones : Emmylou somehow manages to turn even the most heartfelt country song, like Coat of Many Colors, into a boring caricature. This is unlistenable for me - annoying to the point of being almost physically painful. The idea that Emmylou has THREE albums on this list makes me want to scream. 1/10

Elastica

3/5

I have vague recollections of this record playing at a few alcohol-fueled house parties in the mid-90s, but I wasn't really into it. It was a tad too pop-ish for me, and time has only slightly changed my opinion. It's still middle-of-the-road and derivative, like a Frankenstein monster made of bits and pieces of every successful band from the early 90s - a bit of grunge, a bit of punk, a bit of Blur and The Breeders... Nothing really stands out except the main hits (Connection and 2-1, which are pretty good), and I'm not sure it's memorable enough to deserve a place here. That being said, it has aged quite well. The singer is not bad, and there's a real post-punk energy in some of the tracks. It's not something I'd go out of my way to listen, but it makes for good background music with a hint of nostalgia. 5/10

Music For The Jilted Generation

The Prodigy

4/5

Quite different from The Fat Of The Land, but I like it all the same, sometimes even more. It's still raw and primitive by some aspects (a bit of editing would have helped, especially since it's such a long album), but it's formidably dark, abrasive and unrelenting, bordering on industrial territory. The aggressive and energetic beats make for perfect clubbing music. Both a pure product of the 90s and a record that was way ahead of its time, it clearly opened up a lot of new possibilities. Not something I listen very often, since I seldom hang out in abandoned warehouses with leather-clad cyberpunks - but it's still an excellent electro album. Even the cover art is a perfect fit for the music, screaming of pain and urban alienation. 8/10

Channel Orange

Frank Ocean

3/5

I usually have a deep-rooted aversion to R&B - the soppy lyrics, the cranked up sweetness and the overuse of drum machines annoy me, and the high-pitched voices grate on my nerves like nails on a chalkboard. That being said, even if Channel Orange didn't exactly change my opinion of the genre, I have to acknowkedge that it's an extremely well-produced album, with a very peculiar soundscape and a talented and creative singer. The tone and lyrics are much darker than in most R&B albums, and I really enjoyed some of the songs, like Super Rich Kids and Pyramids. I really can't get past the falsetto, but that's just me. If I did listen to R&B, it would probably be something like this. So yeah - it was a bit hard to get through the whole album, but I don't have anything bad to say about the artist, my rating only reflects my own personal lack of interest for the genre. Frank Ocean managed to make me give more than 1 star to a R&B album, and that's already a feat in itself. 5/10

Talking Book

Stevie Wonder

3/5

I usually love soul and funk, but this album left me slightly disappointed. It's not bad - I just enjoyed it less than I expected. Stevie Wonder is a great artist, but Talking Book is very uneven in my opinion, constantly alternating between brilliant songs (like Maybe Your Baby, Superstition or Blame It On The Sun) and less impressive ones (You Are The Sunshine, You And I and Big Brother did nothing for me). My main gripe is that it's a bit too sweet, too slow, too much on the easy listening side. I like it better when it grooves hard, but it just doesn't happen very often here. I still enjoyed the album overall, but I doubt I'll come back to it, there was just no real wow factor for me. 5/10

Maxinquaye

Tricky

4/5

An album I've played so many times - usually while engaging in various endeavors of the flesh or journeys of the altered mind - that it's forever burnt into my brain. One of the fundamental pillars of trip hop with Mezzanine and Dummy, it manages to be bleak and luminous, abrasive and sensual, groovy and laid-back at the same time. Hell Is Round The Corner and Pumpkin belong to the most beautiful trip hop songs ever composed, with perfect beats and haunting vocals. However, there's a marked drop in quality on the B-side with some less memorable tracks, and the album doesn't hit as hard as when I first discovered it. Maybe it hasn’t aged well, or maybe it’s just me – but this time around I found it a bit dragged out, and I realized I didn’t really vibe with it anymore. One could also debate if this is truly Tricky's best album - his later stuff is pretty good too, especially Angels With Dirty Faces. Maxinquaye is still an instant classic though, and its relatively low global rating is both surprising and undeserved. 8/10

Blood, Sweat & Tears

2/5

This record left me mostly indifferent, although I can't really explain why, since it should be right up my alley on paper. The band is certainly talented, but getting through the whole thing felt like a chore, I just didn't vibe with it. Maybe I couldn't get past the stylistic mess - they seem to be trying pretty much anything and everything to see what sticks, and can't make up their mind about what they want to do. Each musician is pretty good individually, with solid drums and competent vocals. There are also some tight arrangements all through the album, no doubt about that. But the jazz, country, soul and psych rock parts never really come together in my opinion, they just alternate from track to track with no clear direction. Spinning Wheel and Blues Part II are pretty much the only songs I truly enjoyed. I might give the album another try in a few weeks, but I'm not optimistic. 4/10

Exit Planet Dust

The Chemical Brothers

3/5

A versatile album with simple but groovy beats that work well in all circumstances, wether it's on headphones, as background music or for clubbing. Personally, I never could completely get into TCB's sound, I've always been more drawn to the harsher, more industrial beats of The Prodigy. By comparison, this album feels lighter, almost too conventional (even if it was indeed grounbreaking at the time), and doesn't cut as deep as it could have. But that's just a personal preference ; Exit Planet Dust is still an iconic Big Beat album. A pleasant listen overall, but not something I'd really play at home these days. 6/10

Blood Sugar Sex Magik

Red Hot Chili Peppers

4/5

I hadn't listened to this album in full in 25 years, and I was pretty sure it had aged badly. Nothing could be further from the truth - it's still a glorious funk-rock album with groovy guitars and an insane level of energy. I actually enjoyed it much more this time around than when I was a dumb teenager screaming "Give it away, give it away now !" in the middle of a festival crowd, while the Red Hots were putting on a demented show on stage. I can now appreciate the more low-key, slower tracks that are just as good as the bangers, if not better. It's also a very generous album with more than one hour of music and very few filler tracks. The whole Red Hot vibe is still childish and mostly brainless, but it's what's expected of them - it's great party music, plain and simple. I've kind of outgrown this sound now, it's not really my thing anymore, but I can still acknowledge the talent and creativity ; it's a legendary album for a reason. 8/10

Off The Wall

Michael Jackson

2/5

As someone who finds disco music insufferable, I had a hard time getting through this. I'm fully aware of Michael Jackson's importance in the history of pop music, and I get why some people would love this record, but that doesn't make it easier to listen. Growing up in the 80s, I've already heard enough of him for a lifetime, and I really can’t get past his voice (which is probably what made me hate him in the first place). I’ll admit that Don’t Stop and Working Day & Night are groovy songs. But the rest is just typical disco nonsense - music for mindless late night dancing, sweating and mating with inebriated people. The slow ballads like She’s Out My Life are complete torture. Still, it's better than most of his later works - Michael Jackson had not yet turned into the crazy fame monster he would later become, and there are still trace elements of good Motown funk and soul here, making the whole thing a bit more listenable. 3/10

Golden Hour

Kacey Musgraves

1/5

The textbook definition of "lowest common denominator". This mindless commercial product managed to capture the worst traits of the music industry and the blandest, most impersonal musical trends of the time and fuse them into a pure diamond of stale emptiness. This type of music is clearly designed to be both totally innocuous and instantly forgettable - probably because its sole purpose is to act as soothing background noise that makes people feel all fuzzy and carefree when shopping or sitting in a coffee shop. As a matter of fact, I zoned out after a few songs, and couldn't remember what I was listening. I don't even hate it - it's so vacuous and pointless that my brain barely registers it. 1/10

The ArchAndroid

Janelle Monáe

4/5

A nice surprise by an artist I had barely heard of, and would certainly not have given a try on my own. It's not really my kind of music since some songs are a bit too much on the pop and R&B side for me. But it's still a fascinating record - a sprawling cathedral of genres held together by a talented singer with a modern take on soul and funk. The numerous jazz, hip hop and even punk and cabaret influences make it a stylistic UFO. It's certainly an album with a personality - no other modern R&B artist would dare put a song like "Come Alive" in the middle of an album. It's not something I'd listen again spontaneously - it's a very long album that touches on so many genres and moods that it can be exhausting, and some of the songs left me indifferent. Still, it's one of the best post-2010 records on this list, with killer tracks like Dance Or Die and BaBopBye Ya. Extra points for the Afro-Futurist theme. A subjective 3* for me - but I'll add 1 extra star for creativity and originality. 6+1/10

Country Life

Roxy Music

3/5

Middle of the road art rock that left me mostly indifferent on first listen. Maybe this was original in 1974, but now it just feels like a less talented and exciting version of the Eno / Bowie collaboration. It's not a bad album, however, and it kind of grew on me after a second try. There are certainly some enjoyable moments - I liked Bitter Sweet with its Tom Waits vibe, and most of the B-side was all right. The instruments are pretty good (nice horns !), but the record as a whole lacks depth and feeling, probably due to the flat and subdued voice of the singer. I doubt I'll revisit it. And no, hinting at boobs and pubes on the cover is not enough to get my attention. I’m not 13, for crying out loud. 5/10

The Clash

3/5

A good punk rock record, but The Clash clearly hadn't reached their peak yet. As a debut album, it's still a bit hesitant and rough around the edges. Sure, it's musically more impressive than a lot of other punk bands, since the instrumentalists are quite competent, and Strummer has a great voice. But it's also a bit tame compared to some of the angrier, more unhinged acts of the late 70s punk scene, and it doesn't add anything truly groundbreaking to an already very lively genre. Always a pleasant listen, but certainly not my favorite Clash album. London Calling is much better. 6/10

Dookie

Green Day

2/5

As I’m writing this, the most upvoted review for Dookie is someone flat-out calling anyone who doesn’t like it a moron. I’m not sure what it says exactly about Green Day fans (or about the average generator user), but I find it immensely depressing. Maybe children shouldn’t be allowed here. As for the music itself... I remember this being all the rage in 1994, but it never really clicked with me, even though I was totally into Bad Religion, NOFX and The Offspring. It’s full of energy and musically competent, but it always felt a bit too shallow and trendy to me, and time hasn’t made it better. I can’t honestly call this “punk” – it’s 99 % on the pop side of pop-punk, without the redeeming maturity and ambition of American Idiot. It's good party music for bored suburban kids, but not much else. I can’t listen to this with a straight face nowadays, and it gets exhaustingly repetitive after a few songs. Basket Case is still nice, but in a nostalgic kind of way. 4/10

Mr. Tambourine Man

The Byrds

3/5

My 4th Byrds album in just a few months... I can't quite understand the author's obsession with them. They're certainly a nice band, but most of their albums sound pretty similar. This one doesn't feature anything that I hadn't already heard in their other records, so I'm not sure what the point is. Anyway. I can appreciate the weird half-Beatles, half-psychedelic style of music they've created. There's something very soothing about it, and I do enjoy drinking my morning coffee to the sound of dreamy chimes. This record might not be as psychedelic as some of their later works, but it's still competent music that makes you feel carefree and untethered. As usual, the Dylan covers sound much better than the originals (further proof in my opinion that Dylan should absolutely have been a writer, not a musician). Probably won't listen again, but it's all right - there's a fifth Byrds album waiting for me on the list... 5/10

The Cars

2/5

I was quite curious about this album, since I thought a mix of New Wave and Art Rock would be interesting. Unfortunately, it just sounds like a bland, unimaginative version of Queen. Harmless, radio-friendly pop-rock with no guts or heart. It's not awful, but most of it bored me. "Moving In Stereo" is the only track that kept my attention, thanks to its hypnotic synth line. Taken separately, there's nothing wrong with any of the instruments, or even the vocals ; they just never coalesce into something truly exciting, proving that if an album can be greater than the sum of its parts, it can also be worse. Their only claim to relevance is that they were pioneers in their own way. "Just What I Needed" is surprisingly modern-souding ; the band clearly paved the way for the feel-good, standardized pop that would flood the market in the 80s. But since I loathe 80s pop, I blame them more than I admire them for this. And what a stupid band name. 3/10

Celebrity Skin

Hole

3/5

A reasonably enjoyable album, but clearly not as good as Live Through This. With Celebrity Skin, Hole renounced their former punk-grunge vibe, replacing it with a sweeter, more polished radio-friendly sound. But without the anger and the raw energy, their music just feels too generic, sounding like so many other mid-90s pop-rock bands. They're still competent artists with a real identity, and I did enjoy "Dying" and "Northern Star" ; but the album as a whole is already too far removed from their roots for me to really love, and some of the songs bored me. I doubt I'll listen again. 5/10

Fleet Foxes

1/5

A perfect example of why appropriating something you don't really understand is a terrible idea. It's pretty revealing that the lead singer himself described this album's mood as “uninformed nostalgia” – yearning for a time that never existed (and has no business being idealized, as the Bruegel cover art illustrates). The music itself is a vapid stylistic exercise that feels completely artificial, with no soul or connection to anything truly folkloric or bucolic. As much as I dislike the 60s folk revival, they were at least still in touch with some kind of country / folk roots. But mid-2000s “indie folk” bands seem to just randomly slap together bits and pieces of stuff they find amusing, like a hipster ironically rummaging through a cheap thrift store. You can hear half a dozen influences through the album (from Gospels to the worst of Brian Wilson), but pretty much all of them are meaningless quotes. The end result feels like a copy of a copy, devoid of any true emotion. To make things worse, I found the vocal harmonies insufferable. Someone in the band clearly spent too much time in Glee Club... Hard pass for me, almost couldn't finish it. 2/10

Songs Of Leonard Cohen

Leonard Cohen

3/5

Not my favourite Leonard Cohen album, but still pretty good - and an interesting glimpse at the birth of an artist in the process of inventing himself. I’ve always loved Cohen’s sullen, flat delivery. I totally understand how it would sound like spoken word to some people ; but for me, it lends an almost ceremonial dimension to his music. He’s also one of the only lyricists I can tolerate in the “singer-songwriter” genre, with his wonderfully dark and soulful tone. His debut album is certainly not without flaws – Leonard Cohen didn’t know he was Leonard Cohen yet, and his voice hadn’t fully matured. He was still working under the shadow of the 60s folk revival, trying to be some kind of biblical version of Bob Dylan. The instrumental parts are a bit basic, with very average guitar work. But Cohen is already starting to introduce the quasi-religious choruses, violins and keyboards that will later define his best creations, and his themes of predilection are already well fleshed-out. The sombre and haunting mood he’s trying to convey is still hit-or-miss - but when it succeeds, it cuts deep. 5/10

Darkness on the Edge of Town

Bruce Springsteen

2/5

Third Springsteen album for me on this list, and it's beginning to get old. I have nothing but respect for the Boss, but most of his production is not really my cup of tea. I liked Adam Raised a Cain, but the rest is just middle-of-the-road soft rock, often made worse by cheesy saxophones and keyboards. I appreciate his voice and the mood he's trying to convey, but it sounds too irredeemably 80s for me to enjoy. It's a pity that this list, by pounding me with so many Springsteen albums, is starting to make me dislike an artist I initially found very tolerable. 4/10

Hot Buttered Soul

Isaac Hayes

4/5

A great but uneven album, with a stellar A-side and a less satisfying B-side. First couple of tracks are absolute monsters - funky, juicy psychedelic soul oozing with smoothness, aided and abbeted by insane beats, gorgeous piano solos and guitars that moan so sensually they could be arrested for public indecency. At a time when soul tracks were usually 4-5 minutes long to allow radio use, Isaac Hayes just went his own way and pounded us with songs so long and so sexy they were probably responsible for a significant number of unplanned pregnancies. Halfway through the album, I was sure I was going to give this a 5*... But the 9-minutes monologue on B-side really killed the mood, especially since the remainder of the song was a bit too slow and dragged-out even by Isaac Hayes standards. Kind of an anticlimactic ending in my opinion. Too bad, it was almost perfect. But three amazing songs out of four is still a very good ratio, and no one can deny the gigantic influence this album had on soul, funk and hip-hop. Hard choice between a 4 and a 5*, I'll have to give it another try in a few days. 8/10

Beach Samba

Astrud Gilberto

2/5

Despite being a jazz lover, I could never get into Bossa Nova. There was some kind of discrete Samba and Bossa Nova fad in the late 90s / early 00s around me, all my friends suddenly started playing this kind of sound. I tried to understand the appeal, but I never could. In the end it's probably just not my kind of music. It's too restrained, too inoffensive, and my brain doesn't seem to be able to process it as anything more than "easy-listening background music" when I'm in a good mood, or "boring elevator music" when I'm not. I listened to this record with an open mind, but it didn't really change my view of the genre. It's musically solid, the jazzy arrangements are smooth (especially in the first three tracks), the voice is pleasant. But at no point was I surprised or moved, it was exactly what I always expect from a samba album - sweet and relaxing, but ultimately boring and a bit shallow. I don't hate it, it just doesn't speak to me at all. 4/10

Beauty And The Beat

The Go-Go's

3/5

Suprisingly good and modern-sounding power pop from an era I usually detest. I was pretty sure I was gonna hate it, but I enjoyed it more than expected and ended up playing it twice. The "punk" and "new wave" influences are very discrete (kind of an afterthought, really), it's more radio pop than anything else, but the band is pretty efficient. The hooks are great ("Lust to Love" and "Automatic" slap hard), the energy is real, and the balance between cheerful and bleak hits the right spot for me. It didn't blow my mind, it doesn't really have much depth, but it was a nice way to start the day. Go girls ! 6/10

Africa Brasil

Jorge Ben Jor

3/5

Started strong with a great funky vibe, but lost me at the third track. After that it was uneven, with a mix of pleasant and less interesting songs. As often with Samba / Latin music, it's musically solid, but a bit too sweet for my taste. Instrumentals are good, especially the electric parts, but the slightly corny singing kind of puts me off. I prefered the more African-sounding tracks, like Meus Filhos Meu Tesouro (I could almost mistake it for West-African music if it wasn't for the language). The last track, Africa Brasil, was also gorgeous. I doubt I'll come back to it, but I'm glad I listened once. I did enjoy the overall vibe of the album, it works better for me than the Astrud Gilberto record we got a few days ago. 6/10

The Gershwin Songbook

Ella Fitzgerald

4/5

I’m not sure what I could write about such an impressive endeavour. Its historical significance cannot be denied ; Ella Fitzgerald might be the greatest jazz singer in the history of the genre - no one can realistically dispute her talent, and she’s clearly at her best here. It’s hard to find anything bad to say about this record. Overall I like it very much - highly enjoyable and sophisticated songs, carried by a perfect voice. As much as I like Ella, however, I’ve never been able to fully appreciate the Gershwins. Their approach to jazz is often too close to a Broadway musical for my taste, in the sense that it’s clearly music made to be enjoyed in a theatre or a club rather than at home. It’s also a bit too restrained and light-hearted – which is not a bad thing in itself, but I do like my jazz with a touch of fire and delirium. Instead, Gershwin treats jazz like classical music : with clinical precision but little to no place for improvisation. In addition, I’m not entirely sure this should be here. This record far exceeds the album format, not only in length, but also conceptually. Although it was recorded for a single release, it’s still a compilation of compositions, which I thought was not allowed on the list. Just like classical music, it’s also characterized by the meeting of a composer (or two, in this case), a singer and an orchestra. If this can be on the list, why not also include classical operas ? This is really a borderline case ; but I guess the border has to be somewhere. It’s a gorgeous record, but I cannot honestly give a 5*, mostly because it doesn’t really work as an album. I’ll listen again, but certainly not in full so as to avoid overdose. 8/10

Exodus

Bob Marley & The Wailers

3/5

I'm usually not a big fan of reggae, but I have to admit this is a really nice album. Probably Marley's most accomplished work. The instrumentals are solid and less formulaic than in most reggae albums. Lyrics and voice are beautiful, hitting just the right balance between soulful and laid-back. Not every track is equally good, but there's a substantial number of bangers. Still not my favorite kind of music - it doesn't move me on a fundamental level, and I have a hard time getting through a whole album in one sitting. But if I ever want to play a reggae album in the future, it will probably be this one. 6/10

Treasure

Cocteau Twins

2/5

I can absolutely enjoy ethereal pop, and there are some Cocteau Twins songs that I do consider a guilty pleasure. I loved their (darker) second album, but this one didn't really convince me. There aren't many songs I like here (Beatrix and Otterley are pretty much the only ones I would come back to), and overall it's too shrill, too pop-ish and not ambient enough for my taste. They're certainly a creative band (the nonsensical lyrics crack me up), the dreamy vocals are all right, but I'm disappointed by the instrumental parts. Not their best album, won't listen again. 4/10

Ten

Pearl Jam

4/5

A true classic. I was too deep into metal when it came out to really enjoy it ; although I did like the mix of grungy and psychedelic sound, I was not convinced by the vocals. It has aged quite well though, and I'm much more able to appreciate it now. The guitars are insanely good, and Eddie Vedder's voice doesn't bother me as much as it used to. It's a great album overall - ferociously modern and creative, it really helped define the sound of the 90s. I don't vibe with it on an emotional level, so I can't give it a 5*, but it's certainly a milestone record. 7/10

Highway 61 Revisited

Bob Dylan

3/5

I'm pretty sure by now that I'll never be a Dylan fan, but I'll admit Highway 61 is one of his least tepid albums. Mostly tolerable, sometimes even enjoyable. Still far too much harmonica, but the other instruments are all right. Dylan's voice is slightly less annoying than usual, and I did like Ballad Of A Thin Man (which probably saved the album for me). All right, I'm all out of praise. This is probably the most appreciative I'll ever get about him... 5/10

Peggy Suicide

Julian Cope

4/5

Exactly the kind of nice discovery I signed up for. I don’t understand the hate for this album ; it's absolutely not as strange as people make it sound. It’s a fascinating mix of styles – mostly late 60s psychedelic rock, but also a bit of new wave and krautrock, and even a small pinch of punk. The experimental bits are nicely done, and never overbearing. The end results works really well in my opinion, mainly because the band is competent. I’m not completely sold on the voice, but the instrumental parts are solid. Overall it’s a very original but very accessible album with a distinct personality and strong spiritual themes. There’s a lot of diversity in the songs, so they never gets repetitive or boring. Safesurfer is an banger, while Western Front 1992 and Hung Up are bewitching experimental pieces. As for the culture-impaired among us who are “offended” by the cover art – please open a book before getting on your comically high horses. The image is an explicit reference to the Paleolithic Venus, a figure commonly associated with (speculated) matriarchal societies and the worship of Mother Earth (as a matter of fact, Julian Cope wrote two books about megalithic cultures, and mentions her in several songs). It’s also used by British new-age and neo-pagan movements that revere the Goddess, a feminine and motherly deity. So no, it’s not "a naked chick" – you’re actually getting offended by the symbolic depiction of Womanhood as the incarnation of the divine. Anyway, I really enjoyed this. Subjectively, it’s closer to a 3* for me, but it’s creative and different enough to warrant a little boost in the stats. 6+1/10

Pyromania

Def Leppard

3/5

Loud, cheesy and dumb... but still groovy and fun to listen. This kind of greasy, overproduced pop-metal has been so rehashed over the years that it's hard to imagine how radically different it felt in the early 80s. Our parents listened to Bob Dylan or Elvis, so that's what we heard at home ; for some of us, stuff like Def Leppard were a big shock, because they sounded like they were from another planet - and you could actually hear them on the radio, contrary to more extreme but less easy to find genres of music. Of course, it was just a fad, and five years later hair metal had already become a parody of a parody. But I'm still happy it existed at some point in time, allowing hard rock music to invade the mainstream psyche. It's clearly not something I'd listen to anymore (even nostalgia has limits...), but blasting this album while drinking my morning coffee was kind of a guilty pleasure. 5/10

Legalize It

Peter Tosh

3/5

I had never actually heard this album in full, and I enjoyed it a lot more than expected. Instrumentals are a bit repetitive, but that's kind of a constant in music conceived to be listened with botanical help. The choruses mostly annoy me, but fortunately there's not too many of them. I'm not too big either on the more "country" songs like Till Your Well Runs Dry. On the other hand, most songs are quite pleasant to listen. They do the job as laid-back background music, and sometimes even rise above it - No Sympathy is a straight-up classic, while the piano and ambient sounds in Let Jah Be Praised really help create a special atmosphere. Really not bad overall, and different enough from Bob Marley that it deserves a place on the list. I'm probably never gonna listen to this album on my own, but the list did help me see reggae in a new light. 5/10

Are You Experienced

Jimi Hendrix

5/5

What is there to say ? A long and generous album by one of my favourite artists ever, basically reaching perfection on his first try. Half the songs are timeless classics I never get tired of, and the other half are merely brilliant songs. Jimi's guitar sounds so unreal that I sometimes believe it's a self-conscious living entity, and the drums are almost as insane. It's music from another world - a place of dreams, love and magic. Jimi Hendrix was a benevolent alien god travelling the multiverse to bring us enlightment, and we need him more than ever in these dark days of madness and hatred. 10/10

Music From Big Pink

The Band

1/5

Pretty much everything I detest packaged in one single album - toothless soft rock inspired by the Dylan School of Whiny Singing ; a voice so shrill I'd rather listen to cats in heat for 60 minutes ; pseudo-country tunes for urban hipsters ; mushy sentimentality and long soggy ballads so dull I could fall asleep. I was crying tears of boredom after the first couple of songs, and I had to painfully bite my lips to keep listening. Even the band's name is cringey. Hard pass. 1/10

In The Court Of The Crimson King

King Crimson

5/5

King Crimson was a serious gap in my musical culture, a situation I'm glad to have finally fixed. Apparently this is patient zero for prog rock - a genre that many people here seem to feel strongly about for some reason. Personally I don't really care one way or the other, but I can totally see how this album would feel incredibly different and original in 1969 ; it does sound way ahead of its time on many levels. Overall I loved it - the symphonic parts are fantastic, and I've always been a fan of long songs that take the time to set a mood and build a complex soundscape. There's basically no song I disliked, each of them was interesting in its own way. I really enjoyed the drawn-out, dreamy part people seem to hate in Moonchild (I think it's wonderfully subtle and meditative, and really deserves to be listened with headphones), while Epitaph and Court of the Crimson King are just beautiful songs. All through the album, the experimental bits, the mixture of quiet and bombastic moments, the trippy instrumentals and the soulful voice or chorus absolutely feel like the blueprint for Pink Floyd or even late Led Zeppelin. How did I ever miss this ? A superb discovery for me. 9/10

Stardust

Willie Nelson

2/5

An entire album of covers - the only thing Nelson really brings to the table is his voice, which is... not that great ? The arrangements aren't bad, but clearly too slow and restrained for my taste. I didn't hate it, but you probably have to be in a very specific mood to appreciate it. Since I wasn't in that mood today, it mostly bored me. I'll admit it's smooth and sweet though - it could make for nice background music in the right setting (if I lived in a Fallout Vault, maybe ?), and it grew on me towards the end. Still not my kind of music, but at least it's not country, and it's different enough from the other Willie Nelson album on the list to not feel redundant. A nice 2*, but it could have been a 3* on a rainy day. 4/10

American IV: The Man Comes Around

Johnny Cash

3/5

Not really my jam, but I can see the appeal. Johnny Cash is obviously talented, and "outlaw country" is the only style I can tolerate in the country genre - especially when it's as dark and bleak as this. It's very lyrics-oriented, to the point that the songs often turn into pure narration, forgetting that they're supposed to be music. But since the lyrics are pretty good, I don't mind that much ; I just wish the instrumentals would pack more punch. Some of the covers are interesting (like Hurt, or even the very surprising Personal Jesus), while others are just average. My biggest gripe, however, is the voice. To be honest, Johnny Cash really does sound like an old man here, and it somewhat reduces the impact of what could otherwise have been great songs. An album I half-enjoyed, but that gets stale and repetitive after a while ; I couldn't finish it in one sitting. Probably won't play again, but I can respect it. 5/10

Wish You Were Here

Pink Floyd

5/5

One of the easiest 5* for me here. Every five years or so, I rediscover this album, and every time I am blown away by how perfect it is. Probably one of the most beautiful pieces of prog / space rock ever created, as well as one of the most consistent concept albums on this list. I don't really have the words, so I won't say more - "Whereof one cannot speak, thereof one must be silent”. 10/10

Crime Of The Century

Supertramp

3/5

I can never really make up my mind about Supertramp. I've tried to get into their music a few times - sometimes I enjoy it, and sometimes I don't. On one hand they sound like a generic Frankenstein monster made of all the good (and a few bad) parts of the early 70s. They have nice hooks and catchy songs, but a lot of them are pretty formulaic, with influences ranging from Pink Floyd to The Eagles... On the other hand, they do have some truly inspired moments ; I kind of like the singer, and it's usually well produced and well mixed, which makes for a pleasant listen. Overall, this is a reasonably good prog rock album, but not as original as I remembered from my previous attempts. It's very listenable, but it didn't leave me a strong impression, and I'm not sure I'll come back to it anytime soon. Also, probably not their best album. 6/10

With The Beatles

Beatles

2/5

4th Beatles album since I started here, and this one mostly bored me. It's not terrible, there's even a couple of fun moments... but overall it's clearly not their best work. I can absolutely enjoy the "early Beatles" (A Hard Day's Night is a cult album for me), but this one is too dated even for me. It sounds flat and formulaic, very 50s-like, and not many songs really stand out. Did we really need it here ? The 6 other Beatles albums on the list are already more than enough to give us a good overview of their work... 4/10

The Sensual World

Kate Bush

2/5

On paper I should love it : an angelic voice, innovative music that experiments with all kinds of arrangements, a creative artist who writes her own texts and music, an interesting guestlist... But for some reason I can't explain, it always feels a bit off, like it's constantly hovering on the edge of greatness without ever taking the last step. There's a lot of good ideas and elements here, but the music never fully coalesces into something that transcends the sum of its parts. Maybe it's still too close to 80s pop music, too quiet, not wild enough to really excite me. I was curious for a couple of songs, then I started losing interest, and by the end of the album I was mostly bored. Rocket's Tail is pretty much the only song I loved, but it was too little, too late - and it was immediately followed by the kind of song I typically have zero interest in. I tried to find reasons to bump it to a 3*, but I'm pretty sure I'll never listen to this again. 4/10

Remain In Light

Talking Heads

4/5

My 3rd Talking Heads album on this list, and probably the best one so far - or maybe it's just finally starting to click for me. It's like a weird missing link between 70s funk and 80s quirky pop (but with great instrumentals instead of lame synths and drum machines). I can see how they could be considered visionaries - as a matter of fact, "Once In A Lifetime" almost sounds like a cheeky parody of 80s pop before 80s pop even existed, which is a feat in itself. I'm still not a big fan of the singer's voice, but the instrumental parts are good (especially the groovy guitar and psychedelic flute). Lyrics are also a lot of fun, alternating between hilarious and unhinged. Overall it's a treasure trove of creativity and weirdness, and even if it's not something I'd revisit often, I have to admit they're doing something right. I might end up liking Talking Heads after all. 7/10

Figure 8

Elliott Smith

3/5

All right, I’ll try to be fair this time. I had a knee-jerk reaction when I first tried to listen to this album because I was absolutely not in the right mood. It also seemed to represent everything I hate about “singer-songwriters” – excessively polite music, an artist who gets mythologized for dying young, self-centered lyrics, a soft whiny voice, a quirky indie vibe... It made me hate it more than it deserves. All of this remains true in my opinion – but I’m forced to admit that Elliott Smith somehow manages to rise above it and make it work. The instrumental parts are quite solid, and the self-absorbed themes I usually dislike are successfully sublimated into something dreamy and nostalgic. Smith doesn’t shy away from experimenting, which gives his work personality. The songs are also different enough from each other so it doesn't get boring. Will I listen again ? Probably not - it's still really not my kind of music. But it’s a laudable effort nonetheless. 5/10

Back In Black

AC/DC

4/5

I'm always on the fence with AC/DC, a.k.a. "the junk food of hard rock". They're legends for a reason, and I can't help but compulsively bob my head up and down like an idiot every time one of their songs starts playing. It's efficient and straight to the point - no-bullshit music for cavemen, but with a groovy twist that can appeal to many. As a teen, it was the kind of stuff that made me crave heavy riffs and screamy goblins instead of pop. On the other hand... The lack of depth and complexity and the repetitive nature of their music sometimes puts me off, and I rarely have the patience to listen to a full AC/DC album. Back In Black is one of their best, but still follows the same pattern. After a couple of bangers, all songs start to sound a bit too similar, and I feel like I'm getting repeatedly hit on the head with a hammer. In the end I'll still give them a 4*, for their entire discog as much as for this particular album. To misquote another famous small angry man, "what they do isn't very subtle, but they're the fucking best at what they do". 7/10

Djam Leelii

Baaba Maal

4/5

Generator users constantly complain about how there's too much britpop / post-punk / whatever on the list, and yet when they finally get an album that's refreshingly different, they murder it in the reviews... Make up your mind, people. This is a beautiful record, I loved every minute of it. Laid-back yet joyful, almost spiritual at times, it's a masterclass in subtlety and restraint. Each note feels right, with a wide range of modern and traditional instruments that flawlessly carry the soulful voice of Baaba Maal. The discreet inclusion of natural sounds adds to the dreamy mood of the album, inviting the listener to a contemplative trip through an endless landscape. However, I'm clearly less impressed by the more dance-oriented, groovier tracks like Salminanam and Kettojee ; it feels too much like party music, and kind of ruins the minimalist meditative mood. It's still a great discovery though. I'm a sucker for Malian / desert blues and traditional instruments like the balafon, but I don't know much about the Senegambian musical traditions, and this made me crave for more. 8/10

James Brown Live At The Apollo

James Brown

3/5

I know a little bit about James Brown, but I had never heard his early works, so this was a complete surprise. It's hard to imagine this was performed in 1962 and not 1972... It makes most albums from the same period sound flat and anemic. Had I been around in 1962, I would absolutely have listened to this rather than The Beatles... I can see how revolutionary it must have sounded, and it helped me understand why he's such a musical giant. "Lost Someone" is 100 % my jam. I loved every second of it, and I would give a 5* in a heartbeat to an album entirely made of similar songs. In just 10 minutes, James Brown basically laid down the complete blueprint for the next 20 years of soul and funk music. Unfortunately the rest of the album is not exactly on the same level. Most of the short songs are fun, but they're just that - energetic party music without too much depth. A lot of them are still mired in classic rock’n’roll influences, only shining when James starts to sing. It's enjoyable, but not as soulful as I'd like. I’m also not a big fan of live albums (although I’ll admit the screams of entranced groupies kind of add to the fun here), and the mix is really not very good. I liked it overall, but I’m not sure I’d want to play it again. I still prefer the "Godfather of Soul" period. 6/10

The Last Of The True Believers

Nanci Griffith

1/5

I'm probably not American enough to fully appreciate this. It belongs to a subculture I know little about, can't relate to and don't really care for. Nanci Griffith has a very nice voice and I'm sure she's good in her own field, but no matter how hard I try, I just can't get into slow country. This was almost painful to listen for me, it's so sickly sweet that it gives me heartburns. I had to fraction it into smaller bites to finish it. 2/10

The Joshua Tree

U2

2/5

Really not my favourite U2. This feels like a weird transition album - the classic vibe of War is gone, and the distortions and sonic experiments that would later make Achtung Baby so interesting aren't here yet. As a result, this just sounds like competent but forgettable radio pop-rock with weirdly out-of-place American themes. It's not a bad album, it just doesn't speak to me at all. The only song I liked is Exit, the rest left me indifferent. A very unnecessary addition to the list in my opinion. 4/10

The Black Saint And The Sinner Lady

Charles Mingus

5/5

One of my favourite records ever, all genres included - and a serious contender for "best album on the list" for me. Mingus was a genius. Although his work with the contrabass doesn't shine as much as the horns here, he was an incredible composer in the most classic sense of the term, brilliantly bringing together the millimetric precision of the orchestra and the exhilarating freedom of avant-garde jazz. This is probably his best work (although Tijuana Moods is also a strong candidate) - written as a ballet / symphony, it's a cinematic rollercoaster of moods and emotions, going from dark and ominous to light and playful, then smooth and sexy, then threatening again, then spiritual and soulful... Tumultuous and cacophonic at times, this organized madness is carried by amazing players, and should absolutely dispel the notion that jazz is "quiet background music". A very easy 10/10.

Spy Vs. Spy: The Music Of Ornette Coleman

John Zorn

5/5

This record is pure genius. It's basically grindcore played by a jazz band, and it works perfectly. As a big fan of both avant-garde jazz and extreme metal music, I feel like I'm in a candy store. The double drums are insane, and I even get to hear the underlying Ornette Coleman tunes I love - an artist whose absence from this list is just shameful, considering his huge impact on free jazz. It may not be the most accessible of albums, but it's far from being as crazy as people make it sound. I've had a John Zorn phase in the past, and this is certainly not the weirdest thing he committed. It's even rather harmonious compared to the sonic madness of some experimental jazzmen like Albert Ayler. Just open your mind, feel the waves of unrelenting energy, and the patterns will reveal themselves... Super happy to see this on the list ! Already listened twice today. 9/10

good kid, m.A.A.d city

Kendrick Lamar

4/5

It's hard to rate and review an album that's so all over the place. This is obviously a quintessential 2010s album, in the sense that it features both the best and the worst of that era's hip hop. The good : An obvious talent for storytelling with grounded lyrics, and a welcome departure from the 2000s obsession with bling. A lot of stylistic experimentations and diversity – contrary to some rappers that will give you 12 similar songs in a row, Kendrick tries his hand at everything. Some amazing songs, like the quiet and sober Sherane, Good Kid with its almost Cypress Hill vibe, or mAAd city, great club music that suddenly turns into a ghetto anthem halfway through. The bad : Too much R&B influences for my taste. Too much drum machine. A very trendy, very 2010s-sounding “lazy syncopated flow” in some songs, something I can’t stand. Kendrick’s attempts at R&B / pop-rap are efficient, but really not my jam (I absolutely hated Bitch Don’t Cramp My Style). Some less inspired songs (Backseat Freestyle and Money Trees were annoying). This duality makes for an uneven album – I loved half the tracks, and was bored by the other half. Overall I understand where the hype comes from, and I won’t deny that Kendrick Lamar is talented. However, I still think he's a bit overrated - a good chunk of his fame comes from the fact that he's marketable to a wide demographic thanks to his versatile style. It's not necessarily a bad thing per se, but it can sometimes feel like pandering. Subjectively it’s a 3+ for me, since I doubt I'll listen again ; but I'll add bonus points for creativity and originality. As often with rap music on this generator, the thinly-veiled prejudices and hypocrisy of some of the reviewers also tend to make me more sympathetic towards this record. 6+1/10

Viva Hate

Morrissey

1/5

This generator is really great at expanding your horizons. I knew almost nothing about Morrissey before - but thanks to the list, I have now found a whole new artist to hate ! This was insufferable. Having to listen to three more albums by this whiny manchild makes my skin crawl. 1/10

Funeral

Arcade Fire

2/5

Sounds like every other hipster indie band from the early 2000s - fuzzy and sweet, slightly whiny and mostly inoffensive. The only noticeable twist is the strong Talking Heads influence ; but Talking Heads did it better in the first place, so why bother ? I didn't hate it, but I also didn't connect with it on any level, and it did become a bit annoying towards the end. Kind of a pointless addition to the list in my opinion, there's no way this band deserves three albums... 3/10

In Rainbows

Radiohead

3/5

There's a line between soulful and plaintive, and this record unfortunately crossed it. I'm usually a big fan of Radiohead - even of controversial albums like Kid A and Amnesiac - but this one made me lose interest. The creativity and emotion are gone, replaced by rehashed formulas and gimmicks that feel like self-parody. Clearly their less inspired offering, and another proof in my opinion that most bands should stop making music after five albums. Still, I don't hate it. It's not an unpleasant listen, there's even a few nice moments, but overall it's just not original or memorable enough for me to bother. 6/10.

2112

Rush

3/5

A bit on the fence with this one. I absolutely loved the 20-minutes epic - with its cheesy riffs and over-the-top kitschy scifi tropes, it feels like the musical version of Flash Gordon on acid. It's ambitious, unashamedly goofy, and kind of exhilarating in its scope. It also carries the seeds of many later musical trends - you can already hear a hint of 80s glam, a trace of Iron Maiden, and even a little bit of fantasy power metal. The other songs are mostly good too, even if they certainly don't make as strong an impression. Although I'm still not a big fan of the singer's high-pitched voice (not everyone can be Robert Plant), it works a bit better here than in Moving Pictures. On the other hand, it also feels like a transitional work. The Led Zep and King Crimson influences are strong, but the music doesn't add a lot to what these giants already built. Maybe Rush was a necessary bridge between the early 70s and the 80s, but it still feels a bit off to me, like it's neither here nor there yet. Also, Ayn Rand can go fuck herself. 6/10+

Let Love Rule

Lenny Kravitz

2/5

I respect the idea on paper - a skillful combination of old school pop-rock, 80s pop, soul and funk, carried by a convincing voice. The end result is groovy and smooth... maybe a little too smooth, even. It also sounds too shallow and easy-listening for my taste, as if most of the songs were specifically created to be radio hits. The arrangements are all right but lack complexity and can sometimes sound repetitive, while lyrics are completely uninteresting. But my main gripe is that I didn't hear any real emotion here - it feels more like a product than an album, and it started to bore me halfway through. Not unpleasant overall, but clearly not something I'd listen again. 4/10

Led Zeppelin

5/5

Everything's already been said about this album, so I won't bother adding to it. For me it's just a straight-up classic. The 1990 Remasters album was a faithful companion of my teenage years, and is associated to so many good memories (most of them involving various forbidden pleasures) that songs like Dazed and Confused or Communication Breakdown trigger an automatic endorphin release. I never realized before how rad it was to use a B&W disaster picture as album cover at a time when most bands were all about cheesy colors, happy psychedelic shapes and vaguely spiritual imagery. I believe the first seeds of metal were planted here (at least thematically). An easy 9/10.

Tracy Chapman

2/5

I remember "Revolution" playing everywhere, all the time in the late 80s and early 90s. I used to love that song, and I still do, so I was kind of excited to hear the rest of the album. Unfortunately most of the other songs don't work that well for me. I really have nothing bad to say about this album or Tracy Chapman. She really has a voice, and she's really good at what she does. It's a beautiful album, but it's just too folksy for me ; I've never been a lyrics-oriented listener, so the "lone singer with basic instrumentation" configuration tends to bore me quickly, no matter how good they are. I can enjoy a handful of songs, but a whole album of this is just too much for me. A nice effort, but too far removed from the kind of music I love. 4/10

Exile On Main Street

The Rolling Stones

2/5

Meh. Never been a Rolling Stones fan, and this album didn't change my mind. They're good at what they do, sure. It's a solid blues-rock record, but I don't connect with it on any level, and I had a hard time listening all the way through. Probably won't remember any of it tomorrow. It's also certainly not their best album. It's unnecessarily long, with not enough hits and too many filler songs that should have been cut out. It feels like at this point, the Stones were just rollercoasting on a well-established formula without putting much heart into their work. On another note, Mick Jagger describing the Stones as "runaway outlaws using the blues as a weapon against the world" during this album - while they were actually hiding in a luxurious French villa to avoid paying taxes - has to be peak hypocrisy. No wonder the punk movement would later express disgust at this kind of rock star posturing. Won't listen again. Ideally I'd rate this a 2,5*, but since I can't, it's a 2*. 4/10

You Are The Quarry

Morrissey

2/5

Kind of boring, but not quite as terrible as I expected. Merely falls into the "whatever" category. As a matter of fact, it's so bland and uninteresting that I don't have much to say about it. Lyrics were either childish or cringey. A couple of almost good musical moments... but most of the songs just faded into oblivion the minute I finished the album. 3/10

A Grand Don't Come For Free

The Streets

4/5

I was predisposed to love this - I like British rap, especially grime, I prefer when hip hop is about storytelling rather than disses and brags, and I'm completely on board with the rap opera concept (big fan of Sticky Fingaz's "A Day In The Life" !). With its tongue-in-cheek, self-deprecating tone and humorous approach, this album is basically the rap equivalent of a Guy Ritchie movie... which is totally fine by me. It's not perfect, far from it. It's not an easy record to get into, and it can feel disappointing for those who liked his first album. Mike Skinner has a very weird flow, with a monotonous tone and a flat delivery that are only exacerbated here by the almost conversational approach. The beats and samples are very basic, bordering on bland (or even boring), and were the biggest let-down for me. I can totally understand how it could be perceived as low-effort, or even as a parody. However, it grew on me halfway through ("Get Ouf Of My House", "Fit But You Know It" and "Such A Twt" were kind of a golden run). The opera concept absolutely works once you get into it - and realize that it's absolutely not meant to be taken seriously. It's both a strength and a weakness, because it means you MUST listen to it as a full album, otherwise it doesn't make much sense. It's clearly a record that's bigger than the sum of its parts ; by the time it was over, I felt excited enough to overlook its numerous flaws and want to play it again. A subjective 3*, but I'm adding an extra star for the concept alone, because anyone who tries doing things differently deserves credit in my book. And also because all the 1-star reviewers who get weirdly angry over this crack me up, like the album itself. 6+1/10

Graceland

Paul Simon

1/5

Yuck. Dated, boring and cringey. I'm all for giving African artists more representation on the list, but this is just an old man trying to resurrect his career with borrowed exoticism - sanitized African music for people who are afraid of actual African music, with the added insult of cheesy synth sounds and terrible lyrics. I'd rather listen to Johnny Clegg, who at least was a true militant and went full Zulu. The country / folk approach interests me even less, especially since I can't stand Paul Simon's voice. Despite a couple of reasonably pleasant moments, I almost couldn't finish. 2/10

Sea Change

Beck

2/5

"Break-up albums" bore me. It's like listening to someone you barely know read their secret diary aloud - it's cringy and uncomfortable, and I don't really care. That being said, it's hard to deny Beck's talent. Although I prefer his early albums, this record is quite well crafted, with nice arrangements and a bittersweet vibe that works fine if you're into that kind of thing. Both the vocal and instrument parts are restrained and sober, and manage to avoid the worst pitfalls of this type of album (like becoming whiny). I also appreciate the subtle grunge influences you can hear in a few songs. However, it's also really slow, long and repetitive. Most songs follow a similar pattern, and the mood doesn't change much over the course of the record. I'm completely all right with 3-4 songs, but a whole album of this was just too much for me ; there's only so much "sweet & sad" I can take in one sitting. In the end, it all felt a bit pointless and forgettable. I didn't actively dislike it, but I also didn't vibe with it, and I'm pretty sure I will never play this again. 4/10

Queen II

Queen

4/5

What a wonderful album ! I'm not very familiar with early Queen, so I was not expecting this. Even though they hadn't yet strayed very far from the rock / glam template, it's already insanely creative, with brilliant musicians, electrifying hooks and flamboyant symphonic elements. A great prog rock record that has very little to envy to Led Zep and King Crimson, yet never takes itself too seriously, unashamedly reveling in dorky fantasy tropes. A couple of songs are a bit less interesting and slightly too pop-ish for me, but overall it was a very pleasant surprise. I'll certainly come back to it. 8/10

Deja Vu

Crosby, Stills, Nash & Young

3/5

A very good surprise. I was expecting the worst since I like neither country music nor Neil Young, but this album is more on the blues and psychedelic side, and it totally works. Except for a couple of country and folk-oriented tracks that bored me (like "Teach Your Children"), most of the songs are solid blues-rock offerings with a trippy psych twist. The musicians are competent, and even Neil Young's voice is far more tolerable than usual. He should totally have stayed with that bunch instead of churning out dozens upon dozens of extremely average solo country albums. Not necessarily something I'd come back to, but I'm glad I gave it a try. 6/10

The Colour Of Spring

Talk Talk

2/5

It felt like watching paint dry. I guess it's a good way to cure insomnia. "Such a shame" is probably the only Talk Talk song I find palatable, I used to love it when it was playing everywhere in the 80s, but it's not even on this album. All I found here were interminable dull songs with no hooks and barely any rythm. I didn't completely hate it - I'll admit I enjoyed a few elements here and there, like the warm jazzy sax, some of the keyboard lines, or the chorus in Time It's Time. The singer also has a peculiar moody voice that makes the record slightly more interesting than the average 80s nonsense. But apart from that, it bored me so much I had to split it into parts to finish it. There's no way I'll ever listen to this again. 3/10

Bone Machine

Tom Waits

5/5

Probably one of Tom Wait's darkest, most visceral work, going further than ever before into experimental territory. Mixing hallucinated percussions with soulful Delta blues arrangements, it's both raw and sophisticated, ominous and beautiful. It's also incredibly rich, with such a variety of moods and rythms that it never feels repetitive. I love every minute of it, even though I understand it's not for everyone - it does sound like it's been made by drunk hoboes in a junkyard. It really doesn't deserve such a low rating though, and I wish more listeners would be open to new and chaotic experiences. This is a tortured album that absolutely WANTS you to feel uncomfortable, musically and thematically. You have to embrace the unease to appreciate it, just like you have to embrace the horror of life to fully enjoy it. As such, one could say it's the ultimate embodiment of the spirit of blues - suffering sublimated into exhilarating music. It's been part of my rotation for years, and I never get tired of Tom Wait's silly broken voice. 9/10

Led Zeppelin IV

Led Zeppelin

5/5

Strong contender for "best Led Zeppelin album". There isn't much to say - almost every song is a classic. Every time I listen to this album, I'm surprised by how well it withstood the test of time, even for songs that have been overplayed to death like Stairway To Heaven. It's hard to imagine this was released 55 years ago. I don't listen to this as much as I used to, but it remains an era-defining album. The magic still works for me, at least. 9/10

Moon Safari

Air

3/5

I remember when this album came out, Sexy Boy was playing everywhere, and everyone around me was suddently into downtempo, lounge bars and after-parties. I had a knee-jerk reaction to it, because I was an edgy contrarian. It was a bit unfair of me, so I'm glad I finally had the opportunity to give the complete album a chance. I'll admit I was wrong - it's a beautifully crafted record, with groovy samples, a distinct retro vibe and a very peculiar blend of sexy and psychedelic beats. It takes its time to slowly build a unique soundscape that has certainly influenced many artists over the years, and I can see now how groundbreaking it was. That being said, it's still not really my kind of music. Although I'm much more open to EDM now, I always struggle with downtempo. It's pleasant enough, but I can never shake the feeling that it's just background music designed to be forgotten while you're doing something else. If I try to listen with focus, it bores me pretty quickly ; it just lacks the extra depth that I need to remain interested for a whole 40 minutes. It was a nice experience overall, but I don't think I'll come back to it. If I need trippy laid-back music, trip hop does it better. 6/10

Konnichiwa

Skepta

4/5

Didn't know this one, and it's fucking brilliant. Banger after banger from start to finish, with heavy beats, impeccable flow and stellar production (even more impressive when you know Skepta is producing himself). It's also a short album that doesn't overstay its welcome, and features almost no weak song (Ladies Hit Squad and Numbers were probably the only ones that were a bit of a let-down). A ridiculously underrated record - probably due to the irritating number of Yanks getting weirdly worked up and complaining that a British rapper has... a British accent. This challenge is supposed to broaden your horizons, for crying out loud. Try getting out of your US-centric bubble for at least once in your life. I ended up listening twice in a row. A strong 4* for now, and it may even become a 5* if I come back to it often. 8/10

Talking With the Taxman About Poetry

Billy Bragg

2/5

Never heard of Billy Bragg, and probably never would have without this list. When I saw it was both categorized as "punk" and "folk", I feared the worst... and I was right. The only punk thing here is that the artist can neither sing nor play, but still enthusiastically does both (and I say this as a punk lover). I can 100 % get behind the message and political statement, so I really wanted to like it, but I just can't. Except for a couple of fun moments ("Train Train" and "There's power in a union" were not too bad), it was mostly annoying. Yet another proof that the so-called singer-songwriter genre and the "one man with a guitar" format are not for me. I'll rate it a 2* for effort and attitude, but that's as high as I can go. Nice cover art though. And we do need more socially engaged artists. 4/10

The Scream

Siouxsie And The Banshees

5/5

Dark, gritty and visceral. I loved every minute of it. I only had a passing familiarity with Siouxsie & the Banshees. I kind of liked the songs I heard in the past, but I never took the time to listen to their debut album. I wasn't ready for this - it blew my mind. Strong hooks, hypnotic bass, powerful vocals. Perfect balance between sexy goth mood, punk anger and new wave bleakness. I've always been partial to unhinged punk chicks, but it's not just a gimmick here - Siouxsie truly is the Mother of post-punk, and had a massive influence on a ton of bands I like, from Sonic Youth to The Cure. I was going for a 4* at first, but I've already listened to the full album three times since this morning, so I guess it's a 5*. 9/10

Sound of Silver

LCD Soundsystem

3/5

Sounds like what happens when a Talking Heads album has a gangbang with a drum machine and a bunch of Nokia ringtones. It was all right at first, but it got on my nerves after a while. The post-punk, instrumental bits were not bad, but the electronic elements were trite and annoying, and often felt gimmicky and unnecessary. Also, too many long and repetitive songs (Us v Them is basically the singer repeating “Over and over again” for 8 minutes...). Kind of bored me overall. I'm glad I didn't give up though, the last song was surprisingly good and different from the rest of the album. A subjective 2,5*, but I'll round it up for originality – despite the poor execution, there were some good ideas here and there, and it's still better than the other album they have on the list. 5/10

Led Zeppelin II

Led Zeppelin

5/5

Another numbered album, another classic. Led Zeppelin really were on fire between 1969 and 1971, every song feels just right. It's been a weird experience for me to re-listen all these albums in their original format. I grew up with the "Remasters" box set, which I basically knew by heart. But the song order is completely different here (with a couple of extra tracks I didn't know or had forgotten), so it's a nice mix of surprise and familiarity. Getting three Led Zeppelin albums in three weeks feels a bit repetitive, but it's still one of the very few bands I never grew tired of over the years, so I can't give this less than a 5*. 9/10

The Man Who

Travis

1/5

So bland and boringly derivative that I don't even know what to say about it. Feels like trying to review water - it's wet and you can drink it ?... Even the cover art is insipid. Also dangerously close to straight-up plagiarism. 2/10

Alien Lanes

Guided By Voices

3/5

Never heard of these guys before. I really enjoyed the lo-fi, typical mid-90s sound and the slightly parodic vibe. It's a pleasant semi-conceptual album that clearly works better as a whole than as a simple collection of separate songs. However, there's also nothing that particularly grabbed my attention, it was mostly nice background music. Despite some good ideas and a competent execution, it ultimately felt lacking in depth and ambition. I won't come back to it, but I'm glad I gave it a try. It certainly doesn't deserve such a low global rating. 5/10

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