467. Kilimanjaro - Teardrop Explodes

The Teardrop Explodes always sounded like a great band, simply due to their intriguing name, but I can't say I'd knowingly ever heard a single one of their songs, so I was intrigued as to what this album would offer.

The Liverpool-based band took their name from a quote in a Daredevil comic, and were founded around Julian Cope, from the remnants of several other post-punk bands in the area, including the Crucial Three containing Ian McCulloch, who went on to form Echo and the Bunnymen. The Teardrop Explodes' ongoing existence was tumultuous, with Cope hiring and firing a range of different bandmates over the first few months of the band's existence, and ultimately explaining their lack of longevity, falling apart a couple of years after their debut. The album cover is hardly enticing, with a terrible, shadowy photo of the band over a pretty poor font.

Ha Ha I'm Drowning has a swirly, very Jesus and Mary Chain opening riff, leaving you in no doubt as to the decade this was released. Sleeping Gas has an intensity to it that isn't always matched by its slightly vague lyrics. The doom-laden organ is pretty overbearing, but that does create an interesting atmosphere. Treason is a bit more woolly, with lyrics that go beyond repetitive into simply sounding like a lack of inspiration. Second Head has very Joy Division drumming that once you notice it is hard to ignore. Poppies is a slightly overly meandering song, whereas Went Crazy starts off with a very focussed horn riff. Brave Boys Keep Their Promises has a more upbeat feel, with crisp drumming keeping proceedings moving along nicely, and some nice falsetto tones played off against the horn section. Bouncing Babies Was a relatively successful single, but I can't really understand why, it's brevity being a saving grace. Books has a nice couple of lines, such as "who wants love/ Without the looks", which seems to sum up the shallowness of the forthcoming decade nicely. Thief of Baghdad is ok, and far better than the annoying synth tones of When I Dream, which is an extended mess, frankly. We included Reward in our version, as although it wasn't included on the original, it was on the re-release, and as the runaway hit we wanted to give the album the best chance. It is clearly a much more engaging song than the rest of the fare here, with a great horn section that sounds like a Motown backing track at double speed.

The overall album is more of an overall moodboard of doom and despair than a series of songs. There are plenty of interesting textures and an array of tones, but the actual songs are lacking in depth to my ear. It sounds dated, and not in a capturing the era way, more in a slightly depressing, "no wonder the 80s were musically maligned" way. I can hear that it was probably influential, but that doesn't mean in a good way - driving the 80s sound further into the mire of overwhelming navel-gazing is not to be commended.

Chloe's album rating: 4

Chloe's favourite track: 1. Ha Ha I'm Drowning

Olly's album rating: 5

Olly's favourite track: 12. Reward

Next week is 672. Mama Said Knock You Out - LL Cool J. 

187. Gasoline Alley - Rod Stewart

I must confess that I'm not a huge Rod Stewart fan, but I also don't know much of his material other than the big songs, so I was willing to give it a fair hearing.

This, Rod's second album, is made up of a number of covers, with three Stewart compositions, and the rest covers. It reached number 27 in the UK, but had no singles of note from it. It sparked positive reviews at the time and since, but I can't say I'd ever heard of it.

The title-track and opener is a Stewart and Ronnie Wood composition, and it has a not unpleasant reminiscent air. The guitar sound is fairly thick, against some tinny percussion, with Stewart's voice unsurprisingly front and centre. It's All Over Now is a Womack track, and has a lovely swagger to it, with a real honky tonk piano driving proceedings. I'm not sure this style suits Stewart's voice, as he struggles to lose control, but the overall song is great. Only a Hobo, a Bob Dylan number, is paper-thin, and struggles to elicit much of the sympathy it looks so earnestly for. My Way of Giving is pretty forgettable, some nice guitar licks aside. Country Comfort sounds like a budget "Handbags and Glad rags", although Stewart's voice suits this style of narrative song well. Cut Across Shorty is one of the more bizarre songs I've ever come across, and that is putting it politely. If you're interested in listening to a song that is an extended analogy about the "turtle (sic) and the hare" then please, fill your boots. Lady Day is a slow, ponderous number, and Jo's Lament is 3 minutes 30 of my life I would like back. You're My Girl (I Don't Want to Discuss It) is a nicely strutting rock and roll number with a guitar show of real aplomb by Ronnie Wood.

Overall, this was a very 'meh' album. It has a couple of decent tracks on it, but it is so inconsistent that the overall impression is of low expectations not really met. There is a huge amount of variety in the songs, and Rod can't be accused of not stretching himself musically, but that isn't really sufficient to making a good album. I can't imagine coming back to it in the future, and can find little to recommend it to you, and don't really know why it's on this list.

Chloe's  album rating: 5

Chloe's favourite track: 9. You're My Girl (I Don't Want to Discuss It)

Olly's album rating: 4

Olly's favourite track: 2. It's All Over Now

Next week is 467. Kilimanjaro by Teardrop Explodes.

244. Harvest - Neil Young

An album whose success almost undermined the creativity and reinvention so central to Neil Young, it remains an album I have a real soft spot for.

Harvest was the biggest selling album in the US in 1972, a year not short on great records. Heart of Gold also reached number one in the singles chart, so it was fair to say that Neil Young responded well to the demise of Crosby, Nash, Stills and Young two years earlier. Several of his former band mates feature on this album, showing that their relationship remained strong. The album's success though would surprise and concern Young, who would become increasingly experimental as a response.

Out on the Weekend starts things off at a relatively sedate pace, with a nice gentle country track with just the hint of an edge. Young's voice flirts with angst on the later choruses, but it is the harmonica that steals the show - something of a recurring theme on this album. The title track has a lovely guitar and piano combination throughout, and drumming that demonstrates that less really can be more. A Man Needs a Maid is a quiet yet forceful epic, and one of the songs that got me into Neil Young in the first place. It is stark, and Young's voice is not classically brilliant, but my goodness is it compelling. Heart of Gold is a classic pop song, with a wistful harmonica that captures a warm summer's evening just perfectly. Are You Ready For the Country is a proper gather round the piano stomp, although its slight lack of tightness means that it is one of the weaker songs here. Old Man is a delicate track with some of the best acoustic guitar playing you will hear. The harmonies on the later choruses are a joy to behold, and there is a delightful ebb and flow to the build up. There's a World is a rare miss, with the strings leaving it sounding overblown amongst such stripped back and sparse companions. Alabama is the jewel in the crown of this album for me, with that delightfully dirty yet crisp guitar sound, and harmonies on the bridge that build with a real anthemic quality. It is mournful yet persuasive, and the variety of instruments here all play their part, without overshadowing each other. The Needle and the Damage Done is a heart-wrenching song that captures the destructive force of heroin addiction. Words (Between the Lines of Ages) has a great guitar tone, but is slightly forgettable other than that.

Overall I loved this album, as I knew I would. Whilst at times seeming to hold himself back, the quality of the writing and playing shows Neil Young at the peak of his powers - a peak that he would transform into a triumphant plateau over many years. Whilst often overlooked as dated, the sheer array of excellent songs contained on this album means that it is an essential for any record collector.

Chloe's  album rating: 8

Chloe's favourite track: 6. Old Man

Olly's album rating: 8

Olly's favourite track: 8. Alabama

Next week we have the bizarre sounding 187. Gasoline Alley by Rod Stewart.

70. Parsley, Sage, Rosemary and Thyme - Simon and Garfunkel

Simon and Garfunkel were a duo who were present throughout my childhood, which is quite a big thing considering my house was not an overtly musical one in many respects.

Following the rushed nature of Sounds of Silence due to label pressure, the duo spent three months perfecting this, their third record. Much of the writing reflects Paul Simon's time in England the previous year, and the quality of the sound, and clever use of instrumentation, ensured this album remained popular for years to come, going on to achieve triple platinum status in the US.

Scarborough Fair/Canticle is an old English Folk song, with the herbs from the album title representing different aspects of a relationship. The organ adds a warmth to the sound, along with the delicate harmonies throughout - this is a classis Folk duet, and whilst slightly saccharine, it is beautifully done. Patterns has a driving percussion element to it, along with a distinctive bass sound, demonstrating a depth of sound in contrast to the much tinnier opening. Cloudy however is simply too tinny and lightweight, lacking some of the direction and cohesion of other songs. Homeward Bound is a great example of simple songwriting, with a catchy chorus, and clear narrative, and a universal emotional pull. It has always been one of my favourite Simon and Garfunkel songs, and repeated listens have not diminished my respect for it. The Big Bright Green Pleasure Machine is slightly bizarre, to put it mildly. Whilst musically catchy, the lyrics just seem slightly out of place from such innocent sounding voices. The 59th Street Song is one I've known for years, but is a bit shallow when i hear it now, however pleasant sounding it is. The Dangling Conversation weaves a wonderful set of images, which shows how good the lyrics can be when focused, and the backing strings add a depth to it. A Simple Desultory Philippic is frankly brilliant, with some of the best lyrics this side of Bob Dylan. In fact, Chloe told me that an English Professor she knew gave an entire lecture based on the lyrics of this song, and the references contained within it. For Emily, Whenever I May Find Her is utterly beautiful, with a touching crescendo, and A Poem on the Underground Wall has a delicacy about it that makes it both compelling when you listen to it and slightly forgettable when you are not. 7 O'Clock News/Silent Night works well, but it becomes a bit too depressing on repeated listens.

Overall this is a slightly frustrating album, as there are hints of how good the duo can be, but they lack a bit of consistency. Possibly i know some of the songs too well, and that has hampered my enjoyment of their simplicity, but the pair sometimes seem to be trying a bit too hard to be clever, which is never a great basis for an album. That having been said, when they hit the mark, the songs are superb, and demonstrate Paul Simon's masterful craft.

Chloe's album rating: 7

Chloe's favourite track: 9. A Simple Desultory Philippic

Olly's album rating: 7

Olly's favourite track: 4. Homeward Bound

Next week we have the classic 244. Harvest by Neil Young.

208. Coat of Many Colours - Dolly Parton

Dolly Parton is an artist I would have actively avoided until relatively recently. Her biggest hits did not endear her to me, and I am not a huge Country fan. I then discovered that she has been hugely important in improving childhood literacy through her library programme, which has been transformative for tens of thousands of young people in poverty in the US, and she massively grew on me.

Coat of Many Colours was the eighth Dolly Parton studio album, but the first to catapult her to solo success, having previously 'merely' been Porter Wagoner's duet partner. She had written seven of the ten tracks, and demonstrated her talents with the variety of styles inherent within the 27 minute running time. The title track, and third single, off the album would reach number 4 on the US charts, and became something of an anthem for Dolly, describing her childhood as it did.

The opener is emotionally autobiographical from the singer, who grew up in such poverty that she didn't have shoes until she was 12 years old. It is clearly a heartfelt song, and conveys a real sense of both Parton's struggles as a child and her strong, Christian-derived moral compass. Travelling Man is a cracking piece of storytelling with a pretty sharp, and genuinely funny, twist at the end - it's almost Dylan-esque in its nature. My Blue Tears is a bit too mawkish and identikit Country and Western for my tastes, whereas If I Lose My Mind has a darker edge to it. The talk of making "me watch him love another woman, and trying to make me love another man" indicates a deeply troubling situation, and Parton's voice shows how fragile she is. The Mystery of the Mystery is a pretty naff song, with frankly trite lyrics. She Never Met a Man She Didn't Like is a pretty early example of slut-shaming, but is at least done with a delicate and well-observed touch. Early Morning Breeze is pretty forgettable, although it does show Parton's voice at its most delicately powerful. The Way I See You is a quietly determined song, with some truly heartfelt lyrics. Here I Am has one of the best choruses on the album, and show how broad and powerful a country song can be when the instruments all come together. A Better Place to Live is an optimistic, possibly naive, yearning for making the world a happier, more peaceful place. It is long on ideals and short on practical guidance, but then it is a pop song, and not a manual, so I should probably be more forgiving.

The album is a whole is very hit and miss, with some well-considered songs alongside some utterly non-descript background tunes that seem to add nothing. I was pleasantly surprised by the good tracks and the well thought out narrative structure within many of them. There was also a bit more variety in the tracks than I would have anticipated, and a good deal more humour too. Overall I was fairly impressed, but can't imagine coming back to it too often as it isn't really a genre I'm overly drawn to, hence the slightly lower score.

Chloe's album rating: 6

Chloe's favourite track: 1. Coat of Many Colours

Olly's album rating: 6

Olly's favourite track: 1. Coat of Many Colours

Next week is the delicious-sounding 70. Parsley, Sage, Rosemary and Thyme by Simon and Garfunkel.

112. Electric Ladyland - The Jimi Hendrix Experience

At the age of 18, I remember a group of friends coming over to my house, and me playing an original gatefold copy of this album on vinyl, and feeling frankly like the dog's.

This was the first album produced by Jimi Hendrix himself, which came about due to his perfectionism in the studio driving the original producer, Chas Chandler, away. Whilst the album was not a critical success, with many stating that the album sounded overly muddled and dense, it sold well commercially, reaching number one in the US and number six in the UK. It is now almost universally acclaimed, appearing in numerous greatest album ever lists, including those from Rolling Stone and Q magazines.

The UK album cover was highly controversial, featuring a photo of 19 naked women, and it was not sanctioned by Jimi Hendrix himself, who wanted a more Alice in Wonderland themed cover. The naked version was banned by some sellers, and nowadays it is the red and yellow photo of Hendrix that is most commonly used to represent the album.

And the God's Made Love is an opportunity to show off the new recording studio effects available, and is frankly one that is missed. It just sounds a bit ridiculous to modern ears. Have You Ever Been (To Electric Ladyland) has some decent elements, but is so swirling and discombobulating that it is hard to appreciate. Crosstown Traffic is far superior primarily due to its more accessible and traditional song structure. The lyrics are more coherent and the guitar is clear enough for the listener to appreciate the technical skills on show. Voodoo Chile has a lovely bassy feel to it, all textures and soundscapes. It comes together into coherence for the chorus, but is slightly too drawn out for my liking. There are also some slightly problematic lyrics about "making love to you in your sleep"; consent isn't even implied in that situation, dream-state or nay. Little Miss Strange is percussively pretty explosive, and has a guitar tone that is engaging, but again just falls into the trap of too much distortion, and not enough clarity. Long Hot Summer Night is a touch too tinny for me, however catchy the chorus may have been, whereas Come On (Let the Good Times Roll) has a great, meaty sound, and proper Hendrix solos, in all their intensity and rawness. Gypsy Eyes has a great riff, but doesn't quite do enough with it for me, and there are some annoying studio effects applied to the sound too. Burning of the Midnight Lamp is simply trying to do too much, and none of it very well. Rainy Day, Dream Away is pleasant enough, but actually being able to see the band working together would improve it markedly. 1983... (I should be a Merman) has some fragments of greatness, like the guitar riff after each chorus, but the overall piece is too muddled. Still Raining, Still Dreaming starts well but descends somewhat, in contrast to House Burning Down which, as a more conventional song, has a real cohesion to it. All Along the Watchtower is one of the rare occasions when a cover surpasses the original, albeit only just. Bob Dylan's lyrics, coupled with some more stripped back solos, lends to an exceptionally focused track, especially amongst some frankly bloated company. Voodoo Chile (Slight Return) is a masterful demonstration of guitar playing, but I'm left wondering if I primarily feel that way because it is a song I know so well. Whilst many of the criticisms applied to other songs could be levelled here, it feels much more driven and musical, rather than just technically impressive.

I expected to love this album, and was really disappointed that I didn't. The great songs are truly great, but repeated listens could not bring the rest of the album to life for me. It's too psychedelic and lacking in an overall focus to be completely enjoyable. Whilst readily apparent that there is a huge amount of talent on display, it is lost in a fog of studio effects in an attempt to push the envelope too far. The album is also far too long - there are songs here which simply add nothing but some effects.

Chloe's album rating: 6

Chloe's favourite track: 15. All Along the Watchtower

Olly's album rating: 5

Olly's favourite track: 15. All Along the Watchtower

Next week is the less-effects laden 208. Coat of Many Colours by Dolly Parton.

997. Django Django - Django Django

An artist I'd never heard of, this was our most current record yet. I find it slightly concerning that an album of such alleged importance was released in 2012, and I was not familiar with it. 

The four members of Django Django met at Edinburgh College of Art, and founded the band based in London in 2009. Their self-titled debut album, released in 2012, became a surprise seller reaching number 33 in the UK, partly off the back of coverage in FIFA and GTA, as well as a Mercury nomination. It went on to reach Gold sales across Europe, and Platinum in France, who appreciate a cool-as-fuck arthouse band like few other nations.

Introduction is an impressionist wonder of swirling guitars, that flows beautifully into Hail Bop. This track has an obscenely great riff, that builds alongside an effects-laden voice. It peaks with a swaying euphoria of a chant that will get stuck in your head. Default takes things up a notch, with a scattergun approach of sounds that come together in a triumph of a piece of music. The guitar just cuts through with an insistent bludgeoning of the mid-range. Firewater is a track that could be straight off Gomez's Liquid Skin, with its multi-instrumental and layered approach, and a lively acoustic guitar at its heart. Vincent Neff's voice is wonderfully detached, looking down on the maelstrom of sounds below, and knitting them together. Waveforms has a more conventional structure, but works well within that, sounding like something straight off Alt-J's debut. Zumm Zumm is an effects-laden fog, although it lacks the focus of some of the album's stronger tracks. Hand of Man is a slower, more stripped back number, with acoustic guitars front and centre, and Dave Maclean (brother of the Beta Band's John Maclean) keeping things ticking along on drums. There are also some handclaps, which I assume are a deliberate nod to the song title. Love's Dart has some of the strongest lyrics on the album, "Love's Dart/ No longer sharp/ Your end is in sight/ But your aim takes you wide of the mark" and a crackling effect that draws the listener in. WOR is ridiculously catchy, with its Wild West style sound effects on the wordless chorus, and an ever-shifting set of instruments that never seem to lose the driving rhythm or soaring melody of this song. Storm has an inhale-exhale feel due to the hi-hat, that cannot but get your foot tapping. Life's a Beach is an enjoyable song, if slightly tinny, but Skies Over Cairo is something of a blemish on this otherwise outstanding album. Playing pseudo Egyptian music without much direction may seem like a good idea if you're not expecting many people to hear the album, but it's a bit embarrassing in this context. Silver Rays sees the album out on a much better note, with some lovely squelchy synths.

As a complete album, it is a wonderfully quirky, arty and varied work; the array of instruments and tempos alone makes it impressive. What really strikes me, however, is the catchiness and quality of the song writing, with a real confidence and maturity apparent throughout. There are some incredible moments which make you stop what you're doing and just nod in appreciation. I think this is better than Alt-J's debut, which is high praise, as the songs grab your attention rather than settling into the background. This is definitely an album I will be returning to again and again, and am frankly gutted that I didn't pick it up first time round.

Chloe's album rating: 8
Chloe's favourite track: 5. Waveforms
Olly's album rating: 9
Olly's favourite track: 3. Default

Next week is the seminal 112. Electric Ladyland by The Jimi Hendrix Experience.

522. Out of Step - Minor Threat

A band I'd only heard of through references by my more punk/hardcore loving friends, I know they are supposed to be pretty important on the scene. 

Minor Threat were at the centre of the DIY Hardcore Punk scene, and their co-founders Ian McKay and Y, set up Dischord records at the same time, in order to take full ownership of the whole creative process. Their song Straight Edge off their debut EP also led to the founding of the anti-alcohol and drugs movement of the same name. Whilst not impressive in terms of actual record sales, it is the impact that the band had on the scene, leading directly to the founding of Fugazi, with Ian MacKaye a founding member of both.

One thing that I always appreciate is artwork that seeks to stand out - I have even been known to buy records solely on the basis of their artwork, and have rarely been disappointed. The cover here is stunningly simple, but all the more captivating because of that. 

Betray is quite the statement of intent, with explosive drumming and some pretty flabby bass. The bass is stepped up a gear in It Follows, and there's a real shoutalong glee to the chorus. Think Again has a real dueling quality to the guitar, with an intensity to the sound, which is especially apparent on the bass and guitar section post the second chorus. Look, Back & Laugh has more of a chronology to it, focusing on the decline of a friendship. Musically it is more of a convas from which the vocals are delivered than the previous songs, were the brutal nature of the instruments cannot be ignored. Sob Story is slightly less successful with a less cohesive sound, and more muffled vocals. No reason has one of the best riffs on the album, with the guitar piercing through on the bridges, showing utter control at a great speed. Little Friend has some ear-catching moments, such as the synchronised pause and restart, and the rebuilding of momentum a couple of minutes in. Out of Step builds on the straight edge manifesto: "I don't smoke/I don't drink/I don't fuck/at least I can fucking think" and is comfortably the most interesting song lyrically on the album. Cashing In follows on directly from the previous track, with a post-modern, self-referential, and one hopes very tongue-in-cheek, take on how artists view their fans. 

Overall the album is a short, sharp explosion of intensity, and whilst it doesn't always land, it is hard to ignore. There is an art-house intelligence to it that cuts through the simplicty of the heavily distorted guitars. I have always loved Fugazi for the variety and clever song-writing, and whilst this album doesn't have the delicacy to reach those levels, it is clear what an influence they had. I feel like it was important to listen to this particular genre from a breadth of understanding point of view, but I wouldn't say that this has made me a fervent Hardcore punk fan.

Chloe's album rating: 5
Chloe's favourite track: 3. Think Again
Olly's album rating: 6
Olly's favourite track: 8. Out of Step

Next week we have 997. Django Django by Django Django, our most up-to-date album yet.

720. It's a Shame about Ray - The Lemonheads

This album was massive before my formative musical years, and so whilst I knew a couple of tracks, it wasn't exactly like the Goo Goo Doll's Dizzy up the Girl for ever-presence.

Evan Dando's band were thrust into the spotlight following their hastily thrown together yet top 20 chart-making cover of Simon and Garfunkel's Mrs Robinson. Three hours in the studio has rarely reaped such rewards, and off the back of this success they re-released their album with this track added, to sizeable commercial success, especially considering the album clocks in at less than 30 minutes.

Rockin' Stroll is a great example of bubblegum rock-pop, although far from being the only example of this on the album. Indeed, it is what the album is pretty much entirely made up of. Confetti has a bit more about it, with some nifty guitar work and some crunchy distortion. The title track is a pleasant slice of radio-friendly acoustic rock, although I could never quite get my head round what the lyrics meant. Rudderless was a real stand out for me, with the best refrain on the album. My Drug Buddy has a very catchy, singalong chorus, but I didn't particularly enjoy it, being on the saccharine side of sweetness. Turnpike Down is forgettable, and Big Part injects some pace into proceedings, with a decent call-response approach, but it ends a bit quickly. Alisons Starting to Happen is a pretty decent song, but its missing apostrophe renders the song completely disappointing. Hannah & Gabi is pretty meh, with little to make it stand out. Kitchen is a pretty weak song, although possibly better than Ceiling Fan in my Spoon, which is just bizarrely poor, and utterly non-sensical. Frank Mills is an interesting story-telling song, with some real stream of consciousness in its nature, coming from the musical Hair. The Mrs Robinson cover has a cracking bassline that really comes to the fore, and makes you wish they unleashed this talent about more on the overly treble rest of the album. The whole band feels less constrained, as if the normal process of song-writing original material leaves them concentrating too much.

This is a very inoffensive, pleasant sounding album, which is both its strength and its weakness. Could I play it in the background on a regular basis and prefer it to silence - absolutely, and without question. However, the more I concentrate on it, the less appealing it becomes. It lacks originality, and the charm it has is spread pretty thinly over a sizeable chunk of filler. A disappointing album all in, that sells itself short.

Chloe's album rating: 7

Chloe's favourite track: 2. Confetti

Olly's album rating: 5

Olly's favourite track: 4. Rudderless

Next week is 522. Out of Step by Minor Threat; that will probably have more edge to it.

949. Fever to Tell - Yeah Yeah Yeahs

An album I knew fairly well, although almost certainly not as well as i should given its release in my final year at school. The issue was probably more with me focusing on Pink Floyd, to the exclusion of everything else, rather than this album lacking in quality or hype.

Hype was something that followed the band since its inception in New York in 2000, with their debut EP leading to a chase from major labels far and wide. With a deal to Interscope eventually signed, the band spent a significant amount of time getting their sound just right for the album, and it paid off, with rave reviews and the album going Gold in both the UK and the US. It is still highly regarded, appearing near the top of many best album of the 2000s lists.

Rich kicks the album off with a piercing riff and coruscating guitar lines, that match perfectly together with Karen O's disdainful vocal delivery. The chugging chorus gives way to clarity in a captivating way, and the drumming holds the piece together brilliantly. Date with the Night steps things up a notch with an explosive runaway train of a song that seems to speed up with each verse, without ever losing the semblance of control. Man maintains the intensity, complete with a gothic sounding organ, although the song seems to lack the underlying quality and variety of many others. Tick is a song I would love to see delivered live as it allows Karen O to dominate, and really shows her ability to fluctuate between absolute control and losing it. Black Tongue is a song I often overlooked, which is testament to the quality of the album. There is an onslaught of distorted guitar, with tight drumming underpinning the whole thing, and Karen O's yelps over the top - what's not to like? Pin has, for me, one of the best light-heavy guitar change-ups in the history of rock music. The transition from verse to chorus is sublime, and the overall effect is immensely listenable. Cold Light is a reasonable song, but lacks the jaw-dropping quality on its guitar line of other songs on the album. No No No has a great chorus, and a delicately crafted riff on the verse, but Maps blows this out the water, with a chorus that should be a mandatory singalong at university indie club nights. It may already be, I just haven't been to one in ten years. It is one track where Karen O sounds anything like vulnerable, which makes it a real counterpoint to the rest of the album. Y Control doesn't stray far from the album's roots, unlike Modern Romance which is a less distorted, more reflective song than any other track on the album.

This is a ridiculously good album, especially if you like piercing guitar and captivating frontwomen. They are a 21st century Blondie, with the song-writing and technique to match their forerunners. The only thing that stopped it being an utterly great album was the slight lack of variety, with most songs following the light verse, heavy chorus approach. This is done exceptionally well, and so it scarcely warrants criticism for it, but it does reduce the repeatability somewhat. That having been said, I'm sure it is an album I will come back to many times.

Chloe's album rating: 8

Chloe's favourite track: 9. Maps

Olly's album rating: 8

Olly's favourite track: 6. Pin

Next week is 720. It's a Shame about Ray by the Lemonheads. 

64. Face to Face - The Kinks

Whilst unlikely that we would select all four of the Kinks albums in the book in the first two years or so, it was not impossible, and so it has come to pass. Given the slight disappointment of two out of three of them, I wasn't optimistic about this one, but hoped that I could be swayed.

This album marked the Kinks' move away from harder, more classic rock and roll towards the more refined, softer sound that they adhered to during the next few albums. The album was entirely written by Ray Davies, and it is claimed that it is one of the first concept albums, with the theme of social commentary. The album was, and is critically acclaimed, but fail to sell particularly well. This may have been, in part, due to the legal wranglings taking place between the group and their record label, Pye.

Party Line is a very bizarre song; musically it is lively, with a jangly guitar and sharp snare combination, but I have little idea as to what a party line actually is, and why it would affect someone voting in an election. Rosy Won't You Please Come Home has a very baroque sound, primarily due to the harpsichord, whereas Dandy sounds significantly more modern, albeit with a slightly dated theme. Too Much On My Mind is overly slow, and fairly forgettable, with nothing of note to warrant its inclusion. Session Man has at least the benefit of some interesting content, however patronisingly it is delivered. I can only imagine the difficulties the Kinks would have getting session musicians to work with them following this song, especially given the damning line "He's not paid to think, just play". Rainy Day in June has a reasonable sense of atmosphere about it, and Ray Davies' voice is at its best on this song, not sounding overly childish, nor overly sarcastic. House in the Country foreshadows Charmless Man by Blur, but with little of the humour of the latter. Holiday in Waikiki sounds exactly like 19th Nervous Breakdown by the Rolling Stones, but nowhere near as good. Most Exclusive Residence for Sale has a catchy chorus, but a narrative that is either bitter or mournful, without being sufficiently compelling in either way. Fancy is rubbish, and Little Miss Queen of Darkness isn't much better, a nice bass line aside. You're Looking Fine has a great guitar, and a few sharp piano touches, but it's Sunny Afternoon which is comfortably the best song here. The languid vocal delivery, the wheezy accordion, with that catchy chorus come together to capture that feeling on a warm, sunny afternoon when everything feels ok, regardless of the reality of the situation. I'll Remember is a pleasant song, but not much to write home about.

This album is arguably the weakest of the four we have heard, with really only Sunny Afternoon of a really high standard. The songs merge into a slightly generic, whimsical pop-rock sound that yearns for the good old days more vehemently than Village Green. The actual song-writing gives the impression of being a bit rushed, with quite a few half-baked ideas that don't have enough about them to hold the song together. For all Davies' talent, he sometimes seems to come up a bit short and settle for an under-developed idea.

Chloe's album rating: 5

Chloe's favourite track: 13. Sunny Afternoon

Olly's album rating: 5

Olly's favourite track: 13. Sunny Afternoon

Next week's album is 949. Fever to Tell by the Yeah Yeah Yeahs. Banging. 

94. Safe as Milk - Captain Beefheart and his Magic Band

Filed with Frank Zappa as an artist I wanted to know, without having to devote the time to actually listen to him, Captain Beefheart's name alone has always intrigued me. Whilst strange that I would not explore them via Trout Mask Replica first, the write up in the book that sparked this whole project intrigued me.

The album was not a commercial success, and did not chart either side of the atlantic, but it did pave the way for the band's future direction, complete with surreal lyrics and experimental rhythms. Ry Cooder was brought in to perform additional guitar parts, and brought a blues-based sensibility to the album. John Peel was a fan, and it is this album that Barry, in the film High Fidelity, refuses to sell to a customer because he is "not in a selling mood today", before being informed that he is a music snob. 

Sure 'Nuff 'n' Yes, I Do has a brittle-yet-fuzzy guitar sound, with a real Blues swagger to it. Beefheart's vocals have a guttural delivery, although I'd slightly question the extreme stereo nature of the vocal panning, which appears overtly artificial. Zig Zag Wanderer is, as Chloe pointed out, straight out of the Austin Powers school of music, but it has a charm to it that allows it to pull off the naive psychedelia. Call On Me is a relatively traditional pop song than most, with a 'more is better' approach to instrumentation, especially on the percussion front. Dropout Boogie has a great mirroring of the vocal and guitar effects, with a density applied to both that is cur through by the odd chiming harmonic. I'm Glad is a pastiche of a 50s high school prom dance, complete with a waltz-y time signature, and overly saccharine backing vocals. Electricity caught my attention the first time through, with its off-kilter timing, and often bizarre vocals, that steps up into a rumbling, driving manifesto of a song. Musically it seems to epitomise the creativity that underpins the group, whilst never losing sight of a fundamentally accessible experience. And it uses a theremin, which is always a winner in my (Physics text)book. Yellow Brick Road is a rattley, wheezy number that gets toes tapping, and imaginations running riot. Abba Zaba is a rhythmically powerful track with exceptionally meaningless lyrics but good delivery, and Plastic Factory sounds like a Bob Dylan track where the LP has warped a bit, but in a good way. Where There's Woman is the standout for me, with its emotionally driven and powerfully delivered chorus, surrounded by squealing guitars, and underpinned by a tight as a nut rhythm section. 

This is, at its heart, a very good pop album. The effects, the bizarre lyrics, the experimental instrumentation, add a layer of obfuscation, but cannot detract from the accessibilty of the music. It is far more blues-y than I had anticipated, and carries with that a real punch of emotion, although it isn't always clear what that emotion actually is. Nonetheless, I enjoyed it for pretty much the whole week, which is a sign of a good album, at the very least.

Chloe's album rating: 7
Chloe's favourite track: 3. Call On Me
Olly's album rating: 7
Olly's favourite track: 10

Next week is our fourth Kink's album - 64. Face to Face. Hopefully it's more Arthur than Something else.

82. Disraeli Gears - Cream

So, a seminal album where its reputation seems to precede much knowledge of it; other than the two singles, I'd maybe heard the entire album twice. Still, given the reputation, I was looking forward to plunging headlong into Blues-y psychedelia.

The band came about from the demise of several others, with the best elements of each (the Cream of the Crop) coming together to form what has been considered the first supergroup. The album, the band's second, reached number 5 in the UK, and was their breakthrough in the US, peaking at number 4. Still widely revered, it has appeared on many greatest album ever lists, and is in the Grammy Hall of Fame. The album title came from a roadie mispronouncing the word derailleur, in relation to the gears on a bike.

Strange Brew has that squelchy, squirmy feel that is unmistakeably psychedelia. Clapton's guitar dances over the top of Jack Bruce's driving bassline, to create a complex yet catchy song. Sunshine of Your Love is a classic - a riff that everyone knows without knowing that they know it. It's not just the riff though; the delightful distortion on the guitar makes it sound like something recently hewn of a volcano, and Ginger Baker's use of cymbals adds a delicacy to this juggernaut of a song. World of Pain slows things right down, with an introspective take on depression, that I find a little bit cloying. Dance the Night Away is a slightly identikit version of all the other songs, frankly, adding little of difference to proceedings. Blue Condition sounds like a Kinks song, even down to the vocals, but is slightly annoying with it, like a nursery rhyme through a broken speaker. Tales of Brave Ulysses is wonderfully structured, with Baker's drumming at its explosive best, and the guitar line obscenely sultry. It's not quite Achille's Last Stand good, but as a tale of heroic valour it certainly captures the imagination. SWALBR is not great, with the lyrics sounding like they are referring to a car. We're Going Wrong is more interesting, with the impression being given of a slow unravelling of a mind. The guitar line beautifully shadows the haunting vocal delivery, and whilst I may not have enjoyed the song that much, I found it captivating. Outside Woman Blues is a fairly raw Blues track, with a nice guitar riff, but not much else to celebrate. Take it Back uses the harmonica wonderfully, with a swagger to the overall sound that catches your attention, but doesn't do enough with it. Mother's lament is bizarre drinking song that is out of place on the album; it may have seemed like a good idea at the time, but it just gives the impression of a band taking the piss.

Overall, this album just didn't have enough about it to warrant the hype, to my ears. Some great riffs and cracking drumming does not an astounding album make. It somehow manages to sound both same-y and lacking in cohesion, and whilst the quality of the individual parts is not in question, the sum of these appears far less to me. It probably sounds much better when off your face, but that is a level of commitment I was not willing to provide to give this album a second crack of the whip.

Chloe's album rating: 6

Chloe's favourite track: 2. Sunshine of Your Love

Olly's album rating: 6

Olly's favourite track: 6. Tales of Brave Ulysses

Next week is 94. Safe as Milk by Captain Beefheart and his Magic Band. 

284. Selling England by the Pound - Genesis

I don't know much about Genesis, and the only album I have is "And Then There Were Three..." which I've not listened to much as I don't think it was very good. So, it's fair to say that expectations were low.

Genesis had been an established band, but not a well-known one, until their fourth studio album, Foxtrot, gave them significantly more recognition. Selling England by the Pound was the follow up to this, and its major themes are the loss of folk culture in the UK, and a broader loss of English identity, the title coming from a Labour Party manifesto. The single I Know What I Like (In Your Wardrobe) was the band's first single to break the top 30, and the album itself reached number 3 in the UK. The number 70 it attained in the US was a marked improvement on previous efforts, and the first released there under the Atlantic record label.

Dancing with the Moonlit Knight is about three songs in one, with the first setting the tone beautifully in a driven, focused manner. It then builds into a guitar driven frenzy which is not quite so compelling, but still impressive, before it ends up as a slightly fey, directionless testament to different keyboard effects, which is a real disappointment. You get the impression that just kept trying to add more in the studio, and ruined what is at its heart an excellent song. I Know What I Like (In Your Wardrobe) was the only song off the album I knew, and I cared even less for it after repeated listens. The funky bass and tight drumming cannot distract from the meaningless lyrics (When the sun beats down on an empty beach\ and I hear the people talk/ Me, I'm just a lawnmower/ you can tell by the way I walk), and annoying double-tracking of Peter Gabriel's slightly desperate sounding vocal turn. Firth of Fifth has an impressive piano opening, and features recurring motifs from this intro throughout, but is too drawn out and meandering to be a good song, however technically capable the band members are. More Fool Me is a more classically structured pop-song, and the basic rhythm guitar sound suits Gabriel's voice more. The Battle for Epping Forest is like the Battle for Evermore, but nowhere near as good. It is sclerotic in its nature, and never really gets going, with too many overly-fiddly parts to it, and the embarrassing use of some peculiar accents. After the Ordeal is actually a very accomplished instrumental, which manages to convey a greater span and sense of emotion than most of the other songs on this album. The Cinema Song is forgettable, although not actively offensive, and Aisle of Plenty draws upon earlier motifs you may have remembered, should you decide to commit this far.

This is not a very good album. Indeed, I'd go so far as to describe it as a bad album, made all the worse for the clear technical and musical abilities contained within it. I don't really understand it, at a lyrical or conceptual level, and not only did I feel no further along the path to understanding by the end of the week, I actively wanted to leave the path, to stretch the analogy nearly as far as Genesis repeatedly choose to do.

Chloe's album rating: 5

Chloe's favourite track: 1. Dance of the Moonlit Knight

Olly's album rating: 4

Olly's favourite track: 6. After the Ordeal

Next week is 82. Disraeli Gears by Cream. 

452. Tusk - Fleetwood Mac

Tusk has always been one of my favourite Fleetwood albums, possibly pipped to the post by Tango in the Night. It is wonderfully sprawling, and delightfully varied, and I couldn't wait to get reacquainted.

Following the frankly ridiculous success of Rumours, Fleetwood Mac spent a then record $1 million in the studio producing their follow up. Whilst it didn't have the explosive selling power of Rumours, it still went Platinum within weeks, and spawned six singles. It has been garnered with more praise retrospectively, with its experimental and varied song structures created through Lindsey Buckingham's desire to push the envelope in the studio. 

Over and Over has a delicacy to it that demonstrates the band's maturity, with McVie's vocals welcoming you to proceedings. The Ledge is far more insistent, with a whipsnap percussion, and some rumbling brass in the background, although it's far from clear what it's really all about, frankly. Save Me a Place is mournful, but also a bit ponderous, however catchy the chorus may be. Sara is the best known song on the album, with Stevie Nicks's voice at her haunting best. The jazzy, barely structured guitar plays off beautifully against the more rigid piano and drums. What Makes You Think You're the One has all the hallmarks of a drunken pub singalong, whilst still sounding highly accomplished. Storms is a beautiful song with some of the best vocal work on the album, fully evoking the heartbreak inherent within, with a well-crafted analogy of the sea encapsulating a relationship. That's All for Everyone is slightly too studio effect driven for my liking, and It's Not That Funny is a slightly bizarre yet bizarrely compelling track with a real drive and inescapably catchy rhythm. Sisters of the Moon has been one of my favourite Fleetwood songs since I stumbled upon a live version on Youtube, and relistening to the studio version has not changed my opinion. The sheer emotion of Nicks's vocals, and the soaring guitar overlaying the rhythm section is just outstanding. Angel has a more traditional rocky feel to it, complete with some lovely licks from Buckingham's guitar, and some sterling backing vocal work. Brown Eyes doesn't do enough for me, Never Make Me Cry is similarly underbaked. I Know I'm Not Wrong features a similar tempo and squelchy feel to It's Not that Funny. Honey Hi doesn't seem much more than a studio offcut, and the album would not miss its absence at all. Beautiful Child is a haunting number that really lets the vocals take all the glory, and deservedly so, with some darkly observant lyrics and breathy refrains; it is one of the hidden gems on the back end of the record. The title track, recorded in Stanford stadium with the USC Trojan Marching Band, has one of the best leading drum lines outside of Keith Moon in The Who, with its sinewy persistence.

This is a superb album, there is no question of that. Whilst it could probably do with some slightly more ruthless studio editing given the unnecessary presence of filler on the album, the sheer variety and depth of the very good to outstanding tracks is jaw-dropping. It isn't an easy introduction to the Mac, but it is an album that reaps the rewards when given sufficient time and attention. 

Chloe's album rating: 7
Chloe's favourite track: 5. Sara
Olly's album rating: 8
Olly's favourite track: 10. Sisters of the Moon

Our next album is 294. Selling England by the Pound by Genesis; seems oddly appropriate at this time.

488. Non-Stop Erotic Cabaret - Soft Cell

So I know the cover version that made Soft Cell famous, but was surprised to discover that one of their albums had allegedly made sufficient impact on the world to be in the list. Still, the last early electronica album that focussed on the clubbing scene in London impressed me greatly, so I was intrigued.

Released in 1981 by English duo Dave Ball and Marc Almond, the album was written to capture the reality of the clubbing scene in London as told by two naive suburbanites, or that is how it came across. The single Tainted Love became a global smash hit, selling over 1.2 million copies in the UK, and spending 43 weeks in the US top 100. The album was successful in the UK reaching number 5, but limited elsewhere, with its sexual connotations proving too much for the more uptight US market.  

Frustration opens with some exceptionally crisp synths, and an impassioned vocal performance about the struggle of a normal, mundane existence. Tainted Love is one of the few songs where the cover surpasses the original to the extent that it is barely considered a cover. The sleazy, squelchy bassline is overlaid with a razor sharp synth, and a chorus that has been sung at too many nights out in Reflex is still hard to resist. Seedy Films is a stripped back track, with great use of toe-tapping snare and a filthy couple of sax lines. Youth sees the group attempting something a bit more grandiose, and almost pulling it off. Sex Dwarf is frankly bizarre, but also bizarrely good. The biting vocals and icey production make it compelling, although it is hard to stomach some of the lyrics, especially given the controversies surrounding the music video. Entertain Me makes innovative use of the call and spoken response in the verses, and adds some energy, which is taken up a notch by Chips on my Shoulder, with its rapid synths that foreshadow much of the 80s. Bedsitter has a Joy Division-esque bassline, and a catchy chorus that in my head always ended up swapping the word Bedsit for Brexit. The song is wonderfully evocative in its presentation of the loneliness of the hedonistic clubbing scene. Secret Life is a dark tale of hidden lives, and Say Goodbye, Wave Goodbye is an emotional lament to the end of a relationship, both of which are enjoyable whilst being slightly forgettable to me. Memorabilia is a very intriguing track that would not be out of place on an early Nine Inch Nails record, with a commentary on the fetishisation of collections. Fun City is somewhat ponderous, and the last few tracks lack as much identity, despite the more varied instrumentation, including steel drums and a horn section.

This album had a lot more depth and meaning to it than I'd anticipated, and shows Soft Cell to be much more than a disposable single band. The music is always the safe side of edgy, although undeniably catchy, but the lyrics demonstrate an acute awareness of the early 80s London scene. There is significantly more variety than I'd expected, with a high standard pretty much throughout; indeed, I really struggled to pick a standout song. Whilst it is not seminal in the way some albums are, it is also significantly more enjoyable than many, with a cutting, knowing humour alongside some razor sharp tunes.

Chloe's album rating: 6
Chloe's favourite track: 7. Chips on My Shoulder
Olly's album rating: 7
Olly's favourite track: 10. Say Hello, Wave Goodbye

Next in line is 452. Tusk by Fleetwood Mac. Epic, epic album that. 

800. Liquid Swords - Genius/GZA

Another Wu-Tang solo project, Liquid Swords is the second solo album by GZA. Given how much Chloe loves the Wu Tang, I was interested to hear how this project would compare to Ghostface Killah's Fishscale.

Released in November 1995, the album features all the members of Wu Tang, indicating the collaborative approach they have to their music. The title comes from a samurai film about a sword so thin that it can decapitate someone without their head leaving their neck. It reached number nine in the US, and went platinum in 2015, demonstrating its popularity with the pubic. It was critically acclaimed too, with many reviewers labelling it as equal to the best solo Wu projects. 

The title track opens with a Samurai-based monologue from the film Shogun Assassin, thus conforming to the Wu Tang obsession. A very simple beat allows GZA to deliver his rhymes without being overshadowed, and with some support from RZA. Duel of the Iron Mic is one of the most complete tracks on the album, with a great piano riff and some captivating sound effects, the 4 members of Wu Tang, including ODB and Inspectah Deck, manage to build on each other's verses. Living in the World Today has a great little horn riff, but the Method Man/GZA combo doesn't quite work for me as I rarely ended up listening to the words, instead focusing on the overall sound. Gold has one of the best beats on the album, with an atmospheric production that trumps many of its contemporaries. GZA's lyrics are delivered in his usual calm, laid-back way, but with a strong narrative underpinning it. Cold World, the album's third single, has a sparse, dislocated sound to it, but I don't quite get why it was picked out as a single, although Chloe enjoyed it. Labels is a bit of a non-event for me, whereas 4th Chamber has a captivating beat and strong efforts from Ghostface Killah, RZA and Killah Priest. As GZA says himself - this one is more of a Wu track than a solo effort. Shadowboxin' has some of the most innovative samples on the record, with some great scratching introducing the track. Investigative Reports has the catchiest chorus, but it is B.I.B.L.E. (Basic Instructions Before Leaving Earth) that is the standout song for me, with its accessible chorus, reflective lyrics and catchy as hell samples.

Overall it is a consistent album, but one that rarely hits the high points I was hoping for. It also has a lack of variety when compared to Fishscale, for example, with most of the songs following a similar sound. The acclaim for the album comes primarily from the lyrics, and in all honesty I find it hard to focus on the lyrics for the duration, focussing much more on the overall sound. On that front it is a good, and not great, album as the production is excellent, but ploughs the same furrow a bit too much for my liking.

Chloe's album rating: 6
Chloe's favourite track: 5. Cold World
Olly's album rating: 6
Olly's favourite track: 13. B.I.B.L.E (Basic Instructions Before Leaving Earth)

Next week we have 488. Non-Stop Erotic Cabaret by Soft Cell. Yes, it contains Tainted Love.

802. Mellon Collie and the Infinite Sadness - Smashing Pumpkins

This album spawned thousands of devotees in the mid '90s, I had always enjoyed the singles without fully throwing myself into it as it required a level of dedication that I didn't quite have given the other bands dominating my time. It remains a seminal record for many of my mates, and so I was pretty happy with its selection.

Mellon Collie was released as a double CD and triple LP in 1995, having been written following an epic worldwide tour supporting Siamese Dream, the previous album. Flood and Alan Moulder were recruited to produce the record, and got the band working more cohesively as a group, rather than Billy Corgan dominating proceedings. The two discs were labelled as representing day and night, although it is not a concept album as there isn't a truly cohesive narrative knitting them together. Corgan wrote much of the material with a view of encapsulating his youth, and this seemed to sit well with the market, going on to reach number 1 in the US and number 4 in the UK.

The eponymous opener is a gentle piano number, that is then taken by the scruff of its neck into the masterful Tonight, Tonight. Corgan's voice is supreme on this, and the staccato drumming and swirling strings entrap the listener completely. Jellybelly is a slightly identikit grunge number, whereas Zero has a recognisable guitar intro from the outset. It was one of the numerous singles of the album, and has that wonderful "emptiness is loneliness, loneliness is cleanliness, etc." moment halfway through, alongside a relentless wave of sound. Here is No Why follows this up with some passion, but is blown out the water by the astonishingly good Bullet with Butterfly Wings, the first single off the album. The quiet-loud-quiet approach works an absolute treat, with the reverb on Chamberlin's percussion giving a claustrophobic feeling during the calmer sections, before the band explode led by Corgan's "just-holding-it-together" voice. To Forgive then takes things down a step, with a much more laid-back feeling. An Ode to No One is a pretty relentless wall of guitar noise, but slightly forgettable with it. Love makes one of the best modern uses of the phaser in recent memory, with a wonderfully distorted texture to the song. Cupid de Locke is too saccharine for me, whereas Muzzle has a bit more balance to it. Porcelina of the Vast Oceans is an epic song, clocking in at nearly 10 minutes, and whilst it takes a while to get going, has sufficient variety to engage for the duration. Bodies is a superb song, although slightly lyrically melodramatic. 1979 was another single off the album, and it is radio-friendly rock, with a piercing snare and jangly guitar offering it an identity quite different to the rest of the album. Tales of a Scorched Earth and X.Y.U. are far edgier, with a real intensity to them, complete with squealing guitars, and Corgan's rasping, broken voice. Whilst I'm not entirely convinced, the variety and conviction are both impressive. Stumbleine is another delicate lullaby, but with a deeper guitar tone, which makes it less saccharine. The electronica of Beautiful completes the genre-jumping of this quite wonderfully bizarre album. 

It is clearly a momentous work of art, and there are some outstanding pieces of music here - some of the best rock songs of the 90s. However, I find the overall album a bit too binary; either all out rockers or syruppy sweet ballads, with little in between. The former I am a big fan of, but the latter does not quite work for me, as they tend to sound a bit samey, and rely too much on Corgan's, admittedly impressive, voice. Lyrically it is also a combination of limited and pompous, with angsty, meaningless epithets riddling otherwise cohesive tracks. That having been said, the high points of this album are genuinely impressive, and with even more time I feel like it would have offered even more to the listener. I appreciate it more for its misses as well as its hits because it signifies a band trying so hard to try new things, and, on the whole, succeeding.

Chloe's album rating: 7
Chloe's favourite track: 16. Bodies
Olly's album rating: 8
Olly's favourite track: 6. Bullet with Butterfly Wings

Next week is an album from the same year, but with a remarkably different feel - 800. Liquid Swords by Genius/GZA.

41. A Hard Day's Night - The Beatles

This is one of the few Beatles records I don't know that well, whereas Chloe knew every word. The excitement of 'discovering' a Beatles album is massive, as they are a group who rarely disappoint in the quality of their material, however high expectations are.

A Hard Day's Night was the first Beatles album containing songs written entirely by Lennon and Mcartney, and it was released alongside a film of the same name. Whilst it's fair to say the latter is well regarded, it was again the music album that captred the iggest rewards,  going on to reach number one in the UK and US, although they have very different compositions. Just before this album was released, the Beatles had singles filling the top 5 slots in the US chart, indicating their popularity. This album regularly features in lists of the greatest albums ever, with Rolling Stone having it in their top 500, and Q in their top 100, although there are few Beatles albums that can't make similar claims. 

The title track kicks out of the traps like a greyhound. Between the Lennon led vocals and the tight-as (ass?) rhythm section, the song is well driven. The harmonica section in the subsequent song captures the imagination, and the simplicity of the guitar line indicates exactly what the band were about. If I Fell is built on great backing vocals, multi-layered guitar lines, and slightly over saccharine but teenage-heart melting lyrics. I'm Happy Just to dance With You is all wide-eyed innocence and simplicity personified, resulting in a track you cannot avoid dancing to. And I Love Her is a slower, more melancholy song which shows the band's increased confidence in dealing with more grown up, mature issues, although still revolving around love. There is some interesting percussion, and a slow, delicate Harrison guitar solo, and it sounds like some of their more Indian-influenced later tracks. Tell Me Why reverts straight back to high quality, sing-along bubblegum pop, but is eclipsed by the irrepressible Can't Buy Me Love, which has one of the great Beatles choruses, which means one of the greatest choruses ever. The jangly guitar sound, coupled with the soaring vocals made this a deserved classic. Any Time At All was one of my favourites off this album, with the insistence of the lyrics in the chorus leaving you in no doubt as to the intentions of the singer. I'll Cry Instead is a bit of a miss for me, in relative terms, and Things We Said Today hints at the later experiments in psychedelia. When I Get Home is a pretty threatening song, with a great guitar line and classic Beatles harmonies. You Can't Do That takes that threatening tone and steps it up a notch, with some fairly denigrating and possessive lyrics, although some great Starr percussion. I'll Be Back has a great, jangly Harrison guitar line, but doesn't quite do enough with it.

This is clearly a very good album, but not as great as I had hoped it would be. The simplicity of the songs cannot hide the quality of the writing, but it is the later, more adventurous Beatles sound that has appealed to me more over the years. The singles off the album are terrific, an there are some songs I hadn't come across before that are brilliant, Any Time At All being a prime example. Overall though, it isn't the seminal classic I was hoping it would be, with the hint of some filler in songs that fail to move me much at the end of the album. 

Chloe's album rating: 7
Chloe's favourite track: 2. I Should Have Known Better
Olly's album rating: 7
Olly's favourite track: 7. Can't Buy Me Love

Next is the epic 802. Mellon Collie and the Infinite Sadness by the Smashing Pumpkins.