333. Greetings from L.A. - Tim Buckley.

Not often is a sequel better than the original, but in the case of the Buckleys, it does seem that Jeff burned brighter in his too short years. However, that is coming from a place of knowing pretty much nothing about Tim, so perhaps I'm being too harsh. 

This album is about as sexual as one can imagine an album from the mid-70s being. The opening few tracks are sleazy as hell, with particular mention going to Move with Me, which glamourises, or at least attempts to, infidelity like few other songs. The instrumentation is great, but let down slightly by Buckley's try-hard voice. Get on Top is much more lightweight, sounding like an early Eagles track, which is never a good thing in my book. I struggled to pull much out from the rest of the album, with just the odd element of Nighthawkin' really lodging in my consciousness.

Overall, the album was OK - there are some nice touches, and nothing overly offensive about it (although Chloe would probably disagree as she found some of the imagery it conjured vomit inducing). It is the type of album that I'm sure would be more compelling live, but as a studio album, it lacks some of the dynamism and is certainly less captivating.

Chloe's album rating: 4
Chloe's favourite track: 6. Hong Kong Bar
Olly's album rating: 6
Olly's favourite track: 1. Move with Me

Next week's album is 111. Cheap Thrills by Big Brother and the Holding Company

781. Tical - Method Man.

Our third solo project from Wu Tang, I was intrigued to know what this would bring, having enjoyed the other two albums.

Tical, a supposed reference to marijuana or standing for 'Taking Into Consideration All Life', depending on which article you read, was produced by RZA, and was the first solo album from the group after the success of 36 Chambers. 

The beats and samples are deliberately hazy, with a grittiness not present on Liquid Swords, and only hinted at on Fishscale. The sound is distinctive, with a filter seeming to appear between the listener and original sound, but one that adds an element of darkness to the sound. In terms of content, there is less humour, fewer skits, and it lacks the obvious singles of the other albums. 

I was slightly disappointed overall with the album, having read such universally positive reviews prior to hearing it. It isn't bad, and I really enjoy the production, although it does end up being a bit samey, but there aren't enough stnad out songs to make me want to put it on. Indeed, I can't really imagine any of these making my hip-hop playlist, which is a pretty damning indictment, given my lack of depth in that particular genre.

Chloe's album rating: 6
Chloe's favourite track: 3. Bring the Pain
Olly's album rating: 5
Olly's favourite track: 11. Mr Sandman

Next week is 333. Greetings from L.A. by Tim Buckley. 

304. Blood on the Tracks - Bob Dylan

Our second Dylan album in quick succession, this one is always considered right up there amongst the troubadour's impressive back catalogue. Knowing it reasonably well, I was anticipating a week of sumptuous lyrics and cutting, heartbroken observations.

And I was not disappointed. There are some utterly superb examples of songwriting here, including the sublime Tangled up in Blue and stellar Idiot Wind. However, for me, it is the Lily, Rosemary and the Jack of Hearts that is the real work of art for me. Whilst songs this long can often fail to hold your attention, I've always found it impossible to tear myself away from the narrative, picking out a new aspect on each listen. The detailed observations of human movement, along with the crystal clear caricatures, make for a short story few novelists can surpass.

I don't know enough on Dylan's full catalogue as I'm (a) not that into folk and (b) have a life. However, by cherry-picking the great albums, I've ended up with just the highlights, and this is about as high as those lights get. I'm not sold on Buckets of Rain, and folk is still not my favourite genre (although this album doesn't completely sit within that genre, admittedly), but it is pretty peerless nonetheless.

Chloe's album rating: 9
Chloe's favourite track: 9. Shelter from the Storm
Olly's album rating: 8
Olly's favourite track: 7. Lily, Rosemary and the Jack of Hearts.

Next week is 781. Tical by Method Man.

825. Millions Now Living Will Never Die - Tortoise

I've only recently started getting into post-rock, and this has mainly been through the medium of Mogwai. To find out that this album, by a band I'd never heard of, was a massive influence on that group, was thus pretty exciting.

The album instinctively looks unbalanced, with an epic opener, followed by significantly shorter remaining tracks; over 50% of the running time is that first track. However, it doesn't feel unbalanced when listening to it, with the tracks rolling together in a very organic manner.

Organic is a surprising word to use when describing such an electronic album, but it really does have a natural feel to it. The sounds seem to grow and merge off each other in a fairly inevitable way, certainly after a couple of listens. Whilst it sometimes lacks a bit of drive, something Mogwai would never be accused of, it has a self-assuredeness not often found in such experimental bands.

Overall, I liked the album, but didn't love it. I was impressed by the scope of it, but never astounded by it. I can see why it was so influential, yet prefer the outcome of that influence to the influencers. Still, part of me thinks it is one album that will keep chipping away at me, and may become a part of my regular ouevre. 

Chloe's album rating: 6
Chloe's favourite track: 1. Djed
Olly's album rating: 7
Olly's favourite track: 1. Djed

Next week is 304. Blood on the Tracks by Bob Dylan.

774. Snivilisation by Orbital

Things I know about Orbital: they make some form of dance music and were quite big in the 90s. 

Things I learned about Orbital upon us picking this album: they have at least one album with a terrible title.

Things I learned whilst listening to the album.

1. I quite like spoken word samples taken out of context played over modern dance music.
2. I don't like this approach being repeated on most of the albums' songs.
3. A dance track without a decent drop isn't much of a dance track.
4. Orbital are not a fan of basslines, preferring very technical treble to dominate.
5. Philosophy by Numbers is an interesting track, which I enjoyed, but would love it to have a proper horn section rather than the electronic equivalent.
6. The piano loop on Kein Trink Wasser is great, but doesn't really go anywhere.
7. I am not going to rush out and listen to any more Orbital albums.

Chloe's album rating: 6
Chloe's favourite track: 4. Crash and Carry
Olly's album rating: 5
Olly's favourite track: 6. Philosophy by Numbers

Next week is 825. Millions Now Living Will Never Die by Tortoise.

496. Black Metal - Venom

I was not particularly looking forward to this album - "the album that founded and named the Black Metal scene" is not a label that I would personally take great pride in receiving, nor experiencing.

The first listen through, I really, really struggled to find any merit at all. The guitar was too fuzzy, the singing was both overblown and poor, and there was no real variety at all, with the songs seeming to merge into one long dirge. However, after a few rounds, I started to pick out some more impressive moments, such as the stacatto drumming on Raise the Dead, the intro guitar on Don't Burn the Witch, and the crude yet engaging narrative underpinning Teacher's Pet.

There are disappointing moments (the "get your tits out" break down on Teacher's Pet being one). The guitar is too often overly distorted, the levels make elements of the band hard to hear, and the subject matter is repetitive. However, if you appreciate that the band were performing with their tongue in their cheek, and no small talent, it makes the album a much easier one to enjoy.

It's hard to listen to this sort of album with modern ears and fully appreciate its impact, especially when you are fairly familiar with the Metal genre. With repeated listens, you can hear the embryonic sounds of Iron Maiden, Metallica, and certainly Black Sabbath and the Black Label Society. I'm not going to listen to it many more times, but I don't doubt I'll hear echoes of it in many other albums.

Chloe's album rating: 4

Chloe's favourite track: 9. Countess Bathory

Olly's album rating: 4

Olly's favourite track: 1. Black Metal

Next week is 774. Snivilisation by Orbital.

968. Savane - Ali Farka Toure.

Whilst Malian music is unsurprisingly not a strength of mine, the whole point of this project was to introduce ourselves to a greater variety of music.

Our initial exploration of this album was slightly intimidating, with a metacritic score of 94 - obscenely high. We try and avoid such research before listening to albums, to reduce any subjectivity (laughable really), but in this situation it added a real level of excitement. Unfortunately, this excitement ended up being slightly ill-founded.

The depth of sound, for what is an acoustic 'Blues' album (to put it in a language I can grasp), is impressive, with a lush variety of instrumentation. Given the unfamiliarity of many of the sounds to my Western-saturated ears, it was both intriguing and simultaneously comfortable, with rhythms and melodies that were simple enough. 

Toure's voice has a wonderful mellifluousity to it, as demonstrated on Erdi, Machengoidi and Penda Yoro. Beto shows off his guitar work, with a wonderfully Blues-y feel to the track. However, it is only really on the title track that they both come together for me. 

Whilst I did not mind listening to the album, I found it hard to concentrate for the duration, and even after several listens couldn't easily distinguish the songs. This is no doubt in no small part due to my lack of musical education and awareness, and my reliance on distortion pedals in appreciating songs, but I had hoped for a bit more. 

Chloe's album rating: 6
Chloe's favourite track: 4. Savane
Olly's album rating: 6
Olly's favourite track: 3. Beto

Next week is 496. Black Metal by Venom.

767. Live Through This - Hole

A band I'd been introduced to as a teenager, their lead singer (Courtney Love) was infamous, primarily because of her oft-complex relationship with Kurt Cobain. Whilst not a huge Grunge fan, I appreciated the importance of this relationship in shaping a seminally important musician, but probably didn't take the time to fully invest in this particular album. 

The opener kicks things off with real energy and no little angst. It captures the anger, speed, distortion, and limitations of the grunge scene fairly well. However, the rest of the album does indicate an element of flexibility that many bands at the time couldn't match. From the slow yearning of Doll Parts, to the outright pseudo-satanic intro of Credit in the Straight World.

The album reminds me of Sleater-Kinney, with a little more variety, and slightly less of a Pop-y vibe. The mis-titled album closer Rock Star (replaced by the song Olympia too late for the cover art to change) is a superb piece of music, which is stunning in its simplicity. 

It is worth noting that this album was released a few days after Cobain's suicide, adding a dramatic edge to the title, and certainly giving the album additional publicity. 

The album is a pretty good one overall, and certainly better than my distant memories recalled. There is a decent variety to the tracks, and certainly Love's lyrics and vocals are more deserving of praise than they have historically garnered. 

Chloe's album rating: 6
Chloe's favourite track: 1. Violet
Olly's album rating: 6
Olly's favourite track: 12. Rock Star

Next week is 968. Savane by Ali Farka Toure.

51. Highway 61 Revisited - Bob Dylan

One of the classic Dylan albums, and one of the few I actually know pretty well, it's hard to have listened to music without knowing at least a couple of these tracks at some stage. 

The opener is one of the most famous Dylan songs, which means it is also one of the most famous songs full stop, and with good reason. The ramshackle drumming and wheezy instruments, alongside the most singalong of Dylan's choruses, make this a song which really captures the time of social upheaval. The story of a man falling from grace presents the flipside of a changing world, where it felt like your parents' background would not dictate your future. Tombstone Blues is more acerbic, with a sharpness to the lyrics and snare drum, and many of the songs that litter this seminal album demonstrate Dylan's lyricism, even if it isn't always as sharp musically.

The outstanding track for me, however, has always been the one off this album that is criminally underrated for me. Ballad of a Thin Man is lyrically bizarre, but musically utterly captivating. The minor chords, and claustrophobic delivery, beautifully capture the frustration of Dylan's interactions with the media. As his fame grew, it became harder for him to experiment, hence the 'Judas' moment where his adoring fans turned against the man he had naturally become. The track seems to capture his belief that Art shouldn't have to answer to the public or press, and whilst I'm not always sure I agree, it is as compelling a case as you'll hear outside the Old Bailey.

Overall, this album is very good, but I can't quite see why it is so revered. As a poet, Dylan is exceptional (it was his Chronicles autobiography that introduced him to me - I've rarely read as well written a book), but I've always found his music slightly too simplistic. Whilst this is clearly partially a product of the times, his experimentation is more lyrical than musical, and it is the latter which always interests me more.

Chloe's album rating: 7
Chloe's favourite track: 1. Like a Rolling Stone
Olly's album rating: 7
Olly's favourite track: 5. Ballad of a Thin Man

Next week is 767. Live Through This by Hole.

166. Songs From a Room - Leonard Cohen

It is hard not to love a bit of L-Co, as no-one has called him, ever. Whilst depressing may undersell him, there is an honesty and integrity to what he does, including touring after his accountant/lawyer left him broke, and with no other  way of raising money.

Bird on a Wire is always going to take some beating as he standout on the album, and the delicacy of the string section over the acoustic guitar hints at the subtlety of the album as a whole. The lyrics are semi-oblique, but conjure vivid images, and the music seems to support them, rather than distract from them. 

Folk is at its best, in my opinion, when there is a real narrative, and that's what you get with many of the songs contained on this album. From Story of Isaac through to The Old Revolution, it leaves you wanting to know more about the characters, and their back stories. It's as close as I've ever really got to engaging with poetry properly, and I don't feel the need to explore beyond this.

Overall, it's not a stellar album, but it is absorbing, in a way that many albums cannot manage. I felt that I knew the tracks well after only a few listens, yet gained more upon each subsequent listent. I don't naturally choose folk-pop music as a go to, but when I'm in the mood in the future, I can well imagine reaching for this particular one.

Chloe's album rating: 6
Chloe's favourite track: 2. Story of Issac
Olly's album rating: 6
Olly's favourite track: 2. Story of Isaac

Next week is 51. Highway 61 Revisited by Bob Dylan.

871. Moon Safari - Air

A cool as fuck French duo who specialise in dance music? Alas, not Daft Punk, but a decent band nonetheless, and an album that I've some knowledge of.

It's hard to have avoided the work of Air if you watched TV in the 90s - their songs graced many an advert at the time. Laid-back but not quite minimalist, there is a blissed out vibe to much of the album, almost teasing you with its nonchalance. Unfortunately, this makes me feel that the duo have undersold their talent. There are some stand-out moments, that bassline on Sexy Boy being one, but they never seem to make the most of what they have, letting the song drift away too much. Le Voyage du Penelope defies this slightly, with a more consistent approach, but this is a bright spot.

As a background album, or one to put on when working, the album works well, and it is in no way offensive. It is decently crafted, but perhaps a bit too clinical, lacking some joie de vivre in my opinion. It probably shouldn't be compared to Daft Punk, as that is a lazy approach, but it suffers in comparison, which is what I mentally do every time I hear it.

Chloe's album rating: 6

Chloe's favourite track: 3. All I Need

Olly's album rating: 6

Olly's favourite track: 10. Le voyage de Penelope

Next week is 166. Songs From a Room by Leonard Cohen

360. Mothership Connection - Parliament

Having seen Parliament/Funkadelic live I was interested to know what their studio-work would be like. Live, it had been chaotic, albeit not being helped by the terrible sound quality at the O2 in Kentish Town. 

If you are looking for funky grooves, then this album does not disappoint. Every track has a great bassline, and the majority are recognisable as samples in moe recent tracks. But, what surprised me, was the depth of the music, which was not only innovative but also more varied than I'd expected. Unfunky UFO, for example, has an exceptional horn section, razor sharp drumming, and also a compelling call and response. 

That the band have influenced others is no surprise - from Hip-Hop to r'n'b, references to the act are easy to come across. For example, Outkast's homage to Supergroovalisticprosifunkstication is apparent on their similarly titled track off Aquemini (thanks Chloe for that spot).

This is an album that really grows, from a decent starting point. I was surprised by how much I enjoyed it, and it shows that funk has a lot more depth than I would otherwise have given it credit for. Put pretty much any of these songs on at a party, with a great sound system, and people will rapidly move towards the dancefloor, even if they're not aware they're doing it - that's a thumbs up in my book. 

Chloe's album rating: 7
Chloe's favourite track: 2. Mothership Connection (Star Child)
Olly's album rating: 8
Olly's favourite track: 1. P-Funk (Wants To Get Funked Up)

Next week is 871. Moon Safari by Air.

88. Groovin' - The Young Rascals

Knowing the title track, and having always enjoyed it off the 'Heartbeat' compilations that were ever-present in my formative years, I was interested to hear what a whole album of blue-eyed soul would offer.

A Girl Like You sets things off with a nice bit of brass, and Find Somebody has an almost Psychedelic-era Beatles vibe to it - think a slightly more ponderous version of Tomorrow Never Knows. As you get deeper into the album, you start to realise why the Young Rascals have failed to continue to exist in the modern consciousness; they are pretty derivative. I'm So Happy is fine, but that is an adjective that could be applied to most of the album. It's all nice, and, ok, and even a bit good in places, but it is also pretty forgettable. Not Bonnie Raitt forgettable, but not impactful. 

To put this in context, would I rather have this album or pretty much any of the Beatles' singles were I stuck on a desert island? It would almost certainly be the latter, as there is more depth in one Beatles' song (Yellow Submarine aside) than in any of these tracks.

All the elements are there for this album to be superb: Horn section - check. Harmonies - check. Mid-60s songwriting - check. It just doesn't seem to come together very cohesively, although it is an enjoyable enough escape. If I had a radio show, I might throw in one or two of their tracks (due to its cracking trumpet), but they don't stretch to a whole album of interest, by my reckoning.

Chloe's album rating: 6
Chloe's favourite track: 1. A Girl Like You
Olly's album rating: 5
Olly's favourite track: 6. Groovin'

Next week is 360. Mothership Connection by Parliament.

649. Nick of Time - Bonne Raitt

'Who?' was the resounding question when this album was selected. However, with Suzanne Vega still in our immediate memory, this was not necessarily the precursor to disappointment we might otherwise have expected.

A country singer whose career was on the decline before this album, I can only imagine how 'meh' her previous albums must have been. It is not that the music is bad, it is simply that it is hard to concentrate on for the duration of a single song, let alone album. Forgettable doesn't quite cut it - I'd listen to it on the way into work, and then realise that I was on track 8 without ever having engaged with it.

The title track is indicative of this, with a mellow vibe that would make most of a Radio 2 playlist sound edgy. Lyrically, there are some nice touches, but the overall sound is just autopilot MOR. Several tracks sound like Shania Twain demoes that never made the cut, examples that spring to mind are Thing Called Love and Too Soon To Tell, which is at least clever in framing the breakdown of a relationship as a retrospective.

I cannot imagine ever revisiting this album, and really can't recommend it to anyone, unless you're a big fan of pop-country that isn't very good. I picked out Have a Heart as my favourite, and can't really recall why, listening to it a few days later.

Chloe's rating: 5
Chloe's favourite track: 9. I Will Not Be Denied
Olly's rating: 4
Olly's favourite track: 7. Have a Heart

Next week is 88. Groovin' by The Young Rascals.

307. Crime of the Century - Supertramp

I wasn’t surprised to see a Supertramp album in the 1001, but I was surprised that the one we selected was not Breakfast in America (though that is on the list too). As a result, and having drawn a blank on the tracklisting, my expectations were middling to low.

Whilst certainly a quirky band, I was surprised to see them labelled as prog. However, in true prog fashion, the band was a variation on their initial line-up by this, their third album. It kicks off with School, which is a superb intro, with a pretty upbeat guitar and piano line throughout the first half that descends into a riot of energy and noise. Bloody Well Right follows that up with a more standard structure, a singalong chorus, and a pounding guitar line.

The album is experimental with a small e, with more variations upon safe themes than outright bonkers numbers. Asylum is a good example of this, with a sprawling majesty that never threatens to go too far off the beaten track. Dreamer teases with some falsetto at the outset, but then settles into some more comfortable harmonies and some nice squelchy keyboard offsetting the cutting synth.

I enjoyed this album a lot more than I'd expected to. It's more sensible a piece of work than I'd expected, with a fair amount of kookiness thrown in too. It's not a classic album that makes you want to ignore any other music for a week, but it is a pleasant distraction and one I imagine I will return to on occasion. It certainly means that I can no longer consider Supertramp a one album wonder.

Chloe's album rating: 6
Chloe's favourite track: 4. Asylum
Olly's album rating: 7
Olly's favourite track: 1. School

Next week's album is 649. Nick of Time by Bonnie Raitt.

495. 1999 - Prince

A friend of mine has a ritual of listening to every Prince album on an annual basis. Whilst no stranger to music based routines, this level of dedication has always impressed me. I really only know the big hits and so I was quite excited to see what hidden depths this album would reveal.

One of my favourite things about this album was the look on Daphne's face when the vocoder intro begins - confusion doesn't even come close. As it then drops into 1999, she looked on safer ground - this kind of singalong funk is Prince's absolute bread and butter. From the tack-sharp percussion to the almost overuse of effects, there is so much great stuff in this song that it needs the charisma of Prince to hold it all together. To then break into the superb Little Red Corvette is as brilliant as it is audacious. This is Prince at his fun-focussed, party-loving best.

My slight issue with this album is that it shoots its load too soon. To put the best songs as one or two will only ever leave a sense of disappointment by the end. There are good moments, and perhaps it just needs longer to dig through all the effects, samples and beats, but Delirious is just too frenetic for me, and Let's Pretend We're Married runs in a similar vein. Automatic is just too long and lacking in direction (this from a Prog fan!), and whilst Lady Cab Driver has a superb guitar riff, the "this is for..." section is slightly sexually bizarre, even by Prince's standards.

I really wanted to love this album, and when it is good, it is superb. However, it just lacks the consistency of a great album. Maybe I miss the point with it; perhaps an album about excess and fun should be in itself excessive? That notwithstanding, when the excesses fail to move me, as many of these songs did, when I was so willing to be moved, that has to be seen as a slight disappointment.

Chloe's album rating: 7
Chloe's favourite track: 1. 1999
Olly's album rating: 6
Olly's favourite track: 2. Little Red Corvette

Next week's album is 307. Crime of the Century by Supertramp. 

330. Born to Run - Bruce Springsteen

An album I have loved for many years, we couldn't have selected it at a better time given the hot weather we are experiencing.

Thunder Road is one of the great opening numbers, and I have a special place in my heart for it after Nick Hornby's eloquent description of its universality in his book 31 Songs. The idea of escaping the mundanity of everyday existence for something bigger and better is a powerful story. Hornby, unsurprisingly, does a stellar job of encapsulating it, and I recommend you dig the book out if you get a chance.

Other songs worthy of note include Backstreets, which manages to somehow give a nod to each instrument on it, and the utterly divine Jungleland, which is one of the Boss's lyrical high points "The Poets round here don't write nothing at all/ they just stand back and let it all be." The title track is clearly great, and has a bit of everything, in a sonic sense, including what sounds like a rattlesnake.

The summary of the album in the book is accurate - it is overblown, and trying too hard to be epic; it is the playbook for every Bon Jovi album. It takes itself too seriously, and tries to throw too much into 39 minutes. It should be an utter car crash, but somehow it is not. Bruce single-handedly manages to control the thing throughout, through sheer force of will, and so it is an utter triumph. To achieve this level of mastery on your third album is astonishing.

Chloe's album rating: 9
Chloe's favourite track: 1. Thunder road
Olly's album rating: 9
Olly's favourite track: 8. Jungleland

Next week's album is 495. 1999 by Prince. 

184. Deep Purple in Rock - Deep Purple

Having seen the band twice, I was slightly surprised to see this album in the book. I've always considered it a bit underwhelming relative to other, more consistent examples of the band's ouevre.

Chloe is not a fan of fretboard wankery, and the opening 40-odd seconds of feedback driven messing about did not sit well with her, and the introduction of an organ took things down still further. Whereas once I may have appreciated that, I now tend to agree with my wife, and just want the song to get started. 

Gillan's voice is superb, and one of the saving graces from Chloe's point of view. He fully justifies the band selecting him as their lead sing for their Mark 2 line up with his performance on this album alone. This is captured by the great Child in Time which is the album's strongest track. Although the instrumental section in the middle could be cut with little material loss, the ebb and flow of the rest of the song hint at hidden depths of the band beyond just talented musicians trying to out-do each other. Speed King is a decent if slightly one dimensional song, and Flight of the Rat shows Lord's obvious talents, but the album is often a case of simple songs trying too hard to be clever.

On reflection, I have to say that my childhood memories of the band painted them in a rosier picture than I now would. The music seems a bit too 'by numbers' much of the time, and when it does step outside this domain, it often gets lost. Child in Time is the exception to this rule, although not without blemishes.

Choe's album rating: 4
Chloe's favourite track: 4. Flight of the Rat
Olly's album rating: 5
Olly's favourite track: 3. Child in Time

Next week is 330. Born to Run by Bruce Springsteen. 

108. Beggars Banquet - The Rolling Stones

I decided I was going to get into the Stones a few years back, having grown up in a fairly R&B-free house. This album was one of the ones that helped me start that journey, and returning to it was like putting on some comfy slippers you thought you'd lost. 

The opener is one of the great 'track one side ones' of all time, and certainly one of the most intelligent. With clever historical and literary insight alongside a stunning set of percussion, it grabs hold and does not let up. The album closer is also utterly sublime, with a far simpler structure, but an earnest eagerness that would make it a far better national anthem than that with which we are currently saddled. Imagine a sports team belting out "Raise a Glass to the Hardworking People" before a match - that'd get things fired up.

The songs in between these bookends are generally good, and always clever, but don't reach their heights; if they did this would be the greatest album ever to be fair. Dear Doctor is amusing, and Street Fighting Man paints a great picture, but Prodigal Son and Parachute Woman are just bluesy rip-offs that add little value.

To my ears, this is an album of two halves, with one half at the very beginning, and one at the very end. The rest is a pleasant distraction, but not the highlight of the sandwich. 

Choe's album rating: 6
Chloe's favourite track: 8. Stray Cat Blues
Olly's album rating: 7
Olly's favourite track: 1. Sympathy for the Devil

Next week is 184. Deep Purple in Rock - Deep Purple,

895. Sao Paulo Confessions - Suba

A superb name for an album by an artist taken too young from the world, this was an album where I really didn't know what to expect.

Suba (Mitar Subotic) was from Serbia (before it was Serbia), and emigrated to Brazil following a three month scholarship there. This was earned from success in his home nation, mixing electronic sounds with folk, and this was a pattern he was to follow in Brazil, before his death in a fire a few days after this album was released.

World Music is something I have never been exposed to, and nor have I ever sought it out. It implies a level of pretension that even I cannot abide. The great thing about this project is that I can experience these avenues without having to settle in them. 

Brazilian music certainly sounds like it'll be cool, and Suba's take on it undeniably is. This album sounds like it comes from both the future and the past, with a sound quality that maintains authentic musicality, whilst still being effects laden. Tracks like Na Neblina and Felicidade are perfect chillout tracks, with none of the boredom sometimes associated with such a genre. There are also edgier numbers such as Sereia and the superb Voce Gosta that kick things up a notch.

Play this album in the background of a social function, and a lot of people will ask you about it. Whilst I don't think it stands up quite as well to repeat listens as the first intoxicating listen implies, it is still a very well-crafted album, and well worth a listen.

Choe's album rating: 6
Chloe's favourite track: 7. Um Dia Comum (Em SP)
Olly's album rating: 7
Olly's favourite track: 2. Voce Gosta

Next week is 108. Beggars Banquet by the Rolling Stones.

941. The Coral - The coral

This was an album I enjoyed when it came out, and even those who didn't like it will still be able to sing along to Dreaming of You, such was its early 2000s ever-presence.

The opener Spanish Main always stood out to me as a superb piece of music, and whilst I hadn't heard it much in the intervening decade or so, it still has that raucous yet tight racket that sets it up as a truly great album opener. Dreaming of You still stands out as a superb single, from its squelchy guitar line to the ska-like beat with little discernible bass. 

Unfortunately, many of the songs haven't aged quite as well, with I Remember When and Skeleton Key not as sharp or catchy as I had thought they were. Whilst you can still sense a cheeky bunch of Scousers having a whale of a time recording them (maritime pun intended), many of them lack the core of a decent pop song, with the slow-quick-slow staples overemphasising either end of the scale.

Listening to the album certainly took me back a few years, which was pleasant, but I don't think it would be an album I'd pull out to show my children what good, old-fashioned music sounded like. I may pick its lead single, but as I've stated before, that does not necessarily a good album make.

Choe's album rating: 5
Chloe's favourite track: 3. Shadows Fall
Olly's album rating: 6
Olly's favourite track: 4. Dreaming of You

Next week is 895. Sao Paulo Tales by Suba.

561. Suzanne Vega - Suzanne Vega

Singer-songwriters are ten-a-penny, and it is hard to define what makes one superior, or simply preferable, to another. The first time I heard the opening track, Cracking, I knew that this was an artist I wouldn't be able to explain why I liked so much, but that I certainly would. 

The guitar sound is utterly superb, with piercing slices of sharp electric tones, and softer, more electro-acoustic lush backdrops. Freeze-tag is a case in point, with the sharper notes juxtaposing with Vega's soft delivery; it's markedly different from your normal singer-songwriter. Undertow's guitars have a sense of cascading water, with different tones and textures washing over the listener, and this taken up a step by Some Journey, with the string section adding a crystalline feel to the song.

The lyrics aren't always clear enough for me, but when they are, they show a real wit and sense of timing, especially on the regal Marlene on the Wall, where the perceived observations of a painting of the owner's night-time behaviour are as well-crafted as they come. The Queen and the Soldier is almost Dylan-esque in its meandering yet captivating narrative, coupled with some insistent strumming, and Knight Moves has some superb observations, such as the Queen turning into a Pawn in "one swift move".

Some of the tracks are more forgettable, such as Straight Lines and Small Blue Thing, but they aren't poor songs in any way, shape, or form; they just lack the magic of the majority. Chloe disagreed with me on my particular choices, which I think demonstrates the strength in depth off this utterly divine album.

Choe's album rating: 7 
Chloe's favourite track: 4. Small Blue Thing
Olly's album rating: 9
Olly's favourite track: 8. The Queen And The Soldier

Next week is 941. The Coral by The Coral.

805. Smokers Delight - Nightmares on Wax

One of the best names for a musical artist ever, I'd always assumed that they would be too cool for me to actively enjoy, and had never made the effort to challenge this assumption. 

A hazy and laidback opener, Nights Introlude is all about creating the right atmosphere for the album, and it broadly succeeds. Sounding like DJ Shadow but with a bit less urgency, NOW enjoy creating intriguing and vivid soundscapes, with every note fully thought out. Pipes Honour encapsulates that, with the rounded guitar sitting alongside the sharp snap of the percussion. Groove St. has an ice cold snare and subtle bassline, with some great vocal samples from Gil Scott Heron. Cruise (Don't Stop) sounds like a car playing disco driving off into the distance as the sun sets - certainly a pleasant image to be left with.

In terms of studio mastery, the album is hugely impressive, with production values that are off the chart. Everything is well defined, and it is an album that sounds significantly better on better equipment - a great hifi tester. Whilst that doesn't mean it is great in itself, it is nice to hear an album that justifies the ongoing purchases of increasingly expensive speakers.

The album works for both background listening and more focussed sessions, although the latter can descend into the former on occasion. On that basis I enjoyed the album, without ever being fully blown away by it. It promises a lot, and possibly with a longer listening period it would have stepped up to an even higher score, but often I felt it was a bit too cool to enjoy as much as I'd hoped. 

Chloe's album rating: 6
Chloe's favourite track: 4. Me and You
Olly's album rating: 7
Olly's favourite track: 3. Pipes Honour

Next week is 561. Suzanne Vega by Suzanne Vega.

934. A Little Deeper - Ms Dynamite

I never fully appreciated the Garage scene when I was younger, seeing enjoying it as mutually exclusive to my rock preferences. In hindsight I see that as foolish, but it means that my familiarity with this album was fairly limited.

The opener indicates the soft yet abrasive delivery that Dynamite delivers, with an intelligence and detail in her lyrics that was often lacking at the time. Dy-Na-Mi-Tee was the big seller, and the sample and relatability of the track justifies its popularity. Put Him Out uses a scorching guitar line to play off the chorus, and at times it sounds like it could be a Destiny's Child track. It Takes More has an edge to it that many of these tracks lack, with a pretty innovative sample and a well-crafted message.

Some of the tracks are a bit lugubrious, such as the well-meaning but overly saccharine Brother and Afraid 2 Fly that seem to lack the edge that adds so much to others. At 16 tracks it seems a bit unwieldy, with too much filler that sounds like a clever sample Dynamite just didn't want to cut.

There is a sense that the album lacks some depth, with a lack of real variety. It doesn't feel particularly seminal, just a decent example of the genre. And as it was a fairly short-lived genre, that in itself is slightly disappointing.

Chloe's album rating: 7
Chloe's favourite track: 4. Put Him Out
Olly's album rating: 6
Olly's favourite track: 6. It Takes More 

Next up is 805. Smokers Delight by Nightmares on Wax

514. Architecture & Morality - Orchestral Manoeuvres in the Dark

Having gone to the effort of adding the word 'Manoeuvres' to my computer's dictionary, I was optimistic that the album would be strong enough to reward that level of effort.

OMD were one of the bands to ride the synth-pop wave, and this, their third album, was their breakthrough. It had three singles that reached the top 5 in the UK, although I would have found it hard to pick them out from my initial listens. Souvenir in particular seems a bit too ponderous, relying too heavily on its central synth riff. The standout for me was the much deeper, and more progressive, Of All The Things We've Made, which has a lot more substance to it. Sealand is also interesting; more so than the two Joan of Arc singles.

The album is post-punk to its core, with synths and echoey vocals to the fore. There is a sense of isolation and depression throughout, not dissimilar to Joy Division in its prime, although it falls some way short of that bands heady heights. The production levels are impressive, and there are some decent moments throughout, but it doesn't seem to map together well enough for me, with elements of an overwrought Vangelis seeping in at times. 

The context in which we listened to this album - in the sun on an Italian island may also have factored into our slight disappointment. It is hard to enjoy a gloomy, downbeat record when looking over the sparkling sea and enjoying some great cheese. It is worth saying that the artwork is superb however, looking like a cross between a propaganda poster and a Penguin classic cover.

Chloe's album rating: 4
Chloe's favourite track: 2. She's Leaving 
Olly's album rating: 5
Olly's favourite track: 15.

Next week is 934. A Little Deeper by Ms Dynamite. 

841. Dig Me Out - Sleater Kinney

A band that I'd never come across before despite their late-90s peak, their description in the book certainly intrigued me.

From the squealing guitars and desperation of Dig Me Out to the call and refrain of The Drama You've Been Craving, this is mid-90s post-grunge indie rock to its very core. The all-female trio had previously never hit the mainstream, but had a substantial enough following that sustained them to this, their third and breakthrough album. 

With two guitar-vocalists and a drummer, it is impressive how much energy they get into their songs. Not What You Want is a cracking example of this, with the two vocalists egging each other on, rather than detracting from each other. The slower numbers are less successful to my ears - Buy Her Candy and Heart Factory losing the energy with their more ponderous approach, although the chorus on the latter almost rectifies the situation. 

These numbers aside, there is a slight lack of variety here that means the album never quite soars. With so few band members it is probably harder to be musically flexible, bit it would have added something to proceedings. It is clearly an energetic and intense record, and has aged remarkably well in terms of the production, but it just lacks the level of imagination you get from the truly great indie records, in my opinion.

Chloe's album rating: 7
Chloe's favourite track: 2. One More Hour
Olly's album rating: 6
Olly's favourite track: 4. The Drama You've Been Craving 

Next week is 514. Architecture & Morality by Orchestral Manoeuvres in the Dark.

756. Brutal Youth - Elvis Costello.

His first album with the Attractions in 8 years, Brutal Youth is not considered a classic Costello album, which makes me wonder why it's on the list. However, I've always enjoyed the Costello material I've heard, and never delved deeper, so this is a good excuse to.

Costello's unmistakeable voice is at the heart of the album, with his lyrics as cutting as you might expect. Kinder Murder is as dark as songs get, and Clown Strike has the caustic wit Costello became known for. The guitar sound is sharp on the whole, and it is on the faster tracks that the album really comes to life. Pony St kicks things off remarkably well, more a gallop than a trot with a real sense of raucous energy, and Just About Glad has an almost singalong air to it. Sulky Girl is the pick for me though, with a classic ramshackle Costello air, and a slightly obscure narrative that is as peculiar as it is engaging.

There are weak points, with London's Brilliant Parade a slightly ponderous navel-gazing excuse to list areas of the capital, and 20% Amnesia trying a bit too hard to sound like it's just been thrown together. However, even these disappointments are at least trying to add a real sense of variety, and it is hard to criticise that too much.

The album did reach number 2 in the UK charts, so it shows how Costello still had a real fanbase in the mid-90s. There is a togetherness with the band which is to be expected, given the number of albums they'd worked on together, even after their fairly lengthy hiatus as a group. This was certainly a triumphant return, and I've found enough in it to enjoy repeated listens, and hope to do so in the future.

Chloe's album rating: 7
Chloe's favourite track: 7. Still Too Soon To Know
Olly's album rating: 7
Olly's favourite track: 9. Sulky Girl

Next week we have 841. Dig Me Out by Sleater Kinney.

300. Tubular Bells - Mike Oldfield

The album that effectively made Richard Branson, as well as Mike Oldfield, I've always had a soft spot for it - a soft spot not shared by Chloe.

Signed to Branson's Virgin label, this album would go on to sell in the millions. It is hugely familiar, and often parodied, but the fact that it is written and performed by one man, given the variety of instruments used, is in itself impressive.

The first track starts with the seminal notes that are so well known. Whilst this theme is no doubt divisive, I think it has actually stood the test of time remarkably well. The way the song builds, with an ebbing and flowing, and always something new to hear is great, and the sound quality is superb, with the title instrument cutting through beautifully, testament to the obsessive nature of the artist. I've always enjoyed the ending of this song too, with the announcement of each instrument into an amusing yet stirring crescendo.

The second track can't live up to the majesty of the first, in which there is no real shame. However, when there are only two tracks on the album, it does diminish the overall impact. There are nice touches throughout the second song, but it never really gets going in the same way.

This is an album I enjoyed coming back to, having heard it a lot in my youth. Whilst I noticed the odd new tone or note, it didn't add much to my memory of the album. Chloe was more won over by it, although given her expectations, it didn't take much to raise the bar on those.

Chloe's album rating: 5
Chloe's favourite track: 2. Tubular Bells Part II
Olly's album rating: 7
Olly's favourite track:  1. Tubular Bells Part I

Next week is 756. Brutal Youth by Elvis Costello.

369. Heavy Weather - Weather Report

Ah good, a Jazz album; these weeks always end well.

Weather Report were a three piece group made up of a saxophonist, keyboard player and drummer. This album was the band's eighth, and their biggest seller. It is considered Jazz-rock, and fairly accessible, which I agree with, as I didn't get confused by it every time I listened to it, which is my normal interaction with this genre.

There are enjoyable songs that have catchy moments, and clearly the musicians are technically impressive. It is not dissimilar in some respects to the Ambient sounds of Brian Eno we recently heard, just a bit more insistent overall. Birdland, the opener, is pretty catchy, and seems like good fun, and Palladium has some great synth and sax interplay. However, tracks such as A Remark You Made are just tedious, and fail to evoke any emotional response but boredom. 

The final track, Havona, is the stand out for me, as it's full on energy, and builds into a coherent song with something like a familiar structure for me. 

Overall, not a disaster given what I expected to think of it, but certainly it hasn't converted me to Jazz, even with the 'rock' moniker added. If you like impressive technical playing, and don't hate Jazz, then I'm sure you would enjoy this album. 

Chloe's album rating: 5
Chloe's favourite track: 
Olly's album rating: 5
Olly's favourite track: 8. Havone

Next week we have 300. Tubular Bells by Mike Oldfield. I know that Chloe is nervous about this one.

812. Better Living Through Chemistry - Fatboy Slim

An album title that's always intrigued me, I was later to the Fatboy Slim party with a love of the late '90s soundtrack that was You've Come a Long Way, Baby. 

Whilst DJs has become popular since the mid-80s Hacienda revolution, it wasn't really until the 90s that they would put together commercially successful albums, with Norman Cook at the forefront of this. His crowd-pleasing hooks and big samples were just what the masses wanted, and you can see why it worked out for him. Take Santa Cruz for example, the second track on the album - the guitar is absolutely front and centre, and demands to be listened to at a loud volume. There is some subtlety too, such as on The Weekend Starts Here, with its slower, more blissed-out vibe.

The album does start to deteriorate as it goes on however, with weaker tracks at the end. First Down, a nice horn sample aside, is a bit too samey, and Punk to Funk relies on a slightly annoying vocal sample. Whilst these types of tracks may sound great in a club, with other tracks mixed in and out, as standalones at home they come up short.

The album is what I expected - it's full of accessible, danceable tracks, with some catchy samples. It is not particularly clever, although I appreciate it was probably more innovative at the time than it now sounds. Whilst I enjoyed it on the whole, I really can't see it becoming an album I will return to - it can't touch the variety and quality of its successor.

Chloe's album rating: 6
Chloe's favourite track: 1. Song for Lindy
Olly's album rating: 6
Olly's favourite track: 3. The Weekend Starts Here

Next week is 369. Heavy Weather by Weather Report. 

395. Ambient no. 1: Music for Airports - Brian Eno

I think Brian Eno is one of those names who conjures up more prejudice than most artists. Whilst not knowing much of his stuff (I have a rarely played copy of No Pussyfooting on LP), I instantly had a picture in my head of what to expect, and that picture wasn't a flattering one.

Ambient music is something I've never had much time for, literally and metaphorically. However, now I'm slightly older, having something calming and background-y is probably not a bad thing, and this album lives up to that. Eno himself said that it was an album that could be ignored or focused on, and work both ways. The gentle piano, and electronic effects on the opener are indicative of the rest of the album - indeed, it is hard to tell the tracks apart really. 

I think there can be a tendency to be a bit over-intellectual about these types of albums. Whilst Eno is clearly an intelligent man who thinks a lot about the sounds he is producing, at the end of the day it is not as abstract as I had expected. There are themes and devices that catch your attention, such as the haunting chorus overlaying the piano on 1/2, and then drift out. 

This album is not amusical, as I had feared. It is a bit of a strange one, and I can't say that I loved it. However, it is an album I could imagine listening to repeatedly, and developing some affection for. It certainly makes me more interested in listening to more of Eno's back catalogue, although not just yet. 

Chloe's album rating: 5
Chloe's favourite track: 1. 1/1
Olly's album rating: 6
Olly's favourite track: 1. 1/1

Next week we have 812. Better Living Through Chemistry by Fatboy Slim; that'll have a bit more energy.