589. Bad - Michael Jackson

The recent Michael Jackson documentary has meant that listening to his music has become more of a moral battle than a cultural choice. Can you separate the music from the man('s crimes)? For the purposes of this review, I will primarily concentrate on the music, as I'm absolutely unqualified to do that.

Quincy Jones is as much responsible for this album as MJ, and the quality of instrumentation and clarity of sound is jaw-dropping. The stereo separation is sublime, with the coupling of this album with a decent pair of well-driven headphones a joy to behold. 

Kicking things off with Bad is a sign of real confidence, as for many artists this would ensure that the album would be little more than an A side, plus assorted B sides. However, as good as Bad is, it isn't the standout performer here, which demonstrates the strength of the canon. For me, Man in the Mirror is one of MJ's standouts. Yes, the lyrics are OTT (what do you expect?), but the chorus is full of feeling, and that beautifully thick bass synth line throughout it gives a real weight to proceedings. 

There are a few too many forgettable songs on here for it to be a real masterpiece; no-one ever put this album on to listen to Another Part of Me or Leave Me Alone. However, to weigh them against Smooth Criminal, Dirty Diana and I Just Can't Stop Loving You leaves the album still heavily in credit.

Chloe's album rating: 8
Chloe's favourite track: 2. The Way You Make Me Feel
Olly's album rating: 8
Olly's favourite track: 7. Man in the Mirror

Next week we have 484. Mask by Bauhaus. 

999. In Our Heads - Hot Chip

An album I know really quite well, and our most recent chronologically so far into the project, I have to admit that I was surprised that it made the list. I did not recall it being a bad album, but nor did I think it was as strong as some of the band's other records. 

Flutes was the song that stood out for me upon first listening, and my love for that track has strengthened; it is catchy, bold, fun, has a devastating rumble of a bassline, and is just an outstanding tune. It also works in different settings, which is a rarity for what is ostensibly a dance song. Motion Sickness is a great album starter, full of slinky building blocks that drive the song to a crescendo. It almost goes without saying that the sound quality is utterly superb; it is a great hifi tester.

Some tracks feel a bit lightweight, and even mawkish, with an overemphasis on treble; quite the contrast to most dance acts. Alexis Taylor's voice contributes to this, with a nice tone but lacking in range. There is a boldness to the variety the band attempt, however, with the contrast between club bangers and heartfelt odes readily apparent.

This is an album that will always have songs that make me get up and dance, but also too many tracks that I will simply want to skip. Given the brilliance of the band's peaks, it seems churlish to complain about their lack of consistency, but the fact remains that I do not feel this album is their high point, or even in their top three. That is not to say I don't like it, just to make the point that I prefer the artist to the album in this case.

Chloe's album rating: 7
Chloe's favourite track: 6. Night and Day
Olly's album rating: 7
Olly's favourite track: 7. Flutes

Next week we have 589. Bad by Michael Jackson.

407. Here, My Dear - Marvin Gaye

A Marvin Gaye album I'd never heard of, didn't know a song off, and had some of the worst cover art I'd ever seen.

The story behind this album is incredible, and worthy of retelling, even by a raconteur as limited as me. Marvin Gaye had married the Anna Gordy, the sister of the boss of his record label, Motown, Berry Gordy. After 12 years of marriage, their relationship had broken down, and their divorce agreement guaranteed Anna a 50% proportion (some sources claim slightly differently) of the takings of Gaye's next record. Instead of going through the motions, he decided to write an album that summarised their parting, in very real detail. The result is superb, if brutal.

The album is often at risk of lapsing into self-indulgence, but maintains a sharpness that just about avoids this. To think that this collection came from the same artist as "What's Going On" is quite a shock, contrasting the peace and love approach of the album with the vitriol and hurt included within this one.

The best song on this album, and a masterpiece in itself, is "When Did You Stop Loving Me, When Did I Stop Loving You". The subtlety of the chorus, played out so gently, and the obvious rancour yet acceptance of blame present in the lyrics makes for quite the powerful statement. "You Can Leave, but It's Going to Cost You" is another brilliant track, with the funky undertones highlighting Gaye's mastery of a band, and the studio, and the knowing nature of the title and content.

I really enjoyed this album, perhaps because of how different it was to what I'd anticipated. The open structure of the songs, alongside the transparency (admittedly from one point of view) emotionally on offer is quite something for an ostensibly pop musician. The cover art may be enough to put you off, but if you can get past that, this is an album that, ironically, rewards loyalty.

Chloe's album rating: 6
Chloe's favourite track: 2. I met a Little Girl
Olly's album rating: 8
Olly's favourite track: 3. When Did You Stop Loving Me, When Did I Stop Loving You

Next week is 999. In Our Heads by Hot Chip.

678. Ritual de lo habitual - Jane's Addiction

The only song I really knew by Jane's Addiction was Been Caught Stealing, which appears on this album. From my days of watching MTV2 et al, I recall the video fairly vividly.

Jane's Addiction are an LA Band whose led by vocalist Perry Farrell and Guitarist Dave Navarro (who played on You Oughta Know by Alanis Morissette). The album kicks off with the no holds barred assault on the senses that is Stop, which sounds a bit like a better, more Mexican, less sexual Red Hot Chilli Peppers - unsurprising given the fact Navarro joined them for one album post-Jane's Addiction. Indeed, the bass throughout the album is reminiscent of the rock-funk sound immortalised by Flea. 

This album reminds me a bit of Suede's Dog Man Chair, with a good range of variety, and an attempt at quite an epic album, which sometimes works, and sometimes doesn't come off. Three Days, for example, really grew on me over the week, with the ebb and flow of the track really capturing my attention. I remembered Been Caught Stealing for all the right reasons, with its energy as exuberant as I recalled. No One Leaving is a bit of a miss, with no coherence to the song, and the meandering Of Course is a disappointment too.

My favourite thing about this album was my two year old daughter's response to hearing 'Been Caught Stealing'. Having proclaimed that she loved the song, and then that it was her favourite, she proceeded to properly dance like a drunk rocker, complete with sunglasses and knee-drop. 

Chloe's album rating: 5
Chloe's favourite track: 5. Been Caught Stealing
Olly's album rating: 6
Olly's favourite track: 6. Three Days

Next week is 407. Here, My Dear by Marvin Gaye.

290. Innervisions - Stevie Wonder

This was an album where I knew a lot more of the content than I'd have guessed after looking at the track list. 

Having fairly recently had Wonder's Songs in the Key of Life, it was a pleasure to have the opportunity to absorb more of his elite songwriting. This album has its fair share of funky numbers, as well as some touchingly sentimental (ok mawkish) tracks as well. 

Living in the City is about a good a Wonder track as you'll hear, whilst also being utterly epic as well. Not only is it funky, but it tells a compelling story, and even has the guts to indulge in a spoken word section in the middle. It is captivating, and you get different things from it each time you listen to it.

Apparently the album was promoted through taking a group of music journalists on a blindfolded tour of New York City, before a blindfolded listening of the album. The idea of introducing critics to your worldview before introducing them to your music takes a real boldness, but I don't doubt that the journalists found it a hugely powerful experience. The quality of the album is exceptional, and whilst it doesn't match Talking Book for consistency, in my opinion, it has some stunning moments.

Chloe's album rating: 8
Chloe's favourite track: 3. In the City
Olly's album rating: 8 
Olly's favourite track: 3. In the City

Next week we have 678. Ritual de lo habitual by Jane's Addiction. 

854. The Boatman's Call - Nick Cave and the Bad Seeds

An album that I know extremely well, I had heard it countless times whilst at university, but primarily recalled the strongest couple of tracks.

Opening with a simple piano and vocal number, Into My Arms, when your singer has a dsitinctive, if not stellar, voice, is certainly bold. However, the lyrical mastery and beauty of the piano line ensures that it is certainly memorable. (Are you the) One I've Been Waiting For? is another superbly stripped back observation on the nature of romance and destiny. 

Tracks that grew on me upon rediscovery were Lime Tree Arbor and People They Ain't No Good. The latter I had always enjoyed, but it shot up even further in my estimation, with the almost dirge-like nature drawing the listener in. The former paints a vivd and captivating image with the language - it's almost Wordsworth-esque in capturing nature. Where Do We Go Now But Nowhere is a great example of Cave's almost spoken narrative, with ornamental instrumentation adding a depth to the picture created.

It's not all mournful perfection, with Green Eyes a bit too avant garde for me, and Black Hair pretty close to going down the same path. For this level of experimentation to co-exist alongside such simplicity is testament to Cave's boldness of vision, at the very least.

The album was written in the tumult following the breakdown of Cave and PJ Harvey's relationship, and it is darker even than 13 by Blur - another of my favourite post-break-up albums. Yet there are moments of optimism that Cave can't hide from his voice and words, and I often find his music strangely uplifting. Whilst I love Cave's more recent work, including the sublime Push the Sky Away and the utterly haunting Skeleton Key, this really is a superb album.

Chloe's album rating: 8
Chloe's favourite track: 2. Lime Tree Arbour
Olly's album rating: 8
Olly's favourite track: 6. (Are you) The One That I've Been Waiting For?

Next week is 290. Innervisions by Stevie Wonder.

283. Grievous Angel - Gram Parsons.

I would have predicted, accurately it turns out, that Gram Parsons' genre of choice was Country, and that he was a solo artist, rather than a band, but I couldn't have guessed much else.

Reading about this album in advance gave the impression that it was something of a breakthrough for the "Country-Rock" scene, but it sits more naturally to the first of those two styles, to my ears. Hearts on Fire is pure classic country, and the harmonies between Parsons and Emmylou Harris, alongside a slide guitar, help it to stand out on this album. Other tracks of note include the mournful $1000 Wedding, where I still can't quite grasp the narrative, but it still lulls me along nicely, and the achingly simple Love Hurts, which is so well delivered in full stereo panning on the vocals that it is worth the entry price alone. Return of the Grevious Angel is the archetypal Country track, even down to Parsons' Guthrie-esque vocal delivery.

The interesting thing about Parsons' alleged genre hopping is that he doesn't mix them so much as straight up deliver the different styles. I Can't Dance is a slice of Rock 'n' Roll, with nary a Country element to be heard, yet sounds authentic rather than an artist messing about outside of his usual genre. Ooh Las Vegas doesn't have the same impact, with the driving percussion failing to move me. 

The album is not one that I have fallen in love with, but certainly demonstrates more variety in the Country genre than I would have instinctively predicted existed. Without Emmylou Harris's support on the vocal front it would be a substantially weaker album, but the contrast between their voices, and the clarity of the instrumentation is quite refreshing to hear for someone where reverb is the default. 

Chloe's album rating: 6
Chloe's favourite track: 2. Hearts on Fire
Olly's album rating: 6
Olly's favourite track: 5. $1000 Wedding

Next week we have 854. The Boatman's Call by Nick Cave.

609. Trio - Emmylou Harris, Dolly Parton and Linda Ronstadt

Country is not really my thing, but I do know that these three artists are quite big deals, so it was intriguing to see what they would bring as a group.

This is as pure a country record as I could imagine. It is all acoustic guitars, banjos, tinny percussion, and songs about love, loss and travelling. However, that formula has obviously been constructed over the years for a reason, and it would be hard to actively dislike this album. The Pain of Loving You, for example, is sweet and light, with just the hint of bitterness at the edge. Making Plans is slightly plodding, and Hobo's Meditation takes that to the next level. 

Vocally, the three complement each other well. There isn't much but treble here, with their voices crystal clear, yet maintaining a richness that is full of character. Parton stands out slightly in Chloe's eyes, but I enjoyed the elements they each bring, such as Emmylou on My Dear Companion. 

As a pleasant set of songs that don't try to make me feel too much, yet do not offend me, this album succeeds. Clearly I look for more in a collection of songs, but it worked well enough in that context. 

Chloe's album rating: 6
Chloe's favourite track: 5. Wildflowers
Olly's album rating: 6
Olly's favourite track: 6. Telling Me Lies

Next week is 283. Grievous Angel by Gram Parsons.

645. L'eau Rouge - The Young Gods

An industrial group from Switzerland, this album is seen as the band's masterpiece.

The challenge with industrial music is often the density of sound. There is so much going on, that it can make distinguishing the "music" from the "noise" a challenge. It relies more on rhythm than most genres for that reason, and this is something the Young Gods do a sterling job on. Tracks like Longue route and Les enfants could fall apart without a tighter sense of timing, but the band manage to carry it off.

However, the album does lack some variety, with the songs following a similar pattern, and certainly sharing a sound with each other. The vocals are also something of an acquired taste, with the deep, raspy affectation not always working with the overall sound - something with some treble might cut through a bit more. 

To get such a depth and power of sound from just three individuals is impressive, and whilst it may occasionally lack coherence, and doesn't add to the Industrial genre in the way that Nine Inch Nails, I enjoyed the energy the album had.

Chloe's album rating: 6
Chloe's favourite track: 8. Les enfants
Olly's album rating: 7
Olly's favourite track: 10. Pas mal

Next week we have 609. Trio by Emmylou Harris, Lisa Rondstadt and Dolly Parton.

548. Cupid and Psyche 85 - Scritti Politti

Scritti Politti conjured up images of gritty, post-punk with heavily politicised slogans and rants against the rise of market-fueled capitalism in the UK. I was not expecting the synth-pop with which I was met.

Whilst Scritti Politti were born as a marxist movement, heavily influenced by the Italian Gramsci, the band's founder, Green Gartside, decided to take them in a radical new direction fairly early on, and they became far more radio and TOTP friendly. Indeed, there are several interviews of him in Smash Hits; hardly required reading for the revolution.

And this bass-light, synth-heavy sound was something of a disappointment for me. I'm sure the lyrics are clever, or at least intended to be, but I access music first through the sound, and then through the message - if the former doesn't grab me, the latter never will. Tracks like Absolute sound like a very budget Michael Jackson B-side, and Perfect Way is all clever elements, and no substance. 

What I will say is that the sound quality is immense, with the admittedly treble-heavy instrumentation appearing to hear in your consciousness as if delivered by scalpel. The Word Girl is a perfect example of this, with the hi-hat cutting through all other sounds, and the bass line several hundred Hz higher than I'd have expected. Small Talk sounds much better through in-ear monitors, with its panning effect and detailed synth hard to be impressed by from a pre-noughties album, let alone one from the 80s. 

There are elements on the album I like, from the bass-line on Wood Beez to the harmonies on The Word Girl, but overall it was disappointing. The syrupy sweet pop sound is not for me, and the lack of edge, especially given my expectations, is unforgiveable given the artist's name.

Chloe's album rating: 7
Chloe's favourite track: 8. Wood Beez
Olly's album rating: 6
Olly's favourite track: 2. Small Talk

Next week is 645. L'eau Rouge by The Young Gods.

245. Home is Where the Music Is - Hugh Masekela

I had, until this week, lived in a broadly Hugh Masekela-free world. I'm sure I'd heard his music, and his name was somehow familiar, but not to the extent that I could have told you anything about him.

It is worth reminding you that I don't really get Jazz; it is too abstract, and requires more devotion than I have thus far been willing to give it. However, I have found some Jazz artists accessible, and I would certainly put Hugh in this category. I may not be able to appreciate his technique and skill on the trumpet, but I can enjoy listening to him, admittedly primarily as a nice background ambience.

Part of a Whole has a nice tremulous feel to it, with flighty trumpet overlaying heavy, firm piano and ORGAN (CHECK)chords. Minawa has a nice dreamy element to it, but it is the Big Apple, with its brooding piano and skewering horns that most captures my attention. Blues for Huey tries to ruin the album with an interminable drum solo (genuine question - does anyone other than drummers ever enjoy a drum solo?).

This album does not make me feel any differently about Jazz, but it does make me appreciate that a world with Hugh MAsekela's music in it is better than one without. This may primarily be when I want some music that I will not fully engage with, and those moments are rare, but it is an option for those occasions. 

Chloe's album rating: 6
Chloe's favourite track: 9. Maesha 
Olly's album rating: 6
Olly's favourite track: 3. The Big Apple

Next week is 548. Cupid and Psyche 85 by Scritti Politti.

992. 21 - Adele

To follow up your stellar debut with an album that is bigger, bolder and even more emotionally wrought whilst still only 21 is quite the feat. 

Adele was ever present around the time of this release, but she the songs have undoubtedly stood the test of time - there is a depth there that means they go beyond being simple earworms. Adele's voice is powerful and all embracing, and the choice of instruments and backing singers merely add to the sense of it being a platform from which she can shine. Go back and listen to the big hits - the sparsity of instrumental variety is offset by the breadth of their sound, all knitting together under Adele's vocals.

Rolling in the Deep takes a simple, and quiet, piano chord progression, hand claps, and superb late 60s style backing call and response vocals, and turns it into an utterly engaging behemoth. Rumour Has It is built around a lovely bit of slap bass, hand claps (again), and a very simple drum beat, before some strings and piano add a bit of class on the bridge. The misses come in the shape of the overly sentimental One and Only, which isn't bad so much as simply failing to live up to the obscenely high standard of the other album tracks. 

This is an album I absolutely believe will stand the test of time - the standout tracks will be know word-for-word by people yet to be born, they really are that good. It isn't perfect, and certainly could be seen as slightly formulaic and overblown, but when heart-wrenching songs are this good, I'm ok with a bit of bombast.

Chloe's album rating: 7
Chloe's favourite track: 11. Someone Like You
Olly's album rating: 8
Olly's favourite track: 1. Rolling in the Deep

Next week we have 245. Home is Where the Music Is by Hugh Masekela.

855. The Fat of the Land - Prodigy

One of the first albums Chloe ever bought, and certainly one that I've always enjoyed, but hadn't heard in a while.

Any album with such well-known bangers as Firestarter, Breathe, and Smack my Bitch Up is always going to be known as a bit of a party album. However, it is the depth and complexity of the material that is so impressive, given that these songs have not only stood the test of time, but reveal subtle elements upon repeated listens. For example, the use of the phase effect on Smack my Bitch Up really adds further dynamism to such a lively track.

Diesel Power was a track that split us, with Chloe loving it, and me finding it a bit predictable. There are few other weak points, however, with tracks like Narayan having a lovely chord progression, and Mindfields always reminding me of that jaw-dropping first viewing of the Matrix. There is a level of variety to the album that I had not originally appreciated, and certainly one that few other dance albums can approach.

I enjoyed the album even more than I'd anticipated. Whilst it is not flawless, it rarely failed to put a spring in my step, and a smile on my face. It is the sort of album that anyone from my generation will have a soft-spot for, and and that is absolutely deserved given the quality shown throughout.

Chloe's album rating: 8

Chloe's favourite track: 3. Diesel Power

Olly's album rating: 8

Olly's favourite track: 1. Smack my Bitch Up

Next week we have 992. 21 by Adele.

74. The Psychedelic Sounds of the 13th Floor Elevators - The 13th Floor Elevators

I was introduced to the 13th Floor Elevators by the High Fidelity film. For those of you who haven't seen it (a plague upon thy houses), it opens with Rob, the protagonist, blasting out 'You're Gonna Miss Me' on his hifi as his girlfriend Laura walks out on him.

Ever since first hearing it, I have loved that track. There is a controlled anarchy about it, complete with ridiculous numbers and variety of instruments, all supporting the screeching and yelping of Roky Erickson.

The issue for me was that I don't really like Psychedelia. Having had a few of these albums as part of this project (The Electric Prunes, The Young Rascals), I just don't really get it. I can grasp that it was experimental, and groundbreaking when released, and certainly I don't doubt they influenced the Stones and Beatles for the better, but there are just too many elements in each song that don't add enough. For example, when I listen to the intricacies of a Pink Floyd or Joanna Newsom, I enjoy discovering melodies or effects I hadn't before, like peeling an intricate onion. With these bands, it seems that the discovering of an extra melody distracts from the overall enjoyment of the actual song. Chloe pointed out that every song on this album has a background noise that sounds like someone blowing bubbles, and when you notice it, it really is there all the bloody time.

This album is massively carried by that superb opening track. Whilst disappointing, it is a good enough track to let me partially forgive the band, and simply enjoy it in its own right.

Chloe's album rating: 5

Chloe's favourite track: 1. You're Gonna Miss Me

Olly's album rating: 6

Olly's favourite track: 1. You're Gonna Miss Me

Next week is 855. The Fat of the Land by Prodigy.

670. I Do Not Want What I Haven't Got - Sinead O'Connor

Ok, this has Nothing Compares 2 U on it; I know that's the first thing you were thinking. It was also the first thing that I thought too.

When O'Connor's political statements hit the mark, they really are powerful. Her anti-Police 'Black Boys on Mopeds' hasn't aged at all over the last twenty nine years, with a chorus that deserves to be better known, and a remarkably well structured tone to the lyrics. The Prince-penned classic is clearly a stand out on the album, and deservedly so; it's a track that really doesn't diminish even after multiple listens. Indeed, the only issue I have with the song is the bizarre use of abbreviations in the title.

Released in 1990, the album combines some rather 'of their time' sound effects alongside O'Connor's timeless voice. The overwhelming reverb and quiet-loud-quiet structure of The Last Days of our Acquaintance are absolute staples of the era. Whilst this generally works better than I would have anticipated, there are definitely some misses here; Jump in the River is a poor Blondie pastiche, and The Emperor's New Clothes doesn't do enough with what sounds like a tasty guitar line; presumably the focus is on keeping O'Connor's voice very high in the mix.

Overall, this album was pretty good, but doesn't take O'Connor much higher in my estimation, as it lacks the consistency of a really great album.

Chloe's album rating: 7

Chloe's favourite track: 6. Nothing Compares 2 U

Olly's album rating: 7

Olly's favourite track: 6. Nothing Compares 2 U

Next week is 74. The Psychedelic Sounds of the 13th Floor Elevators by the 13th Floor Elevators.

901. Felt Mountain - Goldfrapp

Alison Goldfrapp's voice was near ubiqitous in the late 90s and early 2000s, yet it was more the singles that drove my knowledge of her. I was expecting a slightly samey, Portishead-light album, without a lot of variety.

It turns out my instincts were pretty much spot on. The vocals are excellent, unsurprisingly, although they sometimes lapse into being slightly breathy. There are some strong moments on the album, such as Human, where the electronica and strings interplay nicely, and Pilots has the sense of being wrapped in a cashmere blanket, and left to float over a moonlit lagoon. Those slight outliers however, are just the better versions of a similar theme - slow, stripped back beats, with tinny yet mellow percussion, and languid strings. Many of the songs merge into each other, and are frankly forgettable even after multiple listens. Deer Stop and Horse Tears, for example, sound like every single perfume advert soundtrack you've ever heard.

I'm not a huge Trip-hop fan, if this even falls in this category, and I struggle to really see why someone would say this album stands out against others of the same genre. Yes, Goldfrapp's voice is good, but it's not exactly genre-defining, or even defying, and the other musical elements seem to lack something that sets them apart - it just feels a bit 'by-numbers'.

Chloe's album rating: 4

Chloe's favourite track:

Olly's album rating: 4

Olly's favourite track: 8. Utopia

Next week we have 670. I Do Not Want What I Haven't Got by Sinead O'Connor.

853. Supa Dupa Fly - Missy Elliott

I wasn't really sure what to expect from this album; I'd really only come across the odd single and guest vocal from Missy "Misdemeanor" Elliott. I knew that she was more interesting than your average rapper, but couldn't have told you why.

Interestingly, the first rapper you hear on the album is Busta Rhymes, and I was a bit concerned that this could be an album where 'feat' dominates the sound - thankfully that is not the case. Hit Em Wit Da Hee is soulful, and the interplay between Lil' Kim and Missy is great, with some beautiful harmonies against a soft yet crisp beat. Sock It 2 Me takes it up a notch, with an epic feel to the soundscape. Even songs I don't particularly like, such as Friendly Skies, sound fantastic, and that song sounds like a pre-cursor to eponymous-era Beyonce.

Thankfully the album does away with the curse of 'skits' that seem to dominate so much Hip-hop of this era, and the interludes here almost pass as songs in their own right. The album does lose momentum slightly towards the end, with the slow beat, soft instrumental approach ending up a bit samey to my ears - the beats on Best Friends and Why You Hurt Me are pretty similar for example.

One thing worth noting about this album is how high the production values are; it really benefits from listening to it on a decent sound system. And Missy's voice is superb; whether rapping or crooning on a chorus, there is a really soulful edge to her delivery.

Chloe's album rating: 6

Chloe's favourite track: 4. The Rain (Supa Dupa Fly)

Olly's album rating: 7

Olly's favourite track: 3. Sock It 2 Me

Next week is 901. Felt Mountain by Goldfrapp.

961. Want Two - Rufus Wainwright

I always get the Wainwrights confused, struggling to recall which ones are old timers, and which ones are new. That's the difficulty with singer-songwriters who major on acoustic guitar; they are timeless, in the best and worst sense of the word. To assist you, Rufus is young(ish), with this album being released in 2004 - Loudon, his father, is the old-timer, and Martha is Rufus's younger sister. There, Wainwright family tree done (yes, I know Rufus's mother is also a singer-songwriter, but her surname is different).

The opening is about as dense a start to a solo album as you can expect - not many artists would go for an epic, reverb-fuelled cover of Agnus Dei. It is more straight forward (on the whole) from then on, with The One You Love a very rhythm driven pop song, and Little Sister a harpsichord and string-driven song of mourning - Ok, so it's not really that straight forward. Indeed, it is the complexity and ambition of this album that sets it apart from others. Lyrically it is also bold, Gay Messiah is a vivid, yet highly compelling, depiction of Jesus' second coming as a voracious homosexual; I'm sure the church enjoyed that one.

The main thing that struck me about this album was how like Thom Yorke Rufus sounds. It isn't all the time, but when you notice it, it is hard to ignore. Further to this, one track sounds distractingly like Elbow, and that made it hard to focus on the music in and of itself for the first few days.

When I did, I ended up really enjoying the album. It wasn't too cool for me, as I'd first thought, it just took a while to work as a cohesive whole for me. That isn't to say there aren't weak tracks, but the overall overshadows these occasional misses. The sublime Art Teacher, which is as fine a capturing of youthful infatuation as has ever been captured, still has space for some witty observations; that's pretty impressive.

Chloe's album rating: 7
Chloe's favourite track: 8. Gay Messiah
Olly's album rating: 7
Olly's favourite track: 5. The Art Teacher

Next Week is 853. Supa Dupa Fly by Missy Elliott.

517. Duck Rock - Malcolm McLaren

Malcolm McLaren was the mogul behind the Sex Pistols - that I knew. I did not realise that he also created his own music, but was expecting something a bit PiL-esque when this album got picked.

It is hard to describe this album in terms of a specific genre - it is really a radio show curated by Malcolm McLaren, and heavily produced and directed by Trevor Horn (one half of the Bugles). The World Famous Supreme Team are the DJs that bring the collection together into something more cohesive.

The range of music influences is impressive, with Horn and McLaren travelling across parts of Africa to record elements, with songs like Obatala sitting firmly in the 'World' category. Other tracks, such as the fantastic Double Dutch have a much more Western influence, and are possibly more naturally catchy to my ears as a result.

McLaren offered a combination of spoken word (with Horn apparently hitting him in time to the music as he couldn't get the rhythm right) as well as the overall vision for the album. Whilst the former can be written off, the latter demonstrates his visionary nature. That it is this album that introduced scratching to the UK indicates how far ahead of his time he was. However, his choice not to credit many of the artists suggests that where he may have been ahead of the curve musically, he still had a way to go morally.

Chloe's album rating: 7

Chloe's favourite track: 3. Double Dutch

Olly's album rating: 6

Olly's favourite track: 3. Double Dutch

Next week's album is 961. Want Two by Rufus Wainwright.

746. Slanted and Enchanted - Pavement

This album was one I listened to a few times a number of years ago to try to expand my repertoire of "music I should know". That was back when I was try-hard enough to do that sort of thing, but not committed enough to devote 19 years of my life to that type of thing. Regardless, I am glad I made that commitment, because it meant I could enjoy this album even more than I otherwise would have done. And what an album it is.

From the opening squeals of Summer Babe - Winter Version to the divine hi-hat driven Our Singer, this is an album that is utterly captivating. Conduit For Sale! shows how simple distorted guitar, spoken word, and relentless drumming can make for a song that is hugely intense. Zurich is Stained shows Stephen Malkmus's ability to carry a song with his voice, despite him not being a classically brilliant singer. Two States distils everything great about Punk, adds a huge dash of pop to proceedings, and states its case in less than two minutes. Fame Throwa is a meandering, intricate mess of a song that shouldn't come close to working, yet I have a burning urge to see it live, where I can only imagine the visceral thrill of shouting along amongst a sweaty mob.

I don't fully understand why I like this album so much, to be honest. There is no single song that stands out as superb, and no particular instrument that grabs your attention. The lyrics are so oblique as to be irrelevant in and of themselves, and the production values are decidedly lo-fi. And yet, despite all this, I can't stop listening to it. It is similar to Guided by Voices in its lack of pomposity, yet better in terms of giving the songs space to breathe and grow.

Chloe's album rating: 7
Chloe's favourite track: 12. Fame Throwa
Olly's album rating: 9
Olly's favourite track: 1. Summer Babe - Winter Version

Next week's album is 517. Duck Rock by Malcolm Mclaren

763. G Love & Special Sauce - G Love & Special Sauce

A hip hop album for people who don't like hip hop? An interesting concept that ends up with me fearing the worst of both worlds.

It's a much more laid back album than most hip-hop, with a much greater focus on drums than bass in terms of driving the rhythm. Blues Music is lyrically interesting, and Baby's Got Sauce has an almost reggae feel to the rhythm, complete with a focus on the off-beat. However, songs like Cold Beverage sound like they could be so much more, but the chorus falls a bit flat, and the track just ends up being a bit too repetitive. Shooting Hoops should be much cooler than it actually is, complete with a banjo intro, but it ends up feeling more like a sitcom title track.

There is a slightly rambunctious, claustrophobic feel to the recording, which makes it feel like a party. Unfortunately, the quality of the music doesn't live up to this indication, and the promise of the strong opener fades away to a run of real mediocrity by the end of the album. I can't recall anything about the last few tracks at all, even though I listened to them at least eight times each, and that's pretty damning.

Chloe's album rating: 5
Chloe's favourite track: 5. Baby's Got Sauce
Olly's album rating: 5
Olly's favourite track: 1. The Things That I Used To Do

Next week's album is 746. Slanted and Enchanted by Pavement. 

882. Agaetis Byrjun - Sigur Ros

This album was not really supposed to make it. An Icelandic duo, singing in a made-up language, names after one of their sisters, was never supposed to capture a global audience. The band's manager expected to sell about 1500 copies of the record; he was slightly out.

What stood out to me about this album was the complex simplicity of it all. The melody is almost lullaby-like in most songs, with a vocal delivery that is as much elf as human, yet the array of sounds produced by simple instrumentation is quite stunning. To take Svefn-g-englar as an example, the use of cello bow on guitar creates an utterly entrancing atmosphere. They sound like nothing else, which is particularly impressive given the sheer enormity of different musical genres that preceded them. 

Chloe wasn't sure about the album, as she felt it was a bit too "chillout". Whilst I see her point, I think the variety of soundscapes and textures take it far beyond that oft-lazy genre. It is an album I've enjoyed whilst concentrating on it, and simply as a pleasant background to my day. Tracks like Staralfur can drift away, before the strings cut through and grab your attention, before the acoustic guitar strips everything back.

Sigur Ros are a band I'd always thought I'd like, but had never bothered to invest the time to found out if I actually did. It turns out that I do, very much. They are much more than just a great band for adverts; they are an advert for great bands being different.

Chloe's album rating: 6
Chloe's favourite track: 2. Svefn-g-englar
Olly's album rating: 8
Olly's favourite track: 5. Ny batteri

Next week's album is 763. G Love & Special Sauce by G Love & Special Sauce.

111. Cheap Thrills - Big Brother and the Holding Company

I had never heard of this band, and couldn't believe that it was Janis Joplin's original group, and this was arguably her finest hour. Knowing the name more than her music, a couple of big numbers aside, it was a good excuse to hear her in her prime.

The closest word I think I can find to describe her vocal performance on the album is animalistic. There is something utterly unrefined and raw in her performances, which is quite refreshing in itself. Her back story indicates someone who from a young age didn't fully fit in with, or conform to, society's expectations depending on your political persuasion.

I need a man to love is a great example of Janis dominating a song, without appearing to even try to compete with the frankly outstanding guitar work. It is not about being note perfect, but using the voice to convey emotion through delivery rather than simply lyrics. When done this well, it reminds you just how much more important vocals are in a group - something that has often held back otherwise talented bands. You get the impression on this album that Janis would dominate any mid-sized venue without any mic, and could leave even full stadia awestruck. 

Ball and Chain is the song that exemplifies all that is great about this album - the guitars are fuzzy and dirty at times, yet can soar when needed, the drums sound superb without doing anything more than driving the song along, and then Janis goes and sings like it's her last chance at making it. It is an utterly superb piece of music, and I defy you to listen to it and not be moved. 

It is strange to review an album where the focus is so clearly on the vocals, yet their name is not on the cover. There is something pleasantly democratic about that approach, and whilst it may not have lasted, I salute the band, and particularly Janis, for creating that combined approach. However, it is her voice that brings everything together, and, when the voice is this captivating, I'm fine with that.

Chloe's album rating: 7
Chloe's favourite track: 2. I Need a Man to Love
Olly's album rating: 7
Olly's favourite track: 7. Ball and Chain

Next week's album is 882. Agaetis Byrjun - Sigur Ros.