| Artist |
Title |
Rating |
Tracks |
Notes |
Released |
| A
|
| ABBA |
Voulez-Vous |
* * * * |
1978 |
10+3 |
Abba's disco album. Full of top tunes, and not just the singles. Quality bonus tracks too. |
| ABBA |
Super Trouper |
* * * |
1980 |
10+2 |
Lots of classic pop here, but Benny and Bjorn also seemed to have developed a misguided taste for saccharine ballads. The
bonus tracks are a bit substandard, too.
|
| ABBA |
The Visitors |
* * * * |
1982 |
9+4 |
The group's last new studio album, permeated by an appropriate sense of melancholy. One or two duffers, but the bonus tracks
easily redress the balance.
|
| ABBA |
Gold |
* * * * |
1992 |
19 |
Almost all the UK singles - for "Under Attack" and "The Day Before You Came", get The Visitors. What's here is of course timeless, though over-familiarity perhaps makes it harder to enjoy than it deserves. |
| ABC |
Beauty Stab |
* * * * |
1983 |
12+1 |
The critics who slated this because it lacked the glamour of 'The Lexicon of Love' failed to spot that it actually has good
songs.
|
| ABC |
How to be a Zillionaire |
* * * * |
1985 |
10+4 |
A neglected collection of tongue-in-cheek party tunes. One day its time will come. Perhaps. |
| ABC |
Gold |
* * * * |
2006 |
30 |
As good a "greatest hits" as you could wish for. Don't get too excited by the track count though - CD2 is all remixes. |
| AC/DC |
High Voltage |
* * * * |
1975 |
9 |
Some superb no-nonsense riffing, taking up where the Stones leave off. The glam-rock-influenced second half lets it down a
bit.
|
| AC/DC |
Dirty Deeds Done Dirt Cheap |
* * * |
1976 |
9 |
Only three songs really cut it here: the title track, "Squealer" and the surprisingly moving ballad "Ride On". The rest are
rather dated 70s chuggers.
|
| AC/DC |
Let There Be Rock |
* * * * |
1977 |
8 |
The first album that's recognisably AC/DC from start to finish: no more glam, just slab after slab of classic hard rock. Would
be up there with "Powerage", were it not for the rubbish "Overdose".
|
| AC/DC |
Powerage |
* * * * * |
1978 |
9 |
Bon Scott's finest moment, with a bluesy restraint lacking from "Let There Be Rock" and "Highway to Hell", and every track
an absolute corker.
|
| AC/DC |
Highway to Hell |
* * * * |
1979 |
10 |
A full-throttle commercial assault on America. As a generic heavy metal album, it's good, but for all its loudness it lacks
something of the wit and fire of its predecessors.
|
| AC/DC |
Back in Black |
* * * * * |
1980 |
10 |
Lead singer choked on his own vomit? Then get yourself a new one and make the best hard rock album of all time. |
| AC/DC |
For Those About to Rock... |
* * * * |
1981 |
10 |
Quality stadium rock, distinguished by expert riffing and Brian Johnson's demented high-pitched squeal. Tails off a bit in
the second half mind you.
|
| AC/DC |
Flick of the Switch |
* * |
1983 |
10 |
A couple of tracks rise to almost the usual standard, through simple application of a tested formula; but even they are unmemorable
and do not truly rock.
|
| AC/DC |
Live |
* * * * |
1992 |
11 |
Assaults your pleasure-centres like a Viking pillage. |
| AC/DC |
Ballbreaker |
* * * * |
1995 |
11 |
Their sound's a little softened (a very little) by the slick production, but this is a rock-solid collection of tunes and
riffs.
|
| The Adventures |
The Sea of Love |
* * * |
1988 |
9 |
Chiming electric pianos, lush production, tried-and-tested power chord sequences: this was the sound of late 80s Celt-rock.
Fortunately a handful of songs transcend the formula, including the gloriously gloomy single "Broken Land".
|
| Air |
Moon Safari |
* * * |
1998 |
10 |
Pleasant ambient doodlings from French keyboard/multi-instrumental duo. The main problem is staying awake long enough to hear
it all.
|
| Marc Almond |
The Stars We Are |
* * * * |
1989 |
10+3 |
High camp with a strong Hispanic influence. Very different from Soft Cell's work, though similarly marked by Almond's ear
for a good tune.
|
| Marc Almond |
Enchanted NEW! (Added 05/04/2008) |
* * * |
1990 |
10 |
Stylistically similar to "The Stars We Are", but more synth-based, and with the camp valve opened to the max. Substandard,
though "Waifs and Strays" and "Death's Diary" are superb.
|
| Marc Almond |
Tenement Symphony |
* * * * |
1991 |
11 |
Almond teams up with old bandmate Dave Ball, and producer Trevor Horn, to provide a stomping, synth-drenched 80s retro-fest. |
| Alphaville |
Forever Young |
* * * * |
1984 |
10 |
Most regard these Germans as New Romantic also-rans, but on the contrary, they were in the first rank of tunesmiths. |
| Alphaville |
Afternoons in Utopia |
* * * * |
1986 |
10 |
Cheesy Euro-tunes that seem to be in search of a musical. So naff it's cool? Hardly, but recommended for those with no shame. |
| Alphaville |
The Breathtaking Blue |
* * * * |
1989 |
10 |
The Teutonic synthmeisters get ever weirder. Less NewRo melodrama than in their earlier stuff, but distinguished by lush production
and inventive tunes.
|
| Alphaville |
Salvation |
* * |
2000 |
15 |
The sad spectacle of a group trying to relive its 80s glory days, but devoid of ideas or enthusiasm. |
| Tori Amos |
Little Earthquakes |
* * * |
1992 |
12 |
A mix of irritating sub-Kate Bush oddities and poignant confessional ballads. The latter are real gems. |
| Tori Amos |
Songs from the Choirgirl Hotel |
* * * |
1998 |
12 |
Kooky and original but not really my bag, as it were. |
| Anastacia |
Not That Kind |
* * * |
2001 |
12 |
The 4 or 5 raunchy tracks work well, but the overrepresented power-ballads are nauseating. |
| B
|
| Banderas |
Ripe NEW! (Added 05/04/2008) |
* * * |
1991 |
10 |
At the dog end of this album of anodyne dance tracks come three gorgeous tunes: "Too Good", "It's Written All Over my Face"
and "Never Too Late". None were singles for some reason.
|
| The Beatles |
Rubber Soul |
* * * * |
1965 |
14 |
Some top tunes with a soupcon of darkness, as the Beatles teeter on the brink of psychadelia. |
| The Beatles |
Help |
* * * * |
1965 |
14 |
Cheery and tuneful - the Beatles' last straight pop album. |
| The Beatles |
Revolver |
* * * |
1966 |
14 |
The Beatles start freaking out. Groundbreaking, though not all the experiments have stood the test of time. |
| The Beatles |
The Beatles |
* * * |
1968 |
30 |
A massive experimental mishmash. Contains many of the group's best tracks, many of their worst, and many that are just odd. |
| The Beatles |
1962-1966 |
* * * * |
1973 |
26 |
Most of the tracks here can be found on original albums, but not to own 'I Feel Fine', 'We Can Work It Out', 'Day Tripper'
and 'Paperback Writer' would be criminal.
|
| The Beatles |
1967-1970 |
* * * * |
1973 |
28 |
A one-stop shop of pop: the classic compilation of the group's late material. |
| The Beautiful South |
Quench |
* * * |
1998 |
13 |
Little that's memorable here, except for 'Perfect 10'. |
| Bee Gees |
The Record: Their Greatest Hits |
* * * * |
2001 |
40 |
Nice to have almost all their classic tunes on one album, even if recordings by other artists were sometimes more characterful. |
| Big Country |
The Crossing |
* * * * * |
1983 |
10+4 |
Guitars resembling bagpipes may sound a stupid idea on paper, but it's a testament to BC's energy and conviction that they
filled their whole debut album with them without ever sounding ludicrous. Passionate and authentic, this is massively uplifting
Celtic rock.
|
| Big Country |
Through a Big Country: The Greatest Hits |
* * * |
1996 |
16 |
Not long after "The Crossing", Big Country started to lose some of their passion, and they ended up as something of a novelty
act. They continued to deliver he odd rousing tune, but 1984's single "Wonderland" was their last truly inspirational moment.
|
| Blancmange |
Second Helpings - The Best of Blancmange |
* * * * |
1990 |
12 |
Not the catchiest of 80s synth duos, but by some margin the funkiest. A bit mad too. |
| Blondie |
Atomic: The Best of Blondie |
* * * |
1998 |
19+2 |
Debbie Harry didn't have the voice to match her looks, but there are some classic post-punk pop choonz here. |
| Blur |
Blur |
* * * |
1997 |
14 |
Different, but rather too weird for my taste. |
| Blur |
Think Tank |
* * * * |
2003 |
13 |
Strikes a delicate balance between weirdness and commerciality - hats off to 'em. |
| David Bowie |
Scary Monsters |
* * * |
1980 |
10 |
Some of the Dame's finest singles came from this album, including 'Ashes to Ashes' and 'Fashion'. So if not all of it equals
those moments, you can hardly complain.
|
| David Bowie |
The Best of David Bowie 1974/1979 |
* * * |
1998 |
18 |
Wouldn't call myself a fan, but I can see the point of him. |
| James Dean Bradfield |
The Great Western |
* * * |
2006 |
11 |
Has the good tunes and the melancholy of a Manic Street Preachers record, but lacks the passion. |
| Bucks Fizz |
The Best of Bucks Fizz |
* * * |
1996 |
16 |
I bought this because I like 'I Hear Talk'. There, I've said it. |
| The Burning Bush |
Klezmer and Hassidic Music |
* * * * |
1998 |
17 |
Wonderful Yiddish folk music that's full of ambiguity: immediate and ingenius, tragic and jolly. |
| Kate Bush |
The Kick Inside |
* * * * |
1978 |
13 |
First album from the teenage genius. Her mannered, screechy vocals are an acquired taste, but Lordy, what songs. |
| Kate Bush |
Lionheart |
* * * |
1978 |
12 |
Rather too much silliness going on here, and also too much bland, lifeless playing by session musicians. |
| Kate Bush |
Hounds of Love |
* * * * |
1985 |
12+6 |
One of Bush's two classic albums (the other being "The Kick Inside"). Too odd to be instantly appealing, but once you enter
her world, it's an interesting place.
|
| Kate Bush |
The Sensual World |
* * * |
1989 |
11 |
Would be a complete waste of plastic, were it not for 'This Woman's Work', which alone merits an extra star. |
| C
|
| Cast |
All Change |
* * * * |
1995 |
12 |
Breezy Scouse guitar pop. The persuasive energy offsets the terrible lyrics. |
| Mary Chapin Carpenter |
Come On Come On |
* * * |
1992 |
12 |
Some decent songs, nicely sung. |
| Mary Chapin Carpenter |
A Place in the World |
* * * |
1996 |
12 |
She sings well and she can write a good tune, but her lyrics are trite drivel. |
| Mary Chapin Carpenter |
Time, Sex, Love |
* * |
2001 |
14 |
I've only listened to this once, and that was once too much. Bland, sentimental tripe. |
| Ry Cooder |
Why Don't You Try Me Tonight? The Best of... |
* * * |
1986 |
12 |
Tastefully-performed songs by the legendary Blues singer/guitarist. |
| Julian Cope |
Floored Genius: The Best of Julian Cope and the Teardrop Explodes 1979-91 |
* * * * |
1992 |
20 |
Ever kooky, and yet unlike many icons of indie cool, he never regarded pop as a dirty word. |
| Sheryl Crow |
Tuesday Night Music Club |
* * * |
1993 |
11 |
Competent, superficial Californian rock. Many styles of music are covered without leaving much of an impression, apart from
the funky single 'All I Wanna Do'.
|
| Sheryl Crow |
Sheryl Crow |
* * * * |
1996 |
14 |
Much better than the first album. Good songs, even if the lyrics are largely meaningless and sung with all the passion of
airport announcements.
|
| Sheryl Crow |
The Globe Sessions |
* * |
1999 |
13 |
'My Favorite Mistake' is a decent song; none of the others are. |
| Sheryl Crow |
C'mon C'mon |
* * * |
2002 |
15 |
Some good songs, all given the dreary Crow chug-chugging AOR treatment. |
| Crowded House |
Woodface |
* * * * |
1991 |
14 |
A classic of pipe-and-slippers pop. |
| Crowded House |
Together Alone |
* * * |
1993 |
13 |
Some good songs, some rather pedestrian ones. A mysterious ambience. |
| Crowded House |
Recurring Dream: The Very Best of Crowded House |
* * * * |
1996 |
19+15 |
A well-chosen 'best of' that includes some good new tunes. The 15-track limited edition live CD makes this a top recommendation. |
| The Cult |
Electric |
* * * |
1986 |
10 |
Overnight, these Goths turned into Rolling Stones/AC/DC soundalikes. They did it fairly well, as it happens. |
| D
|
| Daft Punk |
Homework |
* * |
1996 |
16 |
French instrumental dance music. Lazy and immensely banal. |
| Del Amitri |
Waking Hours |
* * * |
1990 |
10 |
Good lyrics, and pleasant to listen to - possibly a bit too adult for its own good though. |
| Depeche Mode |
Speak and Spell |
* * * |
1981 |
11+5 |
The first DM album was mostly written by Vince Clarke, and therefore sounds like Yazoo with a yobby bloke on vocals. Naff
and dated, though 'Just Can't Get Enough' is still quite fun, and 'Any Second Now' is gorgeous.
|
| Depeche Mode |
Construction Time Again |
* * * * |
1983 |
9 |
Depeche Mode transform themselves from wimpy synthpoppers to Industrial pioneers. Seminal, and still sounds top 20 years on. |
| Depeche Mode |
Some Great Reward |
* * * * |
1984 |
9 |
The follow-up to 'Construction Time Again' was another Industrial classic - this time with a tauter, more urgent sound. |
| Depeche Mode |
The Singles 81-85 |
* * * * |
1985 |
15+2 |
The early Depeche Mode were always difficult to take seriously, but they did produce some classic pop tunes. |
| Depeche Mode |
Black Celebration |
* * * * |
1986 |
11+3 |
Some really good songs, and full of original ideas, but the production is gutless. |
| Depeche Mode |
Music for the Masses |
* * * * |
1987 |
10 |
Not their best collection of songs, but the meaty, satisfying sound compensates. |
| Depeche Mode |
Violator |
* * * * |
1990 |
9 |
One of the darkest DM albums, with almost guitar-like screeching and weird sampled segues. A grower. |
| Depeche Mode |
Songs of Faith and Devotion |
* * * * |
1993 |
10 |
The last Mode album with Alan Wilder, and (until 'Playing the Angel') the last one that was half-decent. A solid effort, though
the arrangements and sampling lack somewhat the imagination of the earlier work.
|
| Depeche Mode |
Playing the Angel |
* * * |
2005 |
12 |
"The Mode" finally find their feet again, a decade after Alan Wilder's departure. Some good tunes and an exciting sense of
menace - but someone really should tell Martin Gore that no one's interested in his low-tempo introspective dirges.
|
| Destiny's Child |
Survivor |
* * * |
2001 |
18 |
Most of this album is rubbish but that still leaves a worrying 6 or 7 tracks that I quite like. May God have mercy on my soul. |
| Neil Diamond |
The Greatest Hits 1966-1992 |
* * * |
1992 |
37 |
For legal reasons, Diamond's songs from the early 70s are represented here by very dodgy live versions. Therefore, 'The Best
of Neil Diamond' (q.v.) is an essential complement.
|
| Neil Diamond |
The Best of Neil Diamond |
* * * * |
2000 |
20 |
(Mostly) original versions of Diamond's mid-period songs. Some are classics; all convey an overwhelming sense of yearning
and existential ennui, or something.
|
| Dire Straits |
Love Over Gold |
* * * |
1982 |
5 |
Includes the epic "Telegraph Road" and "Private Investigations", together with three tracks of quite spectacular forgettableness. |
| Duran Duran |
Rio |
* * * * |
1982 |
9 |
Oh admit it - they *did* write good songs, even if they couldn't play their instruments to save their lives. |
| Duran Duran |
Greatest |
* * * * |
1998 |
19 |
The group plunged from the public view in 1985 - however, as this compilation shows, a rivulet of top tunes continued to trickle
forth.
|
| Ian Dury |
Reasons to be Cheerful (The Very Best of Ian Dury and the Blockheads) |
* * * |
1999 |
18 |
Cheeky, life-affirming Cockney funk. |
| Bob Dylan |
Highway 61 Revisited |
* * * |
1967 |
9 |
I guess I'll just never be a Dylan fan. |
| Bob Dylan |
Blood on the Tracks |
* * * |
1974 |
10 |
He can write nice tunes and his voice is evocative - but the songs just go on and on. Perhaps one day I'll understand what
the fuss is about.
|
| E
|
| Echo and the Bunnymen |
Seven Seas |
* * * |
2005 |
15 |
A reasonable "best of" from one of the more tuneful indie bands of the 80s. |
| Electribe 101 |
Electribal Memories |
* * * |
1990 |
9+2 |
I bought this for the thrilling Canny 12" Vocal mix of "Talking with Myself". Unfortunately, unremixed, the group's sound
was altogether more low-key, indeed one might say soporific.
|
| Electric Light Orchestra |
All Over the World - The Very Best of... |
* * * * |
2005 |
20 |
These opulently produced pop nuggets from the 70s and early 80s have aged surprisingly well and in their naff way are really
quite uplifting.
|
| Brian Eno |
Music for Films |
* * * |
1978 |
18 |
10/10 for atmosphere, but there's little of interest going on here compositionally. |
| Erasure |
Wonderland |
* * * * |
1986 |
11+3 |
This is really the last Vince Clarke album, rather than the first Erasure album. The production's dated, but with Andy Bell
yet to exert his full (dubious) influence on the songwriting, the tunes are all too fab for that to matter.
|
| Erasure |
The Circus |
* * * |
1987 |
10+3 |
Some good old-school pop tunes and some quality synth-work, but also many foreshadowings of the blandness that was to predominate
during the 1990s.
|
| Erasure |
The Innocents |
* * * * |
1988 |
11+2 |
Stephen Hague’s lush production makes for a more atmospheric offering than usual. Laden with pop hooks, and even containing
a handful of well-crafted songs, all round this is possibly the duo’s best album.
|
| Erasure |
Pop! 20 Hits |
* * * * |
1992 |
21 |
With Erasure, Vince Clarke never reached the heights of tunesmithery he did with Yazoo, but let's not let that spoil the party. |
| Eurythmics |
Be Yourself Tonight |
* * * * |
1985 |
9 |
Annie and Dave at the peak of their success, halfway on the journey from synth pop to yuppie rock. Perhaps too slick for some
tastes, but full of musical flair, and without a single duff track.
|
| Eurythmics |
Revenge |
* * * * |
1986 |
10 |
Eurythmics attempting to show that they could rock, and kind of succeeding. Bland on first listening, but it grows on you. |
| Eurythmics |
Savage |
* * * * |
1987 |
12 |
Eurythmics return to their synth roots. But this is a deeper, darker album than "Sweet Dreams" or "Touch", with the chirpy
dance tunes throwing the embittered lyrics into sharp relief. Top marks for Dave Stewart's crisply atmospheric production.
|
| Eurythmics |
We Too Are One |
* * * * |
1989 |
9 |
A rock album, sitting on the other side from "Revenge" of the synth-based "Savage". Like "Revenge", it has atmospheric qualities
that don't strike you until after a few listens.
|
| F
|
| Finn |
Finn |
* * * |
1995 |
11 |
Neil and Tim Finn of Crowded House mess around in a studio. Patchy. |
| Neil Finn |
Try Whistling This |
* * * * |
1998 |
13 |
Sounds almost exactly like Crowded House. Which is nice. |
| Neil Finn |
One Nil |
* |
2001 |
12 |
Nil nil more like - a real goalless draw of an album. Finn seemed to have lost (hopefully temporarily) his ability to write
good tunes.
|
| Franz Ferdinand |
Franz Ferdinand |
* * * |
2004 |
11 |
A bit art-house, a bit punk, a bit disco: all told, a complete musical pastiche of the late 70s. They're at their best when
they give full rein to their exceedingly funky rhythm section.
|
| Franz Ferdinand |
You Could Have It So Much Better |
* * * * |
2005 |
13 |
FF take heed of the critics and broaden their style, adding McCartney-esque ballads and full-on pogoing punk to their sound.
At first they seem to be trying a bit too hard, but the more you listen, the more you appreciate their brilliant tightness
as a unit.
|
| Nelly Furtado |
Whoa, Nelly! |
* * * |
2000 |
15 |
She's got spirit and attitude, but not, on this evidence, a great songwriting talent. |
| Billy Fury |
The One and Only Billy Fury |
* * |
1998 |
20 |
I bought this for £3 because it had 'Wondrous Place' on it. I didn't have high expectations of the rest of it, which was just
as well.
|
| G
|
| Peter Gabriel |
So |
* * * * |
1986 |
8 |
Without taming his experimental streak, Gabriel produced an album of unprecedented soulfulness. Arguably the high point of
his career.
|
| Peter Gabriel |
Us |
* * * |
1992 |
10 |
An attempt to recreate the magic of 'So' that doesn't really come off, though it has its moments. |
| Genesis |
Turn It On Again: The Hits |
* * * |
1999 |
18 |
A bit misreprentative perhaps, as they were going ages before they had any hits as such. So this focusses very much on their
more commercial material. I don't care - I only bought it for the title track and "Abacab" (am I the only one who likes that
song??).
|
| Goldfrapp |
Felt Mountain |
* * * |
2000 |
9 |
Atmospheric, if a bit self-consciously kooky. |
| Martin Gore |
Counterfeit Vol. 2 |
|
|
|
I bought this because occasionally Gore has proved himself a decent songwriter for Depeche Mode. Realising subsequently it's
all cover versions, I didn't even listen to it, which is possibly unfair. One of these days I'll check it out. Helpful huh?
|
| Gorillaz |
Demon Days |
* * * |
2005 |
13 |
Earth-pounding beats, catchy synth hooks, a bit of rapping, and that's about it. Throwaway stuff, but intriguingly weird.
Good driving music.
|
| Grand Drive |
Road Music |
* * |
2001 |
11 |
There may be good songs on this album, but so awful are the singer's vocals that I couldn't make it past the second track. |
| David Gray |
Sell Sell Sell |
* * * |
1996 |
12 |
A nice song, repeated 12 times. |
| David Gray |
White Ladder |
* * * * |
1998 |
10 |
Fab, wistful, romantic songs. Genuine soulfulness runs the gauntlet of mannered Dylanesque vocals and banal lyrics, and comes
through unscathed.
|
| David Gray |
A New Day at Midnight |
* * * |
2002 |
12 |
Listened to individually, many of these tunes are superb: Gray can do "plaintive" as well as anyone. But here he does nothing
else, and the result is ear fatigue.
|
| H
|
| Daryl Hall and John Oates |
The Very Best of Daryl Hall and John Oates |
* * * |
2001 |
18 |
Laid-back chord sequences, emotion-free vocals, vacuous lyrics: Hall and Oates represented everything that was smug and superficial
about the 1980s. Disquietingly though, they represented quite a lot that was enjoyable about them at the same time.
|
| Albert Hammond |
The Very Best of Albert Hammond |
* * * |
1988 |
16 |
Writer of classics like 'The Air that I Breathe' and 'When I Need You', unfortunately Hammond is an undistinguished performer
of his own material. Only 'The Free Electric Band' doesn't cry out for a cover version.
|
| Hard-Fi |
Stars of CCTV |
* * * * |
2005 |
11 |
For all their "disaffected" posturing, these latter-day Middlesex mods have about as much to say as Justin Timberlake. Still,
no faulting the good tunes, tight rhythm section and atmospheric production.
|
| Heaven 17 |
Penthouse and Pavement |
* * * |
1981 |
9 |
Side 1 is rather dreary 'white soul'; side 2 is what the group did best: daft but catchy synthpop. |
| Heaven 17 |
The Luxury Gap |
* * * * |
1982 |
9 |
Heaven 17 added a liberal dose of soul to the standard early 80s electro-pop sound, to produce a subtle but satisfying flavour.
The magic ingredient was probably the fab songs.
|
| Heaven 17 |
How Men Are |
* * * |
1984 |
9+4 |
By this time, they were starting to get too clever for their own good, though "Sunset Now", "This is Mine" and "(And That's
No Lie)" (sic) continued the stream of classic singles. The bonus tracks are a waste of space.
|
| Heaven 17 |
The Best of Heaven 17 |
* * * * |
1992 |
16 |
Smug, charisma-free lefty trio purveys track after track of clever, top-quality synthpop. |
| Heaven 17 |
Bigger than America |
* * * * |
1996 |
12 |
They joined the acid house bandwagon rather late in the day, and were a bit old to rave like good 'uns, but this album partakes
of the scene's optimistic vibe, and holds the group's best collection of songs since 'The Luxury Gap'.
|
| Heaven 17 |
Before After |
* * * * |
2005 |
10 |
The group takes the best dance grooves of the early 00's and polishes them to perfection. The flaws - a lack of great tunes,
and Glenn Gregory's straining with the high vocal registers - don't stop this being an addictive and uplifting experience.
|
| John Hiatt |
Meet the Family |
* * * |
1987 |
8 |
Sure, it's got Ry Cooder and Nick Lowe on it, but what the over-enthusiastic critics failed to mention is that the songs just
aren't up there with Hiatt's best. Overrated.
|
| John Hiatt |
Slow Turning |
* * * * |
1988 |
12 |
An enjoyable slice of middle-aged rock. |
| John Hiatt |
Perfectly Good Guitar |
* * |
1993 |
13 |
Run-of-the-mill solo rocking. |
| John Hiatt |
Walk On |
* * * |
1995 |
13 |
Hiatt's recurrent problem once more in evidence: not enough tunes to fit his excellent lyrics into. A couple of decent moments
all the same.
|
| John Hiatt |
Crossing Muddy Waters |
* * * * |
2000 |
11 |
Pared-down, largely acoustic roots music with fantastic mandolin and guitar playing by David Immerglueck. Absolutely brilliant
- why can't all Hiatt's albums be like this?
|
| John Hiatt |
The Tiki Bar is Open |
* * |
2001 |
11 |
Hiatt and his band The Goners in bland radio-rock mode. A shame, as there seem to be one or two decent tunes in there struggling
for life.
|
| John Hiatt |
Beneath this Gruff Exterior |
* * * |
2001 |
12 |
Features some nice slices of the rootsy rock that Hiatt does so well, but when he tries to sound more "modern", he isn't half
boring.
|
| John Hiatt |
Master of Disaster |
* * * |
2005 |
11 |
Good lyrics, predictable tunes and arrangements - a trend bucked only by the excellent "Find You at Last". |
| Mark Hollis |
Mark Hollis |
* * * |
1998 |
8 |
Continues where his band Talk Talk left off - introspective and mellow, but perhaps lacking the instrumental subtlety of the
group's late work.
|
| Horse |
The Same Sky |
* * * |
1990 |
10 |
A little-known band that produced mostly bland unmemorable power-pop, but the one wonderful melodramatic classic "Sweet Thing". |
| Hot House |
South |
* * * |
1988 |
10+2 |
Somewhat pretentious soul with M People's Heather Small on vocals. 'Hard as I Try' is a classic, though, and the cover of
'Crazy' is also good.
|
| Human League |
Dare |
* * * * |
1981 |
10 |
Classic tunes, and - unusually for the time - unpretentious lyrics. A loveable period piece. |
| I
|
| Billy Idol |
Whiplash Smile |
* * * * |
1986 |
10 |
Awash with synthesisers and without a real drumkit in earshot, this album showed that rock could be high-tech - as long as
you have the right producer (Keith Forsey), a mad guitarist (Steve Stevens) and a singer passionately committed to the Elvis/Jagger
ideal.
|
| Billy Idol |
Greatest Hits |
* * * |
2001 |
16 |
Unpretentious cartoon rock. I still think all his best stuff is on 'Whiplash Smile' though. |
| INXS |
The Swing |
* * * * |
1984 |
10 |
In their early days INXS presented an original blend of funk, rock and electronica. It was a lot more intriguing than their
later music, even if the production was all over the place.
|
| INXS |
Listen Like Thieves |
* * * * |
1985 |
11 |
Their best album, I reckon: they'd finally decided they were a rock act rather than a New Wave one, their songs were catchy,
and in their unashamedly commercial way they genuinely kicked arse.
|
| INXS |
Definitive INXS |
* * * |
2003 |
21 |
Oddly disappointing. There's too much from the overrated 'Kick' album and not enough from their slightly quirky earlier days.
Of the later tunes, why the rockin' 'Heaven Sent' isn't included mystifies me, as it were.
|
| J
|
| Joe Jackson |
Night and Day |
* * * |
1982 |
9 |
A high concentration of classic singles here. Pretty good all in all, let down chiefly by Jackson's misguided vocal attempts
to convince us he's from New York rather than Portsmouth.
|
| Michael Jackson |
Off the Wall |
* * * |
1979 |
10 |
Yes, once he was genuinely funky, even if he didn't always hit the heights of the title track and 'Don't Stop 'Til You Get
Enough'.
|
| Michael Jackson |
Thriller |
* * * |
1984 |
9+3 |
If you were alive in 1983, you already know every song on this album - but a good handful of these slices of pop-funk remain
classics.
|
| James |
The Best of James |
* * * * |
1998 |
18 |
I can't decide if I find this depressing or uplifting. One thing's for sure - it's choc full of good songs. |
| The Jam |
Sound Affects |
