The Stooges’ second album isn’t the easiest to get into, and it’s famous for flopping on release, but “Fun House” is fun, exciting, and clearly where Iggy started to go ballistic.
Steve Winwood’s return to Traffic after Blind Faith and solo disappointment mixed jazz with blues-rock and folk, with less than remarkable results.
Cat’s breakthrough fourth album is as gentle as it is bold, filled with beautiful songwriting and mature themes, as well as a good few hits.
Created as their creative bromance came to a natural end, Paul and Art’s final album is epic in scope, exciting and heartwarmingly accessible.
It’s a big beast, and it takes a while to get the hang of, but George Harrison’s debut album can stand proud among the Fab Four’s solo efforts.
Showing there’s more to Rod than the 70’s tartan caricature, “Gasoline Alley” captures an artist in his prime, with this impressive and underrated surprise.
The dark winter of Prog rock is coming, but Soft Machine’s final behemoth album isn’t without its intrigue, even if it is hard work.
While intriguing, if longwinded, in its 2000 expanded release, this album’s original 1970 version is a true live classic.
Fresh from turning down an album collaboration with Jimi Hendrix (surely a crime?), this debut from Ravi Shankar’s classically trained nephew grabs your attention.
Richer and more creative than his debut, Five Leaves Left, Nick Drake’s second album, gives a real sense of what could have been.
“American Beauty” is the landmark of the Dead’s back catalogue, but despite its soul, harmonies and craftsmanship, it never quite feels enough.
It’s a different beast to “Astral Weeks”, true, but “Moondance” is a joyful and far more accessible offering than Van Morrison’s first landmark album.
Even though it’s not as iconic as “Led Zep II” or “Paranoid”, “In Rock” stands as a monument to what rock was going to become.
Critically mauled on its release, Led Zeppelin III didn’t quite have the Whole Lotta Lovin’ that the audience wanted, but the years have been kind to the band’s attempt to spread their wings.
Low on grunge but full of heartbreak, soul and charm, “After the Goldrush” is a powerful beast that’s easy to understimate at first.
If “Black Sabbath” was a landmark, then this follow-up is a big bastard monolith that towers above it. Tough, fierce and deliciously dark, “Paranoid” is probably Ozzy’s finest hour, and a big scary classic.
Is there such a thing as Hygge Rock? This album, even if it came from troubled times, is surprisingly cosy to listen to.
Even for an old bastard cynic like me, Lennon’s first proper solo album is a brutal but rewarding experience.
Packed with musical talent and a good deal of soul, this solo debut from Stephen Stills has a lot to recommend it, even if it never really catches fire.
They were often dismissed as sentimentalist cheese back in the day, but the years have been kind to Richard and Karen Carpenter. Good thing too.
Showing a different side to The Doors mythology, “Morrison Hotel” is a capable and happy blues album with a few sprightly suprises on board.
Seen by many critics as mainstream, INXS’s 1988 album “Kick” is a smart funk-rock hybrid by a band, and a rock icon, at their glorious prime.
The 2016 edition of “1001 Albums You Must Hear Before You Die” is here, and there’s more than a few notable absences.
While arguably not a truly ‘great’ album, this debut from Black Sabbath still has a few choice moments on it, and it’s a landmark in music history too.