Meat Loaf’s 1977 debut album ‘Bat Out Of Hell’ utterly defines a very specific and theatrical type of rock ‘n’ roll record.
The second of the so-called ‘Berlin trilogy’, “Heroes” is one of the most complete works of Bowie’s illustrious and varied career.
Ten years on, Radiohead’s ‘In Rainbows’ sounds like a band reveling in freedom from expectations and enjoying a rare period of creative freedom.
Suede’s gothic, flawed masterpiece was ostentatiously out of step with the Britpop-dominated Nineties, but has aged much better than most albums of its era.
Muse’s third album ‘Absolution’ turned them from critical successes to household names, and its dystopian overtones are still prescient more than a decade on.
Ian Dury’s debut album ‘New Boots And Panties!!’ often sounds rather dated 40 years later, but was one of the surprisingly few great albums of first-wave British punk.
20 years on, The Verve’s autumnal masterpiece ‘Urban Hymns’ feels like the very end of an era for British guitar music.
The Smiths’ fourth and final album ‘Strangeways, Here We Come’ is the sound of Morrissey and Marr trying very hard not to repeat themselves, and succeeding handsomely.
A violent flinch from the spotlight, Nirvana’s final album ‘In Utero’ was a rare example of a huge band challenging its listeners rather than appeasing them with more of the same.
A dimension jump in artistic terms, Hüsker Dü’s second album ‘Zen Arcade’ was one of the defining releases of the underground in America in the 1980s.