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*Your favourite record and what it means to you!


Your favourite record and what it means to you!

Here's a chance for you aspiring writers to get your words onto urban75 and be seen by an audience of millions!

List one album that you couldn't live without and then write a short piece (around 500 words) to tell the world what it means to you and why it's so precious.

It might be an album that you cried to, danced to, laughed to, made fantastic luuurve to, or simply a record that continues to light up your life.

It doesn't matter if it's as trendy as the latest Hoxton remix album or a long-loved Bucks Fizz singalong: I want passion and soul, not trendiness!

The best responses will be posted up on urban75 'proper' in a new feature called - surprisingly enough - My Best Album: Ever!

Please post your contributions here and as soon as there's enough good entries, I'll start posting them up in the main site.

Please note: : this thread is only for posting up your contributions and any debate/off topic ramblings will be deleted. Please only write about one album at a time.

If you feel passionate about several albums, you are welcome to post up as many entries as you like.

So what are you waiting for? Fame and glory awaits you!


Mega Gammon

In pursuit of the thirteenth note

“Lick, roll tear and then they crease, they make each joint a bit of a masterpiece!”

It’s the only Galliano record I’ve ever liked and they never surpassed it which is a shame really considering how much I like it but boy I’m glad they got this one so right!

It started when I was about 19 years of age. I stumbled across the excellent smoking themes of this album by chance in a strangers car as I was transported from a rave to a house in a self induced fragile mental state by some new mates I had meet during the night of a Freedom party in east London. As I sat smoking with my new spars we listened to the music and lyrics coming from this hissing C90 cassette tape. In particular “stoned again” and “five sons of the mother” hit the spot and would not leave me, blocking out even the thumping baselines that had been carved on to my eardrums from the previous night. It was a record I had to have!

From that day on after a good search through a few Hertfordshire record shops a copy of the Album was purchased, taped (the vinyl dashed for safe keeping) and introduced as a smoking soundtrack for me and my teenage friends as we partied, played and amongst other things generally smoked our way to our early twenties.
During this time before we had places to toke we used to go out in to the country side and park up in any secluded spots for a good weed smoking session, this is when the music really came into its own and provided a soundtrack which both warmed and lit up the dark and empty surrounding’s of the middle of nowhere on a winters night and added chill to the sunsets and well being of the long summer evenings which always followed.

I think I can honestly say I have listened to this at least one of if not all the tracks on this recording on every imaginable type of music player be it tape or record deck, walkman CD player or car stereo, home midi system or party sound system and it always soothed me no matter where or when that may have been.

Well after a good decade of taking a weed smoke everyday and what with me nearing the thirty mark I no longer smoke green or party so much but I do still at certain times put on Galliano’s “In pursuit of the thirteenth note” to remind myself of the mellow times and friendships I have had whilst also providing a point of reference for the future.

In short the record makes me laugh, think, sing and always provides a leveller from which to plan my next move safe in the knowledge that no matter what I will always have some fine memories and the “five sons of the mother to keep me safe from harm”.

500 words by chieftain


model 500
"Soul II Soul" : "Club Classics Vol. One"

I bought the album on tape for my Dad way back in May of 1989 when I still lived in Scotland. I don't think he ever heard it back then as I was constantly paying it , I loved it so much.

I moved down to London in August of that year and it seemed to be the soundtrack of the summer. And , what a summer it was ; hot , hot , hot !

It seemed to be that pirate radio station was happening in a big way , and with the likes of "Centreforce" frequently playing tunes from the album , it was never far away from my mind.

Since then , I have heard the album (or "LP" as they used to be known as kids) umpteen million times and I still can't get enough of it.

As with many first albums , there has been nothing from Soul II Soul since which has even touched the sides but I have since bought it on every possible format.

Since my Dad passed away , the album has taken on another special meaning and it would be the one I took away with me on that desert island.

(Bloody cruel question though Mike ; there are many other albums which I love so much , but this has to be the one...)


in 499 words...

Pop Will Eat Itself – This Is The Day… This Is The Hour… This Is This!

Being as Nirvana’s Nevermind is too obvious and the Manics’ The Holy Bible would show everyone just what sort of teenager I was I’ve decided to sing the praises of the first record that got me there… (blue thumps his chest manfully).

As a child I used to listen to the chart rundown on the radio all the time, and used to record tracks off it to make my own little mix tapes full of whatever pop dross was around at the time, with the occasional bit of hair metal thrown in cos Def Leppard had charted that week or something. Then one week I heard it… PWEI’s ‘Can U Dig It?’ One week on the chart at number 38 but I was hooked. That riff, those cartoony samples, a transformers reference. I listened to that song time and time again, rewinding the tape and listening again until it wore out. What did you do? Well, I saved my pocket money until I could rush to Our Price in Ilford High Road and buy that lovely piece of vinyl that I’d been staring at for weeks. It was every bit as good as I’d imagine, and looking at it now, battered and long-suffering, I have no regrets. Without this I’d probably have never got into good music. It rocked (‘Def Con One’), it rapped (‘Preaching To The Perverted’), it sampled movies I’d only heard of (Bladerunner in ‘Wake up! Time To Die… ‘, and The Warriors in ‘Can U Dig It?’) and movies I knew and loved (Transformers The Movie in ‘Shortwave Transmission on “Up To The Minuteman Nine”!’). I mean, what could I not love. It had a song about James Brown running from the police (‘Not Now James, We’re Busy), a song about being chained up and screwed (‘Satellite Ecstatica’) and lots of drug references. I felt like the most dangerous kid at school, no-one else had ever heard of them and I didn’t care. It was 1989, I was eleven, no-one liked me and I didn’t care cos I had PWEI on the stereo and had taken the first steps towards enlightenment. Ten years later to commemorate the event I got myself a PWEI tattoo. No regrets, no way. This band were light years ahead of their time. They made pop punk records in 87 that sound like nu-punk does today, they invented nu-metal in 94 and destroyed it again in 95. But this record stands out as their legacy. It was as obtuse as possible, packed with samples and references, shunning the pop tendencies of previous releases whilst avoiding the unlistenable aspects of the industrial scene which they were blatantly ripping off at times. As far as I’m concerned this was one of the defining moments in my cultural life, it influenced everything the young Bluestreak did. Nothing affected me as much until Nevermind. You need to hear this record.


splash the cistern
In Gorbechev we trust - The Shamen.

I defy any man woman or beast to take a potent amount of halucinogenics with this playing on the stereo and not come out the other end a changed person.

Red Alex

Killed Off For Being Naff
god know how words this is but....

The album that changed my musical outlook was Rage Against the Machine and the self titled first album. I bought it last year and it just blew my mind. Before that I was a shoe gazing indie boy whose record collection consisted of Oasis and Cast etc. But when I bought this my mind opened to both hip hop, hard rock and punk. The way they combine the three genres is just ace, the standout track Killing in the name of is truly a revelation which just rips yer balls off when you hear it for the first time and what a great line "fuck you won't do what you told me" is. Zack De La Rocha's vocals are just great the way he can flip from rap to hard rock screaming in the same song is just great. Unlike many of the later rap metal dickheads, Rage carry off a combination of genres to great effect underpinned by some truly amazing bass playing (as a crap bass player i can appreciate that) and the guitar work of Tom Morello whose work is up there with Page, Gilmour, Clapton etc as one of the great guitarists. Another reason why this album stands out is the raw passion behind it. When zack sings its like a blast of energy because you can tell he means it unlike the fred durst's of this world who just whine and pocket the cash of twelve year olds. Probably the best album they ever did and one of the greatest ever.



New Member
<horrendously patronising voice> Look for God's sake I'm a pro...get out of my way YOU BLOODY AMATEURS...this is how a top journo to the stars does it.

Change - Miracles
Vis is da best fingy long player eva coz its nice and dancey and welll ahed of itz time (1981) and has lots of nice tracks on it and was made by these two italian homo blokes who is now dead but still well the funky groundbreakers and Luther Vandross and Fonzi Fornton and Diva Gray and Jocelyn Shaw (chic/luther vandross) did sung on it and Heaven of My life is really fuckinge great all da tracks are good. Change are the best band ever in hiostroy.


Well-Known Member
Velvet Underground - White Light White Heat.
I had my school tie, cap and blazer stuffed in my satchel. The grey flannel trousers and white nylon shirt gave the game away though - I was skiving off school. I was in the town's only record shop leafing through the LPs when I spotted one with black printing on a black background. I was a teenager - what could be more appealing? This was the days when record shops had listening booths, like the telephone "acousti-booths" on railway stations but made out of hardboard. So I asked to listen to the record.
I had never heard anything like it. What an amazing noise. Crunching screaming angry mysterious. With lyrics about getting your brain messed up. A story about someone who ends up with a a big pair of cutters through their skull. And a 17 minute song about a drug fuelled orgy with sailors.
I was never the same again. I came out of that booth a changed person. In my memory I went straight home, died all my clothes black and left home the next day. I think it probably took a little longer than that but the effect was profound and permanent. This record changed my life although I haven't manage to find a drug fuelled orgy with sailors yet, I still live in hope ...

inflatable jesus

I used to be carried in the arms of cheerleaders
Incesticide by Nirvana

All of my favourite pieces of music are only my favourites because I associate them with things. Summer, by Mogwai. I associate that with my girlfriend because I told her to download it when we first began our fledgling internet romance. Born Slippy is the sound of being pilled out of my mind, in a club at 4am, waiting for that comedown to hit.

Incesticide by Nirvana always reminds me of my early teenage years. I discovered Nirvana when I was 14. And I fell in love.

I still can't put my finger on what it was that appealed to me so much. Maybe it was because it was different from everything else that I had heard on the radio. As my parents may or may not have commented - It wasn't music, it was just noise.

The again, maybe it was Kurt Cobain's lyrics. He had that spectacular ability to articulate the thoughts and feelings of millions of angsty, pouting teenagers. To say all the things that you wish you could. His lyrics were clever, funny, and crucially; He made being angry cool. What teenager could resist that?

I listened to my Incesticide/Bleach tape constantly on my walkman. It accompanied me wherever I went. Tearing along the streets on my skateboard, getting involved in hopeless teenage romances. At school I would conceal my headphones in my shirt sleeve so that I could listen to Nirvana in class. I imagined that Kurt Cobain would be proud of my petty acts of rebellion.

Despite my best attempts, I didn't grow up to be Kurt Cobain. I’m not a famous singer in a band. I think my teenage self would probably be dissapointed about that. But perhaps he would be encouraged by the fact that I still occasionally dig out that same bleach / incesticde tape and practice pouting in my mirror.


'Quadrophenia' - The Who

As adolescence dragged me kicking, screaming and crying into adulthood, 'Quadrophenia' provided the only music that knew how to stoke my rage; music and lyrics that I clung to like a frightened cub clinging tightly to it's mother. This music pierced my conscience, it screamed at me, told me to run away, run as fast as I could from the depression, loneliness and confusion that had suddenly snatched me from my idylic childhood.

How vividly I remember those tearful summer evenings, when I would sneak out of my parents house and wander for miles, clutching my stolen bottle of vodka, my precious personal stereo, and my beloved 'Quadrophenia' tape. Where I went and who I met I would never truly know.

Fuelled by the neat vodka, I would run around in the dark, crying at strangers, weeping under bridges, trying so hard to understand the confusion and misery that had taken me prisoner, often crashing flat on my face on the hard pavement. But always with Pete Townshend's lyrics and dazzling guitar riffs spinning and thudding through my brain.

"L-o-o-o-v-e, rain on me, rain on me?"

How I ever got home I'll never know. I remember waking up in the mornings, I remember the vomit, the blood, the vodka-burnt lips, the shaking and the pounding headaches that would last for days. I remember the stomach churning guilt when lying to my mother about where I'd been.

"Can you see the r-e-a-l me-e-e-e, mother? Mother!!!?"

Maybe I identified with the film, maybe just the lyrics; I just didn't know anything anymore. Except that this album 'cared' for me, the music understood me and what I was going through. My bedroom in those days was usually thick with the odour of sleep, loneliness and dead tears, but always filled with the tinny, bashing sound of my personal stereo at full volume, spilling those beautiful, hard songs into my head, one after the other, over and over and over again.

"I went back to my mother, I said, 'I'm crazy ma, help me!'
She said, 'I know how you feel, 'Cos it runs in the family.'"

I was lost in that nasty little vodka-sluiced gutter for a number of years; adrft, directionless, and dangerously lonely. Listening to those same songs today makes me want to forget my early adulthood, not remember it. Yet without them I know things would have been much worse. So I would just like to say, "thanks, Pete". Thanks for being by my side when I was alone and when I needed you most. God bless.


drink flounce rinse repeat
Excellent choices above, esp. Citizen and Adam

I think music is so subjective to circumstance - who you are and where you were at a particular time, how you felt whilst melody played in the background - but the one album that never fails to haunt my very soul is an album by a girl called Angela Conway, released under the name A.C.MARIAS on Mute records.

The name of the album is called "One Of Our Girls (Has Gone Missing)"

Part of the immediate charm of this album for me is that when I first heard it, the sound was far more distant than intended, as I had only got a copy of it from a friend on an old cassette tape (this was 1989) and it was a poor recording indeed.
The dynamics of the LP are such that there are sections of quiet calm reflection, which on an old analog tape just sound like a hiss.

The first thing to tell you about it is that it was produced by the people who brought you by the people who created Wire, and assisted by Barry Adamson.
It also includes a cover of the track "Time Was" by Canned Heat.

The sound of this album is like nothing else you have ever heard.
Think the Cocteau Twins, then add some twisted orchestration, a spy thriller, and a lost little girl and you get the picture.
The instrumentation is reflective of the relatively early use of sampling, there are slightly awkward loops, and guitar stabs, that have obviously been processed by some rudimentary equipment but this all adds to the LP's brutal magic.
Every single track is something special, often playful and innocent, and at other times wilful and sinister.

The lyric is of lost love, or new love, the childlike fascination of romance, simple pleasures in simple surroundings. Throughout the album there is Angela's voice, reminding the listener that there are yet secrets in love.

It is to me an early style of post-dance chill-out music similar in many ways to Portishead, but instead of hip-hop breaks scratched, there are less derivative sounds that bind the rhythm together.

In my mind I am in the ruins of a castle, or a Scottish loch, kissing a beautiful woman whilst the Earth stands still, whenever I hear the slower tracks, and on a colourful street in West London, chatting to friends in the almost hysterical throes of an acid trip whenever I hear the more upbeat tracks.

I love this album, not least because I spent eight years trying to find it - because my friend had written "Ace Maria" on the old cassette in error.

So it was treasure lost and found.

Thank you Angela Conway.


'Never Mind The Bollocks Here's The Sex Pistols'

I was 13 when I first heard ‘Never Mind The Bollocks’. Previously, my musical tastes had stretched to Adam And The Ants and The Police, both pretty mainstream but with punky roots. I'd seen the Ants live and had been totally blown away by the live experience, the barrage of sound, the screaming girls, the crowd surges. I was into rock ‘n’ roll. But even then I knew there was something better out there.

It was my uncle that recognised this, lending me 'Never Mind The Bollocks'. It had an immediate effect on me. As soon as I heard the jackboot drumming and Steve Jones’ sheet metal chords at the beginning of 'Holidays In The Sun' I knew this was what I'd been looking for. The hairs stood up on the back of my neck, goosepimples broke out all over my arms and a shiver that felt like a fucking glacier ran right down my spine.

Then this whiney, pissed-off sounding fella started singing about ‘a cheap holiday in other people’s misery’ and it happened all over again. I wouldn't feel this way again until a good few years later when I realised I was finally gonna get a shag.

Listening to The Sex Pistols for the first time was an awe-inspiring experience for me: the urge to leap around my bedroom, splintering furniture and destroying everything in my wake was almost uncontrollable. I listened to that opening track over and over, not daring to listen to the rest in case it was disappointing. It wasn't: the next song was 'Bodies' and it was hair-on-end, glacial-shiver time again. And I hadn't even got to 'Pretty Vacant' or 'Anarchy In The UK' yet.

The amount of rampant profanity was very important to a 13 year old lad, too. I was brought up in a hippy household where the odd 'fuck' or 'bollocks' was acceptable, as was smoking dope, taking the occasional day off school and generally doing whatever the hell you felt like. Creativity was positively encouraged, but only if it conformed to a liberal, hippy doctrine. It's quite hard to rebel in those circumstances but The Pistols gave me an outlet. Sticking 'God Save The Queen' on at top volume tested the limits of my parents’ tolerance in ways I'd never before dreamed possible. My folks couldn't relate to it, no matter how hard they tried. Watching my Mum's arsehole of a partner pretend to tap his foot along to 'No Feelings' and watching him squirm at the lyrics to 'Bodies' was heavenly. I once caught him listening to Eric Clapton and quoted my favourite line from 'New York' at him: "You're condemned to eternal bullshit." Wondrous.

When you're 13 years old and bored, this is what you want to shout at the top of your voice:

Don't be told what you want
Don't be told what you need.
There's no future
There's no future
There's no future for you.

I fucking love the Sex Pistols. I mean it maaaaaaaaaaaaaaaaan.

There'd be a gap of another 6 or 7 years before I heard another album that would have such a profound effect on me. It had the words 'NeverMind' in the title, too. But I’ll leave that one for someone else…


Albatross Admirer
Paul Simon - Gracelands.

It started off as a cracked, warped cassette kicking around the floor of my parent’s car when I was young. I insisted on putting it on at every opportunity, every journey was accompanied by the mix of South African beats, American country and general merriment.

Sadly that first cassette disappeared and I moved on to his other albums (particularly Rhythm of the Saints) continuing the endless demands to listen to him for every journey, much to my parent’s distress. They tried to get me as involved with music from around Africa and the world, but I was hooked.

In 1991 I went to see Paul Simon live, it was my first ‘proper’ concert and I vividly remember the whole experience. This only fuelled my interest in music from South Africa, I assume that my parents had resigned themselves to a few more years of Paul Simon but they never complained.

I managed to obtain most of the original Gracelands album on cassette some years later and actually managed to wear the tape out. By this point I had been listening to Paul Simon for about 8 years and this album was the holy grail, because I had such a rocky history of actually managing to keep a copy of it I decided to buy it on CD. I managed to keep that for about 3 months before somebody ‘borrowed’ it, I went back to my faithful old copy of Rhythm of the Saints.

Gradually I grew into liking other music, my social life exploded and I became a teen of the nineties, my music was now Drum and Bass and Hardcore, but still I kept playing Paul Simon, I used to put it on when my friends weren’t around. Eventually I forgot to take it out of the tape deck and someone started listening to it, they really got into it and I bought another copy of Gracelands on CD, everybody wanted a copy of it.

I was 17 the next time Gracelands appeared in my life (the previous CD having died an unfortunate death in an incident involving candle wax) and I had just walked into the house of my Danish exchange Student. It was one of those times where you stop, take a deep breath, and look around you… the first thing I saw was a copy of Gracelands and a book on Paul Simon, there they were, just sat on the table. It was a moment of realisation; I wasn’t the only teenager in the world to be a bit different.

I resolved to get another copy of the CD back home but funds were low, eventually I was given a copy, which I still have. I still listen to it regularly. This album has changed with me, as I have changed my outlook on life the songs have changed too. I still remember the first playing of it after I dug it out from under the car seat. It’s still fantastic.


coulda bin somebody
for me it was astral weeks, the old van morrison album. i'm tempted to say there may be better ones, or more obscure ones but this one has stayed with me since i was 16.

in the throes of a lou reed/vu obsession as a gawky indiekid i read lester bangs's book, psychotic reactions and carburettor dung to find out more about lou. but what struck me was the intense lyricism of his essay on astral weeks. i didn't know much van morrison and certainly wouldn't have associated a guy who did a duet with cliff richard with the intensity described by bangs.

he finished comparing the opening lines of the album with lorca's poem stranded. debatable but i loved the bizarreness of the imagery and the idea of being lost a trying to find a way back resonated in my awkward teenage heart (and still does as i'm little further along that road 13 years later...).

so the following sunday i set out for a stroll down the high st to pick up the album (i also bought patti smith's horses, which i still love) and bought the record, hoping to hear these strange lyrics. i hadn't really thought about folk or jazz or fusions like that before, being more used to the whine of feedback. but from the first moments the guitar and gentle bobbing acoustic bass kicked in and van's plaintive ramblings rolled over me i was hooked. it took me almost six months to listen to side two properly. and then six months to go back to side one.

for me it's got awe inspiring songs but i love it as a whole album. it's a piece of intimacy, of loss and hope of rebirth, of unrequited love, of decay and gardens all misty wet with rain. listening to it feels like the most personal and poignant journey and it has accompanied mine through some strange times.

it's celtic soul and it's universal, though all may not like it. but to record that in 2 days with miles davis session musicians at the age of 22 made me stoned in wonder at him stoned in wonder.

but i almost never play it in front of people, it feels far too intimate and most of my friends would rather hear something more social. i get embrassed by the passion i have for this album in the face of people's indifference, but that won't stop me cherishing it.


Naughty Nurse
My Desert Island Disk would be Whitesnake 1987. The desperation and loneliness of Crying in the Rain and Here I Go Again, remind me of the worst of times. Then come the more upbeat Bad Boys and Children of the Night which remind me of the good old days. Still of the Night and Give Me All Your Love bring up lustful memories and stir up the heat. I could never forget falling in love to Is This Love and Straight for the Heart. And the passionate request of Don’t Turn Away almost makes me cry. All nine songs are great.


not the only raver in the village
E2-E4 by Manuel Gottsching

If I could take only one record to my desert island there is no doubt in my mind what it would be. “Ooh stick you” by Daphne and Celeste is one of the most irritating records ever made and I would rather eat my own foot than listen to it. By contrast, E2-E4 by Manuel Gottsching is so beautiful that eating my own foot may be a pleasant experience if I could do it to this record.

E2-E4 is an hour long instrumental track created in 1984. The basic keyboard rhythm is joined by sequenced sounds and guitar that create subtle but simple layers of sound. It gradually builds and then subsides - effortless and entrancing.

It has been described as the forerunner of ambient house but it is much more than that. It was a favourite at the Paradise Garage and has been sampled on many dance tracks notably Sueno Latino.

“One size fits all” says the scarf seller outside the tube station. E2-E4 matches his superfluous patter. The thematic variation is comparable to J.S. Bach but the rhythm is house. E2-E4 can be enjoyed by both maiden aunts and natty ravers.

An hour of bliss. What else would I have played at my wedding?


New Member
The Prodigy - The Prodigy Experience

I just can't think of anything that's had more of an influence on dance music in general or me in particular.

Even in '92 it defined what rave/breakbeat/tweaks and fucking big bass was about. I was 15 at the time and remember standing in a field listening to Out Of Space and thinking that I had indeed better start paying close attention because this was going to define a lot of what I was about during my teenage years.

10 years on, and it's THE rave album - exactly as originally intended. And it's not only a nostalgic trip back to the days; it's a collection of tracks that are guaranteed to raise the fucking roof in almost any club you'd care to mention. You can put on Out Of Space, Wind It Up, Fire, Charly, Your Love - any of 'em - in with Techno, D&B, HipHop, virtually anything and know people are going to get up and start dancing like fucking nutters.

It's what it was, is, and always will be about, and I want it played at my funeral. Really, really loud.


Well-Known Member
The Stone Roses

by The Stone Roses

I got into the Roses late, around the time of One Love. When I bought the album and listened to it for the first time, I was filled with regret - why hadn't I been into them from the start, why hadn't I bought everything they had ever done, why hadn't I been to see them live?

Never before had I listened to an album which was virtually perfect - most have 3 or 4 good tracks and that's it - and without the backwards version of Waterfall (a brave move but doesn't do it for me) and Elizabeth, My Dear (not my cup of tea politically) the word "virtually" would have been surplus to requirements.

From Mani's plodding bass on the intro to I Wanna Be Adored to the last bars of I Am The Resurrection, The Stone Roses give you everything anyone could ever want from an album. Love, hate, joy, sadness, introspection, arrogance...you name it, it's all in there somewhere, all held together by some of the best bass playing, drumming, guitar work, lyrics and vocals (Ian Brown could never be described as the greatest singer of all time, but who else could possibly have sung these songs?) ever recorded.

This is without a doubt my favourite record, and one which I never tire of hearing. It still sounds as good now as it did the first time I heard it, but even now, I am still left with those same feelings of regret.

joe piece

sometime spanner in works
Mighty Bosstones "Let's Face it"

it is just one of those collections of music that captures everything that I love about music, it is loud and gets the blood going each time. Each track is brilliant.

It is hard to explian why this means so much to me, I just can't put it into words. Given to me by an Ex she is long gone but the love for the music has never strayed.
It has to be "Original Pirate Material" By The Streets.

The lyrics map out most of my -and my friend's- lives to date. "Stay Positive" is brilliant as it is helping me through some rough times and it keeps me on Focus to see the good things in life, not just the negative. "It's Too Late" has personal significance because my ex boyfriend was always late to meet me, and was narcissistic and was just like the bloke in the song. and I finally left him because of it.


Exits gracefully.
My favourite record ever has to be Orbital's brown album.
In my opinion this contains the finest 30 minutes of electronic music ever written - tracks 3 through 6 - Lush 3-1, Lush 3-2, Impact and Remind.

I could get all wanky and sentimental about it, but can't really do justice to the pleasure it has given me.

mmmmm.... that's a bit wanky in itself isn't it.

Anywho, it still rocks....

The Earth is Burning!


Kaka Tim

Crush the Saboteurs!
Londons Calling - the Mighty Clash.

This record grabbed me from the first time I heard it as a spotty 12 year old - right from the peerless intro of the very first track.
This was music with something to say, it was insistant and fizzing with desperate energy.

What was it they were trying to get accross?
I couldn't quite make it out but they were seemed to be pretty down on governments and cops and that was O.K by me - although, to be honest, I'd have voted 'Clash' on the basis of the bassline from 'Guns of Brixton' alone.

Saved up dinner money for two weeks and then buried my head under the record player speakers whilst religiously following the lyric sheets.

I emerged two weeks later with a head full of music - punk, rockabilly, reggae, ragtime, ska and all points in between played with passion and delight. All shot through with pithy lyrics, urban folkstories and what seemed to me in my Essex backwater like communications from the frontline.

"London Calling to the far-away towns
Now war is declared and battle comedown"

Defininately the first item to be saved from my LP collection in the event of a fire.

One of the greatest ever record sleeves as well.


New Order "Low-life"

I was a mere lad of 13 when I came across this whilst rummaging around my elder brother's bedroom. I recall being shocked by the super loud snare intro to 'Love vigilantes', and finding it hard to decide wheter the lyrics were actually really crap or really good (often a problem with New Order!).

It was really my introduction to a world of electronic/rock music, a passion that still follows me today. I loved the variation in tempo, Barney's unashamedly miserable lyrics ("Oh, how I cannot bear the thought of you...."), Hooky's melodic bass wanderings, the rhythmic supremacy of Stephen Morris' drum programming and playing, the dramatic washes of synth from Gillian Gilbert.

Once you discover one thing a group has produced, you then eagerly devour everything else they've done. Give this, I would say "Power, Corruption and Lies" is their best album, but this was the one I heard first and for that reason its meaning is greater, so it gets top place with me.


Its sunny somewhere.
Leftfield – Leftisim

Initially I thought thinking of a single album would be difficult, maybe impossible, I like so much music. The question intrigued me and I decided to give some thought to the notion a single album could have qualities that make it somehow better than any other. Then it dawned on me.

I discovered Leftisim 5 years ago, its from a time when people were finally mastering the craft of electronic dance music.

One of the particular downsides to electronic music for me is that it lacks passion. No amount of effort can replace the sound of a ‘band’ giving their all to music they love, it’s a sound that cannot be created electronically. Paul Daily and Neil Barns never entertained such defeatist thoughts. They have created a series of musical tracks that are injected with such energy and beauty its source is irrelevant.

Every time I have listened to this album, I hear something new. There is a baseline or beat that catches your ear and like it or not, you are drawn into another place in which time passes slightly faster.

The worst part of this album is that it ends and what an end 21st Century Poem is. When silence fades in there is something missing and its more than just the music.

I could never be without this work of genius


Just a quick update to say that I'll shortly be posting up the best of these on the site 'proper' shortly - so if you want to edit your piece, do it now!

I'm afraid short articles won't be included (they're more suited for the boards).

Thanks for everyone's efforts so far!


Hey, you're all winners here!

I've now posted up my first draft of the page here and included all the reports mailed here - except the very short reviews (I did warn you!).

Hopefully, it'll encourage a few others to get typing!


not enough characters for
my favourite record is a john lennon best of 'lennon, legend'.

some of my all time favourite tunes are on this album, inlcuding 'Imagine'

but the one song that means most to me is 'Beautiful Boy (Darling Boy)

i remember me dad holding me when i was a kid, singing this song to me, and ever since, on hearing the song, it brings a tear to my eye. probably cos he moved away when i was a nipper, and so he never really got to see me grow up, dispite seeing him during school holidays etc.

anyways, back to the album :)D)

the song 'woman' was written for me girlfriend, ever since i told her how much that song reminds me of her she cries on hearing it, bless her cotton socks.

theres not one song on the album that i'd skip, probably the only album like that in me collection.

what more is there to say about it, other then WOW?