Inevitably, a compendium like '1001...' will mean different things to different folk, merely because of combinatorial maths, let alone age, parents', children's and friends' influences, when and if you had your own family, surrounded by boys or girls, which country you lived in, and so on; not to mention eclecticism, audiophilia or simple 'good taste'; or whether you read the NME or Melody Maker, both, none or others. It will have glaring omissions, harrumphed inclusions, substitutions begging, hundreds of unknowns, and, happily, many, many old loves. Just revisiting some of those old loves is several afternoons of sheer pleasure. Life was never better than on these essential nostalgic trips. But there's more, yes there's more.... always more. Opportunities for discovery...
Not a book you will read from cover to cover, it's the covers which ignite the lights in your heart and fire the brain's flood of nostalgia. But it appeals (and repugns) on many levels, not least nostalgia. I'm in the process of recapturing so many lost and missed albums of the '70s, the decade when I grew up musically, and this album of albums enriches this journey in a sedimentary way.
My 2016 version - with contentiously the best LP cover of all time (waiting in the wings), Bowie's Aladdin Sane on the cover, included amongst 9 of his 30 studio albums, the longest tribute in this list - starts with Frank Sinatra's Wee Small Hours and ends with Bowie's Blackstar. And already I'm arguing; BlackStar instead of Diamond Dogs?! Wee Small Hours over Strangers In The Night (for Summer Wind alone!)? Well, at least Songs For Swingin' Lovers is here, if only for the incomparable Under My Skin and the eminently swingin' Nelson Riddle arrangement. Such esoterics are the foibles of us all, when it comes to music, when it comes down to these albums.
But most enjoyably, already I'm in imaginary discussion with hundreds of thousands of others with similar passion for what is the medium without which I simply could not exist.
The first thing I did when I unwrapped this delicious gift this Xmas was check out the inclusion of an armful of personal musts, those I consider quintessential coffee table albums. Firstly, the big 3: Pink Floyd's Dark Side of the Moon, obviously; then Genesis, Selling England, and then Yes, Tales. And shock-horror: the last was omitted! This is simply inexplicable; perhaps some earlier version of the compendium included it? And where was Tangerine Dream's Rubycon (over Phaedra)? Todd's Todd (alongside the two rightly included)? Cocteau Twins's Blue Bell Knoll (or Four-Calender Café with Evangeline, Bluebeard and the awesome Pur)? Eagles without Desperado! Who are these people?!
But there were also a host of sighs-of-relief: Rod Stewart's Every Picture, Abbey Road, What's Going On, Joni's Hissing, Supertramp's Crime, Simple Minds with New Gold Dream (81...), ABC's Lexicon, Prefab Sprout's Steve McQueen, Radiohead's OK Computer, Coldplay's Parachutes... And there were a ream of bands/albums which were huge at the time, but soon forgotten: Slade and Sparks, Joan Armatrading, Television, Ian Dury, XTC, Scritti Politti... And if Scritti Politti, why not Black? Where's Andy Williams (there's Frank), or Neil Diamond; Streisand (there's Sade), Bread, Carly Simon, China Crisis? Elbow make it in, but not Ed Sheeran. Goldfrapp are in here for Felt Mountain, but not for the gorgeous Seventh Tree. There's no Grace Jones, no Hall & Oates! What is going on?
Time was, though, my mind was (more) open. Now I've a brain with too much hard-wiring, and the likes of Kanye West and Jay-Z leave me agape, though Outkast make me laugh. I can't get Beyoncé or Taylor Swift, but my friend who had girls does. Though Mariah Carey, now... I can see why Robbie Williams, but no Andy? Neither 21 nor 25 move me, yet although I missed Björk, I'll look her up. I don't like any of Prince's offerings after 1999, the single, but I'm happy that The Avalanches made it, if just for the title release. I agree wholeheartedly with all of Led Zeppelin's inclusions, and agree with the exclusion of The Song Remains The Same. It's a shame the Lighthouse Family didn’t make it for Ocean Drive, nor Thomas Dolby for The Flat Earth. Nor U-Roy, who I enjoy much more than Marley, though I can see why the latter, just as I can Black Sabbath for their historic reference (if not the music).
There were the omissions by artists which I thought could be better represented, aside from Tales (and why not Relayer, just as superb and yet so different to Fragile?). Why not Todd, although the two given are great, yet not quite so great? Iggy Pop's Blah-Blah-Blah instead; Roxy's Avalon; Talk Talk's It's My Life, 10cc's How Dare You, or Original Soundtrack (for Une Nuit as well as I'm Not In Love). Indeed, what makes one album a 50/50 in my book (Rubber Soul is so uneven, even if Nowhere Man and Norwegian Wood outshine Drive My Car and Girl, or Michelle is so worn now I can't listen to it anymore), where another, Abbey Road, is phenomenal? And the one album I've played every year of my life since it was released (though I've played Rubycon at least as often). The self-titled Blood Sweat and Tears was my very first album at the age of 10; I won it in a disco raffle, and swapped it for Abbey Road five minutes later, while Sgt. Pepper was still reverberating around the airwaves, and Abbey Road is the best Beatles album by far, in my book. But probably not yours....
Some personal loves don't even make it: Sting (but, okay, Synchronicity), Barry White (instead of Jack). No Apollo 440 whereas The Chemical Brothers and Orbital; no Neil Diamond, but Randy Newman and Billy Joel?! So much missed out, so many to contend. All of Steely Dan's given, except Aja? Really? Suede's Coming Up or Head Music, but the two given? No Aztec Camera Love! But Haircut One Hundred? Are you really serious?
But how do you get a roomful of fans to agree which of even the best artist's albums should be included. Can you separate the merits of Faith, Older or Listen Without Prejudice, when they are that close, that good? Yet Older does not appear. How many more of Bowie's albums would you include, given the radical differences in styles and genres, yet so many brilliant masterpieces? All of those (9) mentioned might be equally worthy, but not to me. I haven't been able to get into The Next Day or BlackStar at all, and I'd have Space Oddity (or David Bowie, if you like) and Diamond Dogs there instead. Plus Scary Monsters. And probably Black Tie. But I agree that of the Berlin Three, Lodger doesn’t touch Low or 'Heroes'. If I have a middle-of-the-road, it's Michael and Bowie, not the Carpenters nor Bee Gees, though I'm glad they made it in, and although AC/DC's Back In Black sits between Michael Jackson's Thriller and Pink Floyd's DSOTM, and Meatloaf's Bat Out Of Hell between Whitney Houston's Bodyguard soundtrack and the Eagles' Greatest Hits, in the all-time album sales list on Wiki, they ain't my bag at all.
Yet I'm not a jazz man, either; I'm a prog rock fan. I'm not into the Blues, but Sticky Fingers should be in here for Wild Horses and You Gotta Move alone. I love space rock, but Kraftwerk? Aretha Franklin (yes), but no Gladys Knight? The Temptations and Isleys, but no Four Tops or Supremes. Stevie Wonder, yes, yet no Smokey? Dusty, yes, but not Barbra? Metallica (no) but not Muse (Black Holes)? And there's a flotilla of folk, funk and indie I'll almost certainly not have the time let alone the inclination to explore. House and Garage will not be in my home. (After that, the genres elude me entirely). And I'm relieved that One Direction haven't made it in - yet. But it took a long time before ABBA were critically acclaimed, despite their phenomenal popularity.
Reading the justification - or pride or sheer love and adoration - of the various contributors adds to the discussion, the contention and the fun. Little pieces of background inspire you to put that album on again, or not: Pink Floyd's Wish You Were Here, yet not Piper; the Sex Pistols' Bollocks but not The Clash's; even though they are all impassioned reviews prompting me to do so. But despite their individual merits, I really only, in the end, sit back and see, overall, whether my list matches their's, a very simplistic response, but I do the same for the film and book guides. Sure, I tease out a handful of hitherto unknown albums to pick up, like Fleet Foxes, for example; investigate lots I missed, like Fairport Convention and Sandy Denny; or I'm reminded through little asides and references of echoes of long-lost explorations I'd like to revisit, like Nils Lofgren's Cry Tough, and those others around Springsteen's landmark (and misconstrued) Born In The USA.
I have only one formatting issue (and it's not the vinyl over CD argument): for a book 960 pages heavy, I'd rather they had stretched it to 1001 pages and included the track listing for all of the albums. But, like all of the things about this book, it all really comes down to personal taste and opinion...
I could possibly survive without books (I'd write my own); I could live without film, perhaps (I'd imagine my books); I'd not miss email much (I'd write to myself); but I couldn't exist without music - not playing it on a good hi-fi, singing it in the shower, nor dancing to it in the kitchen. Of course, it’s the one medium you can take with you... in memory, in the soul. (Far out!)
(One final technical criticism on format: although the Artist index in the rear is accurate, the Album index at the front hasn't been updated correctly, probably because of the interleaved additional introduction for the revised 2016 edition not having been taken into account, but it renders it unusable).