The Albums of My Life
We’ve done the songs; now it’s time for the albums.
An album is more than just a collection of tracks; it’s a time capsule, a mood, and a narrative. To celebrate 25 years, I’ve selected 25 records that have defined my journey so far. Within this list, you’ll find the stone-cold classics that sat in my dad’s record collection, alongside the modern-day masterpieces that I’m still spinning today.
These are the records that saw me through university, the ones that soundtracked my best nights out, and the ones I turn to when the world gets a bit too loud. From the swagger of the Northwest to the cinematic heights of art-pop, this is the music that made me.
So, here goes...
Stereophonics- Word Gets Around
Anyone who knows me well won’t be surprised to see Stereophonics on this list. What was surprising, however, was just how difficult it was to narrow it down to one. I was tempted to take the easy way out and pick 'Decade in the Sun', but a greatest hits collection felt like cheating. After revisiting their early catalogue, one record stood head and shoulders above the rest.
While 1999’s 'Performance & Cocktails' is a powerhouse, their 1997 debut, 'Word Gets Around', is the one I always come back to. It’s a raw, honest introduction to a band completely rooted in their environment, specifically the terraced streets of Cwmaman. It’s an album about the lives they knew: the gossip, the dead-end jobs, the weddings, and the tragedies. It captures that constant friction between feeling trapped in a small town and dreaming of an escape.
This record put the 'Phonics on the map and contains twelve of the finest songs Kelly Jones has ever written. It kicks off with 'A Thousand Trees', a sharp, jangly anthem that immediately sets the tone. Musically, it’s driving and upbeat, but lyrically, it’s a dark exploration of how a lifetime’s reputation can be levelled by a single rumour. That contrast, the catchy melody masking a grim local reality, becomes the album's signature
The energy continues with 'More Life in a Tramp’s Vest', a track brimming with grit and Friday-afternoon frustration. Written from the perspective of a market stall worker, it perfectly captures the restlessness of watching the world move on while you're stuck behind a till. It’s the mundane turned into poetry, delivered with a chorus that spits with sarcasm.
The emotional heart of the album, however, is 'Local Boy in the Photograph'. Based on the true story of a local lad who took his own life, it’s told with a heartbreaking, understated simplicity. The lyrics don't search for answers; they just sit with the grief. When Kelly sings, “He’ll always be twenty-three, yet the train runs on and on,” it captures that strange, heavy silence that follows a tragedy. There’s no sensationalism here, just the poetic resignation of a town left behind.
Then there’s 'Traffic', a beautifully restrained, almost cinematic track. It’s a moment of reflection amidst the noise, using a literal traffic jam as a metaphor for the human condition. The line, “We all face the same way, still it takes all day,” hits home perfectly; we’re all stuck in the same queue, yet everyone is the protagonist of their own private drama.
The album closes with 'Billy Davey’s Daughter'. Much like 'Local Boy in the Photograph', it’s a slow, haunting piece that tackles loss with incredible sensitivity. It’s gritty and unpolished, yet it feels like one of the most vulnerable moments on the record.
'Word Gets Around' arrived just as the Britpop bubble was bursting. While other bands were still singing about sunshine and cigarettes, Stereophonics were ahead of the curve, documenting suicide, sexual abuse, and the philosophy of the smoky local pub. The party was over, and they were the ones left to tell the real stories.
For me, this record isn't just a favourite; it’s a piece of my own history. It’s an album I’ve bonded over with my Dad for years, and it carries the weight of those memories.
Oasis- Definitely Maybe
This was one of the easiest picks on the list. In my view, 'Definitely Maybe' isn’t just the best Oasis record, it’s one of the greatest albums ever released by a British band. It was the moment they introduced themselves to the world, and it remains home to some of the finest songs Noel Gallagher has ever written.
The album doesn't waste a single second across its eleven tracks. It moves from the defiant swagger of 'Rock ’n’ Roll Star', the ultimate anthem for escaping the mundane, to the soaring, anthemic hope of 'Live Forever'. Then there’s the raw, aching beauty of 'Slide Away', which is arguably one of the greatest love songs ever written. It’s punchy, direct, and unmistakably Oasis.
Track after track, the record simply delivers. 'Columbia' simmers with a hypnotic, druggy repetition and pure attitude, while 'Cigarettes & Alcohol' serves as a snarling working-class manifesto, hijacking glam-rock riffs and injecting them with pure Mancunian grit. 'Up in the Sky' and 'Bring It on Down' provide the urgency and bite, while their debut single, 'Supersonic', still sounds remarkably fresh, brimming with effortless confidence and those famously surreal lyrics. Even the "dafter" moments like 'Digsy’s Dinner' add a layer of chaotic charm, grounding the album in a very real, unpolished world. It is quite literally all killer, no filler.
You can hear the influences worn proudly on their sleeves—The Beatles, T. Rex, Slade, and The Jam are all woven into the DNA. Yet, it never feels derivative. It’s loud, proud, and uniquely theirs: a mix of punk energy, heartfelt ballads, and, yes, a song about lasagne, all held together by that wall-of-sound production.
Beyond the music itself, it’s about how these songs feel. The themes are timeless: youthful ambition, defiance, and an unwavering sense of hope. It’s a record brimming with belief, and that emotional core still resonates today. A teenager discovering this in 2026 can relate to it just as much as someone did in 1994. Its impact is undeniable.
While '(What’s the Story) Morning Glory?' might be the one packed with the global radio hits, if you ask most die-hard fans which album they truly love the most, the answer is almost always 'Definitely Maybe'.
I was 14 or 15 when I first heard it, and it hasn’t lost a shred of its magic. It still hits just as hard today.
Arctic Monkeys- Suck It & See
Every Arctic Monkeys fan has a different answer when you ask for their favourite. Some are fiercely loyal to the raw, frantic chaos of the debut; others prefer the dark, desert-drenched corners of 'Humbug'. Many swear by the nocturnal swagger of 'AM', while some have fallen for the conceptual, loungey eccentricity of 'Tranquillity Base Hotel & Casino'.
For me, though, 'Suck It and See' stands out for a different reason. It doesn’t rely on a headline-grabbing reinvention or a massive global pivot. It didn’t spark the divisive debates that their later work did. Instead, it offers something far more timeless: a collection of arguably the best indie-pop songs the band has ever produced.
This is Arctic Monkeys at their most melodic and effortlessly charming. There’s a breezy, sun-drenched confidence to the whole record that feels almost cinematic. Alex Turner is truly in his element here: witty, wistful, and razor-sharp. The one-liners on this album are some of his absolute best, delivered with a vintage, crooning cool.
The title track, 'Suck It and See', is a swooning love song, deceptively simple but soaked in warmth and longing. 'Love Is a Laserquest' takes that sentiment and goes deeper, offering one of Turner’s most introspective lyrics; it’s a brilliant reflection on growing up and the haunting nature of old flames. Then there’s 'That’s Where You’re Wrong', the perfect closer. With its shimmering guitars and aching beauty, it might just be the most underrated track in their entire catalogue.
But the quality doesn’t dip elsewhere. 'Reckless Serenade' is pure indie-pop perfection, blending smooth hooks with those characteristically clever lyrics that linger for days. 'She’s Thunderstorms' serves as a fantastic opener, full of crashing guitars and poetic menace, while 'Library Pictures' leans into the band’s earlier chaotic energy, frantic, cryptic, and full of Sheffield swagger. Even 'Piledriver Waltz', originally from the 'Submarine' soundtrack, feels perfectly at home in this expanded, full-band arrangement.
No gimmick or high-concept narrative is holding this album together. It’s just top-tier songwriting and a band completely comfortable in their own skin. It’s their most pop-leaning record, certainly, but it’s also one of their most honest. No theatrics, no distractions, just a brilliant set of songs that reward every repeat listen.
'Suck It and See' might not always be the first record mentioned in conversations about the Arctic Monkeys, but it’s the one I find myself returning to most. It’s underrated, underappreciated, and quietly, confidently, one of their very best.
The Beatles- Sgt Pepper’s Lonely Hearts Club Band
The Beatles have been a constant in my life for as long as I can remember. They’ve always just been there, like the sky or the sea. I was only a child when I first heard them, probably drifting out of a car radio or during an assembly at primary school, but the first time I really listened, choosing to sit down and truly explore what they were about, was as a teenager. This was the first album I played.
'Sgt. Pepper’s Lonely Hearts Club Band' was an immediate obsession. The cover alone is a trip: psychedelic, vibrant, and mysterious. It pulls you in before you’ve even heard a note. And then you press play, and it just blows your head off. I remember thinking: How is this from 1967? It didn’t sound like it belonged to that era, or any era for that matter. It sounded like the future.
This record didn’t just change music; it changed the very idea of what an album could be before 'Sgt. Pepper’s', albums were often just a collection of singles padded out with filler. After it, they became journeys, complete artistic statements. The Beatles tore up the rulebook, opening the door for concept albums, studio experimentation, and a level of storytelling that still echoes through every genre today.
For me, this was the key that unlocked the entire Beatles world. It sent me down a rabbit hole: How did they make this? Why did they decide to become a fictional band? It led me to the story of them quitting the road, embracing the studio as an instrument, and turning Abbey Road into their personal playground. It’s a narrative of creative freedom and innovation that is as legendary as the music itself.
And the songs, every single one is iconic. The opening title track, 'Sgt. Pepper’s Lonely Hearts Club Band', sets the stage with a sense of rock theatre, introducing the alter-ego concept. Then comes 'With a Little Help from My Friends', a perfect slice of optimism and camaraderie delivered with Ringo’s signature warmth. 'Lucy in the Sky with Diamonds' follows, a kaleidoscope of surreal imagery and dreamy melodies, music as pure, unfiltered art.
Tracks like 'Getting Better', 'Fixing a Hole', and 'Being for the Benefit of Mr Kite!' each bring a unique flavour, blending pop with vaudeville and circus-like soundscapes in ways that had never been heard before. On the other end of the spectrum, 'She’s Leaving Home' is perhaps one of the most heartbreaking things they ever wrote—beautifully orchestrated and deeply moving. And then, of course, there is 'A Day in the Life', a song that feels like the entire 1960s condensed into five minutes.
There’s no question that it’s one of the most important albums ever made, but for me, it’s personal. 'Sgt. Pepper’s' was the record that pulled back the curtain and showed me that The Beatles weren't just a band with catchy tunes, they were visionaries. It was my introduction to just how powerful music could be.
It had to be on this list. There was never a doubt. It isn’t just one of the greatest albums of all time; it’s the album that changed everything.
Blossoms- Blossoms
Another debut album, that's three now, there’s a clear theme developing here. 'Blossoms' came out when I was sixteen, which is probably why it holds such a massive place in my heart. That age is so formative; you’re figuring out who you are and what actually matters to you. For me, this album wasn't just a soundtrack to that discovery; it helped shape it.
Personal nostalgia aside, this is simply a cracking record. It’s a debut that is bold, confident, and unashamedly pop. These five lads from Stockport managed to craft something that felt both nostalgic and brand new, pulling in influences from Oasis to ABBA, and blending synth-pop with jangly indie. The result is an album that is incredibly cohesive, catchy, and entirely their own.
The opener, 'Charlemagne', is arguably their most iconic track. With its retro synth hook and an instantly memorable chorus, it’s the song that introduced Blossoms to the world, and it remains a massive fan favourite for good reason. Then you have 'At Most a Kiss', which leans into darker, moodier territory, proving early on that they had more than one gear.
The synth-laced shimmer of 'Honey Sweet' still feels like the ultimate summer track effortlessly cool and bursting with charm. 'Blown Rose' leans into the band’s romantic side with its cinematic flair, while 'Smashed Pianos' gives the record a grittier, more intense edge that balances the pop sensibilities perfectly.
One of the real standout emotional moments is 'My Favourite Room'. Stripped back and acoustic-led, it’s a heartbreak anthem that feels completely raw without being over-the-top. It’s just Tom Ogden and a guitar, telling a story we’ve all lived in one way or another. It’s those quieter moments that really highlight the band's range beyond the indie bangers.
That’s exactly why this album is so strong; it covers all the bases, from the euphoric to the melancholic, without ever feeling like it’s trying too hard. Every track feels like it earned its place.
Blossoms have grown in ambition and sound over the years, but I always find myself gravitating back to this debut. There’s an honesty and an energy here that you just can’t replicate. They’ve become a huge part of my life since then; in fact, they’re the band I’ve seen live more than anyone else.
It all started with this record nearly a decade ago. Somehow, it still sounds just as fresh today as it did when I first hit play at sixteen. For me, it remains their best work.
Wolf Alice- Blue Weekend
This album was a non-negotiable for the list. When 'Blue Weekend' was announced, it had been four years since Wolf Alice had released a record. Their previous outing, 'Visions of a Life', had scooped the Mercury Prize and cemented their status as one of the most exciting bands in Britain. While their debut, 'My Love Is Cool', laid a brilliant foundation, 'Visions of a Life' took everything to another level, sonically, lyrically, and emotionally. Naturally, expectations for album number three were sky-high. I’ll admit, I was nervous. Could they really top what they’d already achieved?
Believe me, they didn’t just meet the bar; they cleared it by a mile.
People often throw the word “masterpiece” around far too lightly, but 'Blue Weekend' genuinely earns the title. It is a bold, confident, and emotionally rich record that confirms Wolf Alice as the definitive British band of their generation. It’s a perfectly sequenced collection of songs and, in my opinion, the finest thing they’ve ever produced.
Across its eleven tracks, we see the band fully coming into their own. It moves seamlessly from the snarling, punchy defiance of the opener, 'Smile', which crackles with a kind of controlled chaos, to the delicate, piano-led majesty of 'The Last Man on Earth'. This is the sound of a band operating at their absolute peak. It feels more introspective than their earlier work, turning inward to explore love, isolation, and self-worth with a maturity that is utterly captivating.
Tracks like 'Lipstick on the Glass' float with a haunting elegance, with Ellie Rowsell’s vocals soaring above shimmering, ethereal instrumentation. It’s a song of longing and reflection—delicate yet incredibly powerful. Meanwhile, 'Safe from Heartbreak (if you never fall in love)' introduces folk textures and glistening harmonies, showcasing the band’s incredible restraint. It’s a deceptively simple moment that hits remarkably hard.
Then there’s 'How Can I Make It OK?', the album's emotional centrepiece. It builds from a place of pure vulnerability into a cathartic, widescreen chorus of sweeping synths and pounding drums. It’s one of the most moving pieces of music they’ve ever written.
On the heavier side of the spectrum, 'Play the Greatest Hits' is a frenzied burst of punk energy, short, sharp, and full of attitude. It provides a brilliant contrast to the record's quieter moments, proving the band can jump between sonic extremes without ever losing their sense of cohesion.
The final stretch hits even harder. 'No Hard Feelings' is a minimalist, heartbreaking reflection on the aftermath of a breakup. It’s full of grace and acceptance—one of those rare songs that feels like a whispered, private conversation. Finally, 'The Beach II' closes the record with a swelling, cinematic finish, washing over you in a wave of emotion and reflection.
'Blue Weekend' received widespread critical acclaim, and rightly so. It’s rare to see a band continuously raise the bar with every single release, but Wolf Alice has done exactly that. They’ve grown in every sense: they are more expansive, more refined, and more daring than ever before. It is their best work to date and, comfortably, one of the standout albums of the 2020s so far.
I love this record. It has stayed with me since the day it dropped, revealing something new with every single listen. It’s a modern classic, and for me, it simply had to be on the list.
Fleetwood Mac- Rumours
This album is a permanent fixture on ‘Greatest of All Time’ lists, and usually right at the top, for very good reason. It’s a collection of eleven tracks penned by one of the finest bands to ever do it, created under circumstances that should have made an album impossible. Marred by breakups, addiction, and deep-seated personal animosity, it’s nothing short of a miracle that these sessions produced anything at all, let alone a masterpiece.
Yet, it’s arguably those fraught relationships that make the songs so compelling. Every track feels like a chapter in the Fleetwood Mac saga, infused with raw turmoil, heartbreak, and passion. You can practically hear the emotional weight in the music, which is exactly why it has resonated with millions across the globe for decades.
Since its release, 'Rumours' has sold a staggering number of copies, going 21x platinum, a testament to its universal, enduring impact. It is the definitive blueprint for what a great album should be: cohesive, memorable, and bursting with honesty. What’s even more remarkable is the lack of a single weak link; there isn't a second of filler here. Each member of the band brings something essential to the table, creating a record that will undoubtedly stand the test of time.
The singles alone are untouchable. 'Dreams', 'Go Your Own Way', 'You Make Loving Fun', and 'The Chain' aren't just staples of the band’s catalogue; they are pillars of popular music. 'Dreams', with Stevie Nicks’ soft yet commanding vocals, remains one of the most beautifully haunting songs in rock history. In contrast, 'Go Your Own Way' captures the raw, jagged heartbreak of Lindsey Buckingham’s perspective with startling aggression. 'You Make Loving Fun' provides a lighter, soulful touch that highlights Christine McVie’s incredible songwriting strength, while 'The Chain', with that iconic, driving bassline, remains a masterclass in building tension and release.
Another highlight is Christine McVie’s 'Songbird'. A gentle, piano-driven ballad, it captures the emotional vulnerability of the album in a way that is simple yet devastating. Its restraint is its greatest strength, allowing the depth of the lyrics to take centre stage. It’s one of the record’s quietest moments, but it speaks volumes.
'Rumours' is a cultural touchstone that changed the landscape of rock and pop forever. On a personal level, it soundtracked my late teens and early twenties, providing the backdrop to so many formative moments. While it isn’t a record I listen to every single day, every time I do put it on, I’m reminded of its genius and find myself thinking I really ought to listen to it more.
It isn’t just an album; it’s an enduring piece of history. A genuine masterpiece that will remain relevant no matter how many years pass.
Circa Waves- Different Creatures
This album is criminally underrated. Upon its release, it quickly became one of my favourite records of 2017, and nearly a decade later, it remains one of my all-time favourites.
On this record, Circa Waves upped the tempo and turned up the volume. It’s a much heavier, grittier affair compared to their debut, 'Young Chasers', marking a bold new direction for the band. The sound is fuller and more aggressive, yet it still retains the infectious melodic charm that made their earlier work so appealing.
With eleven songs clocking in at around forty minutes, 'Different Creatures' doesn’t hang around. Despite the lean runtime, it packs a serious punch, tackling heavy themes with expansive instrumentation and massive choruses that stay with you long after the final note fades.
Circa Waves proved here that they weren’t just a one-trick pony. This evolution in sound allowed the songs to breathe, giving the band room to explore both raucous, heart-pumping energy and quieter, more reflective moments. This range is never more evident than on 'Old Friends'. Serving as the album's closer, it is a genuine tear-jerker that explores the bittersweet nature of how time and life’s changes can cause people to drift apart. It’s a moving, heartfelt piece that adds a layer of emotional depth to an album already brimming with soul.
Beyond the ballads, there are the tracks that prove the band was ready for the big stages. The title track, 'Different Creatures', opens the record with infectious energy, driven by sharp, angular guitar riffs and a chorus that’s impossible not to sing along to. It sets the stall out perfectly for what’s to follow.
Then there is 'Wake Up', another standout that brings a raw urgency you simply can’t ignore. It’s a song about self-discovery and the jolt of facing reality, and with its pulsing rhythm and crashing cymbals, it demands your full attention from start to finish.
Ultimately, this record isn't just about volume; it’s about maturity. Circa Waves found a way to make their music feel stadium-sized without losing the intimacy that made them special in the first place. By balancing high-octane indie bangers with introspective lulls, they created a truly dynamic record.
'Different Creatures' stands as a testament to their growth. They evolved from their indie-pop roots into something more polished, more powerful, and more emotionally resonant. It’s an album that doesn’t shy away from the big subjects, relationships, self-reflection, and the struggle to find your place, and it does so with massive, sing-along choruses that deserve to be heard by everyone.
Shack- HMS Fable
I feel a genuine obligation to talk about this record because it truly doesn't get the credit it deserves. Released at the tail end of the 1990s by a band from Liverpool, 'HMS Fable' is a masterclass in songwriting, crafted by the incredibly talented Michael Head, a man the NME once famously dubbed "Britain’s best songwriter."
'HMS Fable' is a record that wears its heart on its sleeve, filled with nods to the giants: The Beatles, The Byrds, Love, and The Velvet Underground. It is a testament to majestic storytelling, delivered through rich, layered guitars and deeply personal lyrics. It honestly rivals anything else to have ever emerged from Liverpool, a city that isn't exactly short on musical genius.
However, the story behind Michael Head and Shack isn’t all sunshine. The band’s history was famously marred by substance abuse, and Michael Head doesn’t shy away from that reality here. Two standout tracks, 'Streets of Kenny' and 'Lend Some Dough', tackle the grip of heroin head-on. These aren't glamorised rock-and-roll tales; they are brutally honest, vivid portrayals of addiction. Shack offers a stark, raw look at the devastating realities of that life, shining a light on struggles that most would rather ignore.
But 'HMS Fable' isn't defined solely by its shadows. It’s also a vibrant collection of immense musical beauty, ranging from the dreamy and reflective to the upbeat and infectious. 'Comedy' is a perfect example, with its jangly guitars and intricate melodies echoing the best of '60s pop while feeling entirely fresh. It’s a moment of genuine optimism that captures the band's ability to blend nostalgia with something new.
The depth of emotion and the sheer quality of the storytelling make this a masterpiece. Liverpool has given us some of the finest songwriters in history: McCartney, Lennon, Harrison, McCullough, Mavers, and Broudie. Michael Head belongs firmly in that illustrious company. His work on this record cements his place among the greats, showcasing an exceptional level of craft and emotional weight.
I first discovered this album tucked away in the '1001 Albums You Must Hear Before You Die' book. As the entry rightly suggested, it’s a record you simply need to hear. It is absolutely spectacular, a true hidden gem in the landscape of British music.
'HMS Fable' has stood the test of time perfectly. Michael Head, along with John Head, Ren Parry, and Ian Templeton, gave us one of the best British albums ever made. If you haven’t heard it, you are missing out on something truly special. And while you're at it, their predecessor, 'Waterpistol', is equally fantastic.
There you go, two for the price of one. You can't argue with that.
The Stone Roses- The Stone Roses
I always feel a bit strange talking about 'The Stone Roses'. It has been discussed to death by music journalists, indie kids, and fans the world over. Routinely hailed as one of the best debuts ever and often classified as the greatest British album of all time, it has been dissected more times than most of the others on this list combined.
But it would be unfair to dismiss it just because of the noise. Away from the hype, 'The Stone Roses' is a superb record; a snapshot of a specific time that somehow still feels fresh and timeless. It remains an iconic piece of music history that continues to resonate with listeners today.
What fuels this album more than anything is the band's sheer, unadulterated self-belief. Ian Brown, John Squire, Mani, and Reni had one overriding thought: they truly believed they were going to be bigger than The Beatles. That confidence shines through every track, every chord, and every lyric. It’s this unshakeable conviction that makes the record feel like a bold declaration of not just musical greatness, but a cultural revolution.
Listening to this album transports you straight back to 1989, to the heart of "Madchester." Yet, even in 2026, it sounds remarkably modern. There’s a timeless quality to it. an ability to bridge the gap between generations, and that makes it every bit as vital now as it was then.
Even the cover has its own fascinating bit of lore. The Jackson Pollock-style art featuring a pair of lemons was inspired by the 1968 student riots in Paris. John Squire had learned that lemons were used to counteract the effects of tear gas, so the fruit became a symbol of rebellion and resistance. It’s a small detail that perfectly captures the band's defiant spirit.
When it comes to the music, you only need to hear the opening trio, 'I Wanna Be Adored', 'She Bangs the Drums', and 'Waterfall', to understand why this record is so special. That opening side alone announces their arrival with a swagger very few bands could ever hope to match. 'I Wanna Be Adored' is the band's manifesto, built on Mani's haunting bassline and an aggressive declaration of self-worth. 'She Bangs the Drums' is an infectious burst of youthful exuberance, while 'Waterfall' showcases their versatility, blending psychedelic elements with a swirling, melodic depth.
'Made of Stone' brings a gritty, driving sound with a wall of guitars and a chorus that demands to be shouted back at a stage. 'This Is the One' offers a beautifully layered backdrop for lyrics about destiny, while 'I Am the Resurrection' provides the ultimate closer. It’s a song that builds in intensity before exploding into a raucous, five-minute cathartic jam, a perfect end to a record brimming with purpose.
This self-belief has been embraced by teenagers across every decade since. In 1989, it was a splash of colour in a rather grey time; today, it still feels like a breath of fresh air. The Roses may not have bloomed for long, but they captured lightning in a bottle.
The influence of 'The Stone Roses' on British music cannot be overstated. They were the vanguard of the Manchester scene, and their impact paved the way for the rise of Britpop: Oasis, Blur, and The Verve were all taking notes. Even today, you can hear their DNA in bands like Arctic Monkeys, Blossoms, and Wolf Alice.
None of what I’ve said is new; it’s been said hundreds of times before. But every word rings true. If, for some reason, you haven’t yet, go and listen to it. 'The Stone Roses' is a masterpiece, and its legacy is undeniable.
Catfish & the Bottlemen- The Balcony
'The Balcony' is an album about the essentials: relationships, drinking, breakups, and messy nights out. At its core, it’s about the reality of being young and working class. But here is the thing: it is a seriously good record. While Catfish and the Bottlemen remain one of the biggest talking points in British music today, over a decade ago, they were just indie upstarts with a point to prove.
Clocking in at just thirty-seven minutes, 'The Balcony' delivers eleven snarling, fast-paced anthems. This wasn’t an album crafted for quiet, introspective listening; it was built to be blasted through speakers and belted out by thousands of people in a muddy field. It’s music you feel pulse through your veins.
While the band has had its fair share of critics, including myself at times, this remains their definitive work. It’s the sound of a band that knew exactly how good they were and weren't afraid to show it. Back in 2014, nobody else was making music with this much sheer gall on a debut.
Tracks like 'Cocoon' and 'Pacifier' are prime examples of why this record struck such a chord. 'Cocoon' opens with a raw, driving energy that captures the friction of a relationship in turmoil, backed by riffs that make it impossible not to sing along. 'Pacifier' showcases their knack for blending introspection with stadium-ready energy, frustration and defiance wrapped up in a simple, powerhouse chorus. It’s visceral, urgent, and undeniably anthemic.
The highlights don’t stop there. 'Homesick' is a perfect example of their ability to craft an anthem with a sharp edge; its jangly riffs and infectious melody disguise lyrics that dig into the restlessness of being away from home while knowing you can’t stay. 'Tyrants' offers a more chaotic, urgent rhythm, a frantic declaration of rebellion that captures that familiar feeling of defiance. Even 'Sidewinder', which leans into a slightly more relaxed, almost dreamy vibe, still packs a punch with its driving beat and heartfelt exploration of longing.
For me, 'The Balcony' is one of the standout records of the 2010s. It perfectly soundtracked my teenage years, from my GCSEs through to A-Levels and every night out in between. It was the album I blared through my headphones to drown out the world, a time capsule of youth that captured every frustration and dream I was trying to figure out. More than that, it was the record that forced a new generation to sit up and take notice of guitar music again.
It was a non-negotiable for this list. 'The Balcony' still holds a massive place in my heart, and I truly believe it will always stand as the defining moment of Catfish and the Bottlemen’s career.
Peter Gabriel- So
The 1980s were an extraordinary decade for music, and in my opinion, 'So' stands as its crowning jewel. It is the absolute pinnacle of an already staggering discography.
On 'So', Peter Gabriel decisively broke free from his prog-rock roots, marking a bold shift toward a more accessible, yet deeply experimental, pop sound. This album is a masterclass in songwriting, seamlessly blending cutting-edge technology with a fearless willingness to explore new sonic territories.
Gabriel delivered his biggest global hit here in 'Sledgehammer', a track that defined the era with its soulful, funky rhythms and that iconic stop-motion music video. But the album’s greatness goes far deeper than its chart success. It features one of the most moving collaborations in British music history: the duet with Kate Bush on 'Don't Give Up'. A haunting, beautiful song about resilience in the face of hardship, it perfectly balances Gabriel’s vulnerability with Bush’s ethereal, comforting presence.
Then there is 'Big Time', where Gabriel fully embraces his pop-star persona. It’s an upbeat, cheeky anthem that pokes fun at fame and 80s excess, all wrapped in a bassline and hook that are impossible to shake.
But beyond the massive singles, 'So' is filled with Gabriel’s most poignant, enduring work. 'In Your Eyes' is arguably his finest moment, an emotionally rich ballad that is both soulful and stirring. Its soaring chorus and heartfelt lyrics resonate on a level that few songs ever reach; its beauty lies in its total sincerity. 'Red Rain' kicks off the record with an intense, atmospheric energy, blending raw emotion with sophisticated production to tackle personal and political turmoil in a way that feels both urgent and timeless. Meanwhile, 'That Voice Again' explores themes of obsession and conscience, underpinned by a driving, almost hypnotic rhythm.
Musically, 'So' is an adventurous and emotive journey. It pulls from a vast palette of pop, rock, world music, and R&B to create something that sounds unlike anything else at the time. Gabriel’s use of layered soundscapes and state-of-the-art studio techniques was groundbreaking, setting a new standard for how a record could be crafted. The addition of world-class musicians like Stewart Copeland, Nile Rodgers, and Laurie Anderson only adds to the incredible depth and texture of the sound.
For me, 'So' is more than just a collection of songs; it’s one of my favourite albums of all time. It completely changed the way I view music, opening my ears to new genres and broader influences. It didn’t just provide a soundtrack; it helped shape my entire musical perspective.
I was lucky enough to find an original 1986 pressing in a Birmingham record store for just £5, easily the best fiver I’ve ever spent. It’s a record I still spin frequently, and every time the needle drops, I’m reminded of just how transformative music can be. If you haven’t yet, I urge you to give 'So' a proper listen. It is an album that is more than worth your time.
Blur- Parklife
I was genuinely torn with this pick. It came down to a straight shootout between this record and its predecessor, 'Modern Life Is Rubbish'.
In the end, 'Parklife' won out. While 'Modern Life Is Rubbish' was the album that saved the band and laid the essential groundwork, 'Parklife' was the moment Blur became the biggest band in Britain. It took that vision of Englishness and turned it into a cultural phenomenon. It is an expansive, ambitious, and era-defining record that features some of the finest songwriting of the nineties.
The album kicks off with 'Girls & Boys', a track that defined the summer of 1994. With its heavy disco beat and biting lyrics about the blurred lines of holiday romance, it was a massive departure from their earlier sound, yet it felt perfectly in step with the times. It’s infectious, cynical, and undeniably brilliant.
Then you have the title track, 'Parklife'. With Phil Daniels’ iconic cockney narration and that "all the people" chorus, it’s more than just a song—it’s a piece of British folklore. It captures the charm and the absurdity of daily life in a way that very few bands have ever managed to replicate.
But 'Parklife' isn’t just about the chart-topping hits; it’s a record of incredible depth. 'End of a Century' is a beautifully weary anthem, reflecting on the mundane domesticity of the 90s with a sense of melancholic warmth. It’s Blur at their most vulnerable and observant. On the other end of the spectrum, you have 'London Loves' and 'Magic America', tracks that lean into the band’s sharp, satirical side. They paint a vivid, often sarcastic portrait of a country obsessed with consumerism and the "next big thing," all set to Graham Coxon’s inventive, jagged guitar work.
One of the true highlights of the record is 'This Is a Low'. It’s a sweeping, cinematic masterpiece that uses the Shipping Forecast as a metaphor for the state of the nation. It is arguably the most beautiful song the band has ever recorded: soaring, haunting, and deeply moving. It provides a perfect emotional anchor to an album that otherwise zips between genres with restless energy.
I love this record. It’s packed with so many of my favourite Blur moments and represents a band at the absolute height of their powers. 'Modern Life Is Rubbish' was seriously unlucky to miss out, really unlucky, in fact, but 'Parklife' is the definitive statement. It didn't just soundtrack a year; it defined a generation. It had to be the one.
Sam Fender- Seventeen Going Under
'Seventeen Going Under' is, without a doubt, one of the most powerful and resonant albums in recent memory. It isn’t just a collection of songs; it’s a deeply personal, politically charged, and emotionally raw coming-of-age story told through the lens of working-class life.
Written and performed by Sam Fender, a man who wears his North Shields roots with pride, the album is steeped in the grit and struggle of growing up in a world that often feels like it’s rigged against you. These songs are born out of hardship, frustration, and defiance, yet they are shot through with hope, love, and a fierce sense of self-awareness. This is music for the overlooked and the underestimated; for anyone who has ever felt like they had to fight just to stand still.
I remember hearing this record for the first time and being completely floored. It tackles an incredible amount of ground, moving seamlessly between the domestic and the global. Poverty, loss, war, parenthood, and the crushing weight of the "daily grind" are all explored here with startling honesty.
I’ve said it before, but the title track, 'Seventeen Going Under', might just be the best song of the last decade. It captures that specific, breathless transition from childhood to the harsh realities of adulthood perfectly. Then there is 'Spit of You', which beautifully sums up the complex, often silent relationship many young men have with their fathers. In 'Get You Down', Sam turns the lens inward, reflecting on his youth and his own insecurities with a vulnerability you don't often hear in indie-rock.
The album also looks outward with a biting, cynical eye. Tracks like 'Aye' and 'Long Way Off' question the current state of the world, refusing to provide easy answers to difficult political questions. Instead, they demand that you pay attention to the division and inequality hiding in plain sight. Finally, 'The Dying Light' serves as a soaring, cinematic tribute to his hometown and a heartbreaking nod to those lost along the way. It’s a song that starts at a piano and ends in a tidal wave of brass and percussion, a desperate, beautiful plea to keep going when things feel bleak. It’s a brilliant collection of songs that hits home every single time I hear it.
Rarely does an album receive such immediate, widespread praise and actually live up to the hype, but this one did. It arrived at a time when we needed a voice that felt authentic, and Sam Fender delivered exactly that. It’s a record that manages to be both a personal diary and a state-of-the-nation address. In years to come, I truly believe we’ll be talking about 'Seventeen Going Under' as one of the greatest British albums ever made, not just for the quality of the songwriting, but for the way it gave a voice to a generation feeling the squee
The Smiths- The Queen is Dead
Britain’s most important band, and their most important album.
Evocative, provocative, brutal, and beautiful, 'The Queen Is Dead' is a bold, unapologetic statement. From the opening feedback of the title track, it is clear that this isn’t just another indie record; it’s a cultural landmark.
The first song aims at the monarchy with a sneering irreverence not heard so powerfully since the Sex Pistols in 1977. It is subversive and cinematic, with Johnny Marr’s churning, psychedelic guitar work laying the perfect foundation for Morrissey’s theatrical disdain.
This is The Smiths at their absolute creative zenith. Morrissey was penning the most clever, gut-wrenching lyrics of his career, while Marr fully cemented his status as the definitive guitarist of his generation, crafting melodies that were complex, shimmering, and instantly iconic. Supporting them, Andy Rourke and Mike Joyce formed a rhythm section that was both subtle and essential: precise, propulsive, and effortlessly cool.
'There Is a Light That Never Goes Out' remains the crown jewel of the band’s catalogue and with good reason. It is haunting, cinematic, and impossibly romantic, capturing that singular mix of morbid longing and high drama that defines The Smiths. It’s the kind of song that feels like it’s always existed.
Then there’s 'Bigmouth Strikes Again', a rollicking, biting classic driven by Marr’s spiralling acoustic guitar and Morrissey’s sardonic wit. 'The Boy with the Thorn in His Side' follows as one of the band’s most gently devastating moments, achingly beautiful in its melody, but simmering with the frustration of being misunderstood. It’s personal, poetic, and quietly defiant.
But what truly elevates 'The Queen Is Dead' is its depth. It isn’t just about the anthems; it’s the quieter, stranger corners that linger. 'I Know It’s Over' is a soul-baring ballad that is quite literally crushing. It strips Morrissey down to his most vulnerable, delivered with a vocal performance that aches with loneliness and resignation. It is, perhaps, the ultimate "bedroom" track for the disenfranchised.
Ultimately, this is a timeless collection of songs crafted by four of the most gifted musicians this country has ever produced. It didn't just top the charts; it changed the very DNA of what British guitar music could be.
Foals- Life is Yours
A fairly recent addition, but 'Life Is Yours' has more than earned its place on this list.
Ever since its release, it has been on heavy rotation in my listening habits, especially when the weather starts to turn. It is the ultimate soundtrack to longer days, rising temperatures, and late nights. This is a genuinely summery record; a party album that was, ironically, written when the world was locked down, and we couldn't actually go out and enjoy ourselves. Despite those claustrophobic origins, the music sounds completely free and liberating.
Musically, this is Foals leaning hard into groove and rhythm. It’s indie-pop with a heavy dance pulse. Here, the guitars shimmer rather than shred, the basslines bounce, and the percussion feels alive. This is the kind of guitar music that belongs on a dancefloor. It places them in that lineage of bands who successfully married rock with the club, think New Order, LCD Soundsystem, and 'Screamadelica'-era Primal Scream.
The title track, 'Life Is Yours', sets the tone with crisp guitars and infectious optimism; it feels like a sunrise in song form. 'Wake Me Up' bursts in with disco-funk swagger and a massive chorus built for festival crowds. It’s a confident opening statement: Foals are here to make you move.
'2am' is a real highlight, bittersweet and euphoric all at once; it captures that hazy, restless energy of chasing something in the early hours. 'Looking High' floats with a dreamy nostalgia, while '2001' is pure, sun-drenched bliss. Even deeper cuts like 'Flutter' and 'The Sound' are packed with the tight musicianship that has always been the band's trademark, just dressed in something lighter and brighter this time around.
What really earns this album its spot on the list, however, is the "shock factor." Nobody expected this from Foals. After the apocalyptic intensity and sprawling weight of 2019’s 'Everything Not Saved Will Be Lost', the last thing anyone predicted was a Balearic-fuelled party record. It turned heads, mine included.
But the surprise quickly faded into admiration because they absolutely pulled it off. It still sounds like Foals, inventive, tight, and passionate, but with a playfulness we hadn’t seen before. It’s Foals in swimming trunks, and it’s brilliant.
Courteeners- St Jude
An album can soundtrack an entire chapter of your life; for me, this record is university. It soundtracks those first-year halls, the chaotic kitchen pre-drinks, and the walk home the next morning. My friends and I saw the band more times than I can count during that period, and these songs have become woven into the very fabric of our lives.
'St. Jude' is the reason we fell in love with The Courteeners in the first place. Those tracks hit hard back in 2008, and remarkably, they still resonate with the same power in 2026. In my opinion, it remains their definitive work, the record that put them on the map and gave a voice to a very specific kind of British youth.
The album opens with 'Aftershow', a punchy, bratty burst of energy that sets the tone immediately. It’s Liam Fray swaggering into the room with a smirk and a guitar, perfectly capturing the arrogance and excitement of a night just getting started.
Then there’s 'Cavorting', the band’s first single from 2007 and a massive statement of intent. It paints a vivid picture of Manchester’s indie nightlife, but rather than celebrating the scene, it’s a "pot shot" at the characters within it. Fray wrote it from the perspective of an outsider, aiming for the bands strutting around, thinking they were the "dogs." It’s an attack on those who thought they were too big for their boots, messy, confident, and brilliantly defiant.
'What Took You So Long?' shows the band’s more reflective side, but even this has its roots in the daily slog. Fray famously wrote it while working at Fred Perry; the line "was there a queue at the post office?" was a direct quote from his manager after Liam had spent a bit too much time skiving on a work errand. It’s a bittersweet anthem about timing and relationships, grounded in the real-world grit that makes his songwriting so relatable.
Then, of course, there is 'Not Nineteen Forever'. It is the undeniable anthem of the record, a song about the messy transition from youthful recklessness to the realities of adulthood. That line, “You’re not nineteen forever, pull yourself together,” is both a reminder and a challenge, urging you to take stock while acknowledging the allure of youthful abandon. It’s a message that hits just as hard in your late twenties as it did at nineteen.
It has become the soundtrack to countless indie nights, football stadiums, and festivals, carrying a sense of Northern pride that few other songs can match. I remember Blossoms used to play it before stepping on stage; the room would absolutely ignite before the band even appeared. Some of my best nights at uni were soundtracked by this song. whether it was singing along in the halls' kitchen, losing my head at Shit Indie Disco, or dancing at Heebie Jeebies in Liverpool.
'St. Jude' is a record that knows exactly what it is and exactly who it is for. It brings back the faces of the people I shared those moments with, reminding me of the power music has to transport us back in time. It isn't the most glamorous pick on this list, but it’s one of my absolute favourites. It’s honest, it’s loud, and it’s a modern classic.
Noel Gallagher’s High Flying Birds- Self-Titled
I’ve always gravitated more toward Noel Gallagher’s solo output than Liam’s, even if the latter has enjoyed greater commercial peaks and arguably larger cultural moments recently. For me, Noel’s songwriting has always been the superior force, and his debut album with the High Flying Birds is the definitive proof.
Released in 2011, 'Noel Gallagher’s High Flying Birds' is a collection of some of his most inspired and fully realised songs since the absolute heyday of Oasis. While I never had the chance to see Oasis live, I’ve seen the High Flying Birds several times, and many of the songs from this record have become staples of those sets for good reason. They don't just sit alongside the Oasis classics; in many ways, they surpass the band's later work.
The record opens with 'Everybody’s on the Run', a soaring, cinematic track that immediately signals a departure from the crunchier Oasis sound. With its swelling strings and echoing drums, it’s an ambitious opener that announces Noel’s intent to evolve. Then there’s 'If I Had a Gun…', a tender, melancholic ballad that harks back to the raw intimacy of 'Slide Away' or 'Talk Tonight'. It is Noel at his introspective best, proving he can still pin down a melody that hits you right in the gut.
Here is the updated conclusion for the Noel Gallagher section, incorporating those additional tracks to highlight the album's incredible depth:
One of the most intriguing turns on the album is 'AKA… What a Life! by dipping into psychedelic and electronic influences with an infectious, almost danceable groove, it was a bold step away from the "meat and potatoes" stadium rock that had defined the final years of Oasis.
Similarly, tracks like 'The Death of You and Me' blend a bit of vaudeville swagger, complete with brass flourishes, with those characteristic melancholic undertones. Even the deeper cuts carry an incredible weight; 'AKA… Broken Arrow' is a hidden gem, shimmering with a melodic elegance and a rhythmic drive that feels both fresh and classic.
Then there is 'I Wanna Live in a Dream in My Record Machine', a sprawling, psychedelic epic that Noel had been tinkering with for years. Hearing it finally fully realised here feels like a grand statement of his newfound freedom. It’s a track that reaches for the stars, much like the anthems of his past, but with a refined, orchestral maturity.
This album paved the way for Noel’s continued solo evolution, from these initial experiments to the "cosmic pop" of his later records. But this first outing remains incredibly special. It was a formative album of my teenage years and has aged into a modern classic in its own right. It’s the one I still come back to most regularly, and it more than earns its place on this list.
Queen- Live at Wembley 1986
It might seem like a bit of a cop-out to include a "best of" or a live album on a list like this, but frankly, I don’t care. Some performances are so definitive that they transcend the standard studio format, and 'Live at Wembley '86' is exactly that.
This album takes me straight back to my childhood. I vividly remember sitting in front of the TV with my dad, watching the concert footage in total awe. The sea of hands during 'Radio Ga Ga', the electric call-and-response "ay-ohs" before 'Under Pressure', and Freddie’s heartfelt speech about the band staying together until the bitter end, it all left a massive impression on me.
The album captures Queen at their absolute zenith, with a setlist that serves as a victory lap for their entire career. It’s a perfect showcase of everything that made them great: the emotion, the charisma, and the untouchable musical brilliance.
'One Vision' kicks things off with incredible power and unity, a bold, anthemic opener that sets a high bar for the rest of the night. 'Tie Your Mother Down' keeps the adrenaline surging, showcasing Brian May’s iconic, overdriven guitar work and the band’s raw rock edge. Then there’s 'A Kind of Magic', which brings a lighter, more playful energy that somehow feels even more massive when projected to a stadium crowd.
Moments like 'Who Wants to Live Forever' strip the spectacle back, letting pure emotion take centre stage. Freddie Mercury’s voice soars with a mix of fragility and immense power, making it one of the most moving performances on the record. Of course, 'Radio Ga Ga' remains the definitive crowd moment, the rhythmic clapping of 72,000 people turning the song into something truly transcendent.
And then you have the giants. 'Bohemian Rhapsody' is as theatrical and surreal as ever, but it feels even more potent in a live setting. Finally, 'We Will Rock You' and 'We Are the Champions' close the show in a state of pure triumph, uniting the audience in a wave of collective euphoria.
Recorded at one of the band’s final gigs with the original line-up, the album marked the closing of a monumental chapter. There is a real sense of celebration throughout the music, of legacy, of connection, and of saying goodbye without losing an ounce of joy.
Every time I listen to this, I’m filled with nostalgia. I’m right back in front of that TV screen, wide-eyed and completely mesmerised. This is the album that sparked my love affair with Queen and sent me diving headfirst into my dad’s record collection. It’s more than just a live recording; it was the musical catalyst for everything that followed in my life.
Tame Impala- Currents
What can I say about 'Currents' that hasn’t already been said? It is a masterclass in modern production, arguably one of the finest collections of pop songs released in the last decade. With this record, Kevin Parker didn’t just cement his place in music history; he became a full-blown cultural icon.
Where 'Lonerism' drew heavily from the psychedelic DNA of The Beatles and Pink Floyd, 'Currents' looks toward a different lineage: disco, the melodic precision of ABBA, and the shimmering textures of 80s synth-pop. Yet, Parker’s fingerprints remain all over it. The result is an album that sounds like nothing else, a kaleidoscopic blend of rock and pop that feels timeless, yet unmistakably futuristic.
The opener, 'Let It Happen', is a seven-and-a-half-minute odyssey that sets the tone perfectly. It is glitchy, hypnotic, and strangely euphoric, practically daring the listener to follow Parker into uncharted territory. From there, the record never lets up. 'The Moment' captures the tension of a turning point with driving synths and a rhythm that pulses like a heartbeat, while 'Yes I’m Changing' slows things down for a moment of raw vulnerability, a breakup anthem wrapped in warm, dreamlike textures.
Then there’s 'Eventually', where soaring melodies meet lyrics about the painful but necessary process of moving on. Of course, 'The Less I Know The Better' has become a modern standard for a reason; its funky, infectious bassline and bittersweet storytelling make it an instant classic that defined an era.
By the time the album reaches its closer, 'New Person, Same Old Mistakes', it feels as though we’ve travelled through an entire internal landscape of growth and conflict. At thirteen tracks, the album flows seamlessly, like a single, vivid dream that never overstays its welcome.
'Currents' was a pivotal moment in music history. It didn’t just shift Kevin Parker’s trajectory; it shifted the sound of pop music itself. These songs were made to be experienced on a massive scale, and with his UK tour coming up in May 2026, I finally get to see these tracks come to life in the setting they deserve. I can’t wait.
The Jam- Snap
It might feel like a cheat to include a "best of," but The Jam had to make this list in some capacity. Their songs have become a permanent fixture in my listening habits, and their DNA is visible in almost every other artist I’ve mentioned.
That said, I’ve always found it impossible to pick just one studio album. While their records are great, there isn't one singular studio release where every track stands head and shoulders above the rest. What The Jam were, undeniably, was a brilliant singles band, much like The Who before them.
That is why 'Snap!' earns its place here. Released just a year after they split, it is the definitive document of the band’s short but explosive career. It captures a remarkable arc: from the raw punk energy of their debut, 'In the City', with its buzzsaw guitars and snarling defiance, to the Motown-tinged melancholy of 'The Bitterest Pill (I Ever Had to Swallow)'. This compilation is a masterclass in sharp songwriting and social commentary.
'Going Underground', with its urgent bassline and defiant anti-establishment message, remains just as potent today as it was in 1980. Then there is 'That’s Entertainment', a poetic, almost spoken-word reflection on the grit of working-class Britain. It is bleak, beautiful, and completely iconic. And, of course, you have 'Town Called Malice', a Northern Soul-inspired anthem of frustration and hope packed into three minutes of pure brilliance.
But 'Snap!' earns its keep by diving into the deeper cuts. 'Smithers-Jones' is a biting critique of the corporate rat race, written from the perspective of a man chewed up by the system; the unexpected string arrangement gives the lyrics a haunting, heavy weight. 'Thick as Thieves' captures the nostalgia of lost youth and broken bonds with a defiant punch, while 'Strange Town' perfectly encapsulates the alienation of urban life. Even 'The Dreams of Children' shows their experimental side, blending psychedelic, dreamlike textures with disillusioned lyrics.
As far as "best-of" collections go, this is the benchmark. It isn’t just a hit parade; it’s a portrait of a band that evolved at breakneck speed, burned brightly, and left behind a timeless catalogue. The Jam were one of Britain’s greatest musical forces, and 'Snap!' remains one of my most treasured records. It simply had to be on the list.
The Verve- Urban Hymns
'Urban Hymns' was the album that marked a definitive turning point in British music. It didn’t just top the charts; it famously dethroned Oasis’s 'Be Here Now', signalling a shift in the cultural tide and cementing The Verve as one of the UK’s most beloved bands. It is a record packed with some of the most iconic songs ever recorded by a British group, an album whose emotional weight still resonates today.
The singles alone are extraordinary works of art. 'Bitter Sweet Symphony' is a soaring, string-laden epic that marches forward with an almost defiant sense of melancholy. Its sweeping instrumentation contrasts with some of the most sorrowful lyrics in the British canon, simultaneously uplifting and devastating. Then there is 'The Drugs Don’t Work', the band’s chart-topping Number One single.
A hauntingly beautiful track, it perfectly captures the comedown after the Britpop highs, bringing the decade’s hedonism crashing back to reality with aching vulnerability. 'Lucky Man' continues the journey on a more hopeful note, featuring one of Ashcroft’s most poetic and enduring lyrical performances, a song that feels just as relevant and resonant decades later.
Yet, despite the massive commercial success, the band’s psychedelic roots remained firmly intact. Tracks like 'The Rolling People' harken back to their earlier, more experimental sound, driven by swirling guitars and hypnotic, heavy grooves. 'Space & Time' is a particular standout, seamlessly blending their past and present; Ashcroft’s introspective lyrics are elevated by Nick McCabe’s transcendent, "shoegaze" guitar textures. It showcases a band unafraid to evolve while staying true to the sonic essence that made them great in the first place.
'Urban Hymns' is a collection of songs that somehow manage to feel both timeless and deeply rooted in a specific moment in history. Years later, it still sounds fresh—emotional, raw, and beautifully crafted. It isn’t just one of the defining albums of the 1990s; it is one of my most treasured records. It’s a powerful reminder of a time when music could stop you in your tracks and say something that felt like it was meant just for you.
The 1975- I Like it When You Sleep For You are So Beautiful Yet So Unaware of It
The award for the longest album title definitely goes to this one. I’ve really got into The 1975 over the last few years, and while it was a toss-up between a few of their records, their sophomore outing eventually won out. It is an album overflowing with brilliantly crafted, ambitious pop songs.
Deeply influenced by the 80s and tackling heavy themes of fame, addiction, love, lust, and grief, this was the record that proved The 1975 weren't just a flash-in-the-pan indie band; they were here to stay.
The record is a masterclass in variety, pairing high-gloss pop bangers like 'The Sound' and 'She’s American' with introspective, vulnerable tales like 'A Change of Heart' and 'Paris'. It even finds room for the brilliantly chaotic, punk-leaning 'The Ballad of Me and My Brain'. This is easily some of the band’s most inspired work to date.
The album never really lets up. 'The Sound', for instance, is a stroke of genius, an anthemic chorus paired with self-aware verses that critique the band as much as they do the subject of the song. 'The Ballad of Me and My Brain' is a raw, almost surreal exploration of mental health and the disorientation of sudden celebrity. It might seem absurd on the first spin, but it quickly reveals itself as a frantic window into Matty Healy’s mind during the whirlwind of fame.
What makes the record special is Healy’s gift for writing irresistible melodies while ensuring he always has something sharp to say. He frequently turns his lens on the world around him, but he’s at his best when he turns it on himself.
In 'A Change of Heart', he offers one of the most brutally honest lyrics about the reality of drug addiction. While many rock stars have historically romanticised their struggles, think Noel Gallagher’s “what tongueless ghost of sin crept through my curtains?” Healy is starkly grounded: “You look shit, and you smell a bit.”
The entire album is packed with that trademark witty, emotionally cutting lyricism. In 'Loving Someone', he quips, “I’m the Greek economy of cashing intellectual cheques,” while 'A Change of Heart' features the devastatingly observant, “And you were coming across as clever / Then you lit the wrong end of your cigarette.” And, of course, the classic line from 'The Sound': “We left things to protect my mental health / But you’ll call me when you’re bored, and you’re playing with yourself.”
Yet, beneath the wit, there is real sincerity. 'Nana' is a tender, soul-baring tribute to his late grandmother, while 'She Lays Down' tells the story of his mother’s struggle with postnatal depression in a way that is simple, stark, and deeply affecting.
Even a decade later, these songs sound fresh. Yes, the record wears its influences on its sleeve, nodding to INXS, Bowie, Peter Gabriel, and The Police, but it remains unmistakably and unapologetically a 1975 record.
Haim- Women in Music III
I feel like this album fits perfectly into this collection. It is a vibrant tapestry of sounds and genres that sees Haim deliver their most direct and impactful record to date.
'Women in Music Pt. III' has everything: from the gritty pulse of early 2000s garage to the sun-soaked harmonies of 70s Laurel Canyon and soulful acoustic ballads. It is an impeccably crafted outfit of songs, with each track sounding distinct and unique. Somehow, the sisters have managed to create a record that is simultaneously vulnerable, punky, and incredibly soothing.
This is an emotionally charged record where the three sisters tackle their most sensitive subjects yet, ranging from the heartbreaking loss of a close friend to the systemic misogyny they've faced in the music industry. However, the songwriting never suffers under the weight of these themes; in fact, these are the strongest, sharpest-edged melodies the band has ever written.
In an interview with the NME, Alana Haim noted, "The whole mantra of this record is about being fearless and not holding yourself back." That confidence radiates through every note. You can hear it in 'The Steps', a crunchy, defiant anthem about the friction in a relationship that showcases their raw rock credentials. Then there is 'Los Angeles', which opens the album with a breezy, jazz-flecked saxophone line, and 'I Know Alone', which leans into glitchy, 90s R&B and electronic textures to capture the isolation of depression.
The band constantly pushes themselves here. Whether it's the shimmering, stripped-back beauty of 'Hallelujah' or the playful, reggae-tinged groove of 'Don't Wanna', the album flows seamlessly. Nothing feels out of place. Haim has made a record entirely on their own terms, moving away from the safe pop-rock expectations of their earlier work to create something far more experimental.
'Women in Music Pt. III' is easily one of the best albums of recent memory. It’s the sound of a band finally finding their true voice by refusing to be boxed in.
Fontaines D.C. - Dogrel
'Dogrel' is more than just a debut album; it is a visceral, poetic explosion that announced Fontaines D.C. as one of the most important bands of the decade. While many of the artists on this list lean into polished pop or stadium-sized anthems, 'Dogrel' thrives in the grit, the rain, and the unapologetic reality of working-class Dublin.
The title refers to "doggerel", a form of crude, simplistic verse, but the songwriting here is anything but. Grian Chatten’s delivery is part-spoken, part-snarled, and entirely captivating, turning observations of everyday life into something that feels cinematic and urgent. It is a record that smells of Guinness and cigarettes, capturing the soul of a city that is rapidly changing while trying to hold onto its identity.
The opening track, 'Big', sets the stall out in under two minutes. With its driving beat and the iconic refrain, "My childhood was small, but I'm gonna be big," it’s a massive statement of ambition and northern defiance. From there, the album zips between high-octane punk and moments of haunting clarity. 'Sha Sha Sha' and 'Too Real' showcase the band’s ability to create tension, with jagged, repetitive guitar lines that feel like they’re constantly on the verge of boiling over.
Then there is 'Liberty Belle', a jangly, melodic nod to the band’s love for The Pogues and The Dubliners, yet it’s delivered with a sharp, modern indie edge. 'Boys in the Better Land' is perhaps the most "anthemic" moment on the record, a frantic, driving track that critiques the Americanization of culture with a hook that was made for sweaty, beer-soaked festival tents.
But 'Dogrel' isn't just about the noise. Tracks like 'The Lotts' and the closing ballad 'Dublin City Sky' show a much more tender, folk-inspired side to the band. 'Dublin City Sky' in particular is a masterpiece; it sounds like a song that has been sung in Irish pubs for a hundred years, yet it feels perfectly at home on a post-punk record.
Musically, the band is incredibly tight. The rhythm section provides a relentless, motorik pulse that allows the guitars to slash and swirl around Chatten’s lyrics. They aren't trying to be "pretty"; they are trying to be honest.
'Dogrel' is a record that demands your attention. It’s raw, literate, and fiercely proud of where it comes from. For me, it captures that feeling of being young and frustrated, but also being part of something bigger. It’s an essential piece of the puzzle for this list, representing the absolute best of the new wave of British and Irish guitar music.
The End
So, that brings the list to a close. As with any collection like this, several records were incredibly unlucky to miss out. If you were to ask me next week, 'Performance and Cocktails' might easily take the spot over 'Word Gets Around', or 'Modern Life Is Rubbish' might just edge out 'Parklife' again.
Others didn't make the final cut at all this time around: Young Fathers 'Heavy Heavy', Peace’s 'In Love', and New Order’s 'Power, Corruption & Lies', just to name a few. In a collection of only twenty-five, the margins are razor-thin.
However, I am proud of the list as it stands. These records have soundtracked the most pivotal chapters of my life, from my earliest childhood memories to the present day. Every one of them carries a weight of association: the good, the bad, and everything in between.
Music has been the one constant throughout my journey. These albums have been spun, streamed, and lived with hundreds of times over. They have provided the snapshots of specific moments, and in many cases, they were the moment itself.
We all have those songs and albums that we hold closest to our hearts, the ones that define us. These twenty-five are mine.
Thank you for reading x