To mark the 20th anniversary of some key releases fromhere are 20 albums, from Sleater-Kinney to Super Furry Animals, that made a lasting impression on you. Guardian readers and Tom Stevens. Friday 24 February T his year is filled with landmark 20th anniversaries. This month, for example, it was 20 years since Blur released their self-titled fifth albumand Mansun made their debut with Attack of the Grey Lantern.

To celebrate these releases, we asked readers to name the albums from that still matter to them. We listened to it in a small room in the music department at school that lunchtime.

The sonic boom of first single Monkey Wrench tore out of the radio speakers. The sheer drive and energy make it an exhilarating listen even 20 years later.

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I remember hearing Demons on the radio and needing to buy the album as soon as I could. I bought the CD from Spillers in Cardiff. I listened to it constantly for weeks.

The songs still sound great. Mountain People is possibly the greatest song about being Welsh there is; Demons is utterly beautiful and is still a live highlight. The band sounded like nothing else at the time. They were a burst of colour and fun in a sometimes bleak and grey musical landscape.

Mathew Gabriel, south Wales. It is a groundbreaking classic. The beats and lyrics are still relevant and far superior to a lot of rap today. It paved the way for lots of female artists, not just rappers but in all genres. I remember doing my A-level homework in my bedroom and, on some of the tracks, putting my pen down and just listening to the words. To me it never sounded like it was of its time anyway; I never saw it as the sound of They managed to distil and capture some kind of classic British post-punk sound without being retro or modern.

I heard one of their tracks on a Q magazine free CD and was instantly fascinated. So I bought the album and loved it straight away.

Small details, such as the burbling synths that bridge the gap between tracks, really captured my imagination.

It just passed me by. Sure, there was Alright — a great pop song but maybe just a little bit too pop. Two years later, however, their second effort, In It for the Money, was the perfect soundtrack for the late spring and summer days of From May onwards, the tape was glued into my Walkman. I remember walking home after my final exam, admittingly after a few celebratory shandies, and finding the Walkman had chewed the tape up. Craig Russel Forrester, Edinburgh. My pubescence coincided with the rise of Britpop and, while I was initially taken by the anoraked swagger of Blur and Oasis, by the time I was 14 or so, when this album came out, I was looking for something less parochial and missy elliott pop that pop that make that money expansive.

It reminded me of my explorations of the rock and blues music of 50s, 60s and 70s, but somehow felt mysterious and forward-looking. Songs such as Broken Heart appealed to my teen troubles in a way that was less pathetic, more life-affirming and hopeful.

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It remains a perfect little capsule. While each Blur album captures a different mood, the self-titled one means a lot both to Blur fans and to the band. It online binary options strategy 60 seconds so different from what they released at the height of the Britpop years.

And as much as The Great Escape was a classy album, the band desperately needed to reinvent themselves for their own sanity. Missy elliott pop that pop that make that money was only six when I first heard Beetlebum. The incredible energy of Song 2 makes it an obvious victory anthem. The first time I listened to it in its entirety it brought me to tears.

I became infatuated with Sonic Youthbut I remember listening to this on the way to college. I ran up to the friend who had recommended the band previously and told them I totally got it. Cuts from the record became mixtapes-for-girls favourites soon after.

Stick it on at a family BBQ and everyone will be happy. My brother gave me a tape to listen to while doing my paper round, and it had the Top 10 rap money makers on one side and OK Computer on the other.

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My world turned upside down. The totally overhyped Fat of the Land by the Prodigy was released around the same time, and could not get close to the collision of styles on Dig Your Own Hole. Plus, this must be one of the weirdest albums to include two No 1 singles. At the time I thought they were about the coolest thing ever. The album has numerous cracking songs and the production really holds up 20 years later. I was in my first year of university and the Dandy Warhols were huge.

I probably heard it first in some grotty university union bar. All the girls lusted after the lead singer in the kind of collective way year-olds do. There are so many musical styles on the album it makes your head spin, joyously breaking the rules, summing up the perfect malaise and irreverence of uk forex tax 90s. Inescapable anthems of late-teenage angst such as Brick, tenderly and yet elegantly discussing the consequences of a teenage abortion, or Song for the Dumped deserve a little bit of unpacking.

This is the album of the 90s. Nothing else sounded quite like this in I bought it purely for the artwork, from a record shop in Tokyo. The album came at a time when Britpop had burned out. Its oddness was accentuated by the sleeve: The cycle of the album and the singles were all connected through the cover art which was bold and weird and uncool — which of course made it very cool indeed.

Pop CD of the week: Missy Elliott, The Cookbook | Music | The Guardian

It made it into the end-of-year polls of both NME and Melody Maker, but has somehow been forgotten. This album blends gut-wrenching sadness with optimistic jubilation. Its effortlessly, ingeniously catchy chord progressions and intimate lo-fi production just make it stronger. I was revising for university exams and I instantly felt nostalgic and a deep connection to him.

I still have no idea why.

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I felt a powerful connection and became slightly obsessed. I saw Spiteri as a role model, being a strong female lead singer with confidence and her own sense of style. I first saw Texas performing the title track on TFI Friday, and immediately went and bought the album on cassette.

In those days you listened to an album in its entirety rather than shuffle or select songs, so it became the soundtrack to my final year of sixth form, particularly when I was driving with friends.

It was probably a damp, overcast day in the north-west of England but the effortless harmonies, melodies and chiming Rickenbackers instantly transported me to a sun-drenched ocean vista somewhere. Beautiful, perfectly crafted guitar pop songs always stand the test of time.

It has the same effect on me every time I listen to it. This is the one album from that year that I play regularly today: Because of the music press and media being so focused on Britpop, I was totally unaware of this album at the time. Inthough, Earthling marked his full return to power. As in the 70s, he took the music he liked from the streets and the clubs and with great confidence made it his own.

Their protests were soon silenced, the volume was turned up, and we all started dancing round the room. I treasure that night. I first heard Brimful of Asha not the subsequent Norman Cook mix on the radio. I bought the album as soon as it was released on vinyl, and I still have it. It was an extended family favourite for months and subject to a lot of debate as to what was the standout track.

I maintain that Good Shit is the best, but 20 years later, I think Sleep on the Left Side, Candyman and Norwegian Wood in Punjabi are just as good and make this album outstandingly complete. Follow-ups Handcream for a Generation and Judy Sucks a Lemon are also gems. Please choose your username under which you would like all your comments to show up. You can only set your username once. International edition switch to the UK edition switch to the US edition switch to the Australia edition.

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