Interesting to say the least. Perry Ferrell’s voice wasn’t exactly what I would listen to for 40ish minutes as a rule. But I plugged away at this album for the project. Unfortunately, outside of “Jane Says”, everything else blurred into each other. Everything was ADHD come to life, scattered noise, nothing really forming together to produce anything harmonious that I would have enjoyed listening to on my own accord. Kind of like this scattershot review

I don’t think I realized how many of Fleetwood Mac’s big hits that I’d heard before came from this one album! Lots of songs I recognize but didn’t know their name either. Good ratio of good to meh songs

The album is what I imagine Lucky Charms would sound like if it was a band. There is a lot more accordions than I’m used to, but it makes for a fairly upbeat album on average. It would probably be great to listen to in a Boston pub, but a little too frantic for a work day listen. Overall, the album is a little too “sea shanty” for my liking, and I stopped at “Worms” as per the original album…didn’t go into the “expanded version” stuff.

51 minutes is far too long when it comes to Bob Dylan. Tangled up in Blue was okay, but even this was two minutes too long. The struggle is that Bob Dylan is a strong lyricist, but lacking in vocal prowess. I know he’s seen as a folk hero for so many, so this review might rub some the wrong way. But I just don’t get his music unfortunately.

Oh man, what a great blast from the past. The album as a whole is a banger, and a fun upbeat listen. Outside of “Take Me Out”, the songs are all worth a listen, even if they sometimes weren’t as memorable as I remembered. Definitely worth a listen, despite any negativity that my review might put across. No regrets spending almost 40 mins listening to this this morning to up the energy at work.

Right out of the gates, Spotify is missing “Lava” and “Hero Worship”, so I feel cheated in this review. What is left had the bounce and camp I expected to get out of this cult favourite band. “Rock Lobster” alone makes this zany album worth listening to, but by no means saves it. Especially since it’s way longer and more nonsensical than I remember. Hearing songs outside of Lobster or “Love Shack” make me realize I wasn’t missing out on too much by not hearing this album. It’s maybe a little too experimental or avant-garde for my taste. The lyrical stylings of Fred Scnheider, Kate Pierson, and Cindy Wilson combine to make an interesting offering. I appreciate the risks being taken to some extent, but on the whole, don’t find their talent to fit what my ears would like to drink in. Are they better singers than me? Most likely, yes. But on the larger scale, this offering strikes me as being something that wouldn’t make it out of the first round of American Idol. But at least we still have the rock lobster!

So much bluesy goodness. Some songs seem to go on a little long and can be lost in a background listen. but there are some songs that can catch your attention with the lyrics or guitars solos; Is it really blues if you don’t get some gritty guitar solos? “Thorn Tree in the Garden” at the end throws off expectations though. Overall, this album was a decent way to get into the blues and the iconic Eric Clapton (if you look beyond all of his controversy). No regrets in listening to this album.

Not an album that would be in my usual listening arsenal…but I’ve enjoyed an occasional foray into rap from time to time, so I was looking forward to this. In the first half of the album, it seemed a little scattered and had such a spread of eclectic voices that weren’t so melodious, I struggled to get into the album. I didn’t think I was too much of a prude or such a white guy, but I found times where I couldn’t quite enjoy the album as I’m sure it was intended. I struggled to understand the need to pepper in a slew of N-bombs. That said, “Complexion (A Zulu Love)” and the “Blacker the Berry” stood out as a deeper songs that stand to be repeated. “i” was upbeat and dancy, then took a sharp serious turn, again catching my attention and making me think a bit more. “Mortal Man” was another soul searcher of a song, worth the almost 10 minutes of listening. Overall, I enjoyed trying to expand my musical pallet with this album. There are some catchy songs that could find their way onto a party or wedding playlist to get the party rolling and others that made me think about the world and the racism that sadly exists even in 2022.

To be honest, I didn’t hear anything on this album that knocked my socks off and made me realize I’ve been missing out on The Doors all my life. The album isn’t the worst though and it could make for good filler sound for any generic early 70s soundtrack. I wish I liked this more, since it seems that Jim Morrison and The Doors are iconic “must listens”. I just didn’t get that with this offering.

When you see Robin Daggers in “How I Met Your Mother”, you think she’s an exaggerated version of Alanis Morissette and her angsty version of herself from this album. Then I heard this album and realized maybe it’s not that exaggerated. The pill here is serrated and likely venom filled, intended for all those who’ve wronged her. And it’s clear to see how this became such an iconic album. It’s filled with so many of her iconic songs, that represent such a clear time in Canada…at least for those who were struggling to cope with a broken heart. Does every song hit? No…but overall, this is worth a listen, if only to pump up some feelings and relive a slice of life in the Canadian mid 90s.

Came for “Welcome to the Jungle”, “Paradise City”, and “Sweet Child O’ Mine”…stayed because I had to hear the rest of the album. While this wasn’t a usual listen for me, I could see the appeal throughout the rest of the songs found here. It’s hair metal at its best, and it’s fun to hear Axl shred lyrics, while Slash equally shreds on the guitar. Though outside of the three big hits, the other songs are more on the “meh” side of things. Fun fact, this takes me back to working at Walmart almost 20 years ago, where a coworker who worked electronics would play a greatest hits daily on loop. I hated Guns N’ Roses hard after a week or so of this. Years later, I almost understand what drew him to this tour de force of a band.

I love Queen, but Queen II is definitely not a top album for me. Outside of “Seven Seas of Rhye”, the songs all sounded fairly experimental, which of course I’m fairly thankful for. That’s not to say I don’t enjoy the “classic rock” vibe you get throughout the album. There’s just not much that I hear here that was a deep cut/hidden gem. Nothing jumped out from the album that I need to hear again anytime soon. But that said, definitely not the worst album I’ve been gifted with in my reviews so far.

Going three for three right out of the gate, plus adding in two more solid songs, and rounding out the whole disc with decent songs to hang out with make this offering a must listen. I knew Nevermind was an iconic album, but I don’t think I’d ever listened to it in full or realized just how many amazing Nirvana songs came from just one album. It was a pleasant surprise to find out this is one of those albums you really can listen to from start to finish and not really complain about a single song, well except maybe “Endless, Nameless”. This one seems like an experiment in sound that might have been better skipped. But I also don’t know the story behind it and imagine there being a wild story associated to the song.

I really feel like I’m being punked here. How is an album of bri’ish guys talking over music tracks an album I needed to hear? I clearly have missed something I guess? All I know is that this was a painful listen that I wanted to give up on three “songs” in. I would rather listen to the Bob Dylan complete collection than anymore of “The Streets”. At least this has cemented what a solid 1 start looks like.

Wow, this was a little on the nose for my listening list for September 9, 2022! Overall, this was a decent enough album. Outside of “There is a Light That Never Goes Out”, the songs here have an emo-like blasé about them that maybe I can’t identify with nearly 40 years later. For whatever reason, I didn’t love this Smiths offering as much as I really wanted to. That said, I’m happy to have heard this album and would welcome another chance to try more Smiths albums if they popped up.

Overall, there’s a great energy, and this is a fun pop rock album that could be thrown on for some background vibe energy. There are times the album sounds like something offered up by a band like Madness or Oasis, and maybe been something that could have popped up 10 years later in the 2000s. Finding “Alright” answered a question I didn’t know I had, as I know I’ve heard it in a million commercials (might be the same one commercial played over and over). Until now, I’ve never known who performed it, so this was fun to learn today. Overall, this was a fun listen and maybe after a few extra listens, a few more gems could emerge for you.

Interesting to say the least. Perry Ferrell’s voice wasn’t exactly what I would listen to for 40ish minutes as a rule. But I plugged away at this album for the project. Unfortunately, outside of “Jane Says”, everything else blurred into each other. Everything was ADHD come to life, scattered noise, nothing really forming together to produce anything harmonious that I would have enjoyed listening to on my own accord. Kind of like this scattershot review

Quick notes…there’s so much variety to this album, which serves to get a rap outsider into the genre. There are several unreal songs from the duo on this album, and even non-hits are a decent listen. On first listen, OutKast is different from the 90s rap that I knew of growing up in the best way possible. Listening to the album in full made me see that I might have missed out on this when it first came out.

it seems like Brian Eno was one of those people who in the right place at the right time, making an album that has a very experimental sound to it across the whole album. Reading the Wiki article and how Eno got people together who he thought wouldn’t be compatible, it explains why I find so much of the music here jarring and hard to really get into.

Sounds like something found in a “Garden State” soundtrack, not the era where hair metal, east coast/west coast, and grunge all met in a musical melting pot. Has vibes of ABBA and the softer songs from the Cranberries, all while having strong French overtones. It’s a chill album that could be thrown on in the background of a slow evening and not be at all distracting.

There’s a classy eloquence to this album, a reminder of how things used to be (musically). But that said, Billie Holiday’s voice reminded me of Lady Elaine Fairchild, and her voice and “grittiness” didn’t translate to a sound that I wanted to hear over the course of this album. But I appreciated the opportunity to relax a little and have a jazzy evening for a change of pace.

Wait a minute, Sinead O’Connor did more outside of “Nothing Compares 2 U”?? Apparently she did, and it’s a haunting album. Her voice is enchanting with its Irish charm and Enya vibes, and the collection of songs on the album is as eclectic as the charms found in a particular breakfast cereal. It’s easy listening, though by the end it feels as though the wheels are falling off and there’s no musical connectivity between tracks. There’s so many stylings, it’s hard to get used to what’s going on, which is too bad.

It’s a shame I don’t understand French, because I found the music charming and the vocals enticing. Any of these songs could be peppered into an indie film like a “(500) Days of Summer” to give it a bit of exotic flair. I think in English, my score would of been higher.

This album is an iconic rock offering, one of the best albums to emerge from the genre. One can’t help but feel energized listening to the offerings here from start to finish. It’s hard to believe this is a debut album of sorts, as it was their first following the demise of Bon Scott. Everything comes together here like a well made set of LEGO. Definitely an essential party listen when hangin out with the boys (or girls, or whatever you want to be!)

An album that sounds like it came out a few years too late to be included on the “Good Will Hunting” soundtrack. It’s a decent chill listen, with some variety in song energy and vibe. Worth a listen if you’re living an early 2000s dramedy life or looking for a nice way to chill out any given evening.

An excuse to listen to an entire Björk album?! Count me in… Wild to think this album is almost 30 years old as I review it in 2022! Björk‘a sound is so eclectic, like musical potpourri or a jar of spilled confetti. It has upbeat positivity and her voice is totally her own. While it’s not an album I’d have ever thought to listen to, it’s been one that was fun to take in all the same.

The first two tracks sounded like Moby was lifting songs, throwing an extra beat or two into the track, and calling it done. “Porcelain” though was different and still has that iconic mellow sound, while I forgot that the catchy “South Side” was on this album too. Overall there is an interesting medley of tracks here, but they sound more like they come from a “Much Dance” mix than a single influential artist. Moby’s spoken word songs were noticed due to their slow nature, but then kind of forgotten about. If I was to hear almost any of these songs, I wouldn’t have a clue who made it (as it doesn’t seem Moby sings enough of them). Emphasizing this point, Spotify carried on after the album to a Röyksopp song, and I thought I was still listening to Moby here.

Having heard “Back in Black” recently ahead of this album, I’d have to say I prefer BiB over H2H. The songs on H2H are overall nowhere as memorable as the ones on BiB. Beyond the title track, they have the familiar sound of singing and the band, but the songs don’t here hit the same as they do later with the tragic passing of Bon Scott. I think it’s more a lyrical situation as opposed to anything to do with Scott’s singing though. That said, H2H does have great rock vibes and is still a decent listen overall. Rockin out in your friends’ Charger on the way to a party would be a better ride with this album.

Pretty cool album, but no idea what’s being sung. Probably a good album to listen to before a sporting event. It’s late so I’m not too inspired to write much about an album I didn’t hate but didn’t love all that much. In Pantera’s defence, I’m not much of a metal head, so maybe this album deserves a higher score🙃

The Streets meets Zero 7 meets classic milky liqueur commercials, all set in the mid 90s. The album plays like a long commercial, quickly fading into the background. Like most commercials, I was left hoping we could get back to the show sooner than later.

So. Many. Long. Songs. Okay, there’s a only a few, so I might be exaggerating a bit. It’s a solid campfire album to rock out with and forget that it’s on. The tracks all have “classic rock” all over them, and “Free Bird” is still iconic, no matter how long it goes on for.

A classic face melting album that would get you and your bros pumped at the gym or in the garage while you got your drink on. “Dawn Patrol” sounded kind of dorky though, for lack of better words. For the right mood though, this album is legit. Maybe not ideal for studying or putting the baby to bed, but maybe you need a little melting to get you through your day.

Four songs were missing on the Spotify release of this album: “the winter of the long hot summer”, hypocrisy is the greatest luxury”, “California Uber allies”, and “water pistol man”. 🔫 (I hope I didn’t miss anything with those four tracks!) …What was there was definitely interesting. There were some prophetic thoughts spoken rapped, mixed together with some hip hop meets jazzy Herbie Hancock tracks and news clipping sampling. It was something unlike anything I’d heard before in the rap genre (or does this count as hip hop?) There were strong messages in the tracks I did get to hear, but I didn’t find myself loving the music as a whole. I respect the efforts presented here nonetheless and enjoyed the throwback early 90s sound.

Under 30 mins? Right of the gates, this album has my attention. But then it’s Frank Sinatra and I find him to be “meh” as a singer. Compared to modern singers, Sinatra doesn’t really hold a candle to their skills. Even compared to his contemporaries, Sinatra doesn’t really stand out. The crossover with Jobim makes the album more charming, with a song like “The Girl From Ipanema” being refreshed, but the album as a whole seems like an intro class on how to be a lounge act 101. The album ended out of nowhere (again, 28 minutes is so fast) and most of the songs had merged and felt like one track. Not a bad album, not a great one…at least it was short!

Charming, short album. Takes the mind off of the now and takes you to a little place somewhere else in your mind. With three iconic Cat Stevens gems hidden among other interesting numbers, this little offering is worth a listen to, especially if you’re already looking for something to unwind with. Just be prepared to feel a little something by the end, as “Father and Son” always says a lot to me anyway.

Station to Station review: An album from the revered David Bowie, I’m pretty jazzed. First song is ten minutes?! Literally said “eff off”. Finish listening to it, and it’s no Frampton comes alive, I’ll tell you that. Golden years was a catchy palate cleanser…but the next four songs just didn’t catch my attention, and overall this album seemed like a bit of a vanity project now that he was at his 10th studio album and into another persona along with a fun drug habit. I might be ADD because I didn’t notice the deep lyrics, and instead found the songs dragging on. I’m sure I missed something though, since I’m told Bowie is ahhh-mayyyy-ziiiingggg

No mistaking this is a Van Morrison album…but I don’t know if this is one that I was missing out on or should listen to per se. It has a lot of his signature wailing cries which is great of him to lay down here, but the songs kind of all sound the same in the sense they’re hard to make out the lyrics and don’t stand out from one another. One listen and it’s easy to see why it wasn’t loved on its release, and why I couldn’t find a reason to rank this any higher. It didn’t need to have “Brown Eyed Girl”, but even one song with more pull would have been nice. On the upside, this album is a must listen for anyone who loves Morrison and is looking to really immerse themselves in his music.

There’s a charm to the overall album, both instrumentally and vocally…though in that same breath, Coyne’s voice seems to go higher than maybe my ears can handle. Aside from this, I’d say The Flaming Lips succeeded in creating something with a general appeal and easy listen. There’s a vibe of something soft rock from the 1970s, a la Seals and Croft meets Death Cab for Cutie, with quirky lyrics and charm. Easy to gap out on, and not be annoyed by the music in the background, which could be good or bad news. The Mokran Mixes at the end didn’t really hurt or help things, aside from making me think “I’ve heard these songs somewhere before”.

Feels like something that would be played as part of a Chappelle Show episode. There’s great beat, message, and voice. Not an album I’d have actively sought out, it’s a spirited album that was a decent listen for a work day afternoon. Wild to think nothing has followed since this release, making this album really an instance of lightning in a bottle.

An album that shifts between sleeping and sleepwalking. It’s not an offensive album to the ears, but lacks oomph. There are some songs with a bit more life at least, that help bring you back from the brink of total snoozing. That said, it could be a perfect after party album to wind down on or something you have a trip to.

A fun, bouncy album that I couldn’t begin to understand due to language barriers. But that said, it was a very uptempo album that would provide fun dancey vibes to any party and make the day a little brighter.

Quick fun album with several iconic songs? If you like your classic rock and want it in a short burst, you’re sure to enjoy this offering by Boston!

Another album that sounds like a missed opportunity for a “Garden State” or “Good Will Hunting” soundtrack. Another wispy voiced guy faintly singing his songs, in an Elliott Smith vein that didn’t really elicit much enjoyment for me over the course of the album. It was by no means a terrible album, it just sounded like an acoustic singer sometimes singing over electronic instruments. If you like this sort of music, you won’t be disappointed!

Well Spotify has 5/11 songs, so this will be a truncated review… The songs remaining include the iconic “The Message”, so not all is lost. I appreciate this offering as being an early foray into the rap genre, while also enjoying that the rhymes they’re singing can be heard clearly. With some rappers now either mumbling or rapping far too fast for me to interpret, this album’s messages are clear to hear. It’s crazy to think ideas being shared back then are still prevalent now!

Upbeat album; title track brings in instant energy. Album gave me some Tom Cochrane & Red Rider meets the Pogues vibes. But as a whole, the music’s died down as the album progressed and didn’t knock my socks off as much as I was expecting out of the gate. It’s a decent listen for a mellow night or part of some sort of St. Patrick’s Day festivities though.

There are so many iconic songs from this double disc monster of an album, including an all time favorite “1979”. However, it could be said that they went a little overboard on going with essentially two albums for this release. While some interesting deep cuts were rediscovered in listening through this album, there were songs that might have been better left on the cutting room floor. Not trying to invite confrontations from Pumpkin heads, but maybe this could have been really refined and cut down to one ironclad album. But as it is what we have here, I appreciated the lengthy listen and hitting those gems like “1979” how they were meant to be found. If you have the time, the full album is worth it…though obviously it might be worth mentioning for the first time listeners that Billy Corrigan is an acquired taste to say the least. Outside of this, I still think overall this double album is a good way to enjoy the 90s alt rock scene when you get to it.

featuring songs that were on the “Good Will Hunting” soundtrack (or sounded like they should have been there), this album provided a calming soundtrack for my lunchtime walk along a quiet forest road. With a sound and lyrics that felt like a cross between Nick Drake and John Mayer into something all his own. I heard Smith’s unique voice and musical arrangements in this album seems to be an early representative of what was to come as we entered the 00s and the sea of syrupy indie songs that flooded all of our favorite guilty pleasures on tv. Who knows how much more emotion-filled music he could have created had he lived beyond 2003 and how many more soundtracks would have benefitted from his presence. This album is worth a listen if only to escape to the late 90s and early 00s, to live in a world like the OC or Gilmore Girls, if only for a fleeting 30ish minutes.

Starfish and Coffee is a fun ditty! But outside of this, this album was full of songs that I could see would be loved by all of the Prince fans. Unfortunately, I wouldn’t count myself amongst the diehards out there. The songs had their moments and there was a lot to listen to, as this was a double album apparently, but at the end I didn’t love too much about this offering from Prince. But I did appreciate this “forced” listen, as it’s hard not to know about this legend and I’d avoided any sort of deep dive up until now. I’m interested to see if any of his other albums show up here and how they fare in comparison. If you haven’t heard Prince before outside of his big hits, I feel this could be a decent gateway listen.

A very soulful album, with an adventurous cover of “Papa was a Rolling Stone”…maybe a little too adventurous at nearly 12 minutes! While this album wasn’t for me, I can see the appeal of this collection of songs, especially those who love a good Motown/ Barry Gordy vibe in their music. Maybe refrain from blasting out “Run Charlie Run” while driving around with the windows open. While possibly an empowering song or protest, the lyrics could be a little controversial for the modern era.

Sounds like elevator music being sung along with; very jazzy. Martyn has a decent, airy voice that isn’t terrible to listen to, accompanied by a variety of well played instruments. “Dreams by the Sea” had a Shaft-like bass line that was an interesting change up from previous tracks. But also, I nearly didn’t notice when the album had finished on Spotify and swapped over to Cat Stevens…I’d kind of tuned out on listening. This album wouldn’t have been a first choice album for me, but if you’re wanting a jazzy, soulful listen, this might be for you.

It wasn’t a bad album, but from my listen while driving, it wasn’t as amazing as I’ve been lead to believe Joni Mitchell should be. It was a mellow listen, but not in a way that grabbed me and made me want to pay attention to what are sure to be brilliant lyrics. I might have my Canadian citizenship revoked by this review, but on a first time spin, I wasn’t thinking I need to listen to more Mitchell anytime soon…though to be fair, I wasn’t hating that I spent almost 40 minutes listening. It is worth the spin, I’ll give it that. Maybe further listens and more in depth time and attention would move it up higher in rankings.

A wide variety of tone and message made this album flavourful and a somewhat enjoyable offering to listen to during the work day. It felt like there was everything from jazzy to bluesy vibes happening, and the singing was engaging throughout. While not a usual genre I enjoy, it was a good change of pace and not the worst way to spend an hour or so.

An early offering of what was to come with the New Wave era, this album was an enjoyable listen but didn’t have any songs that popped out from the rest. It had elements of ska and maybe punk, all set to a fairly uptempo beat…but this isn’t an album that I feel I would have missed out on had I not heard it.

It’s an album that I didn’t expect to be as old as it was, but that was a fun surprise. The album seemed like it was full of songs that could populate a soundtrack for any period piece set in the late 60s or early 70s. However, it also was easy to lose track of songs and realize the album still wasn’t done yet…and it would be nice if it was. It was a fun listen for what it was worth and not the worst thing I’ve ever heard. Having a song pop up here or there wouldn’t be the worst, but I’m not sure if I’d want to listen to this album again anytime soon.

The Weight really saved this album for me, as otherwise the other tracks had dissonant sounds in my ear as I took an afternoon walk. I felt the other songs were all trying to reach what The Weight had done: organized the various instruments and voices into something harmonious and anthemic, forever a song that needs to be sung along to. The other ten songs, while maybe not bad, certainly weren’t memorable in my once over, nor did any jump out as something worth an immediate repeat or inclusion on any Spotify playlist. Could this change on further listens? Absolutely…but with so many other albums to hear, I’m not in a rush to repeat this one anytime soon.

Very chill album and great way to enjoy another side of Nirvana. The chatter in between songs is charming and hearing more of the vocals in the acoustic set helps to convey more meaning than previously gleaned before. It’s a more sleepy album though, so if you’re used to a more energized Nirvana sound, this may not be up your alley.

Containing two of the most iconic 60s songs (White Rabbit & Somebody to Love) and a third that was used to close out the influential sitcom juggernaut, Friends (Embryonic Journey), “Surrealistic Pillow” is a worthy listen. A majority of the album sounded like I needed to be high to truly appreciate the sound and message, but even sober, I could see how this album would have helped influence a generation looking to progress past the stagnant straight laced existence their parents had existed in prior. Not my favorite album but for those looking to delve into the 60s sound, I see this as being a quintessential album.

Outside of the title track, this was an interesting album to say the least. In reading more about it, it makes sense that this was an “experimental” album that was done on the spot in the recording studio, especially when it suddenly gives way to an instrumental section that feels like it slipped in from a movie soundtrack. I have to presume that as this was his 12th album, there are others more worthy of a listen…this one was not what I was maybe hoping for or expecting. Maybe I’m being too harsh in my dislike of this album and I can presume lots of people love this Bowie release. Sorry if that’s the case…I promise I really did try to like this!

A classic 60’s rock n’ roll album, Midnight Ride doesn’t run long and as a result, didn’t seem to have a lot going for it. While “I’m not your Stepping Stone” is a classic worthy of repeated play on all of the oldies stations, a song like “Melody for an Unknown Girl” was a very “meh” way to end the album. This album is worth listening to if only because it won’t take much time out of your day and it’s a little slice of that early era of real American rock n’ roll. But outside of “stepping stone” mentioned before, this also might be an album that’s okay to miss out on.

An iconic album from an iconic band. Inspired by the Marx Brother’s film of the same name, “A Night at the Opera” is full of fun and fancy free…along with a couple of Queen’s most iconic songs: “You’re My Best Friend” and the karaoke favorite “Bohemian Rhapsody”. Aside from those two gems, concert favorite “Love of My Life” was also snuck in along with two songs not sung by Mercury that may deserve more attention, in “I’m In Love With My Car” (sung by Taylor) and “‘39” (sung by May). Overall, this album is a variety of sound and song types, demonstrating Queen’s growth by the time they were creating this fourth album. It’s a fun listen from start to finish if you’re a fan of the band or looking for your gateway introduction to Queen.

Everyone knows of the tour de force that is the song “Imagine”…but I…imagine (ha ha) that a lot of people aren’t aware of the album it’s a part of. Well, I was one of these people…and following a listen, I have to say I hadn’t missed out on too much. In my limited listens of solo projects of the former Fab Four, I’ve found most had at least one or two unreal songs (ie Imagine or Jealous Guy) and then mostly filler type songs, or tracks that don’t really hit the same and don’t become so memorable soon after the listen. Obviously the Beatles enthusiast should hear this album, there are some decent tracks here for sure. But it’s also hard not to listen through and wonder what this could have been had it been done as part of the Beatles. As it stands, this is worth a spin for the first few songs, but don’t be surprised if you find your interest waning by the end.

This is one of those 90’s albums I really want to like, as songs like “Caught Stealing” & “Stop!” are fun and infectious classics from the era. But Perry Farrell’s voice is one that becomes grating as the album slowly rolls along and the playlist finds its way into the background, maybe as a way to protect myself from the high drone of Farrell’s voice. Outside of a likely personal issue with the singer’s voice, there are some great bass riffs and fun songs worth hearing. The album is not a total write off and it serves as a marker in time, reminding us of a time when life was fun and rock had a prominent place on the musical soundscape.

Boy howdy, this was an album for sure. Definitely too country and raw old school for my taste. It reminds of Bob Dylan, with a real country twang…and I’m no Dylan fan! But I’m sure Elliott has an audience, and I wish I could have found myself as being a part of it. It makes me think of spending time at Knott’s Berry Farm in their Ghost Town, riding the Ghostrider and then getting some boysenberry-infused treats. What a great thought this is… But this brief daydream doesn’t make this album any better. I’m hoping I’m one of the minority who didn't enjoy listening to the record, as the fella does sound mighty kind. Maybe it will do you more good than it did for me!

With tracks blending from one to the next, Justice created an album that captures the tone of a Daft Punk album, with Crystal Castle vibes. It gave me an unexplainable desire to play laser tag and air hockey under black lights like it was 1997. Also, I didn’t realize “D.A.N.C.E” wasn’t Daft Punk, as I’d heard the song and without context, thought it was just another of their catchy tunes. The singer of “The Party” sounded like Kesha on “TiK ToK”, which drove me crazy when trying to figure out why it sounded familiar (note: it’s not Kesha…according to my research, It’s Uffie…you know, Uffie). Overall, worth a listen for sure…some songs can get a little tedious and irritating with repeated beats that worm their way into your subconscious and don’t end when they maybe have overdone their welcome. But for anyone who digs the Daft Punk scene, this is a welcome album to add to the rotation.

This was an album where I had an idea of what I was getting to, but had more fun than expected. The Talking Heads brought all of the fun of the new wave era and I found a few sounds out side of the Billy Big Mouth Bass classic, “Take Me to the River”…this was highlighted by the upbeat “I’m Not in Love”, which was promptly added to a playlist or two. This is an album you’ll need to hear if you’re into (or getting into) the new wave sound.

The whole disc plays like a John Hughes soundtrack, so it was easy to listen to and get lost with. Not much to say really, it was a fun, decent listen that I wouldn’t have heard without this project, and that’s coming from someone who has always enjoyed the 80s as a genre (well the “new wave” pop stuff anyway). It’s hard to believe that I’m still finding “new” stuff after all this time!

As I was driving to get groceries, I found out there could be a wrong time to listen to an album. “Let’s Get It On” might be the first album I’ve ever heard that seems to be a strictly bedroom only listen. It was soulful and enticing, and if I hadn’t been trying to get food for the family, I might have paid attention to the words more and really become hot and bothered. It wasn’t the album for me though, as it was a little too seductive and slow for me to listen to for the 30ish minutes it runs for.