Look, I get it. There are some really simple, nursery rhyme melodies here and the singer's voice is a little nasally but I can't keep these out of my head. Dizzying synths and a tight, bright bass litter these tracks with an 80s pop sensibility that still holds true today. Titled "Low-Life" with a downtrodden aesthetic, but tentative listeners will hear love, happiness, disgust, and even anger. The emotional intensity below the surface is grand. I mean Elegia starts the second side of the LP. If that doesn't give you chills, check your pulse (and watch Stranger Things!!)

Some albums age like milk. Others, like this one, sound derivative because everyone copied it afterwards. The production is high and the musical ideas are fully fleshed out. Happy I listened. Glad people improved on it over tie.

Pure power pop from the very cool all girls band. Passed the singles, there are still some really tight cuts. From my favorite genre, this is a great gem.

A pleasant 60s rock album from a band that sat closely next to the Beatles during their time. This one will sit closely to the rest of the concept albums from the summer of love: near the top with its brethren.

Started off a bit derivative from 60s psychedelia. The middle point started to get really catchy and strong. Anvil Everything. Part-Yes, Part-Dead, Part-Jethro.

Bright, cheery, hopeful and spiritual. As Jean-Michel Basquiat once said, “Art is how we decorate space, music is how we decorate time.” Home Is Where The Music Is decorated my space and time in an otherworldly and positive sense.

Okay. I honestly rolled my eyes when seeing this is my queue. I'm not a metalhead, however, I do love my punk rock and I dabble in the more modernized metal/prog bands like Coheed and Cambria. I am actually impressed with some of the composition of these songs. The multiple key and tempo changes and knowing the difficulty in playing some of these songs is impressive. Sonically and melodically, its mostly unmemorable. However, the moments that switch up the straightforward single string riffs to arpeggios and moody tempos tickle my ears for those moments. Happy I took the time to listen.

Bob Dylan the songwriter, lyricist and poet: immaculate. Bob Dylan the performer, singer and guitar player: amateur at best. That's a shame because most of the underlying themes are strong. The problem is, no one but Dylanophiles can fully understand what he's saying and the music, while tightly played, sounds ripped from many blues takes and classics. In my opinion, a product of the time, and a classic for those who already have it in their rotation.

Stand! Sly and The Family Stone aren't asking you. Its a command. Not because they want to control you or tell you what to do, but because they want you to experience NOW. Get up and dance. Be happy. Be a *person*. The mixture of the soul/gospel tracks with tight funk grooves create an essential and complimentary mix of spiritual uplifting and bodily enjoyment. The mix on this record stands out on this record. Each part is articulated in its particular slot, especially considering how clean the bass and drums can be against the effects on the guitar. Delicious sounds come out of this record.

Great vocals, great guitars, solid production, tight execution. I just find the song structure to be a little lacking. Ideas are fully fleshed out but having each song littered with solos makes me exhausted.

An effects driven record that feels one part 60s "retro" and one part "modern" 90s sound, Even with heavy reverb on many tracks, each instrument has time to grow, swell and burst. A psychedelic trip through electronica and rock, its a trip back to an era when the most popular TV show was X-Files and with this album, you can tell.

When the music is as fun and varied as Innervisions, its hard not to enjoy it. Stevie Wonder's voice sounds unbelievably smooth here. Effortlessly singing and matching the piano cuts, he's able to invite you in to his world without making you feel overwhelmed by his personal "innervision." Good musicians are supposed to bring you to their ecosystem, great musicians make you want to stay.

Poignant lyrics that paint pictures, swell you up with emotions and sweep you off your feet. Nearly each song has the simple arrangement of Tracy's voice, her guitar and a drummer colored by some percussion. At times a few additional instruments join the formula. It feels barebones yet full and strong.

Modern hip hop coming out of London, Little Simz is fresh and completely ready for the international stage. She's not aggressive, but she is direct. Her lyrics will rip everyone apart without devolving into a mess of a tirade. She's smart and intelligent. She knows where she stands in this male dominated industry yet she uses her memories, experiences and thoughts to stand out on her own island. The production by Inflo is influenced by the urban sounds from Tokyo to LA which pushes this record to the next gear. Little Simz is already talented with six gears but Inflo adds that little bit of extra.

Bee Gees take there stab at a concept album and its a bit of a mixed bag. Individually, the songs are predominately strong, if at times, a bit formulaic. However, when sewn together, the album can feel uninteresting at times. They use the same "tricks" of the ballad starting off soft and then swelling up and then breaking back. When they break those up with a strong bassline or adding complex acoustic strumming patterns, the music strikes a nice balance. Their biggest offense is when they use nursery rhyme melodies instead of a well written one. However, the Bee Gees are strongest when they sing of regret, triple the vocal takes and harmonize their voices in front of strings and a piano like on "Don't Wanna Live Inside Myself". Worthy of a listen for those that can stand soft rock of the yacht kind.

Its fine. Adele is extremely talented and its a decent collection of songs. Besides being the age of 21 when writing and recording this album, there's no cohesive narrative, goal or theme. The singles are the (strong) highlights but there's no real reason to stick around past them.

Moody and dark careened with a bit of light and airy, a band that enjoys the macabre and theatrics, and a 60s pop filled spirit. Its like unexpectedly biting in to a chocolate chip cookie with rich dark chocolate: the sweetness is mixed with a bitter cocoa flavor in a rich mixture when you were expected the usual.

Long, drawn out, repetitive, and angsty. The same guitar tone, same gruff vocals, the same up-down stroke riffs in the same minor keys. Really not sure what's going on here that others hear. Other then having "Metal" in the name, what's cool about this?

Look, I get it. There are some really simple, nursery rhyme melodies here and the singer's voice is a little nasally but I can't keep these out of my head. Dizzying synths and a tight, bright bass litter these tracks with an 80s pop sensibility that still holds true today. Titled "Low-Life" with a downtrodden aesthetic, but tentative listeners will hear love, happiness, disgust, and even anger. The emotional intensity below the surface is grand. I mean Elegia starts the second side of the LP. If that doesn't give you chills, check your pulse (and watch Stranger Things!!)

Tight, Americana country music from the storytelling singer and guitar player. With a boyish voice and a beautiful acoustic, Willie Nelson invites any listener to enjoy the stories of an older, less fickle America. Still religious prone with a taste for the nostalgic, but love and heartbreak are the centerpieces of American worth. Much of the album is covers, but what sets this album apart is how genuine and peaceful it is sung.

Fine catchy, alternative, jangle rock.

If Sgt. Pepper was an amazing night out of drinking, drugs, & late night conversations, The White Album is that night's hangover. Cynical, darker, and at times, random, the White Album bends and blends genres. After each song, it turns each corner to a different one. In the span of a few songs, you'll hit a blues song, an acoustic ballad, a cynical rock track and then a happy-go-lucky reggae inspired tune. Most of the orchestra instruments and complicated songscapes have been ditched for more traditional "rock n roll" arrangements. When they do appear, its much more subdued and limited. In order to really appreciate this album, you'll really need to listen to Sgt. Pepper and then get here. All the nonsense make more sense sonically and lyrically.

Catchy, strange, and angular. Not for fans of straightforward pop music. A good use of repetition to keep listeners engaged while the riffs and lyrics feel all over the place. Yet somehow it works. It feels anxiety provoking without the strong bite of anxiety. There's little distortion to toughen the themes and tension, so it pulls off confusion without getting too upsetting. Its perfect for people who want weird without going avant garde.

Alternative rock that's loud, post-rock, post-post-punk, completely undanceable and deconstructed. While it sounds aggressive and loud, it comes across more like a "back off" creating a wall of protection from the distorted guitar, bass and synth loops. The drums are subdued and quiet compared to the tremolo picking lines that are bright. Vocals interweave in to one another which makes this record more sophisticated than the "standard" post-rock faire.

Nonsensical lyrics that are catchy and strange, jangly guitars, solid and unique bass lines and a drummer that matches pace. What more could you want from one of the original "indie" bands of the 80s?