The title track features a nice combination of funky bass and breezy guitar licks. Cozy atmosphere. Happy Feelin' is great as well. All About Love slows it way down and has a super cool psychedelic outro. Pan flutes feature in the intro to Africano before polyrhythmic drums come in and excellent saxophone. It's a jazzy instrumental but with a real groove, my favourite track. See the Light keeps the same jazz bass but the vocals re-enter. I would love a whole album of this. I debated not giving this full marks but the highs are high enough.

Nothin wrong with this but I expected to be more into it. Beats feel very plain and the tracks mostly run together. Some funk, but I want more.

Title track is excellent.

I liked the last song on side one (Sitting by the Riverside). Tracks 2, 9 also good.

Porcelain stands out but there's other good ones. Liked the chilled out beats: Rushing, Everloving, Inside, The Sky is Broken.

Baba O'Riley is iconic and Behind Blue Eyes is the other hit. First track of side 2 (Getting in Tune) stood out.

Leans very country. $1000 Wedding: good ballad. Also liked Ooh Las Vegas. ** 1/2

Pleasant dream pop/folktronica. Favourites: Road to Somewhere, A&E, Caravan Girl

Gets to **** on the strength of Wild World and Father and Son. Sad Lisa also good.

Interesting symphonic parts among the folk rock. Heart of Gold still the highlight.

Last Tango in Paris was good. Videogame menu music.

Dance Dance Dance best of side 1, She Knows Me Too Well my favorite of the slower side 2.

Fake Plastic Trees still beautiful. (Nice Dream) is a great deeper cut. Some iconic riffs on Just and My Iron Lung. No real misses.

The two big hits aside, I liked the first track and Change Your Mind.

Full of good riffs and solos. Killing in the Name, Bullet in the Head, Know Your Enemy are standouts.

Theresa's Sound-World was the highlight, cool post-rock sounding riffs. Also liked Sugar Kane and Chapel Hill. Actively disliked some others (ex: Drunken Butterfly) - vocals not working for me. Would listen again with some skips.

Cool riff on second track but the vocals kill it for me. Love is Only a Feeling was good - doesn't have the same high pitched vocals.

Can't Truss It still goes hard, track 5 also solid. Aggressive beats. Bring Tha Noize with Anthrax is fun.

Wild beat on Crime Riddim.

All I Need is a track I hadn't paid enough attention to before - reminds me of Boards of Canada at times. JFIP is another standout. All very strong songs. At once sad and hopeful.

Persian Love is weird but good.

First two tracks are standouts, bass intro on Caught in a Mosh is killer. N.F.L., Indians and One World also very good, crushing riffs throughout.

First side wasn't really my thing, but a couple of tracks on the second side were working for me. Come Back Baby and Groovin'. Ain't No Way as well. Growing on me.

Electricity is cool, Frontier Psychiatrist also. Funky bass on Live at Dominoes.

Didn't grab me at all until Jimmy. Tough to get through some tracks. ** for Jimmy and Paper Planes.

I Would Die 4 U is nice and the title track is an epic. Underwhelmed by the rest but better on second listen - great synths on Computer Blue. Still didn't connect with Darling Nikki.

Drug Ballad is really good. Some of the lyrics haven't aged well. Loads of hits on here though.

First track is a nice intro. Sound not too varied throughout but it's pleasant. Enjoyed the last couple tracks.

Caravan was a standout. There's other good parts but I think this needs more time to digest properly.

Starts really strong. Dre Day is the best for me. Production amazing throughout but the deeper cuts don't hit as hard as the singles. Bitches Ain't Shit great closer though.

Some big hitters on here (Can't You Hear Me Knocking is a fav). Great solo to end Sway. Second side brings down the tempo but may be more interesting. Worth revisiting.

Unsettling. Blue Rosebuds stood out, but I don't want to listen to it again.

Nice sound, good basslines throughout. I liked A Past Gone Mad. Flirts with greatness at times.

Catchy at times (Do the Dog, Nite Klub, etc). Good last track. ** 1/2

Liking this more than I expected. Tracks 2-3 are good, 7, etc. Liking the slower songs.

Only half the album seems to be on Spotify but I like the energy.

Surprisingly funky beats, eg, on North American Scum. Someone Great is pretty. Fun sounds on the title track.

Tonite and This Town are good ones.

Liked tracks 3 and 5 and the piano on 7. Strong finish with Can't Make a Sound and the great outro. Dreamy stuff.

Cozy. Title track and Help Me two of the standouts, plus the first couple tracks of side two.

Has a haunting quality to it. His voice leans a bit monotone. I liked the more melodic tracks, ex: The Stranger Song, So Long Marianne, Stories of the Street.

Relax still catchy. Good 80s bass on Two Tribes (and throughout). First half not doing it for me often enough but second half picks up with Black Night White Light, emphasizing the funky bassline and a couple great keyboard riffs, plus The Only Star in Heaven with good driving bass. The Power of Love is an epic closer. Could have been **** with less filler.

Some interesting stuff here but maybe not for me. First track stands out. Would give it another spin.

King was a nice track, and Food for Thought. Some good instrumental sections too, but overall fades too much into the background to be great.

Standout: Satellite of Love.

The 3 singles are all strong. Also liked Xplosion, Humble Mumble, Gangsta Shit. Second half better than expected, but too much filler to rate this very high. Skip the interludes too.

Rock Lobster is really good and there's enough other strong material here. Fun riffs. Deranged sci-fi soundtrack feel on Planet Claire.

No bad moments but Devils Island and My Last Words stood out, plus the obvious hits. Incredible leads and energy throughout, bass prominent in the mix (2004 remasters).

Beautiful and surprising from start to finish. A Rush and a Push... and Girlfriend in a Coma may be my favorites but that's just scratching the surface. Revelatory.

Immersive at times but the changes in tone took me out of my reverie. I still think I would listen to it again.

No doubt influential, but not doing much for me. The Windmills of Your Mind is good. ** 1/2

The Hardest Button to Button was pretty good. Nice riffs on Acorns and Hypnotize. Second half better.

First track Dirge is great, driving bassline. Flying as well, another instrumental. Second half falls off compared to the start.

Bodhisattva strong start and enjoyed the last track too, King of the World. Clicked more on second listen.

Them Bones good opener, some nice midpaced tracks (Sickman, Dirt).

Unexpected chord progression on the opener. There's some fast riffing too but maybe at its best when pretty - I Want the One I Can't Have or Well I Wonder. Barbarism Begins at Home is quick paced with a funky bassline.

Karma Chameleon can't save this. Black Money and That's The Way kill any momentum side one had. Side two picks up with Miss Me Blind and Mister Man. It's ** overall but I would just listen to the second half.

Out of the Blue is very strong with great solos but followed up by some eclectic tracks, Bitter Sweet being particularly odd. Good finish though. There's enough highs here.

Some interesting soundscapes.

Still sounds fresh in 2023. The bass and percussion drives everything forward, strings are lush. Mercy Mercy Me stands out and the 7 1/2 minute Right On.

Heavy but I can't get into the vocals.

Fuzzy guitars and prominent bass. Backing flutes or sax. Some good solos and weird interludes. Orgone Accumulator is a highlight. ** 1/2

Bring the Noise, Terminator X and Black Steel are highlights. Classic 80s rap beats.

First half is let down by Never Asked to Be Your Mountain, for me. Second half very strong though. Especially like Phantasmagoria in Two and the epic Goodbye and Hello.

Listened to this in bits and pieces (wasn't on streaming as an album) but still enough here to want to revisit. Lots of good basslines and soundscapes.

The two hits are good, and Star is strong also but not enough of the rest grabbed my attention.

Didn't like side one. Love is a Hurtin' Thing is pretty good.

It's Not up to You is good, dreamy stuff. Pagan Poetry one of the standouts. Love all the sparkly chimes and keys - short instrumental Frosti is beautiful. Sun in My Mouth and Heirloom also. Mix of cinematic soundscapes and tightly produced beats.

It's all a bit laid back but there's some good moments here. The Weight for sure, but also We Can Talk and especially Chest Fever with its slow burn of a riff. Lonesome Suzie is grating though - don't like the vocal.

Eclectic mix. Not sure about the almost spoken vocals. X-Tra Wide has summer vibes, love the bass and flutes (?) Shiver is catchy, Astonished and No Reply are brooding, the latter with 2 beautiful solos. Surprisingly heavy slow riffs on Satellite.

Mesmerizing 11-minute drone rock opener, but the best section is Picnic on a Frozen River with its driving bass and weird, swirling melodies followed by the charming Giggy Smile. Great ambient sounds on Lauft, I could listen to a whole album of just this. 50 years old and still sounds futuristic.

The more chill beats are the best parts, eg Machine Gun Funk and Warning. One More Chance goes hard, raunchy lyrics but the beat is smooth. Effortless flow but too much filler to be ***** and lose the skits.

If you weren't already depressed it might get you there.

There's some good stuff here. Obviously, Like a Rolling Stone stands out. And Dylan sounds good. I want to rate this higher but it's *** 1/2

Castles Made of Sand and cover of She's So Fine are standouts for me. There's probably more to unpack here but this is more experimental than I expected.

It's top heavy but the synth beats are infectious.

I almost get proto post-rock vibes from the last track. Some good stuff here, if you're in the mood.

Frenetic, quite progressive, but also very melodic especially tracks like Here Come the Rome Plows, Luau, & Bullet Train to Vegas. Lots of riffs. Not my favorite vocal style but it works for the most part.

Hard to beat for the spectacle. Peaks at Paradise By the Dashboard Light but this is worth paying attention to for the duration.

Science fiction beats courtesy of Dan the Automator. Lyrics all over the place but the flow is good. Earth People is menacing - I like it.

Very country overall. Take It Easy probably the best here. Witchy Woman also quite good.

Not what I expected, but in a good way. I get proto-ambient vibes with the jazz instruments and guitar creating dense atmospheres. Worth revisiting.

Has some redeeming features (Gone Daddy Gone) but hard to get through at times.

Mostly inoffensive except the penultimate track with its nearly 6 minutes of acapella. Highlight: Wishing Well

Vocals are grating. Some really weird music also, eg, Thriller! The short I will wait is fairly pleasant, unlike most of this album.

Calm Like You is good. The record has a retro movie soundtrack feel, especially on tracks like My Mistakes Were Made For You.

Pleasant childlike quality to many of the songs but there is dissonance also (best example is Heartbreaker). Hard to contextualize Lovefool since it's such a recognizable hit. Very well crafted though.

I Shot the Sheriff is a bop. On side two I liked Please Be With Me and especially the pretty Let It Grow.

Great solos on several tracks. Nice guitar tone and keyboards. The deeper cuts are all pretty energetic with good riffs. More Than a Feeling is overplayed and it's all a bit cheesy but it's a fun listen. I can't fault it.

It's Too Late, Home Again and You've Got a Friend among the standouts. Interesting to hear this version of the song that she wrote and James Taylor also recorded. Strong overall.

Folk but with a mournful edge running through it. Certainly worth revisiting but this is a *** 1/2 for now.

It's mostly poetry or spoken word over jazz with not much I would classify as a song. Worth checking out The Bottle, though. Hard to find on streaming services.

Serves a purpose. I listened a week after Christmas which may have hurt the rating.

I like the more electronic tracks. Some interesting moments like Dragon with its repetitive melody and glitchy beats. Broke goes further into weird sounds and percussion. There's a lot going on here but I want to listen to it more.

First two singles didn't really stand out but enjoying the soulful basslines and keys on tracks like Been so Long. Mystery is a highlight - atmospheric and catchy - and No One in the World.

Mixed bag. Far Far Away is very pretty. Forget the Flowers good too. More country than I expected, though there's variety here. Sunken Treasure strong start to disc 2. I also like The Lonely 1. There's a **** album in here somewhere.

Strong strong start with Regular John and especially Avon. Heavy, driving stuff. It's up and down after that but the good is good enough. You Can't Quit Me Baby another highlight. I listened to a reissue with extra tracks so won't fault the length. Listen on good headphones.

Epic prog rock. I don't like giving points for influence but you can see why people in Maiden, Guardian or Dream Theater liked this stuff. Feels like a complete album.

Surprisingly chill and melodic. Lazy Sunday kind of music but it hit right for me. Great vocals throughout.

This Is Love one of the admittedly few standouts on first listen. Closing track We Float is excellent however. Listened again - Big Exit is a good opener. There's other strong tracks too and the Thom Yorke collabs are interesting. I liked the more energetic, driving songs best though.

The bass on tracks like Six Blade Knife and In the Gallery combined with Knopfler's distinct guitar sound is perfect. Love the interplay of the guitars on Southbound Again and Lions is a great closer. There's a lot to unpack here - not just Sultans of Swing.

Bonny is breezy 80s pop rock. I'm liking it. When Love Breaks Down as well. Surprisingly poignant guitars on Goodbye Lucille. Goes a little more avant garde on Horsin' Around and slows down for a few tracks, but still melodic throughout.

There's pleasant stuff here even if some of it runs together. Still has a nostalgic sound somehow with its expansive arrangements. Favorite track: Will You Love Me Tomorrow

Up and down. Great synths and weird sounds, but March of the Pigs is the first standout song. Closer is still deranged sounding, almost hard to believe it was a hit. Nice ambient soundscapes on A Warm Place. Hurt is a beautiful closer.

I like This Ain't Living and Walk to Slide smooth flow to it. Funky and jazzy. Most of the rest isn't clicking with me.

Weird and wonderful. Peaches En Regalia is beautiful. Willie the Pimp has the only lyrics on the album - and they're strange - before Zappa starts shredding. It's complicated music, but there melody everywhere as the guitars weave in and out of the other instruments. Some of the best stuff doesn't even have guitar, eg: Little Umbrellas. In the first part of The Gumbo Variations, sax and bass are just as happy to take the lead. Instant classic.

Sabbath bring the riffs here, and they're heavy as hell. Dual guitars on display in the opener once it kicks off in the last third. Supernaut has a killer main riff and some interesting drumming. Snowblind chugs along with melodic guitars and a mournful solo - top stuff. Cornucopia's intro riff is just evil. There's time to catch your breath with Laguna Sunrise before the guitars bash your head in again. Then the closer is an epic with tempo changes and a beautiful harmony section.

The instrumentals on disc 2 help redeem this. The End of the World (off disc 1) stands out, as well as Orange Blossom Special which flies along at breakneck pace. Overall it's way too country but there's some folksy stuff I like.

Smooth production you'd expect from the Neptunes. Enjoying the title track and its recurring synth riff. Jump and Breakout as well. Second half is weaker, but Chariot of Fire is a pretty good closer. Overall, this is as middle of the road as it gets.

Expansive sound through headphones. Dark and moody at times. Pace picks up with the title track, driven along by bass and piano. Slow middle section before the guitar comes back in. I like this. Ominous riff and organ (?) on L'America. Riders on the Storm brings back the moody atmosphere with guitar and keys over rainfall sounds. Very good.

Izzo is a classic but the production is good and varied throughout. Lots of soul influence. Nice strings on Girls. I like Heart of the City and the slower tracks like Song Cry and Blueprint. Eminem steals the show a bit on Renegade.

A symphony of strings and indie rock. At once sad and hopeful. Powerful stuff. Best tracks: Intervention, Ocean of Noise, and the climactic No Cars Go.

Opener brings the speed and energy. Love the main riffs on House of Suffering and Re-Ignition. Secret 77 slows it down and goes in a different direction. Nice vocals and chord progressions. Solos too! Can't tell if this wants to be punk, or metal, or something else (new wave? last track sounds more like hard rock than anything) but it's a concise and enjoyable half hour.

I listened to the Very Best of the Gershwin Song Book (2007), there's also a four CD set (!) that I haven't heard all of. Ella's voice is great and the songs have a nostalgic quality but this just isn't making me want to revisit it straight away. Can't go higher than ***

I liked Play to Win and especially Soul Warfare with its pianos and prominent bass. Lots of weird squelchy synth sounds. The Height of Fighting also fun to listen to. Overall... weird... I can't decide if this should be ** or **** so I guess it's in between.

I like the music, could be from an old film. But her voice is grating and it ruins it for me. Apparently she was past her best here - I would like to listen to something older.

Marvin Gaye brings the funk. Is That Enough stands out but the whole record is good. Chilled out beats.

Highway Star is a perfect opener, hard driving with great solos. Pictures of Home also strong, interesting melodies and a big bass solo in the middle. Smoke on the Water too...and Lazy is mostly instrumental with a long intro before it picks up with some intricate lead work. Big chunky riffs on Space Truckin' to end it. Hard rock classic.

I don't think I'm on enough drugs to appreciate this. What's Happening is pretty good. Some grim depressing stuff like I Come and Stand at Every Door. Not one to revisit.

Wildfires is smooth and quite catchy in a deep house kind of way. Monsters has a grimy beat and I like the vocal. There's some other good parts but it's too much filler to my ears.

Slower first couple of tracks before the tempo (and mood) picks up with Ragged Wood. Lots of more contemplative folksy parts which don't all grab me, but Blue Ridge Mountains is charming. Overall it's quite playful and uplifting.

The Beach Boys' answer to Rubber Soul has enduring classics like Wouldn't It Be Nice and God Only Knows, but also great deeper cuts. To name a few: Let's Go Away For Awhile is orchestral with chimes and drum rolls. Sloop John B ends side one with more interesting percussion over a rock beat. I Know There's An Answer is layered with harmonies and different sounds. Essential.

Some iconic stuff on here like the riff from In My Place and the piano melody in Clocks, but a lot of the songs just slip by. Pleasant, but not demanding full attention. Warning Sign is pretty good though. *** 1/2

Has to be considered in the context of her previous record but this isn't folklore side B. Underappreciated by some fans, this just may be the better album. The indie era is alive and well. Favorites: Willow, Tolerate It, Long Story Short.

Appropriately, groovy bass lines are prominent and the backing music is atmospheric. Flow is measured, but lyrics incisive. At times, feels like this bridges the gap between the 80s and 90s. Beat on Infamous Date Rape is particularly nasty and Jazz (We've Got It) is super smooth.

Listened to the mono Super Deluxe Version. Still not sure I love the mix. Tattoo and I Can't Reach You are nice, Silas Stingy also interesting with backing organ (?) but this isn't resonating with me overall.

Stirring strings and Scott's full, round singing voice carry this. Nostalgic but not overly dated sounding. Standouts include Angels of Ashes and The Old Man's Back Again, but this was consistently good.

E-Pro is an energetic opener, nice crunchy guitar sound. Switches gears quickly into breezy rap-rock on track 2, with electronic and world music stylings. Girl starts with bleeps and bloops before breaking into alt rock. Continues to defy genre expectations or easy categorization as the record progresses, winding through folk/country with Emergency Exit. At the very least this is interesting.

I like ballads but this is a bit sappy, eg, The Moonbeam Song. Coconut is just silly. Some of the more rock oriented songs are better like Jump in the Fire, but not enough to save it. Closes with another really slow ballad. Zzz.

Much more subdued than some of their 60s work. The last three tracks are quite magical with Til I Die being the standout. Gets it to **** but I might just listen to side two next time.

Some good hooks in here. I like Disturbance at the Heron House. Couple big hits in It's the End of the World As We Know It and The One I Love. Strong stuff.

Strong start, fourth track goes off kilter a bit but the synths do a lot of lifting. At its best when it rocks hard and lets the keys fill in the backdrop, but there are some good moodier moments as well. Love the closer All Mixed Up. The 80s are coming and The Cars are driving us there.

Some interesting keyboards, especially on Survivor and Fancy but compelling little riffs throughout. Outro even sounds like a Detroit house beat from the 80s. Just too much filler in the middle to be great but this is still a success.

Some fun stereo effects on this one. I'm Not Your Stepping Stone is energetic with a simple but effective progression. Nice harmonies on All I Really Need Is You. Just about a three star record.

Haunting acoustic riff sets the tone in the opener. Folk underpinnings and some angry alt rock guitars crashing through the calm to great effect. Unexpectedly pretty chord progressions with Buckley's clear voice piercing through. His take on Hallelujah just sparkles, maybe one of the best covers ever. We've covered a lot of ground by the time Forget Her fades out. Exceptional.

The trio sound great from the first bars whether singing or rapping. Production is varied and precise with middle eastern influence on a few tracks. Ready Or Not hits hard over a stripped down beat. Killing Me Softly is warm and intimate with its backing chorus and prominent bass. No Woman No Cry takes us in a different direction but somehow doesn't feel out of place. Then Lauryn Hill saves her best rapping for the last track. Deserves to be listened to from start to finish.

Listened to most on YouTube, full album wasn't on streaming but this sucks. 0 stars

Far from the punk I expected, clean sounding and approachable. Opening track is catchy with a repetitive riff and backing keys. Fuzzy bass there underneath. Princess of the Streets is more psychedelic with its bass and keyboard intro, and features two melodic solos. (Get A) Grip is another standout, poppy but with complex keyboard work, and the long Down in the Sewer. There's a lot to like here.

I expected to like this more than I did. Kendrick's style is unique and there are some good lyrics here but I wanted more hooks. His monotone rhythm still creates a compelling atmosphere, but it's not necessarily one I want to immediately revisit. Standouts: the title track.

Iconic intro of course. This then goes places I didn't anticipate, covering a lot of ground over the two roughly 25 minute pieces. Both sides build to something approximating a crescendo near the end. Undoubtedly a classic. I'm docking a point for whatever those vocals are in part 2.

I'm digging the long, atmospheric Papa Was A Rollin' Stone with its simple bass line. On the other side, I Ain't Got Nothin' and The First Time I Ever Saw Your Face scratch the same itch. Has a certain timeless quality to it.

Basket Case is the big hit but there's plenty of pretty iconic pop punk anthems here. One note stuff but it does it well and the album is the perfect length to keep energy levels high throughout.

All over the place, from chill soundscapes to drum n bass, hip hop, worldbeat and something that could have been in a Disney movie (Immigrant). Letting Go was good as well as the instrumental Tides with lively piano over ocean noises. At other times, was tough to get through.

Easy listening jazz. The piano is nice. Nothing in particular demanded my full attention but it's certainly not unpleasant to listen to. Would look up more Bill Evans in future.

I like Some Mother's Son and there's a nice distorted riff on Brainwashed. The longer more complex songs like Australia and Shangri-La are my favorites. Goes in a more psychedelic direction on She's Bought a Hat... Overall good but not great.

It's very bluesy at times. Lean Woman Blues especially, but it's good if you like that kind of thing. Bang a Gong is the big hit, but Girl is a nice one too. Everything kind of just plods along.

Big time funk. Firmly in the 80s for a 1990 result but still some solid hip hop. Highlights: Freaks of the Industry and Doowutchyalike.

Gave this a couple tries but it's just not speaking to me. Nothing wrong with it, and there's some pleasant stuff so it sits at *** but it all runs together.

Beyond the big title track, Jealous Guy is a nice slow burner with strings out of a movie soundtrack. Then we're straight into the bluesy It's So Hard. More strings come in to make it quite interesting. The longer I Don't Wanna Be a Soldier Mama kills the momentum somewhat, but Oh My Love is another good quiet piece. Last track Oh Yoko! has a bit of Bob Dylan in it. I do want to revisit this.

Hard to listen without moving at least one body part. Bouncy, addictive bassline on the opener. The 7-minute Games is a highlight with female backing vocals and interplay of pianos, bass and sax. If You Think You're Lonely Know was the big hit, bringing more of the soulful stuff. Great, clear production throughout too.

Part ambient, part repetitive, driving rock. Mostly instrumental, brilliant in its simplicity and effectiveness. The 10 minute closing track might be the best part. Doesn't feel old at all.

Rock with a healthy dose of folk and psychedelia. Nice stereo effects. Only dreaming Now is good but the quiet, fantastical Magic Hollow is the clear standout.

Brilliant and eclectic, in distinctly Police fashion. Grabbing you from the keyboard intro of Synchronicity I, followed by Walking In Your Footsteps with almost Caribbean sounding percussion and barely any guitars. O My God is mid paced, built around a funky bassline. Mother is the sole low point, bizarre vocals and carnivalesque melodies. Miss Gradenko brings back the groove and a catchy vocal hook. Synchronicity II is a straightforward rocker full of memorable riffs. Somehow side two is stronger, leading with Every Breath You Take, but King of Pain and Wrapped Around Your Finger might outshine it. Essential stuff.

Full of interesting sounds, alien like at times. Sit Down Stand Up is haunting until the frenetic finale while Backdrifts is compelling with an unsettling progression. Where I End and You Begin is a highlight; this and There There are something approaching radio friendly, if any of it is. Perhaps just a bit too long and unfocused compared to the best of Radiohead.

Listened to the original version ending with Plastic Fantastic Lover. Somebody to Love and White Rabbit are the big songs, but I also like the quiet, pretty riffs in tracks like Today and Comin' Back to Me.

First two tracks are forgettable but the longer pieces are much more interesting. City, Country, City is soulful and jazzy with enough melody to keep me engaged, over some tribal sounding drumming. Four Cornered Room brings the tempo down and goes in a bluesy direction, although, for me, the vocals detract from it. Title track is much better, more soul and saxophone over a steady beat.

Starts strong with fast techno-synth riffs alternating with slow passages on GhettoMusick. Incredibly varied beats and rapping on disc 1. Highlights: The Rooster, Bust, Flip Flop Rock, Last Call. Disc 2 starts with jazz piano and continues thru different genres. It's a wild ride, but a bit weaker than the first set. Highlights: Hey Ya, Roses, Behold a Lady, My Favorite Things. Speakerboxxx earns a *****, The Love Below *** 1/2, so we'll call it **** overall.

Joni's singing is amazing and this is a pleasant listen, but I mainly connected with the piano tracks. The title track is beautiful and haunting, River and the closer are very good too. I'll need to revisit this. Annoyingly not on Spotify.

Crystal clear production, the guitars and drums sound amazing. The children's chorus and Gilmour's solo on Another Brick in the Wall, Pt. 2 are iconic moments. Too many other highlights to mention (but Comfortably Numb has to be one of them), it's hard to imagine not wanting to listen to the whole record and just be transported to another world for 80 minutes.

Listened to the original version. I don't know if this is my favorite Taylor Swift album but it's undoubtedly the one that launched her from stardom towards something beyond. No, I don't really need to listen to Shake it Off or Bad Blood every time but the section from Blank Space to Out of the Woods is pop perfection. The back end features some more subtle synth pop including the sleeper hit Clean to close proceedings. 13 songs, naturally.

Opens with a d'n'b beat before crunchy alt metal riffing comes in underneath female vocals. We Don't Know Who You Think You Are has a quite heavy, groovy main riff - I dig it. Secretly goes symphonic with strings and a sweeping, melodic chorus. Cheap Honesty brings back the heavy guitars and it works. Good bass too. The album covers a ton of ground, but for me it's not focused enough to be great.

Girls Just Want To Have Fun is appropriately joyful, if overplayed, but the melancholy Time After Time and sparkling All Through the Night are the real winners here. The rest of the record keeps the energy levels high and the synths drive the low end. Analogue never sounded better.

Chameleon opens with a simple, funky bassline before overlapping waves of synths come in, almost overwhelming the listener, then retreating. The bass becomes more insistent and the synths softer. The clavinet (?) comes in and the drumming is intricate, then the bassline from the intro returns. Watermelon Man is shorter, with pan flutes creating a vibrant atmosphere. Sly stays closer to jazz, with a rapid tempo and very complex rhythm section. Vein Melter is calmer, with fragments of melody over a rhythm recalling a marching band. Incredibly dense and rewarding music.

Lighter and more accessible than I expected for something punk adjacent. Hate My Way has a proto indie rock sound to it, to me. Nice intro riff on Vicky's Box. At times it leans more folk. Listening on YouTube so harder to pick out individual tracks, but not enjoying the second half as much. Last track is my least favorite.

Do not like the vocals in the opener. Weird spoken interludes too. Some good moments in the surprisingly long This Is What She's Like, especially the second half. Next track is slow and not sure it needs to be 7 minutes long either. Closes with a bizarre 8 minute folk song. Is the singer deaf? If so, this is very impressive. The parts with an established groove are better but I can't get past the vocals and there's too many parts of the album that don't make sense to me.

Fast and frantic punk, with song lengths in the 1-2 minute range except for the closer. Strange Notes has a great bassline, and it's prominent in the mix. Lexicon Devil has the same driving bass. The last track is nearly 10 minutes of mid-paced groove with dissonant, distorted guitars. This really isn't my thing, but I'm glad it exists.

Dark, moody, and stripped down with the bass and drums driving things along. A Forest is the only big hit on the record but this is a tight collection of songs. Other highlights: Play for Today, Secrets, M.

West coast old school hip hop, this draws more from the past than Dre's brand of g-funk that would take over the scene. The MCs go hard and fast, the beats have a lot going on. Some parts are dark, some uplifting, but there's hypnotic energy on every track. Better Or 4 Worse and On the DL have the smooth keys I like, Passin' Me By brings the funky bass and horns. Return of the B-Boy is a strong closer with an infectious bassline.

Much more easy listening than I expected. Not enjoying the vocals for the most part. Otherwise, fairly dreamy stuff but nothing much is making me pay close attention. The Petrified Florist has a bit of a darker edge, but it's too little too late.

Big Iron is lively and fast paced but it's mostly followed by a collection of - appropriately - ballads which all blend together. If I had to pick one, The Master's Call is it.

Rehab is overplayed but You Know I'm No Good and Back to Black work for me. The title track hits that James Bond soundtrack vibe I like, with the strings and Winehouse's plaintive vocals. There's a timeless quality to this, it doesn't sound like it's trying to be retro but it clearly draws from the soul catalogue of the past.

Two playthroughs, but probably not enough for it all to click. The Book I Read is one I liked. Psycho Killer second to last is an interesting placement for the biggest song on the album. One of the best bass lines of all time. It's enough to push it up **** territory almost on its own. The rest is good enough to get there.

Some pretty moments but this really didn't resonate with me.

It's AC/DC. You know what you're getting, but there's definitely some riffs here. Touch Too Much is a nice one, and Beating Around the Bush has some good leads. The closer Night Prowler slows it down which helps. I don't know. Maybe trying to break this down song by song is missing the point.

Strong start with the two big hits back to back, but it's the middle section (from Wanted Dead or Alive through I'd Die For You) that really shines with plenty of catchy hooks, solos and keyboards. A fun album, firmly rooted in the 80s, and it doesn't suffer from it.

Not a second to waste on this 21:36 long album. Fortunately, the guitars and bass sound great. Credit where credit's due.

The title track features a nice combination of funky bass and breezy guitar licks. Cozy atmosphere. Happy Feelin' is great as well. All About Love slows it way down and has a super cool psychedelic outro. Pan flutes feature in the intro to Africano before polyrhythmic drums come in and excellent saxophone. It's a jazzy instrumental but with a real groove, my favourite track. See the Light keeps the same jazz bass but the vocals re-enter. I would love a whole album of this. I debated not giving this full marks but the highs are high enough.

Interesting drumming on the somewhat unsettling, noisy Atrocity Exhibition. Isolation then opens with an actual bass riff and bright synths. As the album unfolds, the sparse arrangements and monotone vocals only serve to highlight the drums and fuzzy guitars. It's dark, but there's an energy I find compelling. At times mechanical sounding, often dystopian, especially the keyboards. A Means to an End has a catchy riff though, and Decades is startlingly melodic as it builds to a cathartic release. Stunning.

Feels like the early 2000s was an awkward time for hip hop, these beats don't sound fresh despite some big name collabs. Production is boring and Missy's lyrics are making me cringe. Really awful opening and closing monologues too. Leave this one in the past.

Twin guitar attack! Love the harmonies and the dueling solos. The bass is clear in the mix too. They can slow it down when needed, like Still In Love With You, complete with extended solos. The smooth transition into The Boys Are Back In Town is a ton of fun. Other highlights: Emerald, Massacre, Don't Believe A Word, Are You Ready, Suicide. Top notch hard rocking live stuff from start to finish.

What's Golden is the standout with its super grimy beat, but the whole record is strong. The tracks are varied, pulling from different genres and styles. Minimal filler, no interludes. The second half is weaker, keeping it from earning top marks, but would definitely play this one again.

The title track is as effective as ever, but the rest is new to me. Brand New Cadillac has some real bite and an old school sounding rock'n'roll riff. Most of the first half of this double album is good. More melodic than I expected but with a hard edge. Pretty at times (ex: Lost in the Supermarket). Other highlights: Hateful, The Guns of Brixton. On to the second half, Death or Glory and The Card Cheat are standouts. I'm Not Down and Train in Vain, too. I wish this was a touch more focused, but it's probably still a five star album. So many great basslines and riffs.

Angry at times, but not very memorable.

The title track has a piano bar kind of vibe with the bass underpinning everything. All of the songs are pleasant and would be great background music. Which means it's stuck in the realm of *** albums for me.

Take On Me and the massive ballad of a title track carry a lot of weight here. Living a Boy's Adventure Tale has some luscious pads and synth bass. Last two tracks are strong too, including more serious bass on Here I Stand and Face the Rain. Pretty vocals throughout. Volume levels are uneven which is slightly annoying, but I won't dock it points.

I do like parts of this but on the whole it's a strange, haunting album. Ready, Able was my favorite track. It's possible this would click with more listens.

This is largely unpleasant but very middle of the road for the most part. Guilt is a smooth little number with driving bass and backing sax. Very good. What's the Hurry is also good with nice guitar solos and Why'd You Do It has a decent groove to it (with surprisingly graphic lyrics that were a distraction!) Overall held back by the slower plodding stuff though.

The keyboards really make some of these songs pop (eg, Kamera, Radio Cure) and Jesus, Etc remains a powerful piece of indie rock. Heavy Metal Drummer has some real bite to it. There's nothing left of the old country Wilco by now, except maybe a feeling at some points. This isn't a classic for me, but I think I get why it is for some.

They don't make stuff like this anymore. Acid tinged, hard edged house beats on the opener with a hypnotic melody that enters in the last third. Then we change tack, and Ban style starts with ambient breakbeats. Sappys Curry leans closer to rock, but with a psychedelic keyboard solo in the second half. Dense and very atmospheric. Then Confusion the Waitress has bleepy synths and a steady kick drum. Pearl's Girl is the biggest 'hit' on the record and it makes me wish I was at a warehouse rave in the 90s. Air Towel pulls from Detroit techno. This really covers a lot of ground.

Oh What a World is very slow but swells to a crescendo. Curious to see where we go from here. Next track is more upbeat. Everything is very theatrical, this could be in a musical. Go Or Go Ahead is also pretty good. There's something too... overproduced (?) about this preventing me from connecting with it. Or maybe it's his singing. And Vibrate's "my phone's on vibrate for you" lyric is cringe worthy. By the second half I'm just looking to see when this is going to end.

I'm realizing some things about jazz. I prefer piano to sax. And I can get down with jazz fusion, but this stuff - although important - might not be for me. Moments I appreciated: the piano driven middle section in Resolution, the drum intro to Pursuance and lightning quick piano bit after that. Less compelling: the unaccompanied bass solo outro on the same track. ** 1/2 but rounded up on artistic merit.

Something about the production bothers me. It's muffled, or the instruments aren't as distinct as I'd like. The weird pseudo industrial sound they're going for sounds dated. The bigger problem is I just don't like most of the songs. One is sappy, and the rest are largely unmemorable to bad. Favourite track: Acrobat. First U2 album on the list, I hope it gets a lot better than this.

Very intimate sounding recording, as if you're in the room with him. Bongo Bong and Je ne t'aime plus is a quite special and unique two part song with lyrics in English and then French. There's a repetitive melody and some instrument I don't recognize. Mentira again has a repeating riff for the whole song, but it's charming and appealing in its simplicity. Minha galera is a highlight from the second half. Overall, a compelling hour of music that defies categorization for me.

Some of this is basically metal, like Surprise! You're Dead, but otherwise it's a somewhat confusing mix of genres. The intro is a solid hard rocker. Hit single Epic probably sounded fresh in 1989 but I don't think it does now. There's some good moments: I liked the distorted bassline and guitar work in The Morning After. Woodpecker from Mars is an interesting track with a middle Eastern sounding riff and an extended breakdown. The cover of War Pigs is fun. I don't know what to make of this.

Intro is obviously good in a car commercial kind of way. Islands and Heart Skipped a Beat are the next songs that grabbed my attention. It's very sparsely arranged stuff with some nice melodies and a mix of male and female vocals. Not all the songs do anything for me, but it's an easy listen.

The opener sounds like what I want classic Elvis to be. After that, more poignant than I expected, from the slow burn of Fever to the melancholic harmonies on The Girl of My Best Friend. There's some very bluesy tracks I didn't enjoy as much, but I did like the piano driven ballad Thrill of Your Love. Other highlights: Soldier Boy, Such a Night. Yes, this is a good album.

Full of nostalgia, with the strings and pretty vocals of Karen Carpenter creating a calming atmosphere. Maybe It's You is a standout in the first half. The title track is a hit I didn't realize I knew ("why do birds suddenly appear...") There's a fantasy, dreamlike quality about a lot of this, but especially the slower songs in the second half like Crescent Noon and Mr Guder. Another Song even goes a bit proggy at the end. Uneven, but enough of this is very interesting.

That Lady and Summerbreeze have some great distorted guitar. The second song is a slow ballad that I didn't like as much. The rest is pretty solid funk/soul. I gave this a few goes but there's not enough standouts for me to call it better than good.

The popular songs are probably the best on here but there's a hard edge to most of the album I really like. Rio has a twisted bass riff and more layers to it than I expected, while Save a Prayer has a very familiar sounding synth riff that was probably sampled later. Last track The Chauffeur deviates from the formula and is mid paced with a simple repeated melody that's very effective. An 80s classic, if not quite perfect.

Gimme Shelter is an all time Stones rocker. Next two tracks are very bluesy and for me the low point. Live With Me much better with groovy bass and a bit more drive to it. Nice backing piano and sax. The title track is another good one with the guitars and piano intertwining. On side two, Midnight Rambler is a 7 minute blues rock epic, You Got The Silver is shorter but in the same country vein. Monkey Man goes in a different direction with focus on vibraphone (?) and I like it a lot. You Can't Always Get What You Want is a classic closer, long but with lots going on. Played the 50th anniversary edition and it sounds like it's ready for another 50 years. Pay attention and listen in good headphones and this will reward you.

I'm sure this was influential but I'm not vibing with it. Uh, searching for positives...I liked the bass on Ghetto Thang. Unfortunately some of the tracks were just bad (ex: Take it Off, Do As De La Does). Needs a lot of editing, but even then I'm struggling to imagine listening to this again.

The first and last tracks may be the standouts to me but the whole album has great production, menacing while not being overproduced. Atmospheric stuff. Strong rapping throughout. No throwaway interludes or skits. Consistently good and one I'd like to come back to.

I don't dislike it but it all blends together for me. Not much to say so *** sounds right.

Red Rain is a triumphant opener, especially the chorus. Sledgehammer has nice bass and that same 80's sound but it's less memorable for me. Then Don't Give Up is a quiet duet, maybe sounds too much like a soundtrack but Kate Bush sounds good on it. That Voice Again and especially Mercy Street are very strong tracks, subtle but powerful, dense instrumentation and emotional vocals. Big Time is more upbeat but forgettable. Then we go a bit more avant garde for two tracks before the melodies return on In Your Eyes. I like this quite a bit, but it's uneven. Maybe that's the point.

I Wanna Be Adored had a classic riff, there's some aggression here but it mostly fades into a dreamy sort of atmosphere. She Bangs the Drums opens with a great bass riff and some noisy guitars, but the overall effect is still soft somehow. The chorus evokes the 1960s. The next few songs don't really hit the same heights until Made of Stone, which is as good as the first two with a catchy chorus and nice melodies. I Am The Resurrection is a strong closer with an extended instrumental second half.

Bad (the song) is pretty good but The Way You Make Me Feel is perhaps better, bouncy and high energy. Speed Demon has an awesome bass intro and lots of fun sounds. Straight into the chill Liberian Girl with smooth bass and strings. The bass is so good on most of the album, hard not to move a body part while listening. Man in the Mirror is another highlight, and Dirty Diana with its brooding atmosphere. Then the 10th track is Smooth Criminal. It's unfair to have this many hits.

Brooding, unsettling but somehow compelling stuff. The tribal drumming is the backdrop for the first part. Melodies are not overt but do emerge from the chaos. On Regiment, there is a more standard groove before a striking vocal hook and warbling synth come in. This definitely leans towards fusion, and it's greater than the sum of its parts. Come With Us is maybe the strangest track, cold and metallic. Mountain of Needles, and indeed the rest of the album, continues in an ambient vein. I find it hard to rate this, but it feels impactful.

Relaxing, cozy interpretations of pop standards. I probably like the first half more, but it's all pretty pleasant stuff, even veering a bit into jazz territory with On the Sunny Side of the Street and Don't Get Around Much Anymore. Highlights: Blue Skies, All of Me, Unchained Melody, Don't Get Around Much Anymore.

I might not be cool enough for this. I'm trying to trick my brain into liking jazz but something isn't clicking. I do appreciate how music from this era doesn't have that timeless quality that stuff from the 60s can have, rather it transports you to the 40s or 50s. And that's interesting. But it all runs together for me.

Quirky, pretty, but eclectic stuff with a bunch of different instruments. Hard to pigeonhole this genre wise. Certainly lots of indie (dream) pop sounds but it really does cover quite a lot of ground. Some really beautiful moments like the sad melody on Race for the Prize or the intro to A Spoonful Weighs a Ton. Whiny vocals at times is the only negative for me, keeping it from being outstanding. Unsurprisingly, then, the largely instrumental The Observer was another highlight. Very good.

Strong start with Thunder Road and the title track is an all American classic. It fizzled out a bit after that, for me. Had higher hopes for the epic closer Jungleland which never really hit the heights it threatened. Parts of this album sound like if Meatloaf had shown more restraint, which isn't what I was expecting here. Good, not great, but definitely some choice cuts to come back to.

Feels like a momentous record, even if it all didn't click with me on first listen. Dramatic, theatrical, with a fantastic list of collaborators. Is rap opera a genre? All of the Lights is a 10/10 single, including the intro interlude. Favourite tracks: Dark Fantasy, Power, All of the Lights, So Appalled, Runaway, Hell of a Life. Not perfect, but the highs are very high. Credit where credit's due.

If this is Fats Domino, I guess I don't need to listen to more of him.

One of those big albums I'd heard very little of. Mostly short, energetic tracks. Drum sound is great. Straight away, great intro riff on Bone Machine, the bass following suit. Strong guitar work continues on Break My Body. Easy to see how this influenced Kurt Cobain. River Euphrates is catchy and fast and then it's Where Is My Mind? Iconic song with the big slow riff and plodding bass. Things get a little weird and a little more punk rock towards the end, but I don't mind the detour. Brick Is Red closes with some more of the fuzzy alt rock sounds. Verdict? Good, maybe very good.

There's something about this that just washes over me. Maybe the production needs more bite to it, but the songs aren't very interesting either. Multiple 6-minute songs that don't need to be that long either. If I'm being honest, I don't want to listen to this again. Common People is pretty good, though.

Probably not as shocking, nearly 50 years on. Not as raw as I remembered either, and there's a nice groove to it at times. Still plenty full on though. Highlights: Holidays in the Sun, Liar, Anarchy in the UK, Sub-Mission. I enjoyed this but it's not something I'll come back to straight away.

DISCO. If you aren't moving something as soon as Good Times starts, there's no hope for you. Later sampled by Sugarhill Gang, and probably others. The bass lines lay down a fierce groove throughout. I didn't like the slower songs as much until Will You Cry, great ballad with powerful backing strings. **** for Good Times, most of the rest is still worth a spin.

The rhythm section is so tight and really defined the sound of the album for me. Parallel Universe is a perfect example. Scar Tissue is the first radio hit off the record, and I didn't realize how good the solos are. The title track is hard to contextualize here as I've heard it so much. Unfortunately after this a lot of tracks go by that aren't clicking for me. This Velvet Glove is a nice slow builder though. As an album I found it top heavy, too long, and not outstanding overall but glad to have discovered Parallel Universe.

This is pretty good, but other than the last track most of it doesn't feel essential. I wish the production or mixing was a bit better. At times it's quite a dark, even dissonant album though. And I always find it interesting when the biggest song is the last one. Standouts: Death of a Clown, Tin Soldier Man, Afternoon Tea & of course Waterloo Sunset, which is worth *** on its own.

Opening track is quite lovely, quiet and acoustic. The next couple songs are a lot more twangy but it's stripped down and her voice isn't overly country. I much prefer the folky, Americana sounding songs like Revelator, April the 14th and Everything Is Free. The long last track I Drama Highway is more of the bluesy stuff I like the highlight of the album. Relaxing stuff, but emotionally charged. Good find.

Sara is a special song, interesting chord progressions and a steady rhythm. What Makes You Think You're the One is more upbeat with driving bass and pianos. Vocals alternate between more agressive and then calm on Storm, completing a trio of very good tracks. The last song on the first half, Sisters of the Moon, is another driving slow builder, guitars and vocals coming together beautifully. Brown Eyes on the second half is strong again, low key with bass and vocals taking center stage. I actually can't keep listing every good song because there's a lot. Is it a five star album, 74 minutes long with its offbeat moments and all? I think so.

Jazzy and lots of sax initially, but more than that. Very interesting piano on Track C. Then it becomes a Latin sounding fusion piece. Super cool. There's some great parts in the last two pieces too. Really a mix of genres (often alternating instruments and styles in the same track) but often melodic. Not really my thing; maybe it should be.

S.O.F.T. was my favorite, but it's Nirvana light. Never Here isn't bad either. I just don't care enough about this to give it more than **

Predictably, I like the parts that lean more rock, like Powderfinger. Sedan Delivery has some catchy guitars but the vocals aren't working for me. Hey Hey My My (Into the Black) opens with a surprisingly heavy, grimy riff. On relisten, the solo acoustic stuff has some merit but Neil's voice is keeping it from being good. I do like the bookending of My My Hey Hey and Hey Hey My My though. ** 1/2

The intro had me concerned, but Assassins leads with such a demented yet groovy riff I can't help but like it. The bass tone is insane. Mostly instrumental. Weird drum sound. Dracula Mountain is more of the same. 2 Towers has a complicated intro then a heavy riff kicks in and doesn't stop. After about four minutes the riff evolves into something new and twisted. I love it. There's some pretty parts too, like the middle part of On Fire or the short title track (which is followed by maybe the most chaotic track on the album). Duel in the Deep closes things out with droning, noisy fury. I don't think I can give this top marks because it's mentally exhausting but I'm glad it's on the list.

Very calm and generally pleasant stuff that didn't stick with me. I think there's a time and place for this, and a depth to it that may be revealed through repeated listens, but for now it's middle of the road for me.

Kerosene definitely has a great riff, it's aggressive, dirty, and industrial sounding. Nice bass sound. Lyrics and vocals are a bit weird but it works for this song, especially the chorus. Unfortunately while the rest of the album has the same sound, nothing really pops like this one. Hell of a song though. ** 1/2

Listened to the Bowie Mix, 2023 remaster. Search and Destroy is a nice opener, catchy and energetic. Gimme Danger is more toned down and psychedelic, some acoustic guitars in the mix. It's weird but I'm enjoying it. Then straight back into hard rock territory on Your Pretty Face. Good riffs and solos. I wish the mixing was a bit cleaner but the guitars still sound good. Penetration is... strange. Sums up this record, a bit of everything, but not all good. The second half is weaker too. It's a miss for me.

Pretty, mostly instrumental Obatala instantly creates a mood. World music inspired. Buffalo Gals has a quirky intro, radio DJ samples, record scratches, and an old school hip hop sound to it. Programmed drums and synth bass. Double Dutch gets even weirder, with complicated melodies, but it's lots of fun. We go deeper into the Latin or Caribbean inspired sounds next, with classical guitar featuring. Punk It Up is a highlight. Back to instrumental next with Legba and it's incredible and cinematic, percussion like maracas with multiple overlapping synth melodies. Song for Chango is good too, tropical sounds. World's Famous is a short but excellent track, jazzy hop hop. I was hoping for another instrumental but the outro sounds like line dancing music. Never let them know your next move.

Not as raw as I expected. Title track is first. Awful is a catchy rocker and Hits So Hard is smooth with a simple repeated riff. Malibu is along the same lines, and it's growing on me. Almost shoegaze at times but there's an edge to it. Later on, Northern Star goes in a more acoustic direction, possibly overstaying its welcome. I think the album overall is too long but the closer Petals is worth it. Not sure how to rate this, nothing is unpleasant but it also seems to play things very very safe.

Title track is good, and I liked the sax in Just The Way You Are. A bit too sappy from the Piano Man at times, but when the pace picks up it's better. Vienna is the biggest song off this? Another ballad and it doesn't really connect with me. She's Always a Woman is more interesting, albeit yet another ballad. Just not enough here for me to get excited about.

Twenty minute title track. It sounds like demented boss battle music in the best possible way. You could drop parts of this into Chrono Trigger and it would work. I think it's the organs and the bass. The Moog synths do a lot of work too. Super fucking cool. Eventually, we fade out, and then back for a dramatic finale. On side two, Bitches Crystal is more of the same from the title track with aggression and delicate keys. Sounds like ragtime piano. The Only Way and Infinite Space is a interesting two parter with a moody instrumental. The last two tracks don't hit the heights but it doesn't matter.

The singles may be the catchiest tracks but there's so much other good stuff here. In an album full of haunting atmospheres, The Same Deep Water as You is a 9 minute track that really leans into the brooding, mournful theme. The title track is another entrancing piece that doesn't feel as long as it is, Homesick too. The album can be divided in two halves - the shorter or more radio friendly songs and then the deeper, longer songs. I questioned the runtime of this initially, but somehow it works, even feels essential. Probably their crowning achievement?

Not enjoying this. Was hard to get through some tracks like In a Hole and Never Understand which are just noisy. At least most of the time there's a song underneath the noise and feedback, but this still isn't likely one I'll listen to again. Favorites: Just Like Honey, The Hardest Walk. Tempted to give 1 star because some of it's so obnoxious, but I'll be kind and round up. * 1/2

The Girl From Ipanema, with two versions included here, is definitely a good one but nothing else here really stood out. Good calm background music nevertheless.

Okay this is something different than the last one. Much much more gentle and approachable. Maybe too much so. But I'm nodding my head at some of this and it's all quite nice. Not great, but good.

Title track is pleasant and Travelling Man is a bit of a bop. Then it gets a bit too country but there's more stuff in here I like in the second half: Early Morning Breeze in particular is a great song that leans more folk than country to me. The Way I See You is strong with nice piano backing, and Here I Am has pretty melodies and powerful vocals. Cool bassline too. I can't rate this higher but the second side is worth listening to at the very least.

Maybe some of this jazz stuff is starting to stick. If I had to describe this in a word: cozy. Sunday morning coffee kinda music. The trumpet (sorry, flughorn!) and piano are great. Bass has a supporting role but still sounds good. One to play again for sure.

Much more immediately engaging than I expected, with driving bouncy bass and sing a long choruses. Very melodic guitar work and there's what sounds like a sitar at one point. Captures some of the 60s rock sound but with a sharper edge to it. Insanely Jealous of You is less neo-psychedelia and more post-punk, to me, but it works. There's some misses (Old Pervert) but this is solid. Favourites: Kingdom of Love, Tonight, Underwater Moonlight.

Boulder to Birmingham is a brilliant, sad tune. I like Before Believing as well, with more quiet guitar and piano. Emmylou's voice certainly takes center stage. Most of the rest is probably too country for me, although I like her versions of Coat of Many Colors and For No One. I'm stuck on ** because I don't really want to listen to this all the way through again, but glad to have found Boulder to Birmingham.

I should like it more but Motorhead have never been a huge favorite. Once you've heard Ace of Spades you feel like you've heard a lot of this. Some really good solos though (eg, on Overkill) and the energy is obviously there. I'm digging the more midpaced groove on Metropolis too. Can't give it less than a 4 for sheer energy.

Listened to the 2022 mix in stereo. Eleanor Rigby continues to be one of their most beautiful songs but I'm Only Sleeping might be better, carried by the delightful bass melody. There's some eastern sounding instrumentation which segues into Love To You. Here There and Everywhere is another hit with pretty vocal harmonies. There's quirkier stuff here, like the tongue in cheek intro Taxman, and certainly Yellow Submarine, but the latter is undeniably catchy. She Said She Said closes the first side with the most guitar driven track so far. The second half maintains the same rhythm of ethereal, charming songs, with For No One and the slightly unsettling I Want To Tell You two of the standouts. It's an incredible blend of styles and instruments. It feels like every note is precisely placed, a tour de force.

Title track and Fuck Tha Police epitomize classic rap, full of samples but with brutal lyrics that were ahead of their time. Really good 1-2 punch. Gangsta Gangsta isn't as good but If It Ain't Ruff is another strong one, Ren rapping solo over a simple beat. Then we have a couple of slower tracks with funky bass and interesting percussion. Something Like That and Express Yourself come close to hitting the heights again, but the second half is weaker and I'm torn over the final rating. Still a really great sounding album and undoubtedly a classic.

Lush ambient soundscapes, drum n bass and traditional Indian music. I'm trying not to make an "OK" joke. I actually kind of like this, but struggling to see how this is more consequential than any of the other electronic albums I listened to from the 90s or 2000s.

It's almost hard to pick individual songs out because it feels like one single piece. Ebbs and flows, masterfully trapping us under its spell. What more can be said about this album? In terms of moments, though, I really like how the disorienting, psychedelic keys of On the Run segue into the intro of Time. Money has its iconic bassline, but it's the guitar and saxophone leads that really shine. Any Colour You Like is another instrumental, keyboard heavy section, bringing us gently back down after the high of Us and Them. Brain Damage and Eclipse blend together, one more climax before things finish as they started, with a heartbeat and empty space.

Good start with straightforward rocker Lonesome Day. I also like Waitin' On a Sunny Day with its dense, almost maximalist production. Nothing Man follows, country rock but pleasing to my ear. This is polished stuff compared to earlier Springsteen but the formula works. Radio ready rock with an orchestra full of instrumental backing. Not everything is a hit, and there's some forgettable tunes amongst the 72-minute runtime. Strong finish though, You're Missing being the standout of the back half for me, downtempo and melancholy with cello and organ. Paradise is another stripped down slow one, and My City of Ruins is a decent closer featuring a gospel sounding refrain. Cut a few songs from the middle and this is really really strong - as is, still very good. Glad this came up.

The half-spoken vocals are taking some getting used to, but I can get behind the country/indie sound in theory. Very pretty guitar harmonies on Room Games and Diamond Rain. Short instrumental Transylvania Blues is my favorite track, with driving bass and distorted guitar. Strays too far into country at times. The lyric in Tennessee is really, "cause you're the only ten I see"? Nevertheless, there's an earnestness here I appreciate.

There are some riffs in here, but the garage rock aesthetic isn't working for me. Neither are Jack White's vocals which can get a bit too strained. Overall more misses than hits unfortunately. Offend In Every Way is my favorite song, a vaguely country rock sounding riff with the right amount of groove. Some others like Aluminum or This protector see just weird. It's not good.

Nothin wrong with this but I expected to be more into it. Beats feel very plain and the tracks mostly run together. Some funk, but I want more.

Played the 25th anniversary edition. Chan Chan is good and I like the jazzy, piano driven tracks like Pueblo Nuevo, Murmullo, and the title track. Most of the rest sounds like generic Latin music to my ears. Still an easy *** for Chan Chan and the piano pieces.

Spanish Dancer stood out, breezy and warm. Night Train opens with funky bass and guitar licks, then kicks into gear with piano and an anthemic chorus. I'm digging this. I relistened to the first half and the first two tracks aren't doing much for me but Second Hand Woman is another nice one. Dust is a pretty good closer. I like 4 of the 7 tracks quite a bit, good enough for ****. Also impressed that Winwood plays all the instruments on the album!

Weird and hard to categorize. Some ska here for sure with the horns but other genres too, mostly high energy stuff. I don't particularly care for a lot of this, but One Day has very cool riffs and a stop start rhythm to it. Subliminal Fascism is interesting too.

Opening title track is very theatrical, the piano dominating and horns in the background. Love's Enough is a quiet piano ballad. Things continue in the same vein, if anything leaning more into the musical theater sound. There's some interesting atmospheres here, but I still feel like I'm listening to a play. The last track, Montana Song, is so long and such a chore to get through that it dragged down my already low opinion of the album. Really bad lyrics too.

They achieve a cool sci-fi aesthetic in the first couple of tracks with the retro future sounding synths. Very dense sonically. Fight Test is a good intro but One More Robot is great, atmospheric with sad sounding melodies and a beautiful orchestral coda. The two parter title track is full of weird sounds but never really gets going. At its best in the more energetic tracks like Are You a Hypnotist?? Vocals hold the album back for me though, he gets whiny at times. Nevertheless some great soundscapes. Hard to describe, but one of those albums you just need to listen to.

If I had to describe it in a word, it's cool. Instruments sound great, the bass tone especially. I don't like all the early songs, but Funtime works for me and China Girl is exceptional. Followed by another strong one in Dum Dum Boys, built around a bluesy but quite heavy riff. The last track Mass Production is slow and also heavy, gradually building with pounding bass and psychedelic effects. It's a trip.

Bit all over the place, often changing mid song. Assessment is light and poppy until a grungy riff enters in the second half and it builds to a frenetic finish. Space is more psychedelic with acid bass and Lion Thief is chilled out and atmospheric. The next few tracks mostly stay in this dreamy space and then Out-Side is back to alt-rock/grunge, until a pretty acoustic riff and piano come in at the end. Really like the riff and drums on Liquid Bird. Not sure this feels a cohesive album. I wish more of it resonated with me. Favourite songs: Lion Thief, Liquid Bird.

I know this is a classic but it's a bit of a slog. Some really great versions of songs in here along with a lot of extended guitar noodling, drum solos and crowd work. The best part is probably the first half of Space Truckin before things go off the rails a bit. 3 stars because of the material but I'd rather listen to the studio versions for the most part.

Punk but very melodic with a lot of good riffs. Nice interplay between guitars and bass on Fast Cars and the guitar tone is great. You Tear Me Up has a neat double time section, and Get On Our Own even has a solo. Fiction Romance is another catchy one. The drum intro to Autonomy bears a striking resemblance to Run to the Hills - coincidence? It's another strong song in any case with the dual guitars shining. Loses momentum with the long Moving Away From The Pulsebeat followed by the somewhat cringeworthy Orgasm Addict. I still liked this overall.

I don't care if the Beatles liked this, I don't.

Opener is uninspiring pop but I like the piano on the second track. Gets a bit (maybe a lot) sappy sounding on tracks like Blinder By The Hour or Save What You Can. Overall, not one to revisit but a couple good moments. Favourites: Kelly's Blues, Open For You.

There's a really dirty bass riff in Shake Your Rump that was great. I quite like the beats but some of the rapping takes a bit of getting used to. Constant sampling. The Sounds of Science started off weird but gets going in the second half and 3 Minute Rule has another real grimy bassline, digging it. First verse is particularly good. Looking Down the Barrel of a Gun might be the best track here, menacing heavy stuff. Car Thief also good and the multi part finale is a pretty strong finish. Not everything hits, but this is important stuff.

Lively mix of acoustic folk rock with orchestral arrangements. Beautiful instrumental intro. The vocals didn't click at first but by the third track I'm feeling it. Great riff and soft backing sax. There's a melancholy feel to everything without it ever sounding funereal. One Of These Things First is another good one with intricate guitar and piano. On Poor Boy, the music leans more towards jazz but the backing vocals could be gospel. Maybe the best track. Northern Sky challenges it with more piano and sparkling chimes. Evocative and nostalgic album, but still sounds fresh. Timeless.

Soundscapes alternating between dreamy and vaguely unsettling. The layered female vocals are largely unintelligible. Mechanical sounding programmed drums. And yet, the overall effect is organic and beautiful. Ivo and Lorelei are pretty, but Persephone is better; built around a dark, driving low end rhythm. Pandora and Aloysius are melodic again and uplifting. Strong closer in Donimo. Nothing else quite sounds like this. A treasure indeed.

At times bluesy, others more hard rocking. It's a concise record: 10 tracks at just over half an hour, but not a great one for me. Luna with its quiet organ playing is the most interesting song. Other highlights: Breakdown, Strangered In The Night.

There's some good licks here but not enough is making me sit up and pay attention. Real Man has a bit of actual drive at least. Too many slower tracks that meander around and don't get anywhere. Middle school slow dance isn't an aesthetic I need to revisit. The rest isn't good enough either. Too country, or too bland, I don't know.

Not what I expected, starts off very alt rock and then goes through a whole bunch of different genres. Clint Eastwood is the big hit. Some really nice laid back beats in the middle section. I think I'd have to be in the right mood to listen to this all the way through, but the production is so good I'm tempted to bump it up a notch. Other highlights: Tomorrow Comes Today, Double Bass, Rock the House.

Bit of a weird one. Straight to You is the best by far and some of the rest was bad. Not awful, but I don't want to listen to more of this.

It's hard to describe how this sounded when it first came out. It's lost none of its appeal and aura since then. Everything In Its Right Place sets the tone with the first few notes and stuttering vocal samples. The title track has a subtle groove and music box motif, recalling Boards of Canada. It's never quite straightforward rock, but there's riffs to be had in tracks like National Anthem and Optimistic, then full on ambient in Treefingers, and the sweeping epic sadness of How To Disappear Completely. The climax is surely Idioteque: mesmerizing vocal melodies and synths over broken up, glitchy beats. But there's something here for almost everyone. Play this to the aliens when they contact us.

It doesn't suffer from the cardinal sin of being boring. This may be too avant garde for me, but there's plenty of more melodic sections I liked. Lots going on and I probably didn't absorb the majority of it, but I'm not up for an immediate relisten either. Best songs: Roulette Dares (The Haunt Of), Eriatarka, Cicatriz Esp.

If the Talking Heads or Bowie made am LCD Soundsystem album it might sound like this - this was intentional apparently, at least the Bowie influence. I do like some of the songs, I Used To on the first half and Call the Police and the title track on the second half. There's lots of good bass and the production is slick. I'm left wanting more though. This feels derivative and a bit empty.

My interest is piqued. One of the biggest albums of all time but not one I'm very familiar with. Black Dog is a decent opener with some good riffs but not as memorable for me as Rock and Roll, which really turns up the speed and heaviness. Insane rhythm section. The Battle of Evermore is totally different, with mandolin and no drums at all. Stairway is Stairway. Still one of the all timers that builds to a hell of a solo and finish. The next couple of tracks are more subtle, Four Sticks in particular standing out with its dense layers of sound and riffs. Going to California is a pretty acoustic folk number and a highlight for me. Finally, When the Levee Breaks opens with thunderous drumming and then a heavy blues riff. It rumbles on at a mid pace with an incredible groove. Eight tracks that all bring something different to the table and the quality of the playing is immense. Complex arrangements. I might be a convert.

Tiny Dancer is sure a strong opener. We have a couple of less memorable piano tunes next, but the title track made me sit up and take notice. Much more bite to it and very cinematic. Indian Sunset has some good moments too and Holiday Inn leans more prog rock than I expected. I don't like everything though so it's hard to give this an overall rating higher than ***.

Not everything clicks with me but the best parts are so good it carries the rest. If I had to choose, I like the acoustic second half better. Has a momentous feel to it. By the time we get to the quiet closer, I'm sad but happy it happened. Favorite songs: She Belongs to Me, Love Minus Zero, Mr Tambourine Man & It's All Over Now, Baby Blue.

Lots of good tracks on here. Angry, both the beats and the lyrics. I really like When Will They Shoot and Wicked to start things off. It Was a Good Day is obviously a banger but We Had To Tear This Motherfucka Up right after goes hard. Wasn't familiar with a lot of this record. Gangsta' Fairytale 2 another deep cut I vibed with. Check Yo Self isn't as good as the remix but still a solid addition. I don't know if this is the best Cube record but you could do a lot worse.

More stripped down than Bryter Later but there are still plenty of parts with backing strings. I liked River Man, and Day Is Done is especially poignant, a beautiful mix of vocal melodies and acoustic instruments, all melding with the strings. Man In A Shed us another excellent song with the piano and bass taking center stage. I'm rating this lower than Bryter Later but it's an easy 4-star. Interested to hear Pink Moon when that comes up.

Hoo boy. We're getting really jazzy with this one. The first side doesn't work for me. Too avant garde. Slightly All The Time is a lot better. Is this a rock song? I don't think so. But there's a discernible rhythm for much of it and I like the saxophone and psychedelic keyboards. Moon In June actually has vocals! Even if the lyrics are weird. Good keyboards again, and there's some nice guitar in the middle section. The last track has an extended ambient intro before the bass and sax really take off. The end is slower with the drums more prominent. This is a weird one because I enjoyed most of this, but it's on the long side and the first track didn't resonate with me. After playing it again, I get a bit more out of the first side but I still think it's a bold move opening with this piece.

I love an album that starts with heavy hitters and builds, it feels like any of the first four tracks could be the strongest one yet. Tons of energy, amazing bass sound and keyboards. The instruments are clear and distinct in the mix. After Sunrise it's the perfect time to slow things down with the instrumental Elegia. The rest of the second half is upbeat again, with Sub-culture being my favorite on the side and maybe the record. Very nostalgic synth sound for me. 8 songs, 40 minutes, perfect length. Everything's good so I can't help but give this top marks.

The first couple songs are pretty good but I didn't like the next couple after that. Somewhat bizarre change of dynamic, much more dissonant and harsh sound with an off key harmonica in Fantastic Disaster. No. It's certainly an eclectic mix of styles. I generally don't like most of it, whether it's lo-fi, garage rock, punk, alt rock or indie or whatever. Sacred Attention is a bright spot, I like the riffing. The acoustic Think as well. Overall, too many songs too, felt incredibly long for only 46 minutes. Not for me.

Super interesting percussion on the first couple of tracks. No Self Control is a big track, difficult to describe. The synths do a lot of work. I Don't Remember has really cool bass and it builds to a melodic chorus. Family Snapshot is a power ballad with pounding drums in the second half. Games Without Frontiers is more understated but the vocals, percussion and synths continue to be excellent. Lead a Normal Life is built around quiet keyboard melodies. Biko is stranger with tribal sounding drums and bagpipes. This stuff feels ahead of its time. I just can't decide if I really like it or not. It makes me want to listen again though.

There's enough here I didn't mind (ex: Gloomy Sunday) that keeps me from rating this lower, but the misses are truly weird. After side one don't want to listen to this ever again. Side two may be changing my mind. I do like the bass a lot on the first two tracks. The high pitched vocals ruined Party Fears Two though. Short instrumental Nothinginsomethingparticular is a strong finish. I can't give this more than **

I ended up liking some of this, especially the second disc which had a lot more ambient, jazzy vibes. But the audacity of putting a 2 and a half hour long drum n bass album on the list. Can't go higher than **, I think just disc 2 on its own would have been a *** or better.

It's The Smiths at the height of their powers. I Know It's Over is great, especially the second half. Cemetry Gates is a lively short one with great guitars and bass. The energy levels stay high as it transitions into Bigmouth with its memorable, jangly riff. The next riff, coming in with the verse, is even better. It's a frenetic, breathless track. There Is a Light That Never Goes Out must be the best song here, gloomy even for Morrissey, but with incredible vocals and strings bringing everything together. Some Girls is a brilliant closer too. Their best work? Maybe.

Lotta riffs here. It's a little bit more punk than later Offspring I've heard. Two big singles in Come Out and Play and Self Esteem. Kinda one note otherwise but it doesn't overstay its welcome and I appreciate that.

Production value is unsurprisingly high but I'm not sure many of the songs justify the extended run time. Largely very slow paced. Drunk in Love still meanders on a bit but has a pretty good hook. I was about to write off Angel until a cool synth riff came in in the middle. I wish there was more of this. Rocket is 6:31 (!) long and unfortunately one of the most boring songs here. XO is pretty good, and the last few tracks are shorter, at least, but still so slooow. I might like this more as instrumentals, which kind of defeats the point of a Beyonce album. At least I get to skip the second disc of extra tracks and remixes.

The beats are pretty stripped down and the rapping definitely sounds dated, but you can hear the hard edge here that would inspire the next gen of hip hop. Rock Box is where it's at though, with its big guitar riff underpinning it. A preview of Walk This Way. The single It's Like That is still good. I'm not in a hurry to listen to all this again, but I respect it.

Okay, we haven't had any jazz in a while. I'm ready for this. Beach house vibes. I like it, it's quite calming. You can let it fade into the background if you want, but there's detail here to unpack. Entrancing. Favorite tracks: Desafinado, Samba Triste.

Took me a while to get into this, but The Fog has some powerful violins which play nicely off Kate's distinctive voice. Interesting song. Didn't connect much with the rest of side one. There's some good slower stuff on the second side like Never Be Mine, probably my favorite track. Lots of different backing instruments, mystical vibes. Rocket's Tail is more guitar based with a surprising groove to it once it kicks off. Dramatic piano ballad This Woman's Work closes the album, but it didn't quite work for me. I listened to this twice and got more out of the early tracks this time but this is just good overall, not great.

Three big singles here, but a lot of the rest of this just washed over me. I had higher hopes. I'd revisit this, but sometimes the hits are the hits for a reason. The closer was pretty decent though. Best tracks: Time to Pretend and Kids.

Opens with straightforward rocker Watch That Man, then the title track is built around some very cool piano and a repetitive bass riff. Liking this a lot. Panic in Detroit also has a great main riff and some unexpected progressions. More good bass work and it's prominent in the mix. Cracked Actor is a strong upbeat little number too. Onto side two, Time is theatrical and glam with an emotional feel to it, I'm engaged and waiting to see where it goes next. Maybe my favorite track so far, but The Prettiest Star is good too with nice guitar work. Then we have a Stones cover and after that The Jean Genie, which for me feels out of place with its bluesy riffs and harmonica. Back on track with the piano based Lady Grinning Soul, and its slightly unsettling melodies. I think there are Bowie albums I'll like more but we're still in **** 1/2 territory. I'll be strict and round down.

On first listen, I'm underwhelmed. I knew what to expect: acoustic guitar and vocals are the only instruments apart from a piano on the opening track. What I didn't realize is how truly bleak and sparse it would be. Favorites after one play are Things Behind the Sun and Parasite. At only 28 minutes, this deserved another listen. Place to Be and From the Morning stood out this time, but there's still parts that just don't do it for me, like Horn and Know. ... I keep coming back to this so I guess there's subtlety here to unearth. Can be quite beguiling.

Soulful and deep. The title track is the big one but I'm enjoying Please Don't Stay, especially the drumming. If I Should Die Tonight slows things down more and walks on the edge of sappy, but doesn't cross it. The backing strings help. Keep Gettin' It On is next with the tempo brought back up and the rhythm section is impeccable again. On the back half, Distant Lover is a standout, slow but moodier. You Sure Love To Ball as well with the interplay of bass, strings and sax. There's no real duds here. The basslines never stop. I can't decide but if you want to give this 5 stars I'm not mad.

Much more synths than I expected, in a good way. Definitive Gaze is a nice opener and My Tulpa as well with good keyboards and a bouncy rhythm. Shot By Both Sides ups the energy more and brings the riffing. Catchy stuff. Then Recoil goes much more punk. Lots of variety here. Difficult to categorize but I like most of it. Motorcade is maybe the best song, a six minute epic with some moody passages and a super fast middle section. It all feels very fresh.

Dark and moody indeed. The title track sets the tone, a groovy bassline and Cohen's distinctive gravelly half-spoken vocals, with backing chorus emphasizing the religious feel. Leaving the Table is slow and bluesy and another strong track. If I Didn't Have Your Love is even better, emotionally charged with backing keyboards. It Seemed the Better Way is my favourite, though, with a captivating melody and tribal sounding percussion. Steer Your Way is a touch more upbeat, driving bassline and melodies underpinning a strong vocal performance. During the outro I'm left considering that this was recorded so near the end of his life. Maybe the depth of these pieces owes something to wisdom gained through the years. Anyway, a special album.

Playing the live album recorded at Montreux - hope it's the right one. It's mostly pleasant and easy listening to start. Gary Burton steals the show a bit on Vibraphonissimo. Little Italy is quite pretty as well. It all started to wash over me after a bit, although Operation Tango had some good parts.

It's fairly middle of the road stuff. Dragged down by longer songs that don't really go anywhere. The title track is a bit better, with a heavier groove, and at least Brainstorm Interlude is trying to do something different with a more psychedelic sound. Overall, too long and not enough here to warrant a repeat listen. Highlights: On Your Own, History

First track hits hard with an eerie funk groove. Sick. King Kunta is next, a big track with a catchy hook. Institutionalized is more low key, but I like These Walls, a smooth beat and an old school sounding chorus. Not vibing with 'u', but we're back with Alright and its stop-start beat and aggressive rapping. How Much a Dollar Cost and Complexion are other standouts for me. The Blacker the Berry is even better, a dark rumbling beat matching the angry lyrics. By the end, I'm feeling the weight of this album, there are parts that are harder to get through but the artistry is obvious.

The title track is a slow burn, doomy and heavy until the tempo picks up at the end. Hell of an entrance. The Wizard is built around bluesy harmonica and heavy riffing. The guitar tone is insane considering this is 1970. The punishing riffs continue into the long multi-parter next. There's a great bass part about halfway through and then some surprisingly melodic harmonies and soloing on N.I.B. Wicked World is again focused on drilling the bass riffs into your brain. Another multi-part suite to close and it really starts to chug along two thirds of the way through. Geezer Butler's bass is again stealing the show for me. Then we have a bit of a rambling collection of solos but it does come together for one last set of riffs and vocals. As influential as this is, it's also extremely listenable in its own right. I'm not giving 5 stars only because I know there's several albums of theirs I'd reach for first, but it's close.

William Orbit's production takes us through a variety of different EDM subgenres. There's particular emphasis on trip hop and downtempo beats, but some of my favourites are the more uptempo ones like Skin with its driving four on the floor beat. I also like Nothing Really Matters and especially Sky Fits Heaven, with its dreamy keyboard melodies and acid tinged synths. Amongst the slower songs, Frozen is a high point, featuring soaring strings and broken up beats. The Power of Good-Bye is another symphonic anthem and maybe the best pure pop song here. Not all the tracks hit, but the good ones are very good.

This is pre- Thriller MJ with a definite disco sound to it. Two biggest tracks right off the bat, of the two I prefer Rock With You. It's lively nonstop action after that with great basslines, Get on the Floor and the title track are another solid 1-2 punch. We slow it way down for She's Out of My Life, which transitions nicely into the smooth I Can't Help It. I would definitely reach for this again even if it doesn't quite hit the heights of what's to come in the 80s.

There's some good beats here, I like The walker with its dream pop vibes. The English vocals are a bit weird at times. Maybe I should have listened in French... Some of the tracks I dislike but it's mostly inoffensive. This was a brand new artist for me so happy to have heard some of it, but I won't be going back to this except for maybe The walker.

The start of a golden era that produced 5 stone cold classics in a row. With Bruce at the helm Maiden are ready for the big time and boy do they hit the mark. Hard for me to go track by track with songs I know so well already. There's some lesser known stuff on here that are some of the best Maiden tracks though, like the power ballad Children of the Damned and The Prisoner. If I have to be critical, Hills was never my favorite and the title track is overplayed too. Invaders isn't their strongest opener either. But we have Hallowed Be Thy Name to right all wrongs. The classic Maiden closer. In terms of complexity and songwriting, just a cut above what most metal bands were doing in the early 80s. Or any time in the 80s really. Steve's bass playing, the twin guitar attack, what can you say? And this isn't even the best of their classic albums.

I like the quiet, indie-folk sound but most of the vocals don't really work for me. Hard to rate. Favorite tracks: All Thoughts Are Prey To Some Beast, Faith/Void

Weirder than I expected. I can't decide if I like some of this or not. There Goes A Tenner appeals to me as do parts of the second half, but a lot of it was a chore.

Music that makes you feel like you're too dumb to understand it. Maybe I'm just not in a jazz mood today. I do like the atmosphere and it sounds great. So I won't dock any points but I'm having trouble justifying going higher than *** either.

Fun and catchy overall. Wild Cats of Kilkenny is a nice atmospheric instrumental. Surprisingly emotional at times, eg the female vocal led ballad I'm a Man You Don't Meet Every Day. Followed by A Pair of Brown Eyes, strong also. The Band Played Waltzing Matilda is a great closer. Not really feeling all of this, but there's always a time and place for Celtic drinking songs. *** 1/2

It's quite varied. Killer Queen is great. I dig the three-part suite Tenement Funster / Flick of the Wrist / Lily of the Valley. Now I'm Here with its disctinctive vocal harmony part is another standout. Gets quite hard rocking in songs like Stone Cold Crazy. As an album, I wanted to like this more but it's messy and I found myself wishing the production was clearer. The second half is also weaker. I know this isn't their best but still interesting.

I didn't know what to expect but I like this. The bass is the star of the show. I.G.Y. sets the tone and Green Flower Street leans further into the smooth basslines and R&B vibes. Ruby Baby has pop vocal sensibilities with jazzy backing piano. Neat. Maxine is more emotional and nostalgic sounding. The second half is just as good, The Goodbye Look in particular has a super cool keyboard. It's giving calypso. Jazzy outro. Easy 4 star.

Gin and Juice is a fun song but I enjoyed the darker beats on Murder Was The Case and Serial Killa. Who Am I (What's My Name?) brings Dre's big G-funk bassline to the forefront and heavily samples George Clinton in the chorus. Ain't No Fun is another great funky track. It's overall just smooooth, Snoop's flow is distinctive and there's some good collabs. There's a couple of duds (Lodi Dodi) and we have the usual weird 90s rap bits but it doesn't hold it back much. On another day this could be ***** but it doesn't quite get there.

I like some Zappa but this is a bit off kilter. Interesting lyrics, lots of short tracks. If psychedelic rock and freeform jazz had a baby? Not many toe tappers in the first half, but Mom & Dad is a good one. Absolutely Free is also something approaching a pop song. There is some weird stuff on here. Nasal Retentive Calliope Music is basically noise - great title though. There's some pretty moments in the second half, often interspersed with disturbing sounds. By the end I find myself entranced and wondering what's coming next. And it's a noisy 6 and a half minute ambient track with maniacal laughter. That's the end. I think this record might genuinely haunt me. ***

Honey has a cool squelchy synth beat which I dig, although there's no real vocal hook. The title track is a bit too middle school dance for me but it's not bad. My All is another slow one. Mariah has the pipes, obviously, but I need more. The Roof samples Shook Ones Pt II which is cool. Whenever You Call was another standout, albeit a ballad again. Fly Away has a bit of edge to it with good bass - better! The production is very tight and it sounds good but I'll leave these songs in the 90s. Why is the album so long too?

This album doesn't really have any pop hits and it does all blend together a bit for me but I like the chunky low end and gradual progressions. I could see this getting better with repeated listens. Highlights: Memories Can't Wait, Heaven.

Remastered 2009. The big guitar riff in Come Together sounds so good, and so does the rumbling low end in the coda. Something has a riff that could have been on a Pink Floyd album. It's slow and purposeful, with real weight to it. In general I appreciate the stero effects and little details. It's the kind of clear mix I like with all the instruments distinct and punchy. It's not all quiet and proggy either, Oh! Darling has an aggressive chorus and heavy drumming and I Want You (She's So Heavy) is true to its name with a crushing riff (ok, it's still 1969!) Side two starts with a change of pace but another heavy hitter in Here Comes the Sun, and Because features the Moog synthesizer to great effect. The rest of the album is a medley winding its way through 8 tracks over 16 minutes. There's lots of good parts, but Golden Slumbers might be the prettiest bit and has a perfect transition into Carry That Weight. Overall, an ambitious and enduring work. With the band starting to fall apart at the seams, it's almost unbelievable how good it is.

I don't want to go track by track for this one. Might be missing the point, anyway? Realistically scores top marks on the strength of the big songs anyway. The transition into With A Little Help From My Friends still gives me goosebumps, and Lucy In The Sky With Diamonds needs no introduction. The slightly eerie organ melody, the time change, the chorus. It's a stone cold classic. Closing out the album, A Day In The Life is another favorite with its dramatic, dissonant buildup. In between, the album just... takes you somewhere. Like many of the very best records, every track is different and yet it all feels cohesive. On this listen, I appreciated the mesmerizing instrumentation on Within You Without You more than I had in the past. Next time, I suspect a different song will grab my attention. You plumb the depths of this and it rewards you.

Feels a little less radio friendly after the massive Nevermind, more back to basics. There's still Heart-Shaped Box though, which is peak 90s rock, and the whole first part of the album is very good. Scentless Apprentice gets a bit screamy, but there's a great main riff and some real power to it. The second half is more subtle. I do like the overall sound and the combo of Milk It and Pennyroyal Tea is my favorite from the back half. No Apologies is a strong closer too. I like this more than I thought I would.

So, it's the album with Song 2 on it. I'm trying to find other things I like here, and You're So Great is a pretty good acoustic number. The track after, Death of a Party, is catchy in a plodding sort of way. It's followed by Chinese Bombs, a short punk rocker. There's a lot of variety here, and some of it is weirder than I expected. I wish it was more cohesive though, or that I liked more of the individual songs.

Definitely one of THOSE albums. The opening riff in Only Shallow hit me hard, but I was surprised to discover I still really like the vocals. Loomer is good too with nice melodies. It's noisy, yes, but it's a warm enveloping kind of sound. There's a crunch to the guitars too. When You Sleep is epic with good riffing underneath the keyboards. Sometimes drifts along at a gentle roar building towards a catharsis that never quite comes. Soon opens with the drums at the forefront before the guitars and vocals wash over you again. I now understand why this appealed to me 20 years ago when I was searching for the next hipster post rock band.

It's pleasant but not sure this is essential. My favourites were Love Goes On! and Was There Anything I Could Do? which sounded like The Smiths-lite with its intro riff. The album doesn't overstay its welcome either.

Blue Suede Shoes and Tutti Frutti are still good and there's some other moments on here I liked. It's never gonna be my favorite Elvis album but I'm trying to imagine what this sounded like back in 1956.

A hard to categorize rock album. There's stuff here I like, Dreaming of You and Goodbye to name a couple. Wildfire has some nice keyboards on it and a carnavalesque bassline. Neat track. I didn't care much for the first two songs and Skeleton Key was tough to get through. Bad Man is also not working for me. Vocals can be obnoxious at times. ** 1/2

Surprisingly approachable rock songs. Great riffing on opener Lose Control. Combination of noisy, crispy guitar and catchy hooks on Girl from Mars. I liked the instrumental bridge in Oh Yeah. Innocent Smile is another good one. They pull a lot from punk, but there's different influences in here. Goldfinger sounds britpop and Angel Interceptor could almost be new wave with its 80s sounding drums. My favourite song is still the first one but there's some pretty good moments here.

Must resist the urge to make puns based on the title. Oh well. Creep is...cool. Overall not as dated sounding as I expected. Relaxed beats and atmospheres with some good bass. Waterfalls is still a big song and If I Was Your Girlfriend is probably my favorite track here. Okay, we could lose some of the interludes. I do like this though.

Listening to the mono recording. Not much more needs to be said about her singing. But these are good songs too. The instruments sound great and the album is tight and focused. I definitely see myself putting this on again. Timeless. Favorite tracks: Respect, Soul Serenade, Don't Let Me Lose This Dream, A Change is Gonna Come.

Sometimes you just know something will be good straight away. The drum and bass intro to Disorder did it for me. Uptempo stuff when the guitars and vocals come in. Second track Day of the Lords is much slower, measured, moody building stuff with the bass and guitars interweaving. There's so many great basslines but New Dawn Fades stands out with its rumbling low end and emotional guitars. Brilliant track. She's Lost Control and Shadowplay are of the same quality, what a 3 track run. My only criticism: the drums sound a bit clicky to me. I can forgive it.

The singing is still not to my taste but I like the music. Lots of backing horns and retro cool vibes on tracks like Tell Me When My Light Turns Green and The Teams That Meet in Caffs. The extended instrumental passages help matters too. Seven Days Too Long another good one with its piano part. The vocals go way too high pitched at times which holds this back a lot, but at least we're not in one star territory.

We go from Roadhouse Blues to Waiting for the Sun with its heavy riff and pretty melodies, to You Make Me Real with ragtime-esque piano. Peace Frog has a funky little bassline and organ. Incredible variety. The quiet Blue Sunday and almost jazzy sounding Ship of Fools round out the side. I had to listen to side two again for it to click. Lots of good organ and interesting progressions. The Spy is a standout, slow and sultry. I like Queen of the Highway a lot too. The acoustic Indian Summer sounds like it could be the last song, but Maggie M'Gill brings back the blues for the closer. Top stuff.

First few tracks are solid but not grabbing me. I'm liking Dumb Waiters and She Is Mine though, which lean more new wave than (post) punk. Lots of layering of sounds here, like in the strong It Goes On. Surprisingly good hard driving riffs later on (ex: the intro to I Wanna Sleep With You). The closer All of This and Nothing is catchy too. Very cool 80s rock vibes. Strong album overall even if some of the tracks are less memorable.

I won't say it's outright bad but this isn't for me. Best track was probably Flight of the Foo Birds. I liked some of the more downbeat stuff towards the end.

Mostly ranges from easy listening fluff to actually bad songs (Down On Mission Street). I did kinda like Charlotte Street and Patience. Overall it's bland, and doesn't feel essential at all.

A moody little record indeed. I thought I would recognize the big songs on here but I don't. Must have been a blind spot for me. I find most of this charming but a bit soulless. Also feels really long for only 45 minutes. Favourite track: Painter Song

Really very bluesy. Not my bag. Some of this is more bluegrass (?) and other parts are more jazzy or soulful, but I liked very little of it. Expected more Clapton guitar I guess. The instrumental second track was pretty good, at least. Listened to the stereo mix.

Big title track is clearly still effective with its bouncy baseline and anthemic chorus. Just ask Ryan Reynolds. There's Express Yourself next, but it's the deeper cuts that really shine for me. Till Death Do Us Part , light and melodic with a catchy synth riff, might be my favorite song here. Promise To Try is an emotional ballad that also hits the mark and then Cherish brings back the bouncy bass and poppy vibes. Dear Jessie and Oh Father form a fascinating two-part suite. The production shines throughout but especially on Keep It Together, funky and rhythmic. Nothing less than an immaculate pop record.

I like the chill sounds and synth pads on Thinkin Bout You for the vocals - especially the falsetto - aren't doing it for me. Cool jazzy beat on Sweet Life and there's a really fat synth on Pyramids that is probably the best part of the album. Lost actually has a hook too. I dunno. I thought I would like more of this, it's a lot of slow, atmospheric tracks. And I still don't like the vocals. 2 stars for Lost and that part on Pyramids.

I was initially skeptical of a double live album but I shouldn't have been. Trust the process. Everything sounds great and distinct and the crowd energy is present. Just the kind of live recording I like. I didn't realize how good Frampton's guitar playing was. Almost all the songs have something to offer but the biggest hit is Baby, I Love Your Way. I really dig a lot of the soloing, especially on I Wanna Go To The Sun. Nice heavy riff on (I'll Give You) Money. There's quieter moments too. And then the epic finale caps things off. I can't deduct any points.

Feedback: The Album. I hated this more than I expected. I can't believe a full 8 minutes of the 40 are devoted to a spoken word story. Nothing else in here really contains any music I want to hear again. The vocals and lyrics are unpleasant too.

Another album where it's impossible to do it justice in words. There's so much detail here. Sonically, it's almost perfect for me. The guitar, bass and drums all sound great but it's the keyboards that often take center stage. Especially in the spacey first part of Shine On You Crazy Diamond and the dystopian sounding Welcome to the Machine. The soloing is bluesy, especially obvious in Have a Cigar. The title track is the highlight. Beautiful lyrics. Acoustic guitar and piano building to a crescendo. There's no big solo, just a fade out and windswept segue into the last track. The second half of Shine On is darker, brooding. It's a masterclass in creating atmosphere.

As soon as Smack My Bitch Up kicks in you know this is bringing the aggression. The drum beat and big acid riff pounds into your brain. More excellent drum programming in Breathe. Simple intro melody before the vocal comes in with deep bass and the track really takes off. Funky Stuff brings the energy even higher, a hard driving mostly instrumental cut. Mindfields is another gem, sounding like proto dubstep to me. Narayan takes it deeper still with a trancey melody and tight breakbeat rhythm. Firestarter is the darkest and most frenetic sounding of the singles. Tucked near the end, Climbatize is one of the best tracks, a real floor filler with a driving bassline. Fuel My Fire is the closer, a hyperenergetic cover of a punk song. A late 90s crossover EDM classic that sounds just as good in 2024. Turn the bass up.

Pretty cool sounding electronic stuff. I might have to be in the mood for this but I would come back to it. Favorite tracks: Genesis, Phantom, Valentine, One Minute to Midnight

This is probably a 5 based on influence and importance. But I don't give points for that. Nevertheless, it has an aura to it that draws me in. And the guitar sounds amazing. Those bends. I don't know if I'll ever be a huge blues guy, but this is a cool record.