1001 Albums Summary

General thoughts: Classic Rock vibe. First half was catchy, second half plumetted. His voice isn't amazing, it's really deadpan but blended well with the music. Several songs were kinda minimalistic which was interesting. Outstanding song(s): Vicious, Perfect Day Weakest song(s): New York Telephone Conversation, Goodnight Ladies Cover: Liked the colors, the fonts and the punkness of his image, its missing something else though. Real rating: 2.68 *Revisited 16/05, original net rating: 2/5

This album is from 1969. Moonchild sounds so modern its weird, not the kind of modern song I would like (too ambient) but its clear as water why its considered the first progrock album. For me this song its what drags down the album from a solid 4-4.5 21st century schizoid man also sounds very prog, very active, and with something going in every direction, very jazzy-prog, even kinda zeuhl-esque. This is one is my favorite song from the album. Epitaph its also a classic, almost an hymn, but I loved the strength and roughness of the schizoid man, also what a badass title for a song. Both are gold songs, though the fact that moonchild covers 12min of an other-way excellent 44min album and 1 slot out of five songs, its a reaaaal shame. If the album cover were a parameter for the rating it'd be 10/10 Real rating: 4.2

General thoughts: The Verve is really not my kind of band, its personality is very insipid, someway very 90s, the singer does a really good job, also the band, its the songs. There are some songs which feature orchestra elements, maybe if they would have taken that as the special trait of the whole album the songs in average would stand more, but really just a couple of them stick to the ear. Favorite songs: Other than the obvious Bitter Sweet Simpphony, Sonnet & Drugs don't work are pretty good, also Deep Freez was a very good outro. Cover: Pretty much reflects the bland aspect of the band, really boring. Real rating: 2.93

Big Me and For All the cows were the only outstanding songs, feels repetitve though a own-style is clearly present

This really lays the foundations of motorhead. Love the first half, the second half feels like filler songs though Favorite songs: Ace of Spades, (We Are) The Road Crew

General thoughts: The first half is more rock-ish, has very good tunes and its consistent. I love acoustic but the second half, the acoustic part, is not up to the game of the first half. From this half, "Gallows Pole" outstands though I feel it would be better shorter, same thing for "Since I've Been Loving You" from the first half. Also, idk if its my version of the album, but the sound for the voice sounds kinda low, its a bit annoying. Conclusion is they should have stick to rock songs and add two or maybe acoustic tracks, instead of making it a half-half album. Favorite songs: Classic Inmigrant song, & Since I've Been Loving You. Cover: I dont know whats the general consensus about this cover, but in my opinion is raw shit. Other than hippie vibes it doesnt express anything, its not memorable or artistic, looks like a bootleg quality cover. Real rating: 3.15

General thoughts: This album got me very mixed feelings. The beggining is pretty bad it left me bad impressions, not really my style at all to be honest, Reggae + Pop is not a wining combination for me. Bit before the middle of the road there are some good songs, bit slow but they are interesting, "Sunshine" is jazzy cool, "Binnel bay" is a good bridge. Then they turn max the already slow vibe and makes the songs so plain and boring, worse than the first part of the album. I liked all the influences, there's Reggae, Jazz, Alternative Pop, Pop Rock, Lo-Fi. But the sound feels with no passion, that plus the sloow pace makes some songs hard to listen. Outstanding songs: Sunshine, Punchbag. Cover: Really cool. Would have loved a full image of the wrestler. Real rating: 2.54

General thoughts: To be honest, this is not the kind of alternative rock I like. The sound is very 2000's, the worst decade for rock, at least for me. Loud guitars can be nice, but they feel empty somehow. I Apreaciate the singer's enthusiasm, but he tires me a lot. Feels rushed, with a lot of throwaway songs or songs that feel really simillar between each other. When they tried to think outside of the box in 'Homesick' they simply couldn't. Lyrics are kinda emo too, not cool emo, cringy emo. *Outstanding songs: Country yard Cover: Kinda tematic, nice art, doesn't stick in the head though. Real rating: 2.0 *This album had me change my template from 'Favorite songs' to 'Outstanding songs'. I was putting 4 to 5 stars ranked songs in that section and this album has none of those. Don't want to make it sound like they're whooah great songs so I had to rename the section. Instead I'll put selected songs ranked above the album average.

General thoughts: I only knew Psycho Killer from this album, to be fair that was before the Dahmer series. I had, not exactly higher expectations, but different expectations, I though their sound would ne rougher, idk why. Well, they show a distinctive style and I love that about debut albums. I like their singer, the bass style and the funky guitars, it feels tropical if that makes sense. Probably Psycho Killer greatly represents their vibe. Favorite songs: Psycho Killer, The Book I read, Love Comes To Town Cover: Plain horrible. Real rating: 3.59

General thoughts: Eclectic but songs really dont stick. Songs with more arrangements feel more alive. Favorite songs: The Man in the Station Cover: So so. Real rating: 3.33

General thoughts: Weird, has its lows and highs though I generally prefer her less experimental songs. She has a good voice, though I feel generally she doesnt makes the most out of it as in "Heavy Ballon". Favorite songs: I want you to love me Shameika - Nice transition from previous track Drumset Cover: Reading the page summary I would assume she herself made the cover art, its pretty silly heh not a compliment. Real rating: 2.92

General thoughts: Feels like a 2000's game soundtrack. Kinda like if I were a sim this is what I would listen to. Started kinda cool and I could see why people could like it, but three songs in and oooh fuck its soo repetitive, bit tiring but the songs are short so it's bearable. The best songs were where there was a soul singer. Actually If I could take only those songs out of this album it may be a 20 minutes 3 to 3.5 stars album. Favorite songs: Tired games, Crazy love. Desperado is fun lol Worst songs: Sincerely -and unironically-, 'Sincere'. Cover: Most house-y looking album cover ever, take that as you like. Real rating: 1.7

General thoughts: I'm sorry, I genuinely though Deep Purple was a meme band, but they are not, they reaaaaally rock live, 'Smoke in the water' isnt even the best song in the album, I dont know how is that their insignia song if they have others much better, really. Also, one of the greatest compliments I can give, they really can do long songs without boring the listener; vocals, instruments, all amazing, and the solos are masterfully planned and executed. Favorite songs: Highway Star Worst songs: Lazy, & Space truckin'. I know what I said but this is too long, around the 12mins mark would be a good end, that way it'd be a 4/5. Cover: Simple but I like it, usually for live albums the best is to use a shot that captures the atmosphere of the concert. Real rating: 3.92

General thoughts: idk if it was my source but the sound quality was horrible and in general the production doesn't seem any good. A lot of misses could have been raised up one star were the production better. Same year a lot other bands were releasing much better psychodelic music, I would even say this leans more to classic rock. Favorite songs: Thru the Rythtm & You Don't Know (How Young You Are) Cover: Generic. The concept could have had a better implementation. Real rating: 2.31

General thoughts: I got this after Sincere by MJ Cole, this is kinda like his older cousin but much more ambient. When they go full ambient without the catchphrases loops they can be somewhat good, but most songs are below-mid. Very cool song naming though lol Favorite songs: 'A Hazy Shade Of Random' is a nice track. Worst songs: Gringatcho Demento Cover: Not gonna lie, the cover made me think this was gonna be good. Real rating: 1.91

General thoughts: kinda emoish or alt at times, else grunge didnt struck a big impression Favorite songs: Yeah We Know, Let it ride Worst songs: Don't Cover: Rustic cool but not emblematic at all Real rating: 2.95

General thoughts: lol this is not blues. this is kinda like a noisy alt rock /grunge, 2 noisy 2 me. sometimes is crazy fun rock like chiken dog, other times is just craizy noise or bad experimental Favorite songs: Identify (reminded me of bastro, thats a huge compliment), Chicken Dog Worst songs: Sticky Cover: Simple but enough Real rating: 2.69

General thoughts: Tiring to listen to. Not particularly bad, just forgettable. Had to listen it in several parts. I really never got why Sonic Youth got that famous. Favorite song(s): 'Cross the Breeze Worst song(s): Providence Cover: Ok Real rating: 3.25

General thoughts: I've never been a Pink Floyd fan, I know a couple of songs, but I've never been able to get into a full album, it's been some years since the last time I tried to though. I also don't know much about them so at first, I tried to not to search any info about the band or the album but that became harder and harder as I engaged more and more into the artistry of The Wall. I knew so little that I even though they were purely a 70's band, but they actually spanned a couple decades intermittently, which is cool and makes me eager to listen the sounds they developed trough time. On the first listen some songs came back to me from previous attempts. Before now the only The Wall song I had in my library was "Another brick on the wall Part 2". As I started listening to the album I noticed it was a rock opera and Tommy by The Who popped into my head. Compared to Tommy this feels like one whole enormous song, or at least a set of big oners. Also, Tommy has a lot of repeating structures like verses or riffs which help add a cohesiveness layer, The Wall on the other hand has songs continuations like Another Brick on the Wall Part 1-2-3 or In the flesh _-?, they are different methods of achieving the same goal. I also felt The Wall is designed as a theater experience. Dramatic, ...very dramatic, divided into acts, relies in roles and songs are usually written like a narration. Tommy also has these elements but somehow feels not like theater, maybe it’s the sound effects? Water's neurotic voice? Idk but one curious effect though is that the songs usually don’t make much sense stand-alone, which is not an issue in Tommy. Is that bad? not really, it's just a statement: The Wall must be heard as a whole album or by acts (side A & B). Actually, that made it harder to rate as my system is to average all songs rating (not perfect, I know). There are some songs that are really just introductions to other songs... in my opinion some songs could have been merged from 2 or 3 songs into 6-8 min more cohesive pieces. As for the music, great guitar arrangements and riffs. The sound is very melodic and feels like you are in outer space or a big hall, really funky at times which was a nice surprise (I had in mind Pink Floyd = Psychedelic Rock). I really loved the studio work. Instruments really enhance the ambience of the story, also the use of sound effects/introductions was always on-point. This album and all songs in it make it easy for you to imagine and pop images into your head, they are really narrating a story trough all their means. The guitar performance clearly steals the show, drums for me just fall into the background and the bass it's very lacking, which is a shame because it would enhance The Wall's spatial feeling. As for voices, Waters voice is reaaaally neurotic, I mean it fits the character and the story, but it was tiring on the first try, even then I don’t love it. Gilmour's is more my style and I would have loved to hear him more. I generally liked his songs more too. Story-wise, I don’t quite click with the album's concept, I don’t emphasize with the protagonist nor I understand if I should. I mean if we talk about mental walls Tommy is a better example in my opinion but was missing a message. The Wall in the other hand lacks a good enough character to convey its idea, it definitely got a reaction from me though, which is what I value the most. As for the story-pace I feel the first half goes fast, and the second half is much slower in comparison. Fixing the pace + filling some story gaps + better character build would’ve have made it for me. I know the Pink’s character is a mix of Waters/Barret/fiction, but I really get a feeling of exaggeration, like he is more of a culprit than a victim, so all this fable about The Wall and everything just feels like a game. Maybe I completely missed the point it or maybe that’s the reaction I should get(?) Anyways, I hope after watching the movie I'll be able to see it with a broader perspective. In general, I loved the album, I did like 15+ full runs on the album to reach the minimum review I'd be pleased with. This is definitely an album that transcends time and I can easily see myself in 10 years rediscovering the album and finding new things I am not aware of in the present. I reiterate, this album must be listened to as a whole, from track 1 to 26. I will also point out I liked more the first half. Favorite song(s): I specially loved The Trial. Particularly how the roles play during the song and how grandiose of a closure it feels like along with the final track. What I mentioned about The Wall being basically theater shows a lot here. Other favorites are Mother, and ABITW part 1 + The Happiest days of our lives + ABITW part 2 (this trio should have been one song for example). Worst song(s): Another Brick in the Wall part 3, not bad per se but it’s basically filler so I cant point it as good as part 1 or 2. The rest of the songs are 4+ Cover: Simple but precise. Liked the decision to actually have the name on an overlay. Real rating: 4.59 Favorite rate: 30% (8/26) *I added 'Favorite rate' retroactively on 03/01/26. I plan to add it to >=4.5 rated albums. It's an indicator of songs marked 'Favorite' disregarding the song rating.

General thoughts: Weird, the popular songs (the ones I already knew) were good, the rest where 3/5 or lower, I was really expecting more. Favorite song(s): I Know Places, Blank Space Worst song(s): Welcome to New York, All you had to do was stay Cover: The covers online are either messed up in brightness or contrast. Even then, the polaroid concept has been used plenty times before. Taylor's version cover is infinitely better. Real rating: 3.11

General thoughts: Reminds of The Runaways, but less hard and creative. Not bad but nothing trascendental nor particularly entertaining. I also think production-wise they don't sound as good as they prob could, its very bland. Good background music. Truly middest of them all. Favorite song(s): The Phone Call Worst song(s): Most songs where a 2.5/5 imo, nothing is outstandingly bad. Cover: Very british. Very boring. The red jacket looks cool though. Real rating: 3.07

General thoughts: Most songs go full country cliche, same with the lyrics. There are a couple of songs that add a spice of pop, or folk, or even a kinda christian-music tune. First two songs actually made me think this could be actually decent only to nosedive completely. I'm more of a Johnny Cash kind of Country, never been into the more recent developments of the genre. Boring to the core. Outstanding song(s): Car Wheels on a Gravel Road Worst song(s): Particularly- Concreate and Barbed Wire Cover: Simple but it expresses the general feeling of the album Real rating: 1.80

General thoughts: I was expecting nothing, I've heard of Anita Baker before but didn't know her songs nor her status as an artist. Anita's voice is delightful and matches the genre perfectly, this is very apparent the first instant you listen to Rapture. The tracklist is pretty solid. The sound is very classy, like r&b, very soulful, very 80s. I can [easily] see any of this album songs as a sample in one of these modern micro-genres, 'cause it also feels a lot like a less-funky citypop, probably because the chorus of all songs are delivered with a lot of emotion. Songs are always catchy, some may fall short during the verses. Sometimes songs that rely heavily in the voice and emotion tend to lose musical structure, this is not an issue here. I dont know how I would react to a second album with this same line of content though. I'm not the target. All the lyrics are about love, that can be chessy and tiring in the long run. If you are in the mood or see your love situation reflected in the lyrics this is potentially magic though and probably resonates with a lot of people. This is probably a great album for sex lol. Outstanding song(s): Watch Your Step, Sweet Love Weakest song(s): None particularly Cover: I like the classiness and fragility that the posture express, a bit sorrowful even. Its very fitting of the genre and general tone of the album. Real rating: 4.18

General thoughts: I have a kind of stigma against radiohead, haven't really heard anything outside of creep. It wasn't as bad as I expected, I thought they were more vanilla. I liked the strident tone. The band work is solid, specially the guitar. There were a couple of moments in which I think the arrangements could have been improved a lot. Lyrics are tedious though, Thom Yorke has such a punchable face and his songwriting screams "Depressed loser" lol "The Bends" is something I would listen to as individuals songs, not as a whole. Liked it. Outstanding song(s): Black Star Weakest song(s): Bullet Proof... I wish I was Cover: Awful. Real rating: 4.04

General thoughts: On a first listen it sounded good, the sound is like the perfect pick for 90s teenager movie soundtrack, kinda pop-punk the singer's voice is fitting, everything else is decent four songs in and you notice the general structure is repeating the songs feel very similar and eventually tire out if you listen to the whole album trough it’s like they have a formula and they’re trying to replicate it all the way i imagine this was a hit on the radio, but as an album it’s just okay Outstanding song(s): Pretty in pink, No tears Weakest song(s): I wanna sleep with you Cover: Simple, but I like the aesthetic Real rating: 3.45

General thoughts: This is not the Bob Dylan I'm used to, I'm used to 60-70s Dylan, so I was a little bit anxious before starting. Lengthy as usual, but slower than usual... I like the studio sound it produced though, its polished. A piano song was a first for me lol (Make You Feel My Love). Later I noticed why it sounded so familiar (Adele's cover). In general, the album it's failing melodically for me, also its filled with too many songs using typical blues progressions. As for lyrics, some are gold some are very relaxed and don’t aim higher, which I don’t condemn. I especially liked the lyrics for 'Not dark yet', very sinister, it’s like I'm either depressed or in my deathbed lol. I like Dylan's rawness, and this feels like minimal instead. Wouldn't define it as a "Comeback" as the summary says. Outstanding song(s): Not dark yet. Love sick. Weakest song(s): Highlands. (Why is this 16m long?!) Cover: Decent. The studio photo aligns with the sound of this album. Real rating: 2.63

General thoughts: The sound is kinda spooky, I like it. Their style is very distinctive, and the songs are always catchy. In general, their arrangements were very good. I wouldn't define it as Ska though, or at least not what I use to call Ska. Quick wiki search says there have been 3 large ska movements since the 70s, I’m probably more used to the newer ones (? The album is very consistent but falls apart in the last third. Couldn’t get the hang of the lyrics Outstanding song(s): Our house Weakest song(s): Are you coming (With me) Cover: Very cool. Seems to reference some of the songs Real rating: 3.46

General thoughts: Gets boring with each song. James Hetfield angry singing is a factor in that. Music should be able to convey more, so this album feels very narrow for me. Also, all songs dragged a bit too long. Good trash should be quick and dirty. Outstanding song(s): Battery, Disposable heroes Weakest song(s): Orion Cover: Good - for metal albums' standards Real rating: 2.93

General thoughts: Coming from ´91 this is probably one of the first appearances of post-rock, like for example, I see the lo-fi recording, slightly distorted guitars, almost whispering voices with long repeating ambiance that radiates down to all these niche-rock-genres... And I usually like said niche-rock-genres, like math rock and such, but this is boring with 20% of the song being interesting and the rest background noise. Not bad per se but gets old after the first track. Instrumental songs are tiktok level emo-core, non-instrumentals feel like a mild attempt at mimicking Bastro. Outstanding song(s): Breadcrumb Trail Weakest song(s): Washer Cover: Lazy Real rating: 2.58

General thoughts: A well-produced well-executed consistent album. The songs flow nicely one into another, ballads and funkiness are correctly balanced. A good track opener, a nice ending (second half of Sir Psycho Sexy..), fading into a fun bonus track (They're red Hot), the energy is so raw funky and fun, along with the flow it feels like one big jam session. The album barely escapes the Achilles' heel of funk, repeatitiveness. I'd probably never again decide to listen to the whole album on one run cause it would bore me out, but the experience for the first time wasn't bad at all. Tracks also work standalone, which adds up to the dedicated production of this album. So, the album is solid and enjoyable, no filler really on my book (musically), but the songs that really trascend are the ballads, in contrast with the couple of songs with throwaway lyrics. Removing some of the weakest funk tracks to get a more remarkable 10-12 songs album would have made the album experience much better, really dont see the need to make this a double album. Outstanding song(s): Breaking the girl, The Power of Equality, They're red Hot Weakest song(s): Mellowship Slinky in B Major, Sir Psycho Sexy Cover: The kind of cover designed to trascend time. Loved how they handled the band's name along with the album's. Real rating: 3.97

General thoughts: Angelical yet terrenal, inocent yet brave, this is a gorgeous album. "Arrival"'s production is incredibly good, and the setlist is nicely selected. The opener, "When I Kissed the teacher", is a fast-paced teenage love song which effectively demonstrates the ABBA effect. Its like you get sent back in time, younger, fiercer. And suddenly you're a schoolgirl fancing over her first crush, fantasizing its anything other than impossible. It makes you wanna dance, defy nature, fell in love and fall out of it. It always makes you smile, irregardless of the lyrics. The vocals are insane of course, the female power duo of Frida-Agnetha shines in every song. The sound is like an early disco, labeled as Europop. The essence for me revolves around the synths and pianos, decorated with strident acoustic guitars, electrics and sometimes orchestral elements. The album closes with "Arrival", a nice instrumental ending that feels like the OST for a morning sunrise. A Majestic showcase of ABBA's great talent. Outstanding song(s): When I Kissed the teacher. Money, Money, Money. That's me. Weakest song(s): "Why Did It Have To Be Me". Rock & Roll vibe. Feels like taking a step down. Also the only song not sung by the female duo. Cover: Weirdly sweddish. Midly infurated it's not centered Real rating: 4.35

General thoughts: As a good piano man, in this album melody reigns. The Stranger revolves around dreams, hopes, adventures. It's conceptual in that regard. A new life full of possibilities and the voices that hinder your path, the alienation of a small dumb boy in a big city. That’s what "The Stranger" entails to me. The album is led by the piano and voice melodies accompanied by some good love-story lyrics, good but not excellent. The arrangements are minimal but precise, everything feels in the correct place. I'd have preferred more bass in the mix to enhance the flow of the melody better though. Little rant. The piano part for the stranger was beautiful, it’s clearly a central piece for the album experience but its hella weird how they incorporated the arrangement using a simple fade-in face-out into the songs instead of standalone album tracks, then there's also the thing about "The Stranger" being actually the second track. I mean they should have made it its own track. Weird decision. Anyways, definitely a night type of album. Full of classics. Outstanding song(s): Movin' Out (Anthony's Song) Vienna Weakest song(s): Everybody Has a Dream Get It Right the First Time Cover: An empty department, alone, with only dirty sheets and a dream hanged on the wall. The stranger looks at you, silence speaks. Peak. B/W was also a nice decision. Real rating: 4.11

General thoughts: When I got this album, I was asking myself: "What the heck is southern rock?" Well, southern rock is modern country, that's what it is. Actually, this album is half modern country half swampy blues half insane SOLOS SOLOS SOLOS. But for Lynyrd in comparison to other bands, this is a positive aspect. Lynyrd is a masterclass example of good solos, mainly talking about guitar, though there are also piano solos. The superb execution, the cadence to make ‘em exhilarating. They can get away with making a song half-solo half-lyrics without making them boring (e.g. Tuesday’s gone). And by effect, this is a fun album, performance-wise very entertaining - not so much in other aspects - but anyways, time goes fast listening to this album. The guitar work in general is amazing, the layering of up to 3 guitars is perfect and basically carries this album. Bass/drums/voice are fine but are no match to the lead guitar. Lyrics are totally redneck though, the laidback chilling type, not the hardworking kind. Always unintentionally funny. As an album, the setlist doesn’t feel correctly structured, production is notable in some tracks and falls behind in others. No added value. Outstanding song(s): Free Bird Weakest song(s): Things Goin' on, Mississippi Kid Cover: Lame Real rating: 3.75

General thoughts: On first listen, this felt like an easy-to-listen thing, but I couldn't really grasp much of what makes this album great. It was on subsequent listens that the soul got into me. The production values of this album are insane, Abbey Road-level kind of record fidelity. The battery sounds so crisp and clear, with funky basslines, and that guitarist can literally make a guitar weep omfg. The instrumentation and arrangements are insane, everything feels in place but free of movement at the same time. The soul roots + spices of Funk + falsetto singing feels soo modern, the ambiance is really similar, less pop but almost as urban. I've never heard plain soul like this before, and it was overwhelming at first; it's just so much raw emotion through every front. The almost cracking voice wasnt of my liking at first, but I started to get into it in subsequent listens. His lyrics -and maybe even his singing- are like hearing an American pastor talking lol. This may be a thing with Soul as a genre, but songs can feel absent of structure, slow, and with no clear payoff. Which isn't bad per se, and under a bad execution, it could be tiresome, but this is not the case. Actually, the songs I liked less are from the second half (5-7), which feel more like safe bets outside of the canon. I think it was a good decision to make the setlist short, cause there's little to no variation, not much exploration, just a giant soul blast. That, for me, is a requirement for an album to transcend; for a shorter songlist, I can keep a blind eye on this regard. Overall, the album experience is really enjoyable; it's clearly produced with a lot of love at the risk of sounding chessy. Musically, the album is very thigh, conceptually not so much, which is kind of a shame having such a powerful cover. Outstanding song(s): Jesus, So In Love Weakest song(s): Blue Monday people Cover: A genius rendition of the 1937 photograph "At the Time of the Louisville Flood". The message is clear, the contrast between the America projected to the world and the reality of the black community. Amazing usage of artistic resources. Real rating: 4.28

General thoughts: This album is just a collection of songs - with no additional value given - composed of very basic country tunes. Though the songs are very formulaic and repetitive at its core, they're short so the fail-retry factor is high making the full-listen not tiresome. The mix is terrible and only prioritizes the voice. Loretta's voice is actually good but there's this country accent which I really hate, this is completely personal preference. Her voice shines more for me on slow ballads. As for the lyrics, we of course have to appreciate the progressive takes on _some_ of the tracks. Guitar saves a couple of songs from falling, but the guitar bridges are actually part of the album's formula. Overall, not really bad but veeeery simplistic. Outstanding song(s): "I Really Don’t Want to Know". This soul-esque melancholic track hits different. We see Loretta singing with a different approach than usual resulting in a very sad yet emotional performance. For brief seconds we hear her more natural voice which is beautiful. Weakest song(s): I Can’t Keep Away From You Get What’cha Got and Go Cover: It's like they tried to make the most basic album in every possible sense Real rating: 2.5

General thoughts: First impressions. Just looking at the cover, I wasn't expecting much; in fact, I was expecting a completely different sound. The cover resembles the wave of cringy urban artwork we received in Latino America during 2000-2010, and somehow this is both a really close and really far guess at the same time. The sound is experimental urban, with eclectic instrumentation drawn from Latino genres such as bachata, salsa, bolero, and reggae. At first, I hated his voice because he sounded very awkward in Spanish, but I got used to it after a few spins. I also sense some influences, like Café Tacuba or Willie Colón. For this reason, along with the samples, this album feels very LATAM 00's. It's very nostalgic in that sense; he nicely captured the feeling of México during those times, the discomfort but also the warmth of the Latinoamerican voices. There's this rhythm section running almost nonstop in the background, almost like a trance, which nicely adds a layer of cohesion to the album. “Clandestino” and “Despedida” + “El viento” are conceptually decent openers and closers. It's like a cycle. A journey to an unknown land as a "Clandestino" and a farewell at the end. Next stop - wherever the wind will take me. The flow is like a roller coaster, with a strong start and multiple ups and downs. The tracklist includes too much filler, and most songs are rather simple structurally and sometimes repetitive. It's not very consistent, but it's very coherent. The album experience is really enjoyable. Songs blend one into another, and we get tons of callbacks between songs. We're always reminded we're listening to CLANDESTINO. Conceptually, this album is, of course, about immigration; we get some social commentary about this when we're not in the middle of a filler track. Here's a fun fact - through the dialog samples, we can infer strong support to the EZLN movement, a hot topic in Mexico during that era. Actually, much of the commentary comes from their "4th declaration of the Lacandona Jungle". (https://palabra.ezln.org.mx/comunicados/1996/1996_01_01_a.htm) Their ideals resonated with the people, though there was controversy and dark implications unveiled in the subsequent years. This is an unexpectedly weird album. It's surprising, of course, it's fun, it's pop, it's experimental, sang in 4 languages, conceptual, and somewhat high in social commentary. Probably, it’s much more enjoyable to Spanish-speaking audiences, though. It should have all the elements to make a perfect album, but something is missing for me. I didn't really feel much. Musically, it was great, but I've heard instrumentals that have moved me more. Maybe it's because this isn’t my usual genre, I don't know... Here's a small sample I liked, which really sums up México (whenever) - "Mr. Delegate, what about hearing out our eviction problem? What do you think?" "But who remembers problems right now, dear? Go around, have fun." Outstanding song(s): Malegria, Bongo Bong, Desparecido Weakest song(s): Je Ne T'Aime Plus, La Vie A Cover: As I said, it's so bad that it really throws you off on your expectations. Real rating: 3.59

General thoughts: It is not fair I got this after "There's no place like America" by Curtis Mayfield. He drastically set my expectations up for what soul entails, and that’s raw emotion, a journey with no clear destination. Bobby Womack’s sound is more Disco or Pop than Soul. Somewhat catchy, yes, but highly commercial and formulaic. The production and instrumentals are decent, but nothing impressive. For me, the Womack feeling is about being showy, about shouting, gargling, and regurgitating words. Soul-like? Yes. Soulful? No. Also, "The Poet" is such a lame title for simply bad lyrics. As an album, zero substance, boring; individually, they're good classic love songs. There isn't really any filler, though; it's really him trying his best. "Just like some good old Kentucky Fried Chicken And all of it was good enough to be finger lickin'." Outstanding song(s): So Many Sides Of You, Secrets Weakest song(s): Where Do We Go From Here Cover: Lame portrait Real rating: 3.43

General thoughts: On first listen, I clearly recognized some of the songs. A quick wiki search returns a genre I didn't know - 'Brill Building' - where songwriters created material for girl groups during the 60s. That explains a lot, well-written songs with catchy melodies. Tailored to be commercial hits, and that's not bad. This made it hard to rate tough, given the inherent comparison between this and their more known versions. Another hard thing to oversee was the light and unpolished production; it's very loose, like a nice demo of a good song. Everything else is very cool: the lyrics, arrangements, and instrumentation. She's clearly accompanied by talented musicians. Her voice is also nice, engulfing, and distant from the usual female voices of today. Throughout the album, her voice is dead-center, all the way up, which helps convey this personal and private feeling. The lyrics are good, but usually very commercial 60's, indicative of her profession, with flashes of genius like, for example, the title track ‘Tapestry’. With this, I circle back to the beginning. This is a collection of pop singles. Judged as a songwritter its a great showcase of expertise; as an artist-performer, it seems a bit like wasted potential of making something truly your own. Outstanding song(s): Tapestry Weakest song(s): Way Over Yonder, Will You Love Me Tomorrow? Cover: Folky. Fitting for writer-songwriter. Liked the cat in front. Real rating: 3.45

General thoughts: Post-punk is a genre I only understood recently through Magazine. The name is misleading because we lose some aspects of punk, such as the simple structure, fast tempo, and short life; at the same time, we gain some new shades, like social critique, the gothicness, and the darkness of the sound. First, this record feels very modern, the sound feels like something that could be released in the 21st century, there's even this song 'I Found That Essence Rare' which sounds like midwest emo in the first seconds. In addition, we also have lyrics that resemble modern worries; we have anti-government, anti-war, anti-propaganda tracks, that's cool, but I also would like to point out tracks about sex life, social expectations, and monotony. About the music, great guitar, almost spasmic, but sometimes too much. On this topic, 'At Home He Feels Like a Tourist’ was a song ruined for me by this gimmick. I don't have much opinion on the rest of the band elements. Great opener, heavily underwhelming ending. A bit of repeating cliches throughout the tracklist. The worst tracks really drag the album. Kudos for the unexpected integration of what I thought was a harmonica, but was actually a melodica, which was probably seen more as a toy by the time. Outstanding song(s): Damaged Goods, Guns Before Butter Weakest song(s): Anthrax Cover: A splash of bloody red and then a strip regarding tribe exploitation, ok. I value cohesion, though. We could say the most representative track for this album -Entertainment- would be '5.45' because of the lyrics. So what's with the cover? Wouldn't something else be more fitting? Real rating: 3.375

General thoughts: Rap metal is one of those genres I haven't been able to click with. Sounds cringy, it's repetitive musically and lyrically. Structurally, the songs may have some cool tricks, but when you hear them on every song, it’s just tiring, e.g., slowing down, voice goes quiet gradually, then boom, an explosion of energy. Cool, once or twice. Tempo is almost intact in all songs. The rhythm and the pace of the main riff blended with the rapping, I swear I can hear myself thinking "Killing in the name for" in every track, because it's like all songs are variations of a couple of base songs. Instrumentally, the riffs are cool, the solos are really good, and they always elevate the songs. The guitar tone was outstanding, almost electronic. All other instruments just fall behind. The singer, this guy had such an obnoxious voice, I could almost feel his fucking spit on my face. Tied along with the "I'm in pain, I'm angry, boo boo" lyrics, made me kinda hate him. Like, yeah, I get you're angry, but what else do you have? Show me something you haven't sung dozens of times before. Same thing with the social commentary. I mean, it's a mood, but it's very narrow, tunneled - a good album should be able to cover more than one emotion/topic. The album is somewhat conceptual, with songs revolving around anti-establishment, anti-propaganda, make-noise. Outstanding song(s): Bombtrack, Killing in the name of Weakest song(s): Wake up, Take the power back Cover: A photo of the famous self-immolating monk during the 1960s Buddhist repression in Vietnam. A symbol of protest. Rage against the machine, though both scenarios don't envision the same kind of response... They say 'Anger is a gift', but is there more to it? I have mixed feelings too here, but it makes you think about it, which is a good sign. Real rating: 3.1

General thoughts: It wasn't love at first sight, but this album grew on me after a few tries. Also note that this is definitely not a speaker's kind of album, but a headphones one. "5 leaves left" is a deeply intimate album, in essence and style. You need to listen closely to hear the subtleties of the music. The opener 'Time has told me' successfully sets the tone of the album. Light folk, full of life and imagery, soothing and tender on the surface yet depressing or even haunting on the inside. Melancholic at its core, this album takes us into Nick Drake's state of mind. The lyrics here are something else; they feel like the perfect balance between simple and complex. His writing, along with the music and singing, has this effect on me, something I feel when I try to sing Paul Simon. It's so effortlessly good, it's not until you try to imitate him that you notice it’s not something any artist can do. It's a poetic story, enticing and attractive, spiced with the correct amount of enigma. Makes you even want to root for him because some songs also imply death or depression. His voice is refreshing, low-end and sweet, accompanied by beautiful guitar playing and strings, electric and percussion arrangements. They are subtle and not always present, but they're always there when needed. Outstanding song(s): Time Has Told Me, River Man, The Thoughts of Mary Jane Weakest song(s): Saturday Sun. Sticks out weirdly but ends the album nicely. Cover: The picture is nice, I'd prefer it as the full cover instead of having that ugly green frame. Favorite rate: 50% (5/10) Real rating: 4.5 *Re-rated 02/05/2026

General thoughts: Having already gotten BSSM, this will be my point of comparison. Californication is less funky and much less metal; it's more harmonic and pop-ish. It's a considerate shift from their previous style, with more backing choruses, a greater focus on melodies, and less sexual lyrics. There is a clear signature sound; you can easily pinpoint what songs are from the BSSM era and which are from Californication. I value that. Lyrically, it improved, and that's because they were pretty disastrous before; they still lack sense, unity, and cadence, but sometimes they do provide imagery. The production is weird and sounds cheap, like hearing it through a radio. That said, I liked Rick Rubin's production of BSSM. I'm not sure if the production values changed from one album to the other. The resulting product has this nostalgic vibe that really makes you think, "Hey, this is the 2000s". RHCP has had this effect on me, in which the songs seem like the perfect recipe to rate it higher, the setlist is solid and steady, songs are catchy, and the instrumentation is always good, but there's always something on a higher level that makes me want to rate it lower as a whole. Last time, it was the lyrics; this time, it's the production. As with BSSM, it makes me question what is the best way of rating an album. Finally, kudos to 'Savior' which, strangely enough, has some kind of Pink Floyd vibes lol. Outstanding song(s): Right on Time, Around the World, Road Trippin' Weakest song(s): I Like Dirt Cover: Somehow like a fever dream Real rating: 4.03

General thoughts: I only knew CCR's greatest hits, and I’ll say this was a sad experience, though I'm sure they must have better albums. This album follows the style I had in mind, which it's cool; their essence is there. The opener was good too, a cool genre switch, but maybe the instrumental section overshadowed the other part too much. The vocals are raspy, raunchy, and powerful; he rarely goes to a higher register, but he is capable of it. Having got the eponymous album Lynyrd Skynyrd a couple of numbers ago, I see a clear similarity, actually, Lynyrd feels like CCR on steroids. Both are bluesy swampy country rock - Cosmo's Factory being more bluesy on the conservative side of things. That's one of my issues with this album. Another point of comparison is the guitar; they both have outstanding guitar sections and rely heavily on solos, making them shine. However, CCR can't save a song alone from the guitar, which Lynryd can - and that can make things worse somehow, sometimes. Example given: Heard It Through The Grapevine. A solid song which could have been 6 minutes and that's more than enough, instead it was dragged to eleven minutes in an album full of 2-3 minutes songs (and one 7), tanking the album experience and not really elevating the song standalone. Returning to the first point, it was sad that the best songs were the ones I already knew. Everything else feels very filler-like. Most of the songs are traditional blues tunes with no innovation, no outstanding lyrics, awkward drumming, and subpar production. The execution is good enough, but at least for this set of songs, it feels 8 years behind of what it should (This is 1970). Outstanding song(s):} Run through the jungle, Ramble Tamble Weakest song(s): My Baby Left Me, Ooby Dooby Cover: Chill, colorful, with movement, but still an ordinary lets-just-take-a-photo-and-call-it-a-day cover Real rating: 2.86

General thoughts: I had a hard time deciding between the US or UK versions; the setlists looked wildly different, and opening with "Paint it Black" along a shorter run seemed like an advantage for the US, but I ended up picking the UK because it's their country of origin. Inevitably, I have to compare it to what the Beatles were producing during those years, which would be Rubber Soul. If this were really a race, Aftermath feels some years behind. The opening track sets a gist of a psychedelic and more mature undertone. Actually, the start is strong but falls trepidly after 'Under My Thumb'. The rest of the album is basic Rock'n'Roll and Blues tunes, nothing that makes you think 'Hey, this is something only The Rolling Stones are capable of doing'. No, it's something pretty generic. The album sounds really unpolished and badly produced; there's this constant echo, like it was recorded in a big hall. The drums are lame as hell. The guitar in comparison was really good and unique, it's like it's there doing it's own thing, shining in parallel with the vocals but at the same time not stealing the spotlight. After getting familiar with the UK version I checked the US version and it's basically a rearrangement + "Paint it Black". Side A is near perfect and then side B is average but tanking again thanks to "Goin' Home". Overall, the final rating is similar. Outstanding song(s): Under My Thumb, Lady Jane, Mother's Little Helper Weakest song(s): Goin' Home - Yeah, let's make the outro of the most generic song in the album 11 minutes long, 1/5 of the duration! Cover: This is clearly 'With The Beatles'. Real rating: 3.21

General thoughts: Tango fusion with house/trance. The blend of instruments is nice, picked from different genres. And that's it. For me, the house roots are at fault. Songs are a beat and don't offer much more than that. Drums are lifeless, and the songs are emotionless in general. It can be hypnotic, but that's about it; five minutes go by fast, and the songs end with no highlights, perfect background noise. Particularly hated the vocal loops, sometimes they are so bad it's funny, like 'El capitalismo foraneo'. Manu Chao picked just the best parts of this genre/fusion and created something miles better. I mean, really, I've heard lower rated albums with more cultural significance, and those feel more backed to be on the list. Outstanding song(s): Epoca Weakest song(s): El Capitalismo Foráneo Cover: Nice and tango-ish Real rating: 2.55

General thoughts: A solid, catchy pop-rock album that glimpses some kind of potential. It's up or down at this point. The bad, the mixing was weird, somewhat flat. The lyrics were decent. The good, ballads like 'Jacob Marley's Chain', 'Mr. Harris', and 'Way Back When' are the ones that really stood out to me. The arrangements were cool, and the strings were beautiful; there's a kind of Beatles-esque feeling on this aspect. This spark of genious is more apparent in the second half of he album, Her voice was also cool; it's always nice to hear a female singer with a lower register. I get the image of a 90's Taylor Swift contemporary adult version, lol, with all this love breakup talk, which is kind of tiring for me. I got this along with my first listen to Alanis Morrisette, and they are kinda adjacent. Aimee's performance is less emotional when it's pop, so I feel she has a better delivery on ballads. Her composition is better, though; her songs are more varied and have interesting structures. For 'Whatever' the sum of the parts its bigger than the parts of it, for 'Jagged Little Pill' it's the opposite. Outstanding song(s): Mr. Harris - It's so goofy and dorky and beautiful, I love it Weakest song(s): 4th Of July Cover: Interesting, she gives a totally different appearance compared to her music. Still, it's a cool cover. Real rating: 3.54

General thoughts: I like Jazz, but this is not my type. This one has a mixture of Soul, supported mainly by the organ. But for me, it lacks the impact. I need the rush, the energy that instrumentalists like Coltrane can deliver. For me, Jazz is about the expression of the instruments and the synergy between them. This kind of laid-back, relaxed Jazz doesn't do much for me other than as background music. It's department-store Jazz, and too lengthy for that matter. If this were a 4m-5m jams album, I'd probably rate it a star higher. Seriously, if you don't have a clear idea of what you want to paint, don't go past the 7-minute mark, and that’s for music in general. I found the drums and guitar not up to the organ and saxophone. As the music progresses, my mind wanders, and even if I like 2 or 3 sections, it doesn’t matter if the track is 12 minutes long. Outstanding song(s): Back At The Chicken Shack Weakest song(s): When I Grow Too Old To Dream, Messy Bessie Cover: Cozy Real rating: 2.87

General thoughts: I was curious about Alanis Morrissete's music. I had no idea what to expect. Surprisingly, I already knew two of this album's songs. 'Jagged Little Pill' has a 2000s vibe and the tone is rebellious but tame at the same time, scorny even. The genre influences range from pop to rock to urban to post-grunge. I would classify it as a 'Contemporary adult nearing a life crisis'. The album is consistent, the tracks are well-produced, and the songs are always catchy. From that perspective, it's a really enjoyable pop-rock album, tailored for a big audience, like almost any song could be part of a TV show soundtrack. The selection of instruments is nice, particular kudos to the usage of the harmonica. Next point, her voice. I'd normally dislike the tone in her voice, but it actually suits the music. Some tracks, like the acapella 'Your House', demonstrate the capabilities of her voice and show that the 'Jagged Little Pill' tone is a deliberate style choice. In this regard, tougher tracks remind me of Bôa. I got this at the same time as Aimee Mann, and I have to compare them. Morrisette's music is more predictable and artificial, but her energy delivery is powerful, the lyrics are better, but her topics are worse. Just from the lyrics alone, I imagine Morrisette is kinda a crazy bitch. Even then, the bottom line is 'Jagged Little Pill' is objectively better than Aimee's 'Whatever', and that mildly infuriates me, as Aimee has more interesting things to offer. I don't see myself listening to 'Jagged Little Pill''s whole run again, but I do see that for 'Whatever'. Outstanding song(s): Ironic Forgiven Weakest song(s): You Oughta Know (Jimmy the Saint Blend) / Your House (a capella) - I have a problem with this song; it makes no sense for a titled track in an album and makes less sense as a closer. The alternate mix is worse than the final version, so why put it there? The acapella song is very cool and shows me a more controlled version of Alanis M.'s voice, but it still doesn't make sense as a closer. There's a one-minute-long silence between the two parts, too. I mean, even as an interlude, it doesn't make sense for it to be part of the setlist; it should be a track for a special edition release or part of a bootleg or something, but for a studio album, it completely destroys the flow of the setlist. Cover: 90-00 wave of shitty covers Real rating: 3.73

General thoughts: A piano-centered album with songs about care and love. Simple yet effective on all fronts. The style, the atmosphere, the theme, it's really cohesive in that sense. Minimalistic, maybe a little bit too much. Usually, this kind of setup would make the voice stand out, but I don't think that's the case for me here. The first half is solid, but the second half progressively degrades, particularly the lyrics, which get lamer. Outstanding song(s): Into my arms (Are You) The One That I've Been Waiting For? Weakest song(s): Green Eyes Far From Me Cover: Also minimalistic, that's probably the keyword for the album lol Real rating: 3.29