Rage Against The Machine's 1992 self-titled debut album is a revolutionary blend of rap and rock that immediately grabs your attention with its raw energy and politically charged lyrics. Listening to it in full for the first time, I can hear hints of the Beastie Boys, as the album exudes a similar rebellious spirit. Fusing together hip-hop rhythms with heavy guitar riffs, I can't help but notice that half of the songs sound the same, to the point where the undeniable coherence in the band's sonic assault contributes to the overall impact of the album. It has to be said that the obvious standout track is 'Killing In The Name', which remains an iconic anthem with its powerful combination of Zack de la Rocha's fierce vocals and Tom Morello's innovative guitar work. This song in particular, solidifies the album's place in history as a seminal piece of work that captures the essence of the band's uncompromising approach to music and activism.

The Rolling Stones' UK release of "Aftermath" in 1966 marked a pivotal moment in their career as it became their first album to feature exclusively original compositions. The album showcases a diverse range of musical styles, with standout tracks like "Doncha Bother Me" delivering an infectious rhythm that undeniably slaps. However, personally, the experience of the album feels like sitting in a dimly lit saloon bar, sipping on pitchers of mediocre, flat lager. "Aftermath" is notable for being the first Stones LP to embrace true stereo for the majority of its tracks rather than electronically recreated stereo. "Out Of Time" screams Beatles-influenced, highlighting the dynamic musical landscape of the time. While opinions on The Rolling Stones may vary, and I would argue that they're massively overrated, "Aftermath" seems to remain a crucial chapter in their discography, showcasing the band's evolution and experimentation with different musical elements.

No notes needed for this album. Be serious.

Cypress Hill's eponymous debut album, released in 1991, is a trailblazing exploration into West Coast hip-hop, leaving an indelible mark on the genre. The love for the album extends beyond its lyrical prowess, as the instrumentation proves to be a standout feature for me. DJ Muggs' innovative production elevates tracks like "How I Could Just Kill a Man" and "Hand on the Glock," creating a fusion of beats and rhymes. The album not only showcases Cypress Hill's raw energy but also offers a distinctive blend of hip-hop and Latin influences. The nostalgic aura of the record gives off vibes reminiscent of classic 90s American coming-of-age film soundtracks, contributing to its timeless appeal. For avid sample enthusiasts like myself, recognising Kriss Kross' "Jump" in "How I Could Just Kill a Man" and Method Man and Redman's use of "Hand on the Pump" in "Da Rockwilder" adds an extra layer of excitement, highlighting the album's lasting impact on hip-hop culture. Cypress Hill's debut not only laid the foundation for their successful career but also solidified them as pioneers, resonating with both hip-hop aficionados and fans of the era.

The Rolling Stones' 1969 album 'Let It Bleed' is a gritty and bluesy masterpiece that tries to delve into the heart of "Rock and Roll". "Country Honk" encapsulates a sound that feels like what people might attempt to line dance to when they want a taste of country without fully committing to the rodeoing cowboy genre. However, I think Mick Jagger should hang up the cowboy boots on this one. Amidst this varied landscape, the title track "Let It Bleed" stands out, exuding almost a sensual, sexy vibe, adding a somewhat provocative element to the album. Just like the other Rolling Stones album I was subjected to a few days ago, this album once again shows the band's versatility with tracks like "You Can't Always Get What You Want," where the unexpected inclusion of a choir adds a surprising twist. I find the choir a bit out of place, with the song evoking a vibe reminiscent of early 2000s romcom soundtracks or nostalgic advertisements for like, cars or the supermarket. Despite any reservations, the enduring quality of album opener "Gimme Shelter" stands out as a testament to the band's enduring legacy, solidifying its place as a timeless and iconic rock song. While the album displays The Rolling Stones' musical prowess and ability to experiment with different styles, I still stand by the sentiment that they're overrated, which leaves me with a complex mix of admiration and skepticism for their iconic status in the rock pantheon.

Released in 2005, Sufjan Stevens' "Illinois," is a sprawling and ambitious exploration of the state's history, laden with 22 tracks that weave a rich tapestry of sound and storytelling. Stevens' chamber-folk style is intricately crafted, marked by chirping vocals and abundant orchestration that evoke comparisons to his previous work in 2003's "Michigan." The album unintentionally reinforces East Coast stereotypes of Midwestern values, presenting earnest, hard-working music that is morally rooted and technically precise. The musical landscape of "Illinois" is bordering both strange and lush, mirroring the complexity of its giant, gushing song titles. A standout track, "John Wayne Gacy, Jr.," delves into the chilling pathology of Illinois' notorious serial killer. Stevens showcases his literary prowess, detailing Gacy's life with alarming accuracy while shifting perspectives gracefully. The song stands as a testament to Stevens' ability to evoke nuanced emotions, alternating between being rousing and distressing, creating a captivating blend that leaves listeners unsure whether to reach for party shoes or a box of tissues. With a runtime of seventy-four minutes, "Illinois" demands patience, navigating through intricate orchestration and meticulous arrangements. The album's 22 (!) tracks include transitional snippets, and hidden gems like "The Tallest Man, the Broadest Shoulder" reward those who persevere. In both theory and execution, "Illinois" stands as a monumental collection of impeccably arranged American tribute songs, showcasing Stevens as one of the best songwriters of his generation, on par with contemporaries like Bon Iver and Keaton Henson.

R.E.M.'s 1983 album "Murmur" is often heralded as a seminal work in the alternative rock genre, but upon initial listening, I found myself not entirely in the headspace to appreciate its significance. The album's jangly guitars, enigmatic lyrics, and Michael Stipe's distinctive vocal style create a sonic landscape that requires a more attentive ear. While I tried to acknowledge its influence and recognise its place as one of the "1001 Albums To Hear Before You Die," I couldn't immediately connect with it. Perhaps a revisit is in order, as the intricacies and subtleties of "Murmur" may reveal themselves more fully with a fresher perspective. Sometimes, certain albums demand a second listen to truly grasp their impact, and "Murmur" seems to fall into that category for me.

Christina Aguilera's 2006 album "Back to Basics" holds a special place in many hearts, acting as a nostalgic soundscape for those who grew up with it. I, too, have fond memories of listening to this iconic album on repeat in my mum's car during my childhood. The track "Thank You (Dedication to Fans...)" not only carries the weight of gratitude but also echoes the reminiscent vibes of her debut hit "Genie In A Bottle," a song that propelled her to international stardom. The second half of the album takes a bold leap into the realms of old-school jazz, blues, and soul, showcasing Aguilera's versatility. The burlesque vamp "Nasty Naughty Boy" stands out with its trumpets and audience cheers, creating a vivid late-night showgirl atmosphere that feels reminiscent of Moulin Rouge. However, the decision to release a double album raises questions about its cohesion, and while the material is strong, the segregation of certain throwback tracks onto the second disc creates a noticeable imbalance. Nevertheless, gems like "Mercy on Me" showcase Aguilera's staggering famous belted vocals, making it worth revisiting this album to fully appreciate its intricacies.

In the archives of Hip-Hop history, Grandmaster Flash and the Furious Five's 1982 album, "The Message," occupies a pivotal position, representing a seminal moment in the genre's development. Despite its concise seven-track duration (the 2010 expanded version has 11 tracks, with an instrumental version of 'The Message'), the album defies expectations with its remarkable diversity in both musical arrangements and vocal delivery. The initial tracks, echoing the upbeat, disco-infused spirit of the '80s with heavy synths and voice modulations, set the stage for a transformative experience led by the iconic track, "The Message." Undoubtedly ranking among the top three most influential songs in Hip-Hop, this track shattered conventional perceptions of the genre, revealing its potential as a platform for political and social critique, a medium for living poetry, and a resonant voice for the marginalised. Diverging from the typical energetic tempo of Grandmaster Flash and the Furious Five's repertoire, "The Message" embraces simplicity in instrumentation, providing a stark backdrop for Melle Mel's raw and unapologetic verses. In a succinct six minutes, Melle Mel vividly captures the nuances of urban life, tackling issues ranging from addiction and systemic challenges to sex work, a fractured education system, and racial profiling by law enforcement. The song's unfiltered honesty reverberated universally, demanding the attention of the public. Beyond its status as an instant classic, "The Message" served as a catalyst for the socially charged poetic genre that helped to characterise Contemporary Hip-Hop, laying the foundations for subsequent cultural luminaries such as N.W.A, Tupac, Outkast, Kendrick Lamar, J. Cole, Kanye West and more. To truly grasp the roots of Hip-Hop and its transformative impact, revisiting "The Message" is not merely a suggestion for dedicated enthusiasts; it's an imperative exploration of where the genre originated.

Approaching The Rolling Stones' "Exile on Main Street" after having listened to two other albums this week alone, I find myself STILL entrenched in the belief that they're overrated, especially when faced with the widely expressed claim that this is their pinnacle. In contrast to the prevailing acclaim, "Exile on Main Street" appears to me as an overloaded and chaotic collection of uninspired music. The album's problematic arrangements stand out as a significant issue, giving the impression that The Stones threw in an abundance of elements without careful consideration of the intended sounds and atmospheres. A notable instance is the excessively (and badly) embellished rendition of Robert Johnson’s “Stop Breaking Down,” diverging sharply from their intricately nuanced approach in “Love in Vain” from "Let It Bleed." Dubious additions, such as the saxophone in “Sweet Virginia” and the overpowering horns in “Rocks Off,” consistently elicit expressions of frustration, prompting me to question the reasoning behind these choices – "Why the fuck was it necessary to introduce that into the mix?" Overall, "Exile on Main Street" comes across as a gathering of individuals attempting Stones covers or a hodgepodge of hangers-on and seasoned druggies, contributing to my ongoing scepticism of The Stones' celebrated status.

Marvin Gaye's album "What's Going On?" from 1971 stands as a poignant reflection of its turbulent times. Marvin Gaye, often described as "The Prince of Soul," presents a paradoxical figure, embodying both profound musical talent and personal flaws (honestly, Google it - you'll be surprised, and not in a good way.) Despite being a complex personality, his voice remains a captivating force, and the album showcases his bold departure from the Motown hit-making formula, delving into pressing social issues of the era. As a fan of Motown and Marvin Gaye's distinctive vocals, I appreciate the artistic risk he took in shedding light on societal problems that many preferred to avoid. The mellow '70s vibe and the fusion of funky bass and soulful vocals create an immersive experience. While universally acclaimed for its unembellished truth and the lens it provides into America in 1971, I find myself viewing this iconic album as just okay, acknowledging its significance while not entirely resonating with its widespread praise.

Emerson, Lake & Palmer's album "Pictures At an Exhibition" provides a distinctive journey through the realms of prog-rock, a genre that I openly admit not enjoying one bit. "Promenade (Pt. 1)" kicks off the album with a pompous organ showcase, creating an ambiance reminiscent of entering a grand cathedral. "The Gnome" follows, conjuring images of a Giallo film or a scene from Doctor Who, with its organ and guitar dueling before giving way to Emerson's synthesiser-driven melody. While the album serves as a showcase for the band's musical prowess, it veers into tedious territory for me. "Promenade (Pt. 2)" offers a variation on its predecessor, featuring Lake's Renaissance-esque vocals. "The Sage" introduces keyboard pyrotechnics and delicate guitar, resembling Middle Earth dinner theatre music that, for me, becomes nearly unbearable. Despite the applause-worthy moments in "The Old Castle," the overall sentiment toward the album remains lukewarm, with "Blues Variation" showcasing Lake's virtuosity but lacking soul. While acknowledging Emerson's synthesiser artistry and Palmer's drumming prowess, the overall verdict stands: ELP's "Pictures At an Exhibition" may impress some with its technicality, but its distinctive brand of prog-rock fails to resonate universally, and I can't help but appreciate the lack of imitators in their wake.

PJ Harvey's sixth album, "Stories From The City, Stories From The Sea," unfolds as a captivating exploration of urban experiences, blending the hermetic life on the English coast with the vibrant pulse of New York. From the opening notes of 'Big Exit,' where the nervy guitars echo the spirit of Television, the album emerges as a traditional New York record, rich in texture and imagery. Harvey's incisive lyrics, as exemplified in 'The Whores Hustle And The Hustlers Whore,' delve into gritty topics like heroin, speed, genocide, and greed, evoking a palpable sense of the city's energy. The clarity of electric guitars, skilfully played by Harvey, Rob Ellis, and Mick Harvey, rekindles a love for elemental rock. My favourite track on the album is the collaboration with Thom Yorke on 'This Mess We're In,' where there's a poignant convergence of talents that sparks reflections on the stark beauty akin to 'Kid A.' While some might split hairs about the album's grounding in the New York sound of decades past, the sheer invigoration and joyous celebration of love, sex, and life make any argument null and void. PJ Harvey invites listeners to take a walk on her wild side through this musical journey.

Until today, I had no idea who Beth Orton is. Her 1999 album 'Central Reservation' seems to me, to be a mixed bag of sentiments. The track 'Sweetest Decline' carries an evocative quality, reminding me of the kind of song Nigella Lawson might choose to underscore one of her Christmas shows when everyone is turning up to the feast at the end. However, the overall tone of the album, marked by its mellow and laid-back vibe, positions it as pure background music. It's the kind of record that, for some, could seamlessly fade into the sonic backdrop of daily life without leaving a lasting impact. Personally, I found the album to be outside my musical preferences, and I must admit that I didn't even complete the entire listening experience. While tastes in music vary, 'Central Reservation' didn't resonate with me, prompting the realisation that not every album is destined to strike a chord with every listener.

For a remaster, this sounded shit. Another album I didn't finish, another album not worth a review.

DJ Shadow's "Endtroducing....." is not just an album; it's a testament to the artistry and ingenuity of sampling as a musical practice. Joshua Davis, known as DJ Shadow, approaches sampling with a reverence akin to a spiritual ritual, crafting a sonic masterpiece that reflects a lifetime of devotion to Hip-Hop and the history of recorded music. From the opening chimes of "Big Exit," the album unveils a rich tapestry of sound, blurring the boundaries between genres and deconstructing the notion of musical categorisation. Endtroducing..... challenges the misconception that sampling lacks skill, showcasing the meticulous craftsmanship required to seamlessly blend disparate elements into a cohesive whole. The album not only redefined Hip-Hop but also paved the way for instrumental works, challenging the role of producers as mere composers for rappers. The impact of Endtroducing..... echoes in subsequent works like J Dilla's "Donuts," influencing the emergence of the Los Angeles Beat Scene and shaping the trajectory of Hip-Hop and electronic music. Each track on the album is a sonic journey, from the haunting "Building Steam With a Grain of Salt" to the hypnotic organ loop of "Organ Donor" and the expansive ambient suite of "Midnight in a Perfect World." The album's ability to seamlessly transition between diverse sounds reflects DJ Shadow's unparalleled skill in curating a musical odyssey. Endtroducing..... not only captures the essence of countless influences but also remains a timeless exploration of sonic collage, offering a glimpse into both the past and present. In its limitlessness, vitality, and energy, the album stands as a groundbreaking work that defies convention and continues to resonate as a beacon of innovation in the realm of electronic music.

Bluesy, I liked it.

Scott Walker's "Scott 2" is the epitome of niche taste, a musical journey that serves as the equivalent of a unique kink. Walker's music tends to be either cherished or met with puzzled looks and grimaces, making it a divisive yet fascinating experience for listeners. The album opens provocatively with "Jackie," a Jacques Brel cover that immerses the audience in a captivating melodic arrangement of strings, winds, and percussion. Walker's lyrical narratives, once shrouded in ambiguity, take a more explicit turn, exploring decadence and hedonism while yearning for simpler times. "Next" delves into the explicit, narrating the story of a sexually distraught man. "The Amorous Humphrey Plugg" presents a deflated husband finding solace in the red-light district, inviting listeners to contemplate the characters' elusive pursuit of glory. "Scott 2" often embraces a highly orchestral approach, utilising bowed strings and French horns to create melancholic and dramatic harmonies. However, the album also explores diverse styles, introducing country ballads like "Black Sheep Boy" and poppier melodies in "The Girls And The Dogs." Despite comparisons to David Bowie, Scott Walker carves a distinctive space in music, remaining uncool but indispensable. "Scott 2" stands the test of time by defiantly staying out of step with prevailing trends, making it a timeless and unique musical endeavor.

Killing Joke's eponymous debut album, released in 1980, is a sonic assault that captures the essence of post-punk and industrial music. The opening track, "Wardance," kicks off with an intensity that can only be described as a musical onslaught, featuring vocals that sound like they're delivered by the Daleks. This unmistakable element adds a futuristic, otherworldly quality to the album, aligning with Killing Joke's ability to transcend conventional punk boundaries. The relentless energy, driven by tribal rhythms and guitar riffs, sets a tone that permeates the entire record. Throughout the album, Killing Joke navigates a dark and dystopian sonic landscape, incorporating elements of punk, industrial, and even hints of gothic rock. Songs like "The Wait" and "Complications" showcase the band's knack for creating a sense of urgency, while tracks like "Requiem" delve into a more atmospheric and haunting realm. The sonic experimentation on this album laid the groundwork for Killing Joke's influential career and left an indelible mark on the post-punk and industrial genres. The self-titled debut stands as a testament to the band's ability to push musical boundaries and create a sound that remains both iconic and challenging.

Pulp's "Different Class," released in 1995, is a triumph of Britpop that not only defines the genre but elevates it to new heights. Frontman Jarvis Cocker's sardonic wit and keen observations about class, desire, and societal norms permeate the album, making it a sharp and socially aware commentary. The album opens with the iconic track "Mis-Shapes," a rallying cry against societal expectations, setting the tone for what follows. "Common People," the album's anthem, is a brilliant narrative that captures the tension between different social classes with both sincerity and irony. Cocker's delivery, a blend of detachment and emotion, adds layers of complexity to the storytelling. "Different Class" is an album that perfectly balances pop sensibility with lyrical depth. Tracks like "Disco 2000" and "Sorted for E's & Wizz" showcase Pulp's ability to craft catchy, danceable tunes while maintaining a subversive edge. The album's sonic palette, with its mix of glam, rock, and synth-pop elements, contributes to its timeless appeal. Pulp's exploration of identity and the complexities of human relationships resonates throughout, making "Different Class" a cultural touchstone of the Britpop era. With this album, Pulp not only secured their place in the musical landscape but also created a lasting masterpiece that continues to captivate listeners with its wit, style, and social relevance.

Frank Sinatra's "In the Wee Small Hours," released in 1955, is a masterclass in melancholy and introspection. Sinatra's voice, often described as having a timeless and emotive quality, transports listeners to a bygone era of classic Hollywood charm. His vocal delivery, reminiscent of the golden age of cinema, brings a unique depth to the album. The title track, "In the Wee Small Hours of the Morning," encapsulates the essence of the entire record, showcasing Sinatra's ability to convey heartache and longing. Each note seems to echo the sentiment of a classic Disney movie soundtrack, evoking a sense of nostalgia and emotion. The album, a collection of ballads and torch songs, unfolds like a cinematic journey through the quiet hours of the night. Sinatra's voice, smooth as velvet, navigates the emotional landscape of love and loss with unmatched elegance. Whether crooning about heartbreak in "I Get Along Without You Very Well" or embracing the hope of new love in "Can't We Be Friends?," Sinatra's vocal prowess elevates each track. "In The Wee Small Hours" stands as a testament to Sinatra's enduring influence and remains a timeless portrayal of the emotional nuances embedded in the human experience.

Frankie Goes To Hollywood's 1984 album, "Welcome to the Pleasuredome," is a flamboyant journey into the excesses of the '80s. The iconic hit "Relax" serves as a bold overture, encapsulating the band's bold and provocative approach to music - no wonder the BBC banned it from being played on their radio stations. The album, known for its high camp aesthetic, ventures into realms of hedonism and decadence, mirroring the spirit of the era. However, the inclusion of "San Jose" struck me as out of place, which disrupted the overall thematic coherence. The album takes a daring turn with "The Ballad of 32," a track that pushes boundaries and is decidedly NSFW. Listening with headphones becomes a discreet necessity, as the song delves into explicit audio territory. Meanwhile, "The Power of Love" provides a contrasting note of timelessness amidst the extravagance. This heartfelt ballad showcases the band's versatility, revealing a more tender side that resonates beyond the flashy exterior of the album. Overall, "Welcome to the Pleasuredome" showcases Frankie Goes To Hollywood's audacious and multifaceted musical identity, offering a mix of exuberance, daring experimentation, and a touch of timeless romance.

Creedence Clearwater Revival's 1969 album, "Green River," solidifies the band's reputation for crafting straightforward, rootsy rock that resonates with an enduring authenticity. Opening with the title track, the album immediately immerses listeners in CCR's signature swamp rock sound, complete with John Fogerty's distinctive vocals and the band's tight, rhythmic interplay. The record strikes a balance between the bluesy, down-home feel of tracks like "Bad Moon Rising" and the soulful, reflective tones of "Lodi," showcasing the band's musical versatility. "Commotion" and "Tombstone Shadow" maintain the album's energetic pace, driven by Fogerty's gritty guitar work and Doug Clifford's steady drumming. The straightforward production enhances the raw, live feel of the recordings, contributing to the timeless appeal of "Green River." With each track, CCR effortlessly captures the spirit of Americana, exploring themes of nature, travel, and everyday life. The album also features the socially conscious "Fortunate Son," a poignant commentary on class disparities and the Vietnam War, displaying a rare political edge within the band's discography. "Green River" is a concise and focused effort, embodying the band's ability to distill roots rock into a potent, accessible form. Creedence Clearwater Revival's third studio album cements their status as one of the quintessential acts of the late '60s, channeling the essence of American rock with an authenticity that continues to resonate across generations.

Simon & Garfunkel's 1966 album, "Parsley, Sage, Rosemary and Thyme," stands as a quintessential folk-rock masterpiece that effortlessly combines poetic lyricism with exquisite harmonies and inventive melodies. The album's opener, "Scarborough Fair/Canticle," sets the tone with its haunting beauty, blending traditional English folk with Simon's contemporary songwriting. The duo showcases their storytelling prowess in tracks like "Richard Cory" and "A Simple Desultory Philippic (Or How I Was Robert McNamara'd into Submission)." "The Big Bright Green Pleasure Machine" adds a playful touch to the album, offering a satirical commentary reminiscent of The Beatles' wit and social commentary. Simon & Garfunkel's ability to shift between introspective ballads like "For Emily, Whenever I May Find Her" and the more upbeat, politically charged "7 O'Clock News/Silent Night" highlights the album's dynamic range. The inclusion of the iconic "Homeward Bound" further solidifies the duo's knack for crafting timeless, emotionally resonant songs. Throughout the record, the production by Bob Johnston enhances the clarity of the duo's vocals and ensures that each instrument is delicately woven into the fabric of the songs. "Parsley, Sage, Rosemary and Thyme" not only captures the spirit of the 1960s but also transcends its era, remaining a cornerstone of Simon & Garfunkel's legacy and a touchstone for folk and rock enthusiasts alike.