Awful. Nothing redeeming.

MP: "Pub band get up and dance / 70s softcore porn music." "I can't imagine anyone like it, even Dire Straits fans." "Miami Vice." "Soulless." DP: Walk of Life guilty pleasure, Money for Nothing somewhat hate. Either too simple and happy-clappy or too indulgent and lacking structure (see Your Latest Trick). Questionable lyrics (see ibid). Tracks way longer than they deserve to be. Did Knopfler forget how to play a guitar solo? Indulgence of 80s production without the excess and bombast and melody to pull it off. Poorly advised/conceived sax. The Man's Too Strong starts off alright -- nice acoustic and a bit of vocal melody. Chorus has some questionable distorted electric moments, but its forgivable. Whole song feels like a country pastiche with an occasional amp. Brothers in Arms -- starts off moody and 80s with some nice synth and thunder, then Knopfler gets a bit onanistic with his guitar and harmonica. At least the synths are decent, although its just soft pads... In conclusion -- misadventure.

Fun and interesting afro blues blend. Personally feels a little repetitive but I think that's part of the genre - maybe in a different mood I'd appreciate that aspect more. Some delightful melodies and exciting, unusual rhythms.

Not for me, really. Overindulgent. Moments of exciting bombast, especially the sequence of Trampled Under Foot (clavinet! Superstition rip off?!), Kashmir and In the Light (moody synthy intro). But too much twee shit, like Down By the Seaside, or just bad 12 bar blues, like Boogie with Stu (which does rather sound like a bass player doing his best on keys...).

Not sure what the point is... sure, some of the lyrics are reasonably clever and/or funny, but not in any significant way, especially by the standards of rap/hip-hop. The instrumentals, sampling etc are boring, repetitive and abrasive (again, not in a good way). The Update is somewhat charming for being so environmentalist, although perhaps I think that only because in 2024 we like to think of climate activism as something new, not something that has been going strong since the 50s/60s and the hippies and all that. The purely instrumental tracks are pleasant interludes, although a number of them verge into 70s porn/elevator music territory. Roots Down seemed to offer the only combination of a decent instrumental groove with engaging rap.

Unusual and fascinating approach to vocal melodies, that often prioritises melodic repetition, strange minor intervals and minimal range in the verses. Then, sometimes, these beautiful flowering choruses or variations soar around with shakes of Kate Bush (in the best way). Lovely harmonic structures, accomplished playing, striking singing, exciting internal evolutions and interesting, knotty lyrics.

Despite not being a genre particularly to my taste, I really do admire the musical and technical skill. Melodies lead guitar lines, incredibly propulsive rhythm guitar/drums/bass. Lyrics tend to be rather silly, and the vocal style doesn't really offer much melodically, but it certainly builds a dramatic mood.

Much better than expected, actually really enjoyable! A kind of grotesque carnivalesque irony runs throughout the lyrics and vocal delivery, seemingly in the tradition of European Cabaret ala Kurt Weill etc. Great melodies, especially the choruses and enjoyable arrangements. A surprising win!

Awful. Nothing redeeming.

Some classic tunes -- and overall a very cohesive collection of eclectic samples and beats. Great fun!

Super tunes, great concept well executed. Funny but also moving. Amazing 60s mono production, delightful phase-y guitars and crunchy low end. Best The Who album?

Huge and brilliant guitar sound -- crunchy distortion with clarity and warmth. Decent enough lyrics for punk (perhaps not a high bar...) with a fun dollop of revolutionary/leftist views. Earlier than expected (6 years before Sex Pistols formed) and clearly a massive influence on the rise of punk in the 70s. Raw and uneven, with flashes of brilliance.

Curious, specific and really satisfying vocal melodies that float around the classic new wave jangle-y guitars. A whole bunch of very enjoyable songs.

Superb songwriting; lyrics, melodies, everything. Sure, it's not as thrilling as his later work, there's a bit too much jaw harp, and I prefer his older voice, but it's hard not to have an enjoyable time listening to Cohen. The Partisan, in particular, is a great song (although mostly a cover!)

It's good and a pretty enjoyable listen. The vocal melodies are often really delightful with pleasant counters in the guitar. That said, there's about 6-10 songs out of 22 that really come together. Perhaps there's only a certain aspect that I enjoy that comes through on these tracks, or maybe the album is just too long?

Pleasant but nothing really leapt out. Too much indulgent flute for me!