Siouxsie Sioux and her band the Banshees are considered to be one of the first Goth Rock bands together with Bauhaus. They released their debut in 1978 and build a solid career start with the following albums but as they released Juju, Goth Rock became a much more comercial genre but became as experimental as ever, slowly drifting from the very strong Punk roots. Juju was a success and is seen as one of the best Goth albums of all time with a mix between Post-Punk, Goth as well of hints from Psychedelia. The albums opening track 'Spellbound' already is easily the best song on the album. It's incredibly catchy and full of energetic and groovy delivery. It's so fun while still holding the obvious dark tones that they and Goth Rock are known for. It already shows the mystical and magical sound a lot of the album shares as well as some clear psychedelic influence and is without a doubt the most consistently enjoyable song on the album and also one of the best songs they ever made. Following that is another incredible song, 'Into the Light' is a more openly dark and introspective track that has echoey verses that build up into more and more instrumentation that release into a great chorus full of emotional singing and dark sounding effects around it. It is a beautiful song that shares so much with what Goth Rock was at that point in its evolution and saying this song pushed it even further is not to overlook. And while I love so many moments, there are others that I kind of feel aren't as interesting as they should've been for the song to work perfectly. 'Arabian Knights' completes the incredible trilogy that are the first tracks. It adds much more cryptic themes in the lyrics that are portraied with such perfection that the song sounds as ominous as it could possibly have been. A wonderful showcase of what she and her band was able to create as the song is both full of dancable, rhythmic and melodic playing but still shows the clear dark themes and soul that is so present with the genre. The very anxious guitar playing at the start of 'Halloween' really gets you into a state full of nightmarish magic that is broken up by Siouxsie's vocals that build up and finalise in a similar anxious playing that just adds to the overall build-up of the song. I think it's a gorgeous song with so much Post-Punk energy all throughout. The albums first half closes with the noisy and hardcore sounding 'Monitor' that is another definitive album highlight. It perfectly blends the sounds of early Hardcore Punk with the atomspheric and dark sounds of Goth Rock to create a song that is so interesting with everything that happens at all time that it's pretty much impossible to not be interested with what is happening. Especially the bridge is done so well that I think it actually makes the whole song even better. Side B starts with 'Night Shift', a dark and, compared to most songs here, long song at 6 minutes of runtime. But it works that way. The guitar that builds tension the whole way really makes this an anxious and surreal song that gives out a lot of unease as it both feels like being hunted at night and being locked up in a dark room. It is a perfect mix of emotions that result in a song so gripping that I think that this is the albums emotional highlight. The following 'Sin in My Heart' is plays with even more tension and unease starting right at the start with dissonant guitar playing that slowly adds more and more until Siouxsie comes with energetic and raw vocals that are some of the punkiest on the entire record. The song keeps the dissonance but doesn't get to weird or avant-garde and keeps it just at the level of giving a feeling of discomfort. Another incredible song the whole way through. 'Head Cut' keeps the energy of before but doesn't really give the weird feelings of before. That doesn't mean that it isn't interesting as there are a couple of moments her vocals turn into something you'd probably hear at an exorcism ritual. It is probably the "least interesting" right of the bat but the song still is an incredible throughout with many great moments that still make this a one of a kind listen and another perfect song. The album closes on the longest one it has to offer as 'Voodoo Dolly' is 7 whole minutes long. It starts slow and quiet but builds over the span of multiple minutes into a louder and with more and more tension provided song that builds up into a superb final moment. But the some moments that got the song where it ended do feel a little bit "left aside", if that makes sense. It's still a great song but when held side to side with the rest of the album it does pale a little bit. favourites: Spellbound, Night Shift, Sin in My Heart, Monitor, Halloween, Arabian Knights, Head Cut least favourites: Voodoo Dolly (if I HAD to pick one) Rating: light to decent 10 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

In 2016 Frank Ocean released 'Blonde' a creative masterpiece that elevated R&B and Soul into a whole new generation of modern artistry and SZA was one of the first to take the blueprint that the album was and add an own spin to it. The result is an album full of great writing, masterful production and great vocals and raps. The opener 'Supermodel' starts the album with a tape recorder intro that transitions into a guitar driven and smooth playing that feels weirdly hypnotic. This is a perfect example of what I meant with Frank Ocean with her own twists. It feels like something you'd find on a Frank album with the difference that her vocal style complements this instrumental in a whole different way. It's an absolutely gorgeous intro that builds up more and more tension by adding more and more instruments. A wonderful start to a wonderful album. 'Love Galore' features visionary Travis Scott who revolutionized the psychedelic Trap sound and made one of the best albums in that genre with Rodeo. The Trap Soul sound of this song works well with both artists own styles and singing. I really like the styles that are blended here while still sounding true to what the first track introduced. I just personally don't love it as much as others do but I can see the greatness in it even if it doesn't touch me to the core. With 'Doves in the Wind' the sound changes from Trap Soul into a more Trip Hop sounding beat that really feels Kendrick Lamar inspired and funnily enough he is featured and as always he rocks it. You can hear that he's in his "DAMN. era" which I like the least and I therefore don't love it as much as other Kendrick features but it is great nonetheless as is the whole song especially with the chorus. In most peoples eyes, 'Drew Barrymore' is the best song on the album. I agree. It is a masterful blend between her immature but great lyrics with the Soul and Hip Hop sound while building up more and more tension into a nearly psychedelic sound while keeping a great delivery throughout. It's lovely and simply beautiful. I love it. 'Prom' goes a more Synthpop style while still having the incorporations with the Neo-Soul style. It has a lovely sound and chorus with all the layered vocals but the highlight is definitely the beat. It's a pretty good song with great moments that overall sadly don't appeal as much as they could have but I still like it a lot. With 'The Weekend' the Trap returns but much less present than when Travis was featured. It is a a pretty nice and chill song with multiple great moments especially in the detailed production but outside of that it doesn't appeal to me as much as the instrumentals might could've offered. In that way it is pretty much like 'Prom'. The ending is phenomenal though, what a great way to close a song. 'Go Gina' is a much better delivered track that works much better overall even if the details are a bit less present. It's mainly that the way it flows the whole way through while keeping the interest with the listener with the chorus. All that makes it slightly better compared to the two songs before but I missed a lot of the details as mentioned. So in the end... all close by each other. There is a lot of electronic bass work on 'Garden (Say It Like Dat)' that results in something that shouldn't really work but still does. It is detailed, interesting and most importantly just a great written song. It is a great song to close the first half to. The albums third and last single 'Broken Clocks' is another great song. The "breathy" beat adds an interesting twist but I am ultimately annoyed by it a bit. SZAs delivery is really great and might be the best on the album in that more Rap inspired style. I think this is a wonderful song and a definitive standout to the album. 'Anything' keeps the great delivery on top of a very nice beat and although I pretty much love everything about the song, the breaks that are all the way throughout the song make it a bit annoying to listen and break the flow that it could've build. Twice and it would've worked but the way it's done is just to much and once it does switch to another beat it ends way to fast. This had so much unused potential. Although it's just an interlude 'Wavy (Interlude)' is actually a pretty great track. In the short time it plays it actually has a lot going on with the feature and the fast but great deliverd lyrics. I actually wished this wasn't an interlude and extended into a full song. The very sentimental 'Normal Girl' might be the most emotional cut on the album and it also features an incredible vocal delivery in the chorus. It is weirdly relatable even as a guy. It is so underrated and I wish more people gave it the credit that it rightfully deserves. This is the albums second best song and maybe after listening to the album a little bit more... I might prefer it over 'Drew Barrymore'. The pretty Wonky and slightly electronic 'Pretty Little Birds' is another decent cut from the album. It is a really solid and diverse track with the added saxophones that randomly appear for a couple of seconds before the song returns to the mix of Hip Hop and detailed R&B. But overall it starts stronger than it ends and the change of it happens pretty much after the first sax appearence. When the return we get a very raw and raspy feature from Isaiah Rashad that works better than it should which results in making the whole song more interesting than it would've been if SZA was going at it solo. The albums closing track '20 Something' sounds very much like the opener with a strong focus on guitar and vocals that might be enough to call it Singer-Songwriter. I absolutely love the performance and lyrics as well as the chorus. It is such an incredible way to close an album like this and it's easily one of my favourite songs here. favourites: Drew Barrymore, Normal Girl, 20 Something, Supermodel, Broken Clocks least favourites: Go Gina, Prom, The Weekend, Rating: Strong 8

Santana has been a major figure in psychedelic and Latin Rock since their self-titled debut album in 1969. And after having big success because of the Woodstock appearance, the follow up album was only more spectacular and even better. 'Abraxas' shines with the sprawling guitar work by Carlos Santana as well as the overall warmth the album gives out. I think it's a bit sad that this is the only Santana inclusion in the 1001 albums list, as at least one or two more would be more deserving for such a guitar legend. But at least they chose the right one to include here. 'Singing Winds, Crying Beasts' opens the album with ominous and nocturnal sounds made by piano and some sort of wind chimes. The guitar enters like a beast and from then on the song blends Latin Rock with Jazz Fusion elements and keeps the ominous and spiritual vibe from the beginning. A great instrumental intro track that really stands apart from most other songs on here. The following 'Black Magic Woman / Gypsy Queen' is the first song to really show the incredible guitar ability that Santana can offer. The song goes a much blues-ier way and the vocals just emphasize that, mainly because they feel like something you'd hear on a Cream record if they were doing Latin Rock. The fast outro just ends the song perfectly. An incredible song and easily one of the best ones in the entire Santana catalogue. In my opinion even better is 'Oye como va', just because the chorus is what comes to my ears every time I think about Santana. It is burned into my brain like only a few other things. The drive of the song, the bridge, the guitar, the extra tropical feeling because of the Spanish vocals and slight Salsa influence... It just flows like honey except the honey as a little bit of LSD added. The first half ends with 'Incident at Neshabur' that goes into more Jazz influence again and it works perfectly. While the song might not be as great as the song before, it is without a doubt one of the best ones on this album. Especially with that piano/guitar duo near the end. 'Se a cabo' opens the second side with a loud and rambling sound that climaxes into a stunning amalgamation of all instruments before turning quieter for a moment just to comes back as loud as before to throw you from your socks once again. More lyrics and vocals return with 'Mother's Daughter' and like before this feels very much like Cream only better and more diverse. The guitar really works as the chorus-like peak everytime it appears. Another highlight is the Samba inspired 'Samba pa ti' that features a very emotional and deeply connecting guitar solo that hooks you the moment it first comes to ear. It is my favourite song on the album, simply because I rarely hear a guitar solo that makes me as emotional as this. To compensate the very sentimental track from before 'Hope You're Feeling Better' is much more up-lifting and hard hitting including characteristics from Acid Rock and Heavy Psych as well as some Funk. It is incredibely groovy and full of delicous highlights. The album closes with Conga music which means it's the only song that isn't rock music at all and while it does close the album pretty nicely, I think the song just isn't as interesting compared to the incredible rest. favourites: Samba pa ti, Oye como va, Black Magic Woman / Gypsy Queen, Hope You're Feeling Better, Se a cabo least favourites: El nicoya Rating: decent to strong 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Rarely have I heard an album that blends similar genres in a way that the feel seamless as they intertwine. The influences of Shoegaze, Noise Pop, Industrial, Grunge and mainly Alternative Dance with Alternative Rock as the main genre creates a sound that makes you wonder if the description one person gives will be same the next will give it. Either way, this album is great introduction to a more hazy and noisy sound that, while not being as great as let's say "loveless" by mbv, has a much lower entry bar that might help people understand the greatness of said record when they haven't really set foot into mbv's extremely shoegazey and noisy sound sound. The opening track 'Supervixen' already gets you into the hazy and sometimes dreamy mood that still shares a lot of elements with Dance music that make you feel like you've been put on both ecstasy and LSD on the same time. I especially like the very shoegazey moments that explode out of thin air all over the song. With 'Queer' a slightly Trip Hop inspired sound appears and the shoegaze vanishes. But that allows the song to have a very strong chorus that shares some industrial elements as well. The guitar after the second chorus comes out of nothing and really makes this song a highlight on the album. 'Only Happy When It Rains' is one of the best known songs on the album and I do really like the grunge inspired crunchy guitar that really drives the song through out and the chorus is also really catchy but the longer the song goes on the more uninteresting it becomes after a while. The song 'As Heaven Is Wide' goes a very different direction with a more electronic and sample style sound that still works as a very dancey song with a lot of focus on drums and bass. While the sound they create might be something really different and forward thinking, it isn't as interesting as previous songs. 'Not My Idea' is one of the noisiest songs on the album and they perform that really well. The jarring guitar that appears throughout the song really sets a tone that is alternated with a more casual chorus. The song generally has a lot of dynamic and melodic changes that make it sound very special although like songs before, looses its interest after a while. A more psychedelic approach has 'A Stroke of Luck' that combines sounds from Trip Hop and Dream Pop with Grunge and Industrial parts to create a very mysterious and nocturnal sound. The second half of the album starts with 'Vow', a return to the Noise Pop and Shoegaze style that although I like the sound of the instrumental, gets ruined for me as I really do not like the vocal performance on this song. But as much as I do not like the vocals, the better is the guitar bridge which makes me really conflicted on this one. 'Stupid Girl' is another highlight of the album for many. Although the structure is something heard a million times before, the chorus is incredible once it starts. The continuing build-up really works to make the song feel organic and different for the most but not all the way. I like the electronic moments on 'Dog New Tricks' but I feel like the song had much more potential that wasn't build on enough. The hazy sound is done very well and it's much more dynamic than 'Stupid Girl' and I prefer it too but I still feel like they could've done more with the song than they ended up doing. 'My Lover's Box' might be interesting to some but it is not to me. The song just flows past my ears without sticking. The chorus is quite nice but that makes up a total of like 45 seconds in the whole song so I am not very fond of this one. A similar problem has 'Fix Me Now' although I like the chorus much more once it's actually there but considering it takes half the song the make it remotely interesting, the song just isn't as great as a lot of other songs even if the chorus is one of my favourites on here. It's the rest that makes it uninteresting. Closing track 'Milk' is the only song that is fundamentally different as it takes a very ethereal wave and electronic sound with typical Trip Hop drums. But all that makes it for me the best song on the album. It is just so beautifully dark and well... ethereal. The (I think) mellotron sample that reminds me a bit of Strawberry Fields Forever just adds to that. favourites: Milk, Queer, Supervixen, Only Happy When It Rains least favourites: My Lover's Box, Vow, Fix Me Now Rating: decent 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Little Richard was probably the most influential artist in early Rock n' Roll. Yes, Elvis Presley was bigger and brought the genre to the mainstream but no one of that era of rock has influenced as many people as Richard did. Without Tutti Frutti we would not have Bowie who was simply amazed by the sound of that song. Other artists like Prince, Freddy Mercury, the more recent Janelle Monáe and the Stones were all influenced massively by Little Richard. But let's talk about the album: Most of the songs were written or co-written by him which at that time was still a rarity, considering artists like Sinatra were still mainly doing standards. And unlike Sinatra nearly all songs are upbeat and energetic. The album is, to say it in a single word, FUN! You can, even must, groove to it and Little Richard does bring in some very nice vocal delivery on top of the very R&B-sounding instrumentation. And while songs like Tutti Frutti, Slippin' and Slidin', Long Tall Sally or Rip It Up are absolute classics you do have some slightly less entertaining pieces like Oh Why? or Miss Ann that ultimatly do not destroy the album's flow. To sum it up: Here's Little Richard is a landmark in early rock music and one of my favourite album of the 1950's. favourites: Tutti Frutti, Slippin' and Slidin', Long Tall Sally, Rip It Up least favourites: Jenny Jenny, Oh Why?, Miss Ann, Baby Rating: light to decent 9/10

Little Richard was probably the most influential artist in early Rock n' Roll. Yes, Elvis Presley was bigger and brought the genre to the mainstream but no one of that era of rock has influenced as many people as Richard did. Without Tutti Frutti we would not have Bowie who was simply amazed by the sound of that song. Other artists like Prince, Freddy Mercury, the more recent Janelle Monáe and the Stones were all influenced massively by Little Richard. But let's talk about the album: Most of the songs were written or co-written by him which at that time was still a rarity, considering artists like Sinatra were still mainly doing standards. And unlike Sinatra nearly all songs are upbeat and energetic. The album is, to say it in a single word, FUN! You can, even must, groove to it and Little Richard does bring in some very nice vocal delivery on top of the very R&B-sounding instrumentation. And while songs like Tutti Frutti, Slippin' and Slidin', Long Tall Sally or Rip It Up are absolute classics you do have some slightly less entertaining pieces like Oh Why? or Miss Ann that ultimatly do not destroy the album's flow. To sum it up: Here's Little Richard is a landmark in early rock music and one of my favourite album of the 1950's. favourites: Tutti Frutti, Slippin' and Slidin', Long Tall Sally, Rip It Up least favourites: Jenny Jenny, Oh Why?, Miss Ann, Baby Rating: light to decent 9/10

1969 was arguably the greatest year for music ever and this album is definitely one of the main reasons. Frank Zappa's Fusion of Jazz with Psychedelic Rock stands still today as one of the greatest albums in either genre. The album itself is very complex in its structure without being too weird or Avant-Garde. Zappa shines not only as an incredible guitar player but as a true composer. The arrangements outside of the typical Rock instruments like the flutes on Little Umbrellas work perfectly within the songs context and do not feel like they were put in for the sake of it. Additionally, the album is mostly instrumental with only Willie the Pimp featuring vocals in the first half and these vocals done by Zappa's longtime friend Captain Beefheart work perfectly in the songs context although the song looses a lot of what made it so great at first in the second half. Even the lengthy Gumbo Variations has enough variation to still be entertaining the whole way through. Hot Rats is one of the most diverse and fun albums ever created and is one of my favourite albums EVER. favourites: Peaches on Regalia, Son of Mr. Green Genes, The Gumbo Variations least favourites: Willie the Pimp (second half), Little Umbrellas Rating: a strong 9 to a *10*

While I don't know what he talks about... I can FEEL it. Jorge Ben (or Jorge Ben Jor (since 1989)) has been a major figure in Samba and its poularity in the early to mid 1960's. And with the popularity of his debut album "Samba esquema novo" he had the name and ressources to let Samba evolve in the prime-time of his music: the 1970's. I think it is a bit short thought to make this the only inclusion he gets on this list as at least 2 more albums of the same decade have been as important to Samba and music in general as this album. But to be fair, this is the album in which he added Funk to his arsenal, which until now mainly consisted of Samba-Rock and MPB (popular brasilian music) as well as some influence from Psychedelic Soul. There are some things that are great all throughout the album especially the percussion with hand claps, bongo-type drums as well as a genrally diverse instrumentation with Jorge's guitar, trumpets, typical South American instruments and more that are all used to create a lush and warm sound. And of course Jorge Ben's vocals are another highlight. There are also some elements throughout that I at first thought were synthesizer but they happen to be the Cuíca, a typical brazilian instrument that creates a sound that the "northern" ear isn't used to. For me that sometimes works well in the background but can annoy a little bit. Of course I don't know what he actually talks about but I hope it is not something controversial because he sings it with so much soul and emotion that you don't need to understand the text, you simply "feel" it. But with music like this, the lyrics generally don't matter that much. It is all about the presentation and the groove it envokes. The albums opening track is arguably its greatest. 'Ponta de lança africano' is simply a bop. It is groovy musically, has a hook that can even be sung along by someone that isn't capable of understanding the portugese language (like me) and makes one simply happy. Following up that masterpiece we get some more groovy songs like 'Hermes Trismegisto escreveu' with it's energetic and funky bass line and 'O filósofo' which is I think is the weakest song on the album together with the later 'Camisa 10 da Gávea' on Side 2. This song uses the Cuíca (or Monkey Drum) and although it does add an interesting sound, it does annoy after a little while. After that short little slump we do get another perfect song in the form of 'Meus filhos, meu tesouro'. All good things said about the first track applies here as well. The guitar solo at the beginning and the drums make this a definitive highlight. 'O plebeu' and 'Taj Mahal' again work perfectly in the albums context but don't stick out as much as other songs. Former has a nice "La,La,La-La" chorus and the latter has a melody that has been stolen by Rod Stewart as well, which is why some might have "heard" that song before. Side 2 opens with two incredible songs back to back: 'Xica da Silva' and 'A história de Jorge'. Both incredibly catchy and funky and just incredible. The vocal performance on both is outstanding and another peak in Jorge Ben's songwriting. As already mentioned, the next song is a little dip down because he seems to focus this song on the lyrics what ultimatly removes from the musical enjoyment of the listener although I still prefer 'Camisa 10 da Gávea' over 'O filósofo'. It does get back on track with 'Cavaleiro do cavalo imaculado' with its super energetic and funky bass solo as well as the wild percussion. The album closes with the title track 'África Brasil (Zumbi)'. That song closes the album perfectly as it is a bit more on the "melancholic" side of songs in comparison to the rest although that has to be taken very, very, very lightly because you can still dance yourself to exhaustion with it. It's fun, very fun! favourites: Ponta de lança africano (Umbabarauma); Meus filhos, meu tesouro; Xica da Silva; A história de Jorge least favourites: O filósofo, Camisa 10 da Gávea Rating: decent to strong 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Complex Without Emotion At this point I have already heard a couple Thelonious Monk albums including this one and it seems as though the music community really loves this guy and his music but to me his music has never really stuck with me. I do like it but in terms of Jazz I have heard much better albums. Of course it is very complex and features incredible musicians like Sonny Rollins (I recommand "Saxophone Colossus") and this complexity is what mainly makes this album so important but to me it kind of removes a lot of the emotional depth that makes Jazz such a great genre to me. Of course Jazz is a genre build on complexity and the mastery of your instrument but when that means that all the emotional depth is taken away, it looses a lot of what makes music music in the first place. I'm not saying there is nothing of emotional value to get out of here but to my liking it falls short. The title track, that is also the opener of the album does feature a very interesting piano playing by Thelonius which is then replaced by Rollins saxophone part that smoothly goes into a drum solo of high technical caliber. Overall a very nice song that pushes the boundaries of "Bebop" in a way that it is known today as "Hard Bop". Some repeating themes with slightly dissonant piano notes add to the enjoyment a lot. The following song that is the 13-minute beast of 'Ba-Lue Bolivar Ba-Lues-Are' with a very lasting piano playing. I do enjoy the song but I do not care for it THAT much. It very much feels like the complexity is the only thing to get out of; no emotional value at all which I at least had with the title track before. The final rhythm solo that smoothly goes into the main theme again is very enjoyable though. Side B opens with 'Pannonica' which has a very laid-back and nearly dreamy vibe to it especially with the very high piano notes that make it sound like a Glockenspiel or other high-pitched instrument. 'I Surrender, Dear' is another nice song but again I don't care for it outside of being pleasent to listen to while writing reviews. Other Jazz has me bawling my eyes out, dancing in ecstacy, groovin' or rethinking my life while laying in bed. This is just there and sounds nice and sometimes really complex. 'Bemsha Swing' is the final track on the album and for me my favourite song on this second half of the album. It is very groovy and has a nice flair although I kind of loose interest after the first 4.5 minutes. Overall, my highlights are: The drum solos, the title track, the "background" piano playing and some of Rollins parts. I respect this man, his music and what he did for Jazz a lot but it seems as he just isn't for me. favourites: Brilliant Corners, Bemsha Swing least favourites: I Surrender Dear Rating: very strong 6/10 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Stan Getz was the one that brought Samba in the form of Bossa Nova and Samba-Jazz to America and together with Jorge Ben popularized the genre there. And while this record is so important because it was the first that really stuck with the American audience, it isn't my favourite Samba/Bossa Nova album of that time even with my high praise for 'Jazz Samba'. That title goes to Getz' major follow up "Getz/Gilberto" which featured João Gilberto instead of Charlie Byrd. But without "Jazz Samba" and its popularity we would not have gotten that follow up so I absolutely get the decision to include this as well, also because it still is an incredible record. Very pleasent to the ears with a lot of Cool Jazz influence and a wide usage of Byrd's very technical guitar playing as well as the tenor sax from Stan Getz. The rythm section is also very clear and doesn't get drowned out by the melodies. The first track is 'Desafinado' which already showcases a lot of what makes this album good. The smooth transition from the saxophone into the guitar and the salient drums all add to the mix of Cool Jazz and slow dancable Samba. This is in short an incredible song. Following that we get the faster-paced 'Samba Dees Days' that features a vibrant and dreamy sax part as well as a nice change in percussion. Considering that Charlie Byrd was the one that wrote this one, it is interesting that the guitar doesn't really stick out that much. It's still there and works incredibly well but mainly in the background. 'O pato' follows as a nice but not very memorable piece. It is also the shortest song that the album has to offer. It feels way to standard compared to the rest. The album closes its first half with 'Samba triste' and as the title suggests, this is a much slower paced and nearly melancholic song. The guitar part in the middle as well as the outro are absolute highlights. This is such a mellow and warm track to close off the first half. On Side B we are met with 'Samba de uma nota só', the third track with Samba in its name and although it is on the lengthier half of tracks, it is one of the best executed as it slowly builds up with fast paced rythm section, the saxophone that goes into a fast-paced guitar highlight and then slowly fades into a section that only features bass and drums and relieves the slight tension that was build. In the end the saxophone comes back in a very bluesy style. 'É luxo só' follows up with a very mellow duo-dynamic of both main artists. This harmonic interaction makes this arguably the best song on the album. It just flows and makes one of the most enjoyable moments on this whole album. The album closes with 'Baia' the longest song on the album. It feels like a nice "summary" of the album featuring some significant change in the rhythm section, a very impressive guitar part and a slight "echo-y" saxophone. (When I first heard the album I thought it was simply "okay" and gave it a 6/10 on my RYM but with this relisten... damn! this is really great and I have to give 'Getz/Gilberto' a relisten as well to see if it still holds up.) favourites: É luxo só, Desafinado, Baia, Samba triste, Samba de uma nota só least favourites: O pato Rating: light 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

I'm a huge fan of 'Enter the Wu-Tang (36 Chambers)'. It is one of my favourite albums ever and without a doubt my favourite Hip-Hop album of the 90's. I therefore have a lot of respect for the solo works of the Wu-Tang members although this is the only other "Wu-Tang album" that I have already heard outside of 36 Chambers (as of right now) and while it is not on a level with THAT album, 'Liquid Swords' is still an incredible album even outside of the Hip-Hop world. GZA is seen as the spiritual head of the group bringing razor-sharp rhyme schemes and often philosphical topics into his raps making him the possibly deadliest member on a lyrical level. That strenth in lyrics is very present on this album, in pretty much every verse he delivers. The main producer here is RZA, who already produced most of Enter the Wu-Tang, so we get some classic Wu-Tang beats with a lot of Soul, Funk & Kung-Fu movie samples. And because it's mainly these two artists, a lot argue that the album feels much more conceptually focused then Enter the Wu-Tang. While that is subjective, this album is without a doubt much darker and unsettling. The title track opens the album with a pretty long intro from a Kung-Fu movie that sets the themes of crime, night, death and general darkness. After that GZA delivers with some killer verses and although I do not like the chorus much, the verses itself are among the best of the record. With 'Duel of the Iron Mic' we get features from three Wu-Tang members including ODB on the chorus as well as some verses by Inspektah Deck & Masta Killa which do actually live up to GZA's. 'Living in the World Today' isn't as strong as the songs before although some bars were really great. I also really liked the production as well as Method Man on the chrous. It's mainly the delivery that isn't on point like before. The chorus outshines his verses, which isn't what I want in an album likes this. And while talking about great production: 'Gold' has an incredible beat, flow and verses that all make it the, in my opinion, most unsettling and greatest so far. This is definitely in conversation of being my favourite song on the album. 'Cold World' easily has the best chorus so far, sung by the artist Life. There is also a "breeze" in the beat making this really a "cold world". I do think the beat lingers on for a little bit to long at the end but still, a masterful and atmospheric song. 'Lables' is one of the weakest songs on the album. There just isn't much to it except a really nice beat. The lyrics and the performance are good but not really more. And for being not even 3 minutes long, the fact that I think the outro is to long isn't a good sign. Still enjoyable, just less. Halftime and the second half gets opened by '4th Chamber' aka. the best song on the album. Many great features with verses and performances that stand on a level with GZA, a truely perfect beat with incredible production and a song that truely shows the "Wu-Tang spirit". And if that wasn't enough, it is followed up by the arguably second best track 'Shadowboxin'.' GZA drops killer bar after killer bar without sacrificing any lyrical greatness. This is a song that makes you realize that if you would start a rap beef he would massacre you with his bars. The song doesn't even need a chorus and lucky that it doesn't have one. 'Hell's Wind Staff / Killah Hills 10304' is another kinda weak track. The skit, that is the first part, just isn't really interesting, or at least not as much as some other and sampled skits. The actual song is pretty good though even if it's a little bit long and the beat gets kind of annoying. 'Investigative Reports' pretty much features all the rest Wu-Tang members that weren't already featured and like the others before on Track 2, 7 & 8, they absolutley kill all of their performances. 'Swordsman' has some really nice drums that aren't really typical but apart from that I don't care to much for this song. Especially the chorus is pretty weak. Like its predecessor, 'I Gotcha Back' is in comparison a weaker track. I like some moments but overall don't care. It's way to long and the sample outro doesn't make up for the build up tension. Easily the worst track. The album closes with 'B.I.B.L.E. (Basic Instructions Before Leaving Earth)' which is technically a Killah Priest song (at least acc. to RYM) probably because GZA doesn't even rap on it. It's still a great song although the production doesn't come close to the meal that RZA put on our tables before. I will need to relisten some more to appreachiate this album more than I do now but as of right now: a Genius album! favourites: 4th Chamber, Gold, Shadowboxin' least favourites: I Gotcha Back, Swordsman, Labels Rating: decent 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

I have already heard some Wilco albums and did absolutely not enjoy them even a single full song. So my hopes for this album were not really high but when listened to it, I was surprised! These songs were written by American Folk legend Woody Guthrie, known for albums like Dust Bowl Ballads. He died in 1967 and his daughter Nora decided to start multiple projects in which artists record previously unheard lyrics. And this is the approach by Wilco together with british singer Billy Bragg. The songs feel honest and warm, something I didn't often feel when listening to Wilco. I think it's mainly the "simplicity" of the lyrics that do not Try to be good, they just Are by touching you emotionally. From the first song on I knew that this album had the potential to change my opinion on Wilco. 'Walt Whitman's Niece' is a nice, up beat country piece that puts you in the mood for the album. It works really well as the opening track. Followed up is that by the lead single 'California Stars', which is arguably the best song on this album. The sentimental and introspective lyrics work perfectly with the multiple instruments used and create a song that sounds like the song title reads. 'Way Over in the Minor Key' is instrumentally very stripped down, compared to the previous two songs but due to the usage of an accordion that doesn't fell too much out of place. The harmonies in the chrous also add a lot to the enjoyment of this one. Although it gets a lot of love and praise 'Birds and Ships' is not a song I am very fond of. Songs like this have to be done right but this is not how I like to hear a song like this. 'Hoodoo Voodoo' not only sounds like a silly song, it is silly. But in a good way. It is fun and the voice that genuinely sounds like he should better take some cough syrup than sing, adds a lot in my opinion. 'She Came Along to Me' is a very standard country rock song but I like it because of that. Again the music feels genuine and honest, not like what a lot of Wilco felt to me before. The first half ends with 'At My Window Sad and Lonely'. A beautiful and very sentimental song that is easily another highlight of this album although it is probably not as good as 'California Stars'. Very emotional lyrics that are sung ontop of a beautiful and mellow Folk Rock song. The second half meets us with the very short but interesting 'Ingrid Bergman' that sounds like a classic country song from the early to mid 50's. A bit like if there was only one of the Louvin Brothers there. Still nothing too crazy. 'Christ for President' follows with interesting Alt-Country instrumentals that all together kind of fall short from a mediocre performance both vocally and instrumentally after a while. The following song 'I Guess I Planted' suffers from a similar fate although it can hold itself much better and remains much more enjoyable through out. I actually really like this one for its hitting drums and bass work. 'One by One' starts by slowly fading in and the moment that it is there it just feels like a normal Wilco song. This is the moment where the album slowly fades into the worse parts. Although this song is still fairly enjoyable it does mark the point of where the album looses a lot of what it made for me in the first place. And it wouldn't take long because 'Eisler on the Go' is the first song I actually don't like at all. The start sounds very promising but after a little while you realize that more doesn't happen. It stretches with not even three minutes of playtime and when a song feels tiring for someone who's favourite songs are pretty much all 10min+, it's not a good sign. 'Hesitating Beauty' is much better. It's a classic country sounding song with a nice text and structure. Just fun country that isn't too crazy or too annoying. But the last two songs are at the level 'Eisler on the Go' was. 'Another Man's Done Gone' is pretty much that but piano only. You'd be better off listening to what ever there is on the charts right now, as there is probably more "geniune emotional value" in there than in this song. The closing track 'The Unwelcome Guest' feels like an average Wilco song but without any risk and any enjoyment. It is streched and annoying to get through. But with so much negativity it is important to remember how strong the start was and that just three out of the last four songs put this album down. Overall I gave 6 songs a rating of 6 or lower which explains why I'm still liking this album. If I listen to a Wilco album in the future there is a chance that my opinion on them has changed for the better. favourites: California Stars, At My Window Sad and Lonely, Way Over Yonder in the Minor Key, I Guess I Planted, Walt Whitman's Niece least favourites: Another Man's Done Gone, The Unwelcome Guest, Eisler on the Go Rating: light to decent 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Little Simz is easily one of the greatest modern Hip-Hop artists even outside the UK. Her passionate and interesting lyrics work perfectly on the different beats that range from Jazz Rap to Neo-Soul. The album begins with 'Offence' that not only features a great chorus, very funny production choices but also an on-point introduction into a lot of themes the album gets into later. She couldn't have chosen a better opening track. 'Boss' shows her ability to not only write typical pop oriented songs but also Hardcore Hip Hop with a little experimental note. This song really differs from the opening track and even more from the next song. 'Selfish' is not the average Hip-Hop song. It's Neo-Soul, meaning Soul music with the usage of Hip-Hop beats and less focus on raps. The very emotional singing, the short but nice Rap verse and the very memorable chorus make this a highlight of this project. The next song 'Wounds' has a chorus that brings in a Reggae perfomance onto a Trip Hop inspired beat. Something that sounds like it shouldn't work but it does! I only think that it goes on for a little bit too long. Now to the song that everyone knows: 'Venom' has become a short but wide spread internet phenomenon due to the subject matter of this song being female empowerment and with the incredible hook it became a standard in the feminism Tik Tok. For me that kind of destroyed the song as a lot of women used the song in a very cringe way and in the end did the exact opposite of what Simz intended. Still, a genius song! The second half starts with another big highlight: '101 FM'. Bringing in elements of classic chinese music and an incredible flow from Simz, the song is without a doubt one of the best in her whole catalogoue. 'Pressure' starts with a nice Jazz piano and keeps a low pace, contradicting the very fast-paced rapping. In the second half of the song is a more upbeat beat, still slower than Simz rapping. The feature is also really nicely worked into the song. In the end, the piano returns to slowly end the song. With the next song 'Therapy' Little Simz gets into some great storytelling that goes in depth on her own problems (hence the name). A deep song supported by a great produced beat. 'Sherbet Sunset' for some reason feels like a Kendrick Lamar song to me. But because I'm an absolute Kendrick glazer (except DAMN. that is a mediocre album) that only makes this song better. I love the chorus, it just feels so warm and soulful. This incredible album closes with 'Flowers' which is my least favourite song but still I like the build-up on the beat with the trumpets and the choral singing in the background of it. Overall an incredible Hip-Hop album, pretty much as good as it gets. And tbh I was really close to giving this album a 10. favourites: Offence, Selfish, 101 FM, Venom least favourites: Flowers, Wounds (both still great) Rating: decent to strong 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Public Image Ltd. (or PiL with this release) have been a major figure in Post-Punk although their commercial success wasn't as strong as Joy Division or Television. Like the Velvet Underground & Nico and Sticky Fingers by the Rolling Stones, the design of the packaging was something really special. Unlike the ones I've mentioned this wasn't designed by Andy Warhol and not even released as a standard 33rpm 12' LP. Instead the songs were printed on 3 12' 45rpm LPs. Freaky, I know. Sadly this design was UK only. Other issues in other countries were simply called 'Second Edition'. (Booooring!) The album slickly combines Post-Punk, Punk, Experimental Rock as well as some Noise Rock, Disco and Dub. This combination might sound and feel weird but that is exactly what they were going for as it was pushing the sound of Punk even further. The album starts with the 10 minute monster 'Albatross' with its repetetive riff and the abstract and ominous lyrics and distant vocal style that together make this an atmospheric and anxious listen. A perfect opener for such an experimental and dark album. In the end of that song the vocalist switches the style he used as the lead vocalist in the Sex Pistols, contradicting the dark and echoey vocal style from before. It is, in my opinion, the best song on this album and there is a case to be made that this is pretty close to the greatness of 'Marquee Moon'. That vocal style gets used again for 'Memories'. I have to say that I am not the biggest fan of that vocal style, mainly because it feels so alike to the Sex Pistols and I feel that vocal style works only with Punk Rock and not so much with their Post-Punk style. Still, the song is fantastic instrumentally especially the high pitched guitar. 'Swan Lake' pushes the energy even further. I prefer a lot over 'Memories' because this is much more focused on the rythmn section and the bass sticking out even more. A perfect example of Dance-Punk and Mutant Disco (yes this genre actually exists). The second LP opens with 'Poptones'. A very hypnotic song that even features a tiny little bit of Post-Rock. It is noisy and builds up a suspenful tension with the listener over the 7 minutes of playtime. It's really good especially because the build tension gets really anxious half-way through, a point where you'd expect it to loose the listeners interest but no it keeps it perfectly. I'm just not the biggest fan of all the things "around" of it although the chorus is pretty funny. 'Careering' has a lot of groove and the added synthesizer, the abstract drums and the final build-up make this a great tune. Especially the misanthropic vocals really add a layer of emotional depth to this very suspenful track. 'No Birds' is much less "noisy" than the other songs. The melody is also much more conventional? It's not really but compared to the rest... This feels very emotionally empty but in a good way. I don't mean that there is not emotion in there, more like the that someone's lost all their emotion and that it's empty now... No birds that fly around. And that is undermined by another very dark sounding song. With 'Graveyard' the noise returns already with the guitar that stings you with its first notes. The abrasiveness and the groovy instrumental nature of this really make this stand out to me. The last disc opens with 'The Suit', a much slower song that because of that looses my interest very fast. It's not bad at all and I love the bass but there isn't anything other to catch on for me. But I do have to appreciate the dark lyrics that with a bit more enthusiasm would make this song much more interesting. I also like the "thrown-in" avant-garde piano that plays for just a couple of notes and then disappears. Funny thing. 'Bad Baby' is better by a bit. The weird vocals that sound like they were sung drugged up as well as lots of ominous sounds both do a slighty better job in achieving what the album intends with its chaotic songs although it isn't anything too special compared to the rest of the album. The albums finale is a 12 minute song split into three parts. The streaming releases do split the song into each part but 'Socialist / Chant / Radio 4' was intended as one piece. 'Socialist' starts fast-paced with synthesizers that make the sound you would expect in a sience-fiction spacecraft. The drums are also really interesting as the sometimes feel "edited"? As if someone put them into a synthesizer itself and then sometimes changed the sound a little bit. It kinda freaks me out. 'Chant' is the one with vocals but to be honest, they get annoying very fast. I would've prefered it to be instrumental with that awesome guitar and just the ad-libs sometimes in the background. But the build-up to the repeating "Chant, Chant, Chant" is worth it. 'Radio 4' is a mix between their typical style (mainly bass and noise at the end) but added classical instruments and a kind of ambient sound. It sounds like the outro to a majestic movie and in a way this album is. There is a lot to get out of the album and it obviously was very influential but I think I have to give this album some time until I can really appreciate it but for now: Great but not perfect. favourites: Albatross, Swan Lake, Graveyard, Poptones least favourites: The Suit, Bad Baby, Socialist / Chant / Radio 4 Rating: decent 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Many hail this as the best album The Police have released in their career and it also happens to be their final release. While this isn't an entire retirement from their Reggae influence on earlier records, it is much less present. Although this album would still be important without it, 'Every Breath You Take' really cemented this album as a classic in the world of 80's New Wave and Pop music. The album is really diverse, both with the influences but also with its quality that ranges from some of the best songs of the decade to some of the most average and mediocre recordings in that style. The albums starts off with a typical up-beat and dancey New Wave song which happens to be the first of two title tracks. 'Synchronicity I' features a very fast keyboard loop done by Sting and a very groovy chorus. An incredible intro song to this one of a kind album. It is followed up by 'Walking in Your Footsteps' a song focused on the rhytmic drums with a few guitar and keyboard moments in the background. It takes influence from typical West African music to create a song that "screams" Savannah. I like the approach but there should've more to this in terms of lyrical and vocal performance as well as maybe some drummers who were born into this type of music and not a white guy doing an imitation. I still like it quite much as it still has an incredible groove even with its a more "slow" performance approach. 'O My God' feels way to average. It is just a standard 80's New Wave Pop song with not much to it except a nice performance. The only way I can describe the song is average with a little to much influences that don't really work or add and make the song feel very stale. The next song 'Mother' gets a lot of hate. Why? I don't know. The song is incredible; it doesn't really fit on the album, it is the only one not song by Sting, it is much more Punk then the rest and weirdly experimental. This is closer to No Wave than New Wave. It's so abrasive and dark, the lashing drums, the manic vocals, the ominous sound it creates! This is the best song on the album and you are all sleeping on it!!! In contrast, 'Miss Gradenko' does the same thing that 'O My God' did only that I like the chorus much more. It is short and sweet but very nice. The first half closes with 'Synchronicity II', a very, again, standard 80's sounding track but it works much more this time. The build up works and is worthy, the chorus is done very nice and the melodies are great. While I prefer Version I, I get why this was one of the many singles they released as album promotion. The second half starts with the song everybody knows. 'Every Breath You Take' is a stalker song disguised as a love song. It might be that I'm just so familiar with the song but this is an incredible track and easily my second favourite on the album. Followed up by 'King of Pain' which gets a lot of love but to be honest, I do not care for it much. I like the bridge but it feels very overblown once it reaches the actual chorus. Same thing with 'Wrapped Around Your Finger' which does feel less overblown and I welcome its presence more, I am not a fan of how Sting tries to impersonate a Raggae vocalist. It feels not really fitting (I do not want to use 'appropriated' but I gets close). Still, it has some really nice moments even with my criticism. The final song 'Tea in the Sahara' has to be my least favourite on the album. It just feels way to long, while being not even that long. It takes the two things that didn't work on Track 2&3 and combines them. The song is just boring! Only the somewhat passable atmosphere and chorus save this from being a "bad" song. favourites: Mother, Every Breath You Take, Synchronicity I & II least favourites: Tea in the Sahara, O My God Rating: strong 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

When it comes to this album one thing is certain: the influence this had is imense. Like Grandmaster Flash, Afrika Bambaataa was a cornerstone in early to mid-60's Hip-Hop. Instead of sampling old Soul and Funk records he used Electronic records from artists like Kraftwerk to create a mix of Electronic music, Hip-Hop and Funk that pushed the sound of especially Hip-Hop like no other album in that time. Does that mean that it is a good album and important to understand todays music? Yes! Is it holding up to what it maybe once was? No, absolutely not! The album opens with the title track: 'Planet Rock'. Already you are hit with a very recognisible sound that in the lead synth that has been used and sample from this many times. The "instrumental chorus" is taken from 'Trans Europa Express' by Kraftwerk. It is a very funky intro to the album and it already shows that the focus isn't lyrical rapping but more the Electro beats that are topped off with a rhytmic vocal structure. And the cover also looks exactly like the album sounds even from this first track. I just feel like, and this is my main criticism with the album, the song is too long. After a while the instrumental just cannot carry the whole thing, I would've needed some actually working verses with substance. Follow up song 'Looking for the Perfect Beat' has a similar problem. It should've been cut down to the half. You do not have that much important stuff to say to stretch the song to 7 minutes, if 3 or 4 would've been enough. I do like the goofy ad-libs in the middle that go: "doodle-doo-doo" or something and the chorus, as well as the overall Funk of this song. And while they might not have found the perfect beat, they at least found the best one on the album. Side A closes with 'Renegades of Funk' that most know because of the Rage Against the Machine cover. It has a nice variety of influences and sound all throughout the song. I think this is the most forward-thinking and influential song on the album although it lacks on certain parts that don't make it entertaining and consistent the whole way through. 'Frantic Situation' opens the second side is the shortest song on the album. The problem is that if the good songs are made over 6 minutes long, the 3 minute songs will likely not have the impact or strength the longer ones have. The song just flies over you without anything really sticking with you. It is pretty much very boring and basic in both beat and rapping. In comparison 'Who You Funkin' With' is a much stronger song. But it sadly cannot live up to anything on Side A. 'Go Go Pop' is probably my favourite on this second half. It is groovy and the beat is really nice although it doesn't achieve the highs from the start. The closing track 'They Made a Mistake' sadly cannot do much either. It gets annoying very fast and even the parts that are interesting do not hold that for long. favourites: Planet Rock, Looking for the Perfect Beat least favourites: Frantic Situation, They Made a Mistake, Who You Funkin' With Rating: light 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Most of the songs here are either standards turned into country songs, country covers or some covers outside of country origin. But that does not mean her versions are bad. Quite the opposite actually as her voice is absolutely gorgeous and multiple renditions are improved versions of the originals. The album features lush arrangements and instruments that take inspiration from all around the country world (USA). One thing is certain though: Some songs are absolutely incredible and top-tier country song while others are very lackluster and boring. The album opens with 'Bluebird Wine', a very nice up-beat Bluegrass song that showcases her voice and ability to perform. I think you could not have choosen a better intro for this album as it really puts you in a mood for some country. The instruments also work great, especially the banjo. The follow up 'Too Far Gone' is much calmer and laid back, mainly focusing on a sentimental piano and guitar playing. It stands in big contrast to the opener without leaving you desiring more of what made Track 1. Another big highlight on the album. 'If I Could Only Win Your Love' is a duet with Herb Pedersen who complements Emmylou's vocals very well. The harmonies just work and his voice is perfect for the song. I also really enjoy the acoustic guitar solo. The only song she wrote herself was 'Boulder to Birmingham' and it's kind of sad that she didn't write more as this is without a doubt a great country song. Her vocal performance is incredible, as is the build-up tension and the chorus. Side A closes with 'Before Believing' and this is kind of the point where the album slowly looses its greatness. The song feels much less genuine or forced and it is also way to long. It does end the first half pretty fittingly but it does it in a way where you miss the greatness of the start very fast. It is not a bad song... it's just that I don't care for it at all as it isn't carrying a lot of emotional weight or interest with it. 'Bottle Let Me Down' is opening the second half with a very Honky Tonk sounding instrumental and I mean the subject matter is alcohol... which is as Honky Tonk as it gets. It's an alright song, nothing too crazy but a little bit more interesting than the song before. A similar problem has 'Sleepless Nights': not bad, it just doesn't matter much. Neither to me nor the structure of the album. The greatness of the start does return with the next two songs. 'Coat of Many Colors', which was a legendary Dolly Parton song, is a really good rendition of that song and a much more contemporary piece than its predecessors. The Beatles cover 'For No One', originally off of Revolver, is much different in its structure than the original classic but she delivers it in a beautiful and outstanding way. While it does not get close to the original, it is one of the best songs on this album. Especially the strings add so much to this one. The closing track 'Queen of the Silver Dollar' is much less perfect. Way too long, the build-up is weird and doesn't really work. The chorus is groovy though but that makes the rest feel very weak and uninteresting. It's better than some of the rest on here but it isn't in the stronger half. favourites: Bluebird Wine, Boulder to Birmingham, For No One, Too Far Gone, If I Could Only Win Your Love least favourites: Sleepless Nights, Before Believing, Queen of the Silver Dollar Rating: light to decent 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

While Radiohead (in retrospect) had very humble beginnings with their debut, the following album 'The Bends' was not only more ambitious but even better recieved by the public and also the critics. Of course their extreme critical acclaim wouldn't come until 'OK Computer' but 'The Bends' showed the potential they had. By blending a more timeless Alternative Rock style with elements of Post-Britpop, they created a cohesive album with highlights that tower above nearly everything they created at that point. Compared to their later albums, this is much more conventional and not as artistic and experimental as for example 'Kid A' or 'In Rainbows'. And while I do love some radiohead albums a lot (In Rainbows stands as one of my all time favourites ever and is a 10 for me) 'The Bends' is in my eyes very overrated. It has its moments but it hasn't aged as well as their later albums. The album opens with 'Planet Telex', one of the few songs to use a synthesizer, here mainly present in the intro and outro. I think it's a pretty good song: I like the structure and the chorus but for my personal enjoyment it doesn't have a real highlight that makes it stick out among other alt-rock songs. It feels a little too basic to be a truely great song. The following title track 'The Bends' is compared worse. I'm not sure why they named the album after that song as it isn't really a highlight or important to the album. Thom Yorke's sometimes very unclear vocals that sound like they were recorded throw a wall seem very unfitting and weird without adding. The song isn't bad, mainly because of the instrumentation but even that lacks any sort of hook. 'High and Dry' is a really good song and one of my favourites of the album. It feels much more focused and thought out. The chorus is incredible and builds up in very little time which makes it really rewarding. My main criticism with this track is mainly Thom's lyricism which I really don't care for on the album in general and combined with the performance he puts on, it just feels like trying but not being able to fulfill that to the full potential. 'Fake Plastic Trees' is loved among the Radiohead fans but it does click with me as much. I like how its structured and it builds up with more and more instruments but it does not give anything rewarding except being the song with the best lyricism on the album. It's just there and I don't care for it much. It is also way too long. The next song 'Bones' does pick it up with a much louder sound and a surprising chorus that kind of comes out of nowhere. And that very noisy part is actually really good. I actually might prefer this song over FPT. The first half closes with '(Nice Dream)' which has some really nice strings that add a lot to the more melancholic and lonely sounding song. A very beautiful but sad song to end that first bunch of tracks off with. Unlike the last track, 'Just', which starts the first half, is much more up-beat and easily my favourite song here (I know that that's a basic take). A great intro, bridge and chorus all with some very nice songwriting and lyrics. It's the best song on the album although it is not a perfect song in my opinion. 'My Iron Lung' is really chaotic at times and then slows for the hook and I do enjoy both of these parts on their own, I am just not really a fan of how they're connected. It's still a nice song but nothing more than that. A very strong contrast gives 'Bullet Proof..I Wish I Was' which has more acoustic guitar and clean sound but it also lacks the highlight. It moves past me in a way that some moments actually become a little bit annoying. 'Black Star' is a much better song. It has a great and emotional high but outside of the very good chorus, the song does not interest me much. 'Sulk' also isn't as strong as other songs. The intro is good with the very weird and fast guitar that nearly sounds like a synth but I do not care much about this song. I think I just like Radiohead more when they experiment and try more interesting things. The album closes with one of its best songs: 'Street Spirit (Fade Out)' has a very emotional build up and I love the performance Thom gives. The lead guitar is also very adding to the emotional weight of this track. Easily one of my favourites. favourites: Just, Street Spirit (Fade Out), High and Dry, (Nice Dream) least favourites: Bullet Proof..I Wish I Was, Sulk, The Bends Rating: very strong 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Heavy Metal in 1970 is mainly known for Black Sabbath and while they invented and popularized the genre and still to this day are seen as the epitome of 70's metal, it is important to not forget that Deep Purple was in 1970 equally as important to the genre and on some points pushed the sound and genre even further than Black Sabbath. This is album is pretty much the only instance of them really going into Metal but I think that by doing that they created their arguably greatest album. 'Speed King' opens the album with loud, noisy and distorted guitars that slowly fade into an organ of which the other instruments come together to create some of the heaviest moments of that early Metal era. The organ returns for a solo and like in the beginning it creates a tension for when the heaviness returns. The whole song is full of sometimes complex dynamic changes and virtuos playing by all members. There is even a Little Richard reference! But I do think that some of the instrumental and solo parts can get a little lost in itself without vocals breaking through. With 'Bloodsucker' the distortion on the guitar weakens and a clearer and bassier sound with more comprehensible vocals comes through. While not being as crazy or catchy as the song before, this piece still shows some very nice playing and songwriting. The lengthy and legendary 'Child in Time' is an undisputed classic and without a doubt the best song on this album. The ten minutes just fly by as if the song was half its actual length. The fact that they can web their influental Heavy Metal sound with more Blues, Psych and Progressive Rock than other bands with a similar sound of that time just shows that Deep Purple was together with Black Sabbath at the top of early Metal music. The artistic approach this song has is never seen again on the album and I am kind of sad that they didn't really meddle with that sound more on here and later records. A song this incredible shouldn't stand alone in an artists discography. And yes!, this is the best Deep Purple song ever. The second half starts with the more Punk induced 'Flight of the Rat' that really highlights a more simplistic but hitting approach with more raw and agressive instead of mystical and anthemic vocals as well as more casual chorus. Near the end of the middle section it climaxes into a nearly "Funk"-like style before returning to the chorus and the drum highlighted outro. 'Into the Fire' is another one of my personal highlights but it also stands as one of the album. It's a very catchy and rythmic song with a great structure and the chorus is easily recognisable and has a great vocal performance that sticks out a lot. Next song 'Living Wreck' is another great addition. The animal like scream (I'm not even sure if it's a scream or a guitar) is really scary and adds but the rest doesn't really hold much momentum with the chorus. And apart from build-up -> chorus -> screeching sound, the song doesn't interest me much... The closing track 'Hard Lovin' Man' goes with a more Hard Rock approach at the start that kind of sounds as if it could've been on 'Machine Head' but once it gets into the instrumental part it features a very dissonant and noisy play that also shows parts of what could be heard as Speed Metal. A really great song that kind of encapsulates a lot of the album. I'd also advise anyone who likes the album to listen to the single-only release 'Black Night' that whilst not being an actual part of album is still a great song. favourites: Child in Time, Into the Fire, Speed King, Flight of the Rat least favourites: Bloodsucker, Hard Lovin' Man Rating: light 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The Byrds started their career with 'Mr. Tambourine Man' and became over the next few years one of the most important bands to come out of the first major Folk Rock scene. They, over the time, combined their Folk sytle with many genres including Psychedelic Rock or even bits of Jangle Pop. But after they pretty much did all that was possible with that genre they had to move on somehow. And they did by inventing a new genre: Country Rock. It seems pretty weird that it took more than three years for Country Rock to fully emerge from of Folk Rock but The Byrds gave it life with this album. And multiple songs on the album are hardly even considered Country Rock but just plain Country. And although this album was very influential, it isn't The Byrds best or even most influential work. It is an alright standout in their catalogue but they have made better albums before. The album starts with the Bob Dylan song 'You Ain't Going Nowhere' that already includes the classic Country guitar sound as well as typical stacked vocal harmonies in the chorus. It's a nice song but nothing too crazy but they do make the lyrics justice with the chorus. 'I Am a Pilgrim' sounds even more country with the addition of a very present banjo. Because the song is a traditional folk song, they added Mandolin and general style do make it feel like pilgrim song. Again, it's quite but doesn't knock your socks off. The next song 'The Christian Life' is a song the Louvin Brothers made me hate with their album 'Satan is Real' but this version is much better and is listenable but I have some personal problems with the lyrical content but the instrumentation does make up for that. 'You Don't Miss Your Water' is great in both vocal and instrumental regard. I love the chorus and the harmonies as well as the piano in there. Easily one my favourite songs on the album. In comparison 'You're Still on My Mind' feels like just another standard country song that doesn't really get me excited although that definitely was the intent with this one. I just don't really think that it's a very interesting song. The closing track of Side 1 'Pretty Boy Floyd' has much more Bluegrass influence than other songs and it does honestly work with their style but overall a kind of forgettable piece. 'Hickory Wind' opens the second half as one of the two songs on which a member of the band as written (or co-written in this instance) the lyrics for the song. It is an alright song that does loose itself very fast and feels kind of messy. They return to a much more rock sounding approach on 'One Hundred Years From Now' that does greatly benefit from that and is one of the better songs on Side 2. This is the other song written by one of the band members. The momentum that was build isn't really build on as 'Blue Canadian Rockies' is again very basic. Not enough rock for the song to work with them behind the instruments. Similar with 'Life in Prison' although this comes off way more genuine than the song before. Still it isn't the kind of country song that really strikes with great songwriting. The closing track 'Nothing Was Delivered' does safe the album a little bit as this is a really nice addition to the album and closes it off with another well made piece with great harmonies and instrumentals. favourites: One Hundred Years From Now, You Don't Miss Your Water, You Ain't Going Nowhere, Nothing Was Delivered least favourites: Hickory Wind, Blue Canadian Rockies, Life in Prison, You're Still on My Mind Rating: strong 5 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Rarely have I heard an album that blends similar genres in a way that the feel seamless as they intertwine. The influences of Shoegaze, Noise Pop, Industrial, Grunge and mainly Alternative Dance with Alternative Rock as the main genre creates a sound that makes you wonder if the description one person gives will be same the next will give it. Either way, this album is great introduction to a more hazy and noisy sound that, while not being as great as let's say "loveless" by mbv, has a much lower entry bar that might help people understand the greatness of said record when they haven't really set foot into mbv's extremely shoegazey and noisy sound sound. The opening track 'Supervixen' already gets you into the hazy and sometimes dreamy mood that still shares a lot of elements with Dance music that make you feel like you've been put on both ecstasy and LSD on the same time. I especially like the very shoegazey moments that explode out of thin air all over the song. With 'Queer' a slightly Trip Hop inspired sound appears and the shoegaze vanishes. But that allows the song to have a very strong chorus that shares some industrial elements as well. The guitar after the second chorus comes out of nothing and really makes this song a highlight on the album. 'Only Happy When It Rains' is one of the best known songs on the album and I do really like the grunge inspired crunchy guitar that really drives the song through out and the chorus is also really catchy but the longer the song goes on the more uninteresting it becomes after a while. The song 'As Heaven Is Wide' goes a very different direction with a more electronic and sample style sound that still works as a very dancey song with a lot of focus on drums and bass. While the sound they create might be something really different and forward thinking, it isn't as interesting as previous songs. 'Not My Idea' is one of the noisiest songs on the album and they perform that really well. The jarring guitar that appears throughout the song really sets a tone that is alternated with a more casual chorus. The song generally has a lot of dynamic and melodic changes that make it sound very special although like songs before, looses its interest after a while. A more psychedelic approach has 'A Stroke of Luck' that combines sounds from Trip Hop and Dream Pop with Grunge and Industrial parts to create a very mysterious and nocturnal sound. The second half of the album starts with 'Vow', a return to the Noise Pop and Shoegaze style that although I like the sound of the instrumental, gets ruined for me as I really do not like the vocal performance on this song. But as much as I do not like the vocals, the better is the guitar bridge which makes me really conflicted on this one. 'Stupid Girl' is another highlight of the album for many. Although the structure is something heard a million times before, the chorus is incredible once it starts. The continuing build-up really works to make the song feel organic and different for the most but not all the way. I like the electronic moments on 'Dog New Tricks' but I feel like the song had much more potential that wasn't build on enough. The hazy sound is done very well and it's much more dynamic than 'Stupid Girl' and I prefer it too but I still feel like they could've done more with the song than they ended up doing. 'My Lover's Box' might be interesting to some but it is not to me. The song just flows past my ears without sticking. The chorus is quite nice but that makes up a total of like 45 seconds in the whole song so I am not very fond of this one. A similar problem has 'Fix Me Now' although I like the chorus much more once it's actually there but considering it takes half the song the make it remotely interesting, the song just isn't as great as a lot of other songs even if the chorus is one of my favourites on here. It's the rest that makes it uninteresting. Closing track 'Milk' is the only song that is fundamentally different as it takes a very ethereal wave and electronic sound with typical Trip Hop drums. But all that makes it for me the best song on the album. It is just so beautifully dark and well... ethereal. The (I think) mellotron sample that reminds me a bit of Strawberry Fields Forever just adds to that. favourites: Milk, Queer, Supervixen, Only Happy When It Rains least favourites: My Lover's Box, Vow, Fix Me Now Rating: decent 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Santana has been a major figure in psychedelic and Latin Rock since their self-titled debut album in 1969. And after having big success because of the Woodstock appearance, the follow up album was only more spectacular and even better. 'Abraxas' shines with the sprawling guitar work by Carlos Santana as well as the overall warmth the album gives out. I think it's a bit sad that this is the only Santana inclusion in the 1001 albums list, as at least one or two more would be more deserving for such a guitar legend. But at least they chose the right one to include here. 'Singing Winds, Crying Beasts' opens the album with ominous and nocturnal sounds made by piano and some sort of wind chimes. The guitar enters like a beast and from then on the song blends Latin Rock with Jazz Fusion elements and keeps the ominous and spiritual vibe from the beginning. A great instrumental intro track that really stands apart from most other songs on here. The following 'Black Magic Woman / Gypsy Queen' is the first song to really show the incredible guitar ability that Santana can offer. The song goes a much blues-ier way and the vocals just emphasize that, mainly because they feel like something you'd hear on a Cream record if they were doing Latin Rock. The fast outro just ends the song perfectly. An incredible song and easily one of the best ones in the entire Santana catalogue. In my opinion even better is 'Oye como va', just because the chorus is what comes to my ears every time I think about Santana. It is burned into my brain like only a few other things. The drive of the song, the bridge, the guitar, the extra tropical feeling because of the Spanish vocals and slight Salsa influence... It just flows like honey except the honey as a little bit of LSD added. The first half ends with 'Incident at Neshabur' that goes into more Jazz influence again and it works perfectly. While the song might not be as great as the song before, it is without a doubt one of the best ones on this album. Especially with that piano/guitar duo near the end. 'Se a cabo' opens the second side with a loud and rambling sound that climaxes into a stunning amalgamation of all instruments before turning quieter for a moment just to comes back as loud as before to throw you from your socks once again. More lyrics and vocals return with 'Mother's Daughter' and like before this feels very much like Cream only better and more diverse. The guitar really works as the chorus-like peak everytime it appears. Another highlight is the Samba inspired 'Samba pa ti' that features a very emotional and deeply connecting guitar solo that hooks you the moment it first comes to ear. It is my favourite song on the album, simply because I rarely hear a guitar solo that makes me as emotional as this. To compensate the very sentimental track from before 'Hope You're Feeling Better' is much more up-lifting and hard hitting including characteristics from Acid Rock and Heavy Psych as well as some Funk. It is incredibely groovy and full of delicous highlights. The album closes with Conga music which means it's the only song that isn't rock music at all and while it does close the album pretty nicely, I think the song just isn't as interesting compared to the incredible rest. favourites: Samba pa ti, Oye como va, Black Magic Woman / Gypsy Queen, Hope You're Feeling Better, Se a cabo least favourites: El nicoya Rating: decent to strong 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Back before I seriously got into all of music, I was fascinated by Prog Rock. This album was one of my favourites back then, mainly because of the title track that I still think remains one of the greatest musical achievements ever. The album is very different depending on what half you listen to. The first half, made up of Tarkus, is perfect. The other half isn't. And I am not the only one with that opinion as this is pretty much what everyone, even hardcore fans say about this album. The album starts with 'Tarkus', the 20 minute epic that is made up of 7 parts. The first part 'Eruption' starts the album with a rumble and then explodes into a keyboard/organ driven and very up-beat part with a very symphonic feeling that moves into the slower but equally interesting 'Stones of Years' that brings in the vocals. The philospophical nature of the lyrics adds to the epicness of the whole peace. 'Iconoclast' follows with more rumbling drums and a stinging guitar that moves into 'Mass' that adds to the overall operatic and symphonic feel with the layered vocals and guitar solo. Around the 10-minute mark 'Manticore' introduces the enemy of Tarkus that climaxes into 'Battlefield' that probably feels the most like an Opera or Symphony with the horn inspired sound, probably done by the moog. The last part of the song is 'Aquatarkus' and it closes this incredible epic of a song perfectly with the marching sounding drums and wah-wah sounding organs that all slowly fade into a final blow of the theme from the beginning. This is one of the greatest songs ever and I am reminded of its greatness everytime I listen to it. One of the most perfect songs ever created. Side two opens with 'Jeremy Bender' and it already shows that this half cannot compete with the title track. It's a nice song but after listening to a 20-minute symphonic epic, this just sounds silly and useless. The piano, the claps and the cowbell are all quite nice but the lyrics are... not as philosophical and though provoking as they were on 'Tarkus'. A bit better is 'Bitches Crystal' which I think is a pretty good song with its synthesizer, Jazz piano and fast tempo. Still not close to Tarkus but substantially closer. 'The Only Way (Hymn)' is similarly symphonic as 'Tarkus' but just does not achieve the greatness. It's nice but just not incredible. The same can be said about the follow up 'Infinite Space (Conclusion)' although it looses some points from me because it is mainly a piano solo and although it's not a bad piano solo, it bores me. I do quite like the more rock sounding 'A Time and a Place' although it again isn't as special as 'Tarkus'. Final song 'Are You Ready Eddy?' is very R&B sounding Rock n' Roll song that very much sounds like a Little Richard if he was Prog song and I do think this is the best song after Tarkus although it still is far behind that one. favourites: Tarkus, Tarkus, Tarkus & Tarkus least favourites: Jeremy Bender, Infinite Space (Conclusion) Rating: decent 8 (10 if it was Tarkus twice) https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Undoubtedly one of the most overrated albums ever. Don't get me wrong, it is a good album with a lot of influence that it had on Grunge but the praise it still gets more than 30 years later while having aged not really well nor bad baffles me as a lot of the songs are very average and just even out due a couple of really great songs. 'Once' opens the album with a somber guitar that transitions into a very Hard Rock instrumental and like most of the album you understand a bit of what is sung but ultimately have no clue of what's going on. And I don't think that it's a bad thing. It adds a uniqueness to it that makes Pearl Jam a very differentiable act. The song itself is pretty good and the chorus is pretty nice although the work around the chorus is improvable. The legendary 'Even Flow' follows and is without a doubt one of the best songs on here. For me the song just has a very even flow (sry) as it keeps steady and keeps me interested even when the chorus isn't there. My only criticism is that the guitar solo and the bridge at the halfway mark weren't really needed and just streches the song unnecessarily. The greatness stays with 'Alive', another very widely known track that brings in much more emotional depth instead of having the classic "rock to it" attitude. And while that makes it one of the most interesting and gripping moments on the album, I do think that they could've done a little bit more in terms of making it a more emotional listen than it already is. But the final guitar solo is one of if not the best on the album. 'Why Go' follows with a very overblown vocal delivery that just does not work in the way it is mostly performed. I do not care for it most of the time although the chorus is pretty neat once it starts. While it also feels a little overblown at the start, once 'Black' reaches the climax with the piano it does make a pretty deeply touching song and the guitar solo the second time just adds even more. I just think that another band could've made the song into MUCH more than it came out here. Still a great piece. 'Jeremy' is another one of the widely known songs this album offers. And it is in my opinion the worst one so far. It isn't a bad song but it fails to hook with the hook, to make me emotional with the performance or interested in anything they do on here. It's there and has some neat moments but ultimately fails to make anything noteworthy. The second half starts with 'Oceans' and it has a similar problem to 'Jeremy' as the song does not appeal to me in any way. Only that I here feel like they had a much bigger intention and ambition that in the end couldn't be fully implemented. 'Porch' is much better but I still don't care much for it. I don't have much to say about it except that I do not mind the song but it isn't as interesting as most previous stuff. The next song 'Garden' is much better though. The early appearing chorus and the the strong difference between the loud and noisy chorus and the slower and quieter verses work really well and make this another more emotional cut on the album and easily my favourite on this half of the album and the album in general. But the momentum isn't held as 'Deep' is another rather forgettable song. The vocal performance on the chorus is pretty strong though. 'Release' is conceptually a very different song as the song itself is with over 6 minutes the longest but includes a "hidden track" at the end called 'Master / Slave'. 'Release itself is actually pretty good in the way it adds a lot of characteristics of Post-Punk and builds up pretty nicely. It's just that the tension build doesn't release into anything worthy. The chorus is very basic and the way it vocally goes into that is even more average. Having just the influences from another genre and a bigger length doesn't make it as great as it could've been. The ominous ending that is 'Master / Slave' is pretty great in comparison and makes it ultimately a track worthy of being here. favourites: Garden, Alive, Even Flow, Black least favourites: Oceans, Porch, Deep Rating: decent 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

I'm just saying: If you want to hear the best version of the Smile album, listen to the 2011 released original 1967 album. Not that this album is bad and it definitely was better than 'Smiley Smile' but 'The Smile Sessions (2011)' is just the proper way to enjoy these tracks best. Anyway, if you are not familiar with what this album is: basically Brian Wilson (from the Beach Boys) had a project planned after 'Pet Sounds' but had to scrap that after the were more and more disagreements within the band. The songs were stripped down into 'Smiley Smile' (1967) and Wilson did not touch the album due to the formation of a trauma as he began to drift into schizophrenia and depression. In 2003 he made a live version of the album with new overworked melodies/structures and decided to make that into a studio album a year later. Movement One: The albums beginns with the vocal-only intro of 'Our Prayer / Gee' that turns halfway through into a piano driven and typical Beach Boys vocal harmony. I don't mind the song but I am not much interested in it either. The end of that song announces the next 'Heroes and Villains' a song filled with a lot of vocal harmonies and (considering 1967) experimental pop takes that in 2003 were simply artistic choices rather than "weird". Still, the song is very memorable and moves through different stages and has a couple of "false" endings where you think the song is over for a second but then it comes right back with more vocal harmonies. My only real criticism is that it feels a bit streched halfway through. Brian Wilson and the Beach Boys were great in making short but effective pop songs but at nearly 5 minutes it does get a bit ponderous. A song that might not be as strong in terms of being as instantly recognisable and catchy, 'Roll Plymouth Rock' still has a lot of great moments and I think it doesn't loose its momentum as much as 'Heroes and Villans'. The Hawaiian part is also really catchy and I at first thought he sang "Hallelujah" but no, it's Hawaiian. 'Barnyard' is a pretty short but cute interlude between the songs. I like the animal sounds and all around. It's cute, that's it. 'Old Master Painter / You Are My Sunshine' is another "interlude" type song but instead of being pretty cute, it's rather boring. I feel it only deserves to be here as a bridge between 'Barnyard' and the next song. And speaking of the next song, 'Cabin Essence' is a pretty good song. It has a nice transition between cowbells, violins and harmonica that make the song just flow in between its parts. Movement Two: The second half beginns with 'Wonderful' a pretty nice song that has a very lush warmth to it. It isn't anything crazy but it works and that is what counts. That song transitions into 'Song for Children' that works a lot with multiple transitional harmonies in the chorus that switch between the singers with Wilson taking the main presence. A really neat song that adds another memorable piece to the album. 'Child Is Father of the Man' takes a darker approach to the same song that was 'Song for Children' and it surprisingly works. The duality that are both songs make it a great transition without even having one noticable. A great idea with a great execution. The song 'Surf's Up' became the title track for the Beach Boys 1971 album. Nontheless, it was a part of the Smile Sessions and I'm happy they included it here as it is one of the best tracks on the album. It has a somber start that works while taking most of the song but when the chorus starts, the song is elevated even more. It is one of my favourite moments and near the end the "Father of the Child" motive is repeated once more closing of this second half perfectly. Movement Three: The last part starts with the short medley of 'I'm in Great Shape / I Wanna Be Around / Workshop' that works much better compared to 'Old Master Painter / You Are My Sunshine'. It's transitions are noticable but not disruptive and the workshop part is really funny. A much weirder song is 'Vega-Tables' that actually features much less vegetables than the original version and as I am not a big fan of the vegetables, I actually prefer this version although I still don't like it as much as other tracks. The vocal harmonies are pretty good though. Another repetion of an earlier motive has 'On a Holiday' that has the 'Roll Plymouth Rock' chorus integrated. That transitions into 'Wind Chimes' another more laid-back but effective song that strips down on a lot of the "wall of sound" instrumentation. The result is a cute song in which every detail is noticed. And then out of nowhere comes it all back with loud and dense instruments and as fast as it cames and vanishes before re-appearing to form the songs outro. And although there is a lot of dynamic, I am not the biggest fan. A pretty weird song 'Mrs. O'Leary's Cow' with all the "gnome laughing" and goofy sound effects that actually elevate this song more than one would think. Still a rather forgettable song. 'In Blue Hawaii' is the best one on this part of the album so far. It is catchy, interesting and doesn't disrupt as much as other songs. The vocal effects are also really adding to the experience of the song. And of course, to close it all off: 'Good Vibrations'. The legendary and incredible song that is good in every version that the Beach Boys or BW recorded. And while I prefer the original, this is still the best song on the album. A worthy and perfect closing track. If I had to rank all three movements it would be: 1. Movement 2 (Wonderful -> Surf's Up) 2. Movement 1 (Our Prayers / Gee -> Cabin Essence) 3. Movement 2 (I'm in Great Shape / IWBA / WS -> Good Vibrations) favourites: Good Vibrations, Surf's Up, Song for Children + Child Is Father of the Man least favourites: Old Master Painter / You Are My Sunshine, Our Prayer / Gee, Mrs. O'Leary's Cow, Vega-Tables Rating: strong 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Before this album, Dylan was known as THE modern songwriter and folk artist, being named the voice of his generation and a major part of early 60's counter- and youth culture. He introduced thousands of people into Folk music and made the genre pretty much his own. But when this album released with the electric guitar and rock music influences, people were disappointed in him and his way of changing his sound. Looking back, that was stupid as he pretty much made his best albums with that sound. But he didn't go Folk Rock right away as only the first half of the album is the typical Folk Rock fashion. 'Subterranean Homesick Blues' opens the album with fast lyrics and dense instruments that can only make one interested in this album. The lyrics are weird but incredible (like most of Dylans) and there is an argument to be made that this is one of his best songs. I just wished the song was a little longer with a more extended harmonica solo. A change of pace is 'She Belongs to Me' with a more sombre but still interesting approach that buts the electric guitar more into the background and let the acoustic work shine a bit more. It's a great song and the electric guitar adds a lot even if not that present. Another big highlight is the countlessly covered 'Maggie's Farm'. Dylan's voice gets a bit weirder again and I have to say that I absolutely love it even if I had my struggles the first times listening to his music. The little bits of Country and Rockabilly sprinkled throughout are gorgeous and the chorus is incredibly catchy. With 'Love Minus Zero / No Limit' we get a hint of what some songs on his future albums will mostly sound like and while he definitely hasn't perfected the sound yet, it is still great. For me this song just screams 'Blonde on Blonde' Side 3. The song is still incredible and I absolutely love his delivery of the lyrics. But, like 'Subterranean Homesick Blues', he should've made it longer. 'Outlaw Blues' goes a lot more into the fast paced Blues influence from the first track and while it isn't as incredible as that one, this is still catchy and groovy. Just a prefect blend of his styles and influences. In comparison 'On the Road Again' falls a little short. Still a great song, it's just not as dynamic with its sounds as most other songs so far. Although I love it still, this is the "worst" song on the first half. The funny false start intro of 'Bob Dylan's 115th Dream' might sound weird at the beginning but once the song does start, it is really solid. More than solid actually. The song is the second longest on the album but feels not that much longer compared to the mostly 3 minute rest. The build-up is done fabulous. My only slight criticism is that around the halfway mark, the song gets a little unfocused which does slightly harm its consistency and overall flow. The non-rock influenced Folk side starts with the legendary 'Mr. Tambourine Man' that mainly earned that title with "The Byrds" cover version released only a couple months later. And I do think that this original version feels less spot on. The start is great and so is the lyricism throughout but I just get uninterested after a while with the repeating chorus and verses that don't feel like they are going anywhere. He should've cut the song after 4 minutes. That may all sound negative but I think its still a really good song all throughout. 'Gates of Eden' is what an acoustic Dylan is supposed to be: more ominous performance performance, familiar yet weird lyricism and a slight anger in the quirky vocal performance. Oh, and a randomly appearing harmonica. I absolutely adore this song and Dylan's performance and I wish that this is what he would've done with 'Mr. Tambourine Man' but like that song, this song is also a little bit too long although I don't mind it as much. I'm a little conflicted on 'It's Alright, Ma (I'm Only Bleeding)'. It is in the eyes of a lot of Dylan fans one of his best songs of all time. It is really innovated with the Beat Poetry style vocal delivery and the lyrics are among his best on the album. The slight Blues influences on the guitar work are catchy and drive the song throughout with a kind of flow that is really one of a kind. But all through the whole song, I don't really fall in love with it. It's great, perfect even if viewed on a pure songwriting and skill level but it doesn't really light the spark that other of his songs did. The album closes on 'It's All Over Now, Baby Blue' that I think is the best song on this half of the album. It's a very emotional outro to the album that is very memorable with the chorus. I absolutely love this song. It is so gorgeous. favourites: It's All Over Now, Baby Blue, Subterranean Homesick Blues, Maggie's Farm, Outlaw Blues, Love Minus Zero / No Limit, She Belongs to Me least favourites: Mr. Tambourine Man Rating: strong 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

With albums like this I am stunned that some people find them exceptional or still relevant when all this is is bland and uninteresting mid-90's Pop Rock with a mellow undertone that fails to deliver. This is just a dreadfully boring release with nearly no redeeming quality. 'Please Forgive Me' opens the album with a looping keyboard and a atmospheric and quiet Drum and Bass rhytmn section. While that sounds interesting, the execution is very average and boring. The songwriting aims to be introspective and deep but just does not get anything across. And that is already one of the better songs on the album. A similar approach goes with 'Babylon' and like before, the concept is not bad but the execution destroys whatever he wanted to achieve. It is only the Folktronica approach that makes this somewhat interesting throughout. The chorus is quite nice but is way to short and vanishes too fast. What follows is the on one hand dreadfully boring on the other annoying 'My Oh My' that is just bad. It has no redeeming quality, does the one thing music should not do (be boring) and becomes annoying with the performance. The only thing not making this simply horrendous is the fact that it still is somewhat listenable just with a lot of (not good) pain. The distorted drums of 'We're Not Right' with the somewhat interesting performance make this a more listenable and "standout" track even if it's still dreadfully boring. 'Nightblindness' which isn't even on the original Irish release of the album is so boring that there isn't even a bad thing that stands out. The only bad thing about this song is the song itself. The second half of the album starts with 'Silver Lining' that is slightly more listenable even if "boring" is still the main descriptor of this track. The guitar in the background and a couple of moments save this from being totally bad. It is also way too long. The title track 'White Ladder' is actually a quite nice song. Still not much interesting stuff that goes on but the things that are are pretty decent. I still think this is a very average song compared to most music but it's one of the better songs on the album. 'This Years Love' is another one of those "wannabe" introspective tracks that pretty much fail to execute all of what they try to be. The lyrics are meh, as is the piano playing and general structure of the song. This is just a 90's Ed Sheeran typical song. And after a while he repeats himself so much that I had to skip the last minute on all plays I've given this album. There is only one song that I actually slightly like and that is 'Sail Away'. It's got a nice structure and the lyrics are more what they try to be. But it's mainly the chorus that makes this an okay song. It's nothing special but compared to most of the stuff you find on the album this just feels way less obnoxious. Does that make it an album worth listening? No. The album (finally) closes on 'Say Hello Wave Goodbye' a nine minute song. I normally do not have a problem with songs that play a little longer, some of my all time favourites are in the 10+ minute range with a couple ranging into the 20 minute mark but in the context of this album it's just tiring. There is just no need for this cover song that didn't have really much lyrical content to begin with to be turned into a singer-songwriter piece. It does not work and it will never. favourites: Sail Away, White Ladder least favourites: Nightblindness, My Oh My, This Years Love Rating: decent 4 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The album in which the Grunge took so much of a presence that some consider this to not even be Alt-Metal & Grunge but only Grunge even when a huge majority of the songs show to be some sort of Alt-Metal. Still, Grunge is the main genre of the album and should therefore be the main focus point. Soundgarden had easily the best studio Grunge album. Sadly, or luckily (depending on how you view it), Nirvana had their legendary MTV Unplugged album released the same year. But the achievements that this album brought to the table make this an essential album even 30 years later. The album opens on 'Let Me Drown', a perfect example of the heavy and Stoner Rock inspired metal sound the band is so good at creating. It starts with loud and catchy layered guitar riffs and an incredible vocal delivery. The song just makes you want to headbang. It's an energetic and sonically perfect intro into the album. The next song 'My Wave' is much less Metal, even if it's still a very heavy song. Interestingly is this a much more psychedelic sound and I think the guitar pedal effects that is sometimes sprinkled throughout makes this really interesting. The chorus also works really well, it's just that I think that the song streches a bit too much near the end. It should've been cut to 4 minutes max as the last minute doesn't really add more to the song. 'Fell on Black Days' is one of the best known songs here and it most resembles the Grunge sound most people are familiar with through Nirvana. It's a really good songs but it doesn't really reach the edge that I loved so much with the opener. Compared to most of the album, this seems much more conventional and basic and I personally am not greatly interested with most of what the song does. With 'Mailman' they get back to the heavier sound and there is a lot of heavy and "sludgey" guitar on here. In return the song comes out much more interesting and formed than its predecessor but unlike that, this is feels a little stretched towards the end of it and there isn't much of a catchy "something" that makes the song stick. The title track 'Superunknown' follows with a very Hard Rock and Blues Rock inspired instrumentation that really drives the song and works much better as a point of focus. The vocals are killer and the chorus is simply epic. I absolutely see why this was chosen as the song to name the album after as it does summarize the album pretty neatly. 'Head Down' removes a lot of the heaviness and replaces it with a more psychedelic approach that works within the context of the time. The dreamy vocals and the washy guitars make this a noisy and dense but lovely and dreamy song that flows within itself. Even if I mainly prefer the more metal sounding songs on the album, this is easily one of the best they ever put out. The song that everyone knows, 'Black Hole Sun', shows an even more Neo-Psychdelia rooted sound than before and like before it works perfectly. It starts with the legendary and dreamy guitars and the melodic and surprisingly clear vocals that seamlessly blend into the chorus that is even better. Even if it's a basic opinion, this is the best song on the album or at least in the Top 3. The whole song works and feels much less streched than most songs here. I absolutely adore every second from the guitar solo, the slightly changed chorus in the second half, the background vocals and the general structure. The albums second half starts with 'Spoonman', a song that is much more complex in comparison to most of stuff you find on here. It has multiple, seemingly random, additions thrown in that make this together with the abstract lyrics a very weird but great listen. 'Limo Wreck' sounds like a very early Doom Metal song with the thick, slow and atmospheric guitar riff that goes the whole way through the song. It's dark, unsetteling and really feels like something Black Sabbath could've cooked up if they had Grunge back then. But the song suffers a little bit from a lack of focus near the end. With 'The Day I Tried to Live' was the albums lead single and is therefore another pretty well known song. And although I prefer it over 'Fell on Black Days', I have similar criticisms towards it. It doesn't interest me for the most part and feels too basic and average. Of course it has some great moments but they are not worthy. It's a good song but just nothing more. The short and not even 2 minute long 'Kickstand' is one of the few instances of a Punk sound that gets through. And although Punk isn't what they are used to do, it is a very solid song and is actually really interesting and does not feel like an Interlude at all. 'Fresh Tendrils' keeps a small amount of the Punk energy from before but turns it into a more Metal sounding track again. And unlike before, this doesn't work really well. It is still a good song but it feels very unfocused and unsure about itself. To my ears the song is either uninteresting or a little bit annoying. A really underrated song is '4th of July'. It is easily the most Doom Metal the album gets. It is heavy and dark and the slight hints of Psychedelia make this an even more atmospheric and anxious listen. A perfect blend of all genres they are capable of using. The short 'Half' that is another left-turn with the introduction of Raga-Rock (Indian Classical music inspired Rock) and hints of experimental parts. And although that might sound like it would derail the whole album, I think it works pretty good right before closing the album. And the album closes with the dark and depressive 'Like Suicide'. The title pretty much says what the song is about and it gets the anxious and suicidal feeling very intensely across and closes the album with another perfect song even if it is the longest one but this time it definitely needed that length. favourites: Black Hole Sun, Head Down, Like Suicide, Let Me Drown, Superunknown, 4th of July least favourites: Fresh Tendrils, Mailman, Fell on Black Days, The Day I Tried to Live Rating: light 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

UK Hip Hop always stood in the shadow of its US origins and it mostly does not get close to it. Of course there are exceptions like Little Simz who is one of the best modern Rap artists. Ms. Dynamite in the eyes of some does recieve a similar credit especially with this album that blends Neo-Soul, R&B & Hip Hop into a diverse and interesting album although it is really inconsistent and sometimes all over the place with the ideas and influences. It starts with the short but actually really good 'Natural High (Interlude)' that works as a intro and I really like the low-paced, mainly Synth & Bass background beat that makes you interested with what else the album is going to feature. 'Dy-Na-Mi-Tee' seems to be loved by many but I just think it's annoying. The "e-hee" part in the chorus makes my ears bleed. Just let MJ do a "Hee-Hee" part because this just destroys a theoretically solid song with that god awful chorus. It is even more embarrassing considering this is HER song with it pretty much being an introduction into her persona. Much better is 'Anyway U Want It' that features a typical 90's R&B chorus by a featured singer and a Hip Hop Soul beat. It's pretty solid but nothing crazily interesting. The arguably one of the best songs on here is 'Put Him Out'. It's a fast and slightly angry song that has a great rhythm and a pretty diverse beat. It isn't a perfect song but gets close with a couple of parts including the Jazz piano that starts shortly before the chorus. The more sentimental 'Brother' features a nice melody and great vocal harmonies. It is a nice blend between R&B beat, Soul singing and a few Rap bars. Ulimately a decent song that doesn't really get the edge it should maybe have. The sample heavy 'It Takes More' follows with another great song and definitely a top-tier song compared to most the album offers. It's a more hard-hitting beat that strangely works really well with the more laid-back and singing provided rapping. The greatness of before is a bit lost with 'Sick 'n' Tired' that just isn't as interesting as a lot of that we already heard. It's mainly boring especially with the lackluster performance and the bars that just don't really have a lot of lyrical or emotional depth to it. Just a very "meh" song; It's "ok". 'Afraid 2 Fly' has a really interesting beat that isn't really your average track because it features a lot of different samples that range from bells over water or rain to some really weird synths. That beat gives a great base to work on but she sadly didn't do that. The performance is way to basic for such a crazy beat. It feels contradictory and that in a bad way. The albums second half starts with 'Watch Over Them' a short and acapella intro to that half that only features her rapping without a beat. She's just not good enough of an MC for that to work but nice try. 'Seed Will Grow' has some influence from Reggae, mainly with the featured vocals that are pretty much just Reggae but the beat also takes a couple of elements but in the end stay true to the Hip Hop Soul sound. It's alright but isn't really interesting outside of being pretty nice background music. The more electronic based 'Krazy Krush' makes a slightly glitchy appearence but it does not really get to a point in which I like the sound that is created as the duality of beat and vocals don't fit. Like with many tracks: great idea and concept but she just isn't the right person to perform that. She would be a better artist as an album/song conceptualist for other artists than performing herself. 'Now U Want My Love' is another average R&B song that might have worked back in 2002 or as background music but in an active listen it's pretty boring. The song 'Too Experienced' isn't available on streaming but was a part of the original album. I am not interested enough to check it out but I want to mention it for the albums wholeness. 'Gotta Let U Know' is another song that I am going to same thing about I said already a couple of times: average R&B song that didn't age well and is really uninteresting but still ok for the most. An let's do it again for 'All I Ever' which is a, can you guess?, pretty average R&B song that has a couple of neat ideas but in the end comes of as, ..., just ok and mostly boring. The albums title track and final song 'Little Deeper' had a little secret on the original CD. Because it if you did not stop the album after finishing it and just waited a hidden track called 'Get Up Stand Up' would play. And while that might have worked as a cool easter egg on CDs, it does not work with streaming and it's therefore really stupid to add just 4 minutes of silence in between the two songs... Anyway, the actual song is really boring but the hidden song is actually really good and I am surprised it isn't on the actual track list. It has a solid beat and great featured rapping. This is what the whole album should've been like. This is great!!! One of the best moments on the album and it isn't even an "offical" song. WHY??? WHY??? favourites: It Takes More, Get Up Stand Up, Put Him Out, Anyway U Want It least favourites: Dy-Na-Mi-Tee, Krazy Krush, Watch Over Them, Afraid 2 Fly, Gotta Let U Know, Little Deeper Rating decent to strong 5 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Miles Davis was already one of the biggest Jazz artist in the late 50's, being named the creator of Cool Jazz but even outside of that he made great albums in genres like Hard Bop and Bebop. But in 1959 he decided to get together with other artists like John Coltrance, Cannonball Adderley and Bill Evans to create an album that pushed the sound and possibilities of Jazz like few did before with all orignal compostions and improvs. Since then 'Kind of Blue' became the best selling Jazz album ever and it deserves that. Is it my favourite Jazz album? No. Is it my favourite Miles Davis album? No, it's Nr.3. Is it my favourite 50's album? No, because of "Somethin' Else" by Cannonball Adderley. But it is second place and one of only 4 albums from the 50's that I think are a 10/10 (as of right now). The album opens on 'So What' that introduces the relaxed and cool but interesting and diverse approach this album goes. After a little piano intro it starts the theme that repeats through the song and that is played and improvised around with all the instruments. Every musician has his own parts to showcase their own virtuose playing, being the incredible drums, the complementary piano, the bass, both saxophones and how can you forget Miles Davis on the trumpet. This is a perfect song, a Jazz masterpiece, a piece of art that aged like or even better than wine. Depending on the day, this is my favourites track that the album offers. 'Freddie Freeloader' has a similar but not identical theme at the start of it but once it evolves from that it explodes into another masterpiece of song. It is the only song that does not feature Bill Evans on piano and Wynton Kelly proves that the song does not need him here as he takes full presence in the early parts of the track. From that it goes further in typical Jazz fashion. I love this one a lot but I feel that at a couple of moments it doesn't really hold the tention and interest in the way 'So What' did but even if, it is still magnificent. The albums shortest and probably most famous song 'Blue in Green' that was co-composed by Bill Evans shines even with a shorter length with incredible musicianship and sprawling moments especially with the piano. My "problem" with the song is mainly that due to it being less than 6 minutes long, it can't really achieve the heights and moments of tension that make the songs here so incredibly important and good, even if it has the most emotional and sentimental trumpet solo on the whole album. Miles nailed it perfectly. Side 2 opens with 'All Blues', the albums longest song. Right of the bat, this is my favourite song on the album. The theme at the start is so catchy and throughout the song, every performance works so well and is executed perfectly. I'm not even going to write much because I just want to enjoy the beauty of what is playing right now (this song). But I have to say that I absolutely love the way the theme comes back with the piano and then goes away to give more room for the sax and comes back the moment the sax goes. It's smooth and it's cool and it's just fabolous. The album closes on 'Flamenco Sketches' and the title suggests that Miles has some sort of interest in Flamenco and Sketches... I know that seems a little redundant but one year later he released the album 'Sketches of Spain' in which he combines his Jazz with Classical Spanish Music to create a musical sketch of Spain and in doing so he did dabble into a bit of Flamenco. But that was already in the 60's and here there isn't really anything musically that hints towards that as it isn't much of a Flamenco Jazz piece even if you look deep. This is also the other song co-composed by Bill Evans and in this song one thing is clear: they both work together like Milk and Honey. I do not know how they do it but what they create here is full of moments that work so good together that the moment a sax starts to play, you kind of miss the trumpet. At least that is what I am feeling with the song. But do you know what else I am feeling?, another incredible song. favourites: All Blues, So What, Blue in Green, Freddie Freeloader least favourites: Flamenco Sketches if I HAD to pick Rating: light to decent 10 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The Zombies' whole musical status is 100% because of this record. All the other albums and projects they released could not create the magic and sparkle that this particular album had when it released. It was a beautiful blend of influences with own artistic twists and often very forward thinking songwriting and production choices that influenced a new wave of artists. The album starts with one of its biggest songs. 'Care of Cell 44' features a great mix between Psychedelic and Baroque Pop and it instantly feels like the band took the best things from the Beach Boys, the best from the Beatles and added their own style of songwriting and lyricism. It is beautifully written and every part with the harmonies and breaks and build-ups work incredibly well. The chorus and its variants is always a worthy highlight. 'A Rose for Emily' starts as a piano driven ballad that slowly adds harmony and builds a beautiful story around it. A short but very sweet and delightful moment that shows not only an incredible vocalist in a much cleener form but also a simplistic but effective approach to songwriting. The double influence is even more present on 'Maybe After He's Gone' that features harmonies that at some points feel like the Beach Βοys and the next moment like classic Beatles vocals. It is crazy how they can blend both of these styles into such a coherent and interesting sound while still feeling orignial and bringing own ideas and creative parts to it. I love the chorus and bridge but the instruments in the verses do feel a bit short thought. It is a brilliant song but in my eyes with possible improvements. With 'Beechwood Park' we get very present organ and mellotron works that are made really lovely and add a kind of experimental but still comercial twist to their music. This might be one of the most influential moments in their whole career. The chorus is incredible and hypnotic and all the little details throughout just create one of the most psychedelic songs on the album and in the whole movement of the late 60's. The in duet sung 'Brief Candles' is another magical song with very great moments and although having piano & vocal only verses can go very wrong, it's pretty good implemented and the denser chorus is very worth the wait. It's mainly the tension that makes this such a great listen even if it is a "weaker" song when compared to most of the album. The highs are some of the highest but the lows do fall a little too low to be considered a perfect song even if it'S really close. One of the albums best songs is the legendary 'Hung Up on a Dream' that puts the psychedelia of previous tracks with more Rock influence into centre and features an incredible guitar solo. A masterful song to end the albums first half with as it features dreamy and hypnotic vocals that remind me a bit of 'I'm only Sleeping' by the Beatles and of course the guitar solo to complete the already perfect song. 'Changes' does start with the psychedelic organ that we are already used to but it does change its influences as this really seems to be inspired by early Pink Floyd with the "silly" lyrics and dreamy vocal performance. The song is really good but falls a little short in comparison to what already featured in this album. Although I don't really like the mixing of 'I Want Her She Wants Me' as it does give me a little headache with how the vocals are so left panned, the song itself is really good. The chorus is catchy, the verses are interesting and beautiful and if the mixing was done properly, this would've been one of the albums best songs. The very Beatles inspired 'This Will Be Our Year' really stands out with the use of piano as the main instrumental driving force that really complements the vocals and lyrics with a pretty simple but effective structure in the verses and a more complex sound in the bridge. The very ominous and anxious intro of 'Butchers Tale' introduces one of the albums most interesting and experimental moments. This is such a different and ethereal song that really flows from verse to chorus and bridge that I am stunned on how they could work all that so well into one song. I absolutely love this track and I think this is easily the best one on the whole album. It's just so beautifully anxious. 'Friends of Mine' has a great chorus that is full of vocal harmonies and the dense arrangements full of different instruments that play together makes this a very bright and romantic part in the album that really makes you relax and happy with your own surroundings while still having a slightly hypnotic feeling to it. The albums closing track 'Time of the Season' feels like the grand and nearly symphonic final moment for this album with all the interesting little details and instruments and weird "breath" groove as well as a brilliant chorus and mellotron solo. A perfect outro. favourites: Butchers Tale, Beechwood Park, Time of the Season, Care of Cell 44, Hung Up on a Dream least favourites: Changes, This Will Be Our Year Rating: strong 9

This album is what happens when the on first impact forward thinking Synthpop is abused into dull and one dimensional "wannabe" music that lacks both delivery and writing. The songs try to be "special" and "interesting" but end up beeing repetetive and dull after a couple of minutes. Most of it tries to throw in as much 80's synth work and "experimental" bits that then turn into an incoherent mess of slightly below average 80's pop tunes that aged like raw milk. While, yes, this is a pretty good description on how most songs of that era and within the R&B and Soul realm sounded, the result we get is very, very boring. All the work was put into the actually really good sounding production but once it came to deliver or just put in some emotion... well that's the part they stopped. 'The Word Girl' opens the album with a Raggae influenced beat and mindnumbing average lyrics about... well, a girl. The idea that they were going for is very present but what came out is pretty much the defenition of average. They were going for a very synthy Soul sounding song but what lacks is the soul in here. It's a shell, like most the album presents. The following 'Small Talk' might be a little more annoying at points but that makes it a "much" more interesting listen, even if I do not want to have any of this put near my ears anytime soon because it's definitely worse. One of the better songs here is 'Absolute' that goes a more Funk and R&B approach opposed to the very Pop start. It is pretty decent but still nothing I will come back to on my own decision. It's listenable, it's got some groove and isn't as dreadfully boring. Just your slightly below average song with average sound and average performance. Not the best sign if that is the description for the arguably best song on the album. The longest song here is 'A Little Knowledge', a track that sounds so fake and sterile that it made me feel ill. It is such a bad rip-off of Soul that I feel that they could've said the n-word and it would sound less racist. I'm normally all for sharing culture and don't really see cultural appropriation as a big problem but this?... oh god it's so bad. And let's not talk about the lyrics, they could've been written by 12 yr old girl that just startet writing "poetry". 'Don't Work That Hard' is just annoying. It might be even worse with the very annoying vocals and instruments that at one point seem to just repeat forever and loose even the little groove they had. The albums second half opens with 'Perfect Way' that continues what was already here. Songs that are so boring that they become annoying and even when they aren't boring, they're annoying on their own. And both of that is mixed together so well (or bad) that everytime you hear any sound start, you already want it to end because you heard what the song can offer. The slight seconds of nothing at the start. 'Lover to Fall' is just cringe and it is so bad that the moment the mf that put his voice on here stops to sing, a relief starts to flow into your body and makes you even enjoy the bridge after the chorus. With 'Wood Beez' we get a song that in comparison seems to be "good" but once you let the first few seconds of hope wear off, you find a song that sounds exactly like the rest with nothing that sounds good or original or interesting. This dreadful piece of "music" ends with 'Hypnotize' and I am so happy that that song title is mainly connected to Biggie and NOT Scritti Politti because the song is, again, pretty bad. The vocals are annoying, the instruments feel sooo arrogant and I just want to hear this album end. favourites: Absolute least favourites: Don't Work That Hard, A Little Knowledge, Lover to Fall, Perfect Way, Hypnotize, Wood Beez Rating: strong 2/10 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Cat Stevens or Yusuf, his now adapted stage name, had already a couple of projects released when this dropped but this hit like a bomb. Especially 'Wild World' was and still is a huge success. The album is full of peacefull and soft Folk Pop tunes that are all really cute and interesting. 'Where Do the Children Play?' opens the album with soft guitar notes and slowly builds up into more and more but not anxious tension that releases into a final vocal climax. A beautiful song with a great structure and sound that keeps you interested throughout. This is an incredible song with many great moments both lyrically and instrumentally. The following 'Hard Headed Woman' is a much softer approach with the strings that at one point take most of the attention before the vocals explode out of nothing and completley contradict the start. It is a lovely song but I feel that at times it is a little streched rather than needed especially near the end. The already mentioned 'Wild World' follows and I do think that it's the best song on the album. The chorus is super catchy and the structure is a great mix between conventional and special. The same can be said about the tension that it creates and releases perfectly for the chorus to start again. A perfect song with perfect execution. This is how a Folk Pop song should be done. The more sentimental 'Sad Lisa' switches the guitar with a piano and creates a very sad sounding and emotionally dense track that is amplified even more with the mourning strings that let the song flow through the bridge. 'Miles From Nowhere' closes the albums first half with another great song that really shows the more fast-paced side of the album. It is a really great blend between the Folk Pop of before with more Rock influence. The only thing that I criticise about this song is that the verse can feel a little bland compared to chorus and bridge. The short but sweet 'But I Might Die Tonight' starts the second side with another really good song that again has a little bit of Rock sprinkled in. The "ah-ah-ah" part is really good and for being so short, the song has quite the moments. 'Longer Boats' starts by sounding a lot like a Beach Boys inspired song and that typical vocal harmony style is kept throughout even if it is much less present than what is standard with the Beach Boys. But overall the song is much more average and isn't all that interesting compared to most this project offers. The much more classic Folk inspired 'Into White' is a similar case of being not bad but much more average than most other songs. It's really cute and all but a very peaceful guitar and vocal sound but I'm just not widely interested with what is going on. The by far longest song is 'On the Road to Find Out' is again a rather uninteresting song with the few moments that are being pretty overshadowed. But the length doesn't really matter here which is a pretty good sign because it doesn't get super tiring. Just before the album finishes we get another classic. This time 'Father and Son' is a really simple but hypnotising song that shows the lyrical and songwriting abillity Cat Stevens has in the fullest potential. It's a really lovely song that really sticks out in this second half. This is a really emotional and deeply connecting song. The one minute long title track 'Tea for the Tillerman' closes the album as a kind of outro that mainly plays with piano to create a song that sounds like a final symphonic end to this album. favourites: Wild World, Where Do the Children Play?, Father and Son least favourites: On the Road to Find Out, Into White Rating: decent 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

I hate Britpop with every bone in my body and most of it is annoying and very underwhelming like Oasis, Supergrass or Blur which I all dislike to the point that I'd rather listen to Harsh Noise (shoutout to Merzbow) for the same duration. But this album's actually quite alright. It is darker and more introspective than most Britpop and what I like most about it, it isn't as arrogant as some Damon Albarn twat. Another thing that I think is brilliant is the mix between the slightly psychedelic Britpop approach with obvious 70's Glam Rock nuances that really speaks to my David Bowie loving heart, even if I do prefer his experimental period from '76 - '79. 'Introducing the Band' not only introduces the band but also the album with some really Neo-Psychedelia sounding Rock that starts with some noisy and washed instruments that even take some sitar and Raga into the sound. The vocals enter with a layered and echoey sound that are sometimes pretty hard to understand but that just enhances the psychedelic sound that they obviously try to create. The song is beautiful and interesting even if it is pretty short. The vocal performance also reminds at points of 80's goth rock which I also very welcome. The following 'We Are the Pigs' is not only one of the albums biggest songs but also one of its best. It is full of noisy instruments that still leave enough room for vocals and guitar to shine in full clearness. The slightly symphonic approach to the chorus and vocals in general really shows the Glam they were going for. It's an incredible and emotional song with a really beautiful delivery all throughout. The melancholic sound is kept with the intense 'Heroine' that really puts most of the emotional intensity into the chorus that really makes you feel the pain even when the delivery seems rather dreamy. It feels so weird with how the song is made up but weird in a good way. The whole song through I am not sure what exactly I am supposed to feel and that results in a mix of so many emotions that are both clear and washed. I absolutely love the song and especially the clear lead guitar that plays so beautifully. The trilogy of possibly the best songs on the album ends with 'The Wild Ones'. Its vocals are much more present but still with the strong psychedelic sound and an incredible vocal performance and possibly the strongest showcase of the Bowie influence because you cannot tell me the chorus isn't straight up a Bowie song. It is a great song and although I don't love it as much as the previous two, it's still one of my favourites on the entire album especially with the climactic chorus and strings. 'Daddy's Speeding' does have some nice moments with the spacey guitar, the ethereal sounds and vocals but overall I am not really interested in the song. It feels much more "boring" than what already featured on the album. There are some moments that build beautiful tension, the release of that is pretty lackluster and the overall enjoyment is very lowerd by the fact that it's one of the albums longer songs. With 'The Power' they return to the theatrical sound from before and the song is pretty good. It has some nice strings added, the vocals are great, the lyrics and the other instruments are really good. There isn't much bad things that I can say about it but somehow the song isn't as interesting as I would've hoped. It's good but doesn't get much higher than that. 'New Generation' is a song that mainly works because of the chorus and luckily the chorus is both long and really great. It's full of great vocals and lyrics as well as some nice brass instruments that were thrown in pretty fittingly. The lead guitar that switches channels at some points is really adding to the overall sound as well with some really nice playing. A really great song but I do think that they could've done slight changes. Still, a pretty much perfect one. The albums second half starts with 'This Hollywood Life' and some saxophones that fade into a really noisy and bluesy guitar riff that is the main driving force of the song. I just think the song is a little to average in both delivery and structure. I am not really interested in it much but I do appreaciate some ideas and moments. The Piano Rock beauty that is 'The 2 of Us' is the albums most underrated track. The best ones are those that everyone loves and knows but this is a song that isn't talked about much although I think that it's beautifully written and has a really great performed chorus as well as the piano that is just perfect for this song. The slow build-up towards the end adds some really needed diversity and when the flute enters, it gets even better. I don't think it's any type of masterpiece but should be talked about more in conversation around this album. 'Black or Blue' is similar to 'The 2 of Us' except that the verses surrounding the chorus aren't as interesting and the song just doesn't flow as great. The chorus is great, no question, but the song as a whole lacks a lot that I need to love it at its fullest. The nearly 10 minute long 'The Asphalt World' isn't just one of the best songs on the album. It has a lot of influence from Prog Rock and it doesn't feel as long as it actually is. It is beautifully dark and full of incredible moments in both the verses and the chorus that builds more and more tension until it releases for short and goes again into more and more tension before abruptly fading into a quieter bridge. The guitar that drives the whole thing just works so perfectly with how it builds up. A gorgeous track that really is the climax of the album. The album closes on the more laid back and slow 'Still Life'. It really feels like the end credits to a movie you just watched. It has something final and finished about it that just feels like the optimal closing track which it is. It closes the album in the way it should but the song itself isn't one of my particular favourites. It's not as interesting throughout or simply as emotional as other songs have been. It's just a great and symphonic closer. Although it isn't part of the actual album and just became a single-only release, 'Stay Together' is too great not to at least mention. Be sure to listen to that one as well. It's incredible. favourites: We Are the Pigs, Heroine, The Asphalt World, New Generation least favourites: Daddy's Speeding, This Hollywood Life, Black or Blue Rating: strong 8

The Beatles were already the best known band in the world but their critical acclaim at that point came from similar reasons that Taylor Swift today is getting decent ratings from the music critcs. But as they worked on "Rubber Soul" they added more "experimental" ideas and played with their music more which then resulted in an album that was so cohesive that the Beach Boys created Pet Sound just to not fall behind the futuristic way that this album sounded. 'Drive My Car' opens the album already with a great one. The song really gets you into the typical Beatles Rock n' Roll and Pop Rock sound that we and the people back then knew and loved. The song has a driving piano and cowbell that both add to a sound that feels very Blues Rock similar to the Stones. It's really solid track but nothing that would've completely f-ed your mind back when it released. The weird stuff already gets present with the next song 'Norwegian Wood (This Bird Has Flown)' that not only isn't really Rock but more Folk Pop and it also features an instrument that back then, no one heard of but now is really connected to the Bealtes. This is the first Beatles song to feature a Sitar and Raga Rock, both being mainly inspired by Indian Classical Music. The song therefore has a certain "drone" to it. It's a great song but I personally don't love it as much as many others do although it is really well written both in a lyrical, songwriting and overall structure way. The again more Rock sounding 'You Won't See Me' has some nice influences from Soul and R&B with their typical Pop Rock style. It's a pretty nice track but I am not crazy for it as there isn't much crazy things happening except the harmonies and a few moments in the chorus. The Folk Pop returns on 'Nowhere Man' and in the same breath some great things return. This feels really reminiscent of the Byrds with the way it's structured and song and it pretty much has similar influences as it also has some moments you might already call "Jangle Pop". 'Think for Yourself' gets into more of the earlier terretory the Beatles worked in with a lot of Merseybeat and Pop influence. It's a pretty solid track but mainly shines with the chorus. Same story with 'The Word': pretty good song with a great chorus and nice Mod and Beat influence but without anything that would make it REALLY special. With the Folk Pop, the great songs return as 'Michelle' not only has a great chorus with cure French added but the whole song is beautifully written and cohesive with how its structured. The first song that I would call "incredible" as it aged very, very good. The albums second half starts with a RINGO SUNG SONG!!! 'What Goes On' wan't written by him but his voice fits the song so well. I know not many will agree but this is another incredible song and one of the best ones on the album. It's just so cute and the way Ringo keeps the shuffle steady while singing is really crazy. Lennon returns with lead vocals on 'Girl' which is another pretty solid song and the songwriting is really great as are the vocal harmonies in the chorus. It's a really well put together song that has some really nice moments all the way through but I'm not crazy about it. 'I'm Looking Through You' is a really underrated track. It is a great mix between most sounds and influences that were present thus far and the chorus is incredibly catchy and energetic which complements the rest of song very well. There isn't much to say about 'In My Life' except that it's without a doubt the best song on the album. Everything about it is perfect: the verses, the lyrics, the songwriting, the chorus, the instruments, build-up, and everything else in there. It's also the best Beatles song before Revolver. With 'Wait', I feel like they try to recreate something they already did over and over. It's a kind of annoying song although some parts are quite alright but that doesn't change the fact that it's the worst song on the album. While 'If I Needed Someone' is significantly better, I still think that it's a pretty weak song in comparison. It's written in a very solid way but lacks any kind of interesting part that might hook me apart from it being somewhat pleasant to listen to. The closing track 'Run for Your Life' gets a lot of hate and I get it. It is pretty... controversial in lyrical matter when looked at with todays standards but still, it is groovy as f*ck and it is detached enough from reality that I can enjoy the song regardless of what is sung about. And I have to say that I really like the song. It's really good. favourites: In My Life, What Goes On, I'm Looking Through You, Michelle least favourites: Wait, If I Needed Someone Rating: strong 7 to light 8

Siouxsie Sioux and her band the Banshees are considered to be one of the first Goth Rock bands together with Bauhaus. They released their debut in 1978 and build a solid career start with the following albums but as they released Juju, Goth Rock became a much more comercial genre but became as experimental as ever, slowly drifting from the very strong Punk roots. Juju was a success and is seen as one of the best Goth albums of all time with a mix between Post-Punk, Goth as well of hints from Psychedelia. The albums opening track 'Spellbound' already is easily the best song on the album. It's incredibly catchy and full of energetic and groovy delivery. It's so fun while still holding the obvious dark tones that they and Goth Rock are known for. It already shows the mystical and magical sound a lot of the album shares as well as some clear psychedelic influence and is without a doubt the most consistently enjoyable song on the album and also one of the best songs they ever made. Following that is another incredible song, 'Into the Light' is a more openly dark and introspective track that has echoey verses that build up into more and more instrumentation that release into a great chorus full of emotional singing and dark sounding effects around it. It is a beautiful song that shares so much with what Goth Rock was at that point in its evolution and saying this song pushed it even further is not to overlook. And while I love so many moments, there are others that I kind of feel aren't as interesting as they should've been for the song to work perfectly. 'Arabian Knights' completes the incredible trilogy that are the first tracks. It adds much more cryptic themes in the lyrics that are portraied with such perfection that the song sounds as ominous as it could possibly have been. A wonderful showcase of what she and her band was able to create as the song is both full of dancable, rhythmic and melodic playing but still shows the clear dark themes and soul that is so present with the genre. The very anxious guitar playing at the start of 'Halloween' really gets you into a state full of nightmarish magic that is broken up by Siouxsie's vocals that build up and finalise in a similar anxious playing that just adds to the overall build-up of the song. I think it's a gorgeous song with so much Post-Punk energy all throughout. The albums first half closes with the noisy and hardcore sounding 'Monitor' that is another definitive album highlight. It perfectly blends the sounds of early Hardcore Punk with the atomspheric and dark sounds of Goth Rock to create a song that is so interesting with everything that happens at all time that it's pretty much impossible to not be interested with what is happening. Especially the bridge is done so well that I think it actually makes the whole song even better. Side B starts with 'Night Shift', a dark and, compared to most songs here, long song at 6 minutes of runtime. But it works that way. The guitar that builds tension the whole way really makes this an anxious and surreal song that gives out a lot of unease as it both feels like being hunted at night and being locked up in a dark room. It is a perfect mix of emotions that result in a song so gripping that I think that this is the albums emotional highlight. The following 'Sin in My Heart' is plays with even more tension and unease starting right at the start with dissonant guitar playing that slowly adds more and more until Siouxsie comes with energetic and raw vocals that are some of the punkiest on the entire record. The song keeps the dissonance but doesn't get to weird or avant-garde and keeps it just at the level of giving a feeling of discomfort. Another incredible song the whole way through. 'Head Cut' keeps the energy of before but doesn't really give the weird feelings of before. That doesn't mean that it isn't interesting as there are a couple of moments her vocals turn into something you'd probably hear at an exorcism ritual. It is probably the "least interesting" right of the bat but the song still is an incredible throughout with many great moments that still make this a one of a kind listen and another perfect song. The album closes on the longest one it has to offer as 'Voodoo Dolly' is 7 whole minutes long. It starts slow and quiet but builds over the span of multiple minutes into a louder and with more and more tension provided song that builds up into a superb final moment. But the some moments that got the song where it ended do feel a little bit "left aside", if that makes sense. It's still a great song but when held side to side with the rest of the album it does pale a little bit. favourites: Spellbound, Night Shift, Sin in My Heart, Monitor, Halloween, Arabian Knights, Head Cut least favourites: Voodoo Dolly (if I HAD to pick one) Rating: light to decent 10 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The Beatles split, released an album called "Let It Be" with pretty much two good songs that became instant hits and started own careers with solo projects that gave us albums like "All Things Must Pass", "Imagine" or "McCartney". Ringo also did some stuff but that wasn't as groundbreaking. But after some years Paul got bored and wanted some guys arround him that weren't called "Lennon" so he made the band "Wings" and had some decent success but in '73 that changed as "Red Rose Speedway" and this album were both released and had major mainstream success. And "Band on the Run" became a classic with many widely kown songs such as the title track. To the album itself, it's a pretty cute Pop Rock album with great songwriting and sometimes great performances. It's diverse in its sound and enjoyable throughout but it's not really one of the greatest albums ever. The title track 'Band on the Run' opens the album with soft and playful guitars that have a significant country influence and are kept pretty much the whole way through. There is also keyboard and of course Paul himself on the vocals and a lot of other stuff. The song is really nice but I think that some parts just weren't needed and feel pretty redundant but to be fair, the chorus is amazing and carries the song. The title track is the best known song but I think 'Jet' would be much more deserving of that title. It's got some slightly noisy synths and great orchestration and the powerful expression in the chorus that just yells at you is amazing. I also think that it's much more consistent than its predecessor. But it is a bit to long and streches towards the end, something that BOTR did better. So overall... they're pretty equally great. The more laid-back and Folk inspired 'Bluebird' follows with some influences from Smooth Jazz and Bossanova behind the obvious Pop song. It's a really cute song with a great melody and songwriting. I found myself really enjoying the arrangements outside of the typical instruments with the cowbell, the saxophone and other weird things that add a slight tropcial feel to the song. It's very beautiful and gorgeous the whole way through even when there isn't anything that makes the song "stick out" in a particular way. The very silly chorus of 'Mrs. Vandebilt' really sets the song apart from most of what the album featured so far and I think that the whole song is really incredible. It flows with great structure and I love the bass on this one. I think, this is the first song with the potential of being perfect but again after a while it looses me and turns a little dull and even annoying with the chorus that repeats so much. 'Let Me Roll It' goes a much more bluesy way and in return it's one of the better songs so far... at least for many people. I personally just don't see the greatness that many portrait into this. I like it but it isn't anything of so much greatness that I'd call it one of the albums best songs. The chorus is pretty good but the verses and the bridge are not interesting to me at all. The second side starts with 'Mamunia' that features soft and folky guitar playing and a chorus that is pretty annoying after a while, something many songs share on this album. The song is pretty boring and dull with the only thing that saves it for me at least a little bit being the percussion that sometimes features something bongo-like but as it isn't there most of the time, the song falls into something very average and, well, boring. The short but sweet 'No Words' follows with cute orchestration and nice songwriting but basic performance and delivery that results in it being cute but very forgettable. That's it. Nothing more to say. 'Picasso's Last Words (Drink to Me)' starts off by sounding awfully lot like a Dylan song but it turns into something very progressive and beautiful and is without a doubt a rise from the slumber that the last couple tracks were. It isn't as great some stuff at the starts but a lot of the weird and experimental combined with the very comerical pop sound makes a cohesive and enjoyable song that even goes back to 'Jet' for a couple of repeated tape choruses that glide into the "Drink to Me" chorus. It has many great moments but some dull ones too that overall make it a little less enjoyable as I would've wished but still... really good. The albums closing track 'Nineteen Hundred and Eighty Five' close the album with a dancey and piano driven track that makes a very enjoyable finale and really lifts up the whole experience. It's symphonic and orchestral but leaves room for ideas and instrument to shine. I think that it's one of the albums best tracks and on a level with BOTR maybe even better. favourites: Band on the Run, Nineteen Hundred and Eighty Five, Jet, Bluebird least favourites: Mamunia, No Words, Let Me Roll It Rating: decent to strong 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

I am shocked because I thought that this will be one of the worst albums that I will ever listen to but no... it's ok. Yes, it is Teen Pop with lyrics that not only sound but were written by a teenage girl that just found a "love" for songwriting. But there is something very innocent, even with some not so innocent moments, and sweet about it. Like a cringe memory to the teenage years, very dated but with nostaliga. And there are some geniuenly good written tracks on here. Of course '...Baby One More Time' is a classic song that everyone knows but it probably has the same amount of haters as lovers. I, as a "music critc", feel kind of obligaded to choose the first but I do geniunely like the song. It is banger song and so fun to listen to. It's not a perfect song though. There are a couple of very boring moments that do drag down the overall enjoyment but once that chorus comes I am hooked again. HIT ME BABY ONE MORE TIME!!!!!!! Even when you'd expect that the album stops with good songs, '(You Drive Me) Crazy' keeps quality even if it is slightly less of a earworm. Again, the hook and chorus are very catchy but the main highlight is probably the production that is actually a really solid New Jack Swing beat. I like this song pretty much on the same level as the title track. The following 'Sometimes' is a much more basic Teen Pop track that doesn't cut the edge at all neither with lyrics, songwriting, hooks or even production. It is just a slightly below average Pop song that is weirly annoying. I do not like this song... It's too girly teen for me. It sounds like the song played in the end credits of a horse movie. I do not like horses or movies and especially not horse movies. There is a slight change of genre on 'Soda Pop' with the introduction of Ragga, a Dancehall subgenre that brings in a "deejay" who is similar to an MC as both deliver raps. That makes the song weirdly catchy and different but not necessarily better. I'd argue that it's even more annoying but as there are some catchier hooks and a better production present, I think it's solid but not good. There is a really lovely production on 'Born to Make You Happy' wasted on an average artist. It's not bad... in fact the song as a whole is quite good. But other artists could've made much more with the beat than Britney did. But, as said, it's a good song just not anything crazy. Its got a nice chorus that really sticks out but the bridge is cringe. The songwriting and the vocal melody is great though. Overall a pretty good song... good but not great. The slow and mellow 'From the Bottom of My Broken Heart' is just a very average Pop song with not many interesting moments or songwriting. I actually hate it. The melody feels fake and overdone, the production tries more than it actually does and the lyrics are even worse than normally. Nothing about this is worthy listening to exceot maybe the vocals in the chorus? It is also way to long. The albums second half starts with 'I Will Be There' which features a much more Rock infused sound that makes this not only different but also a little more interesting... at least at the start. The actual song is pretty bad. Not dreadfully annoying but boringly bad. Not much here that really does anything. Meh... The same thing happens with 'I Will Still Love You', it's too basic with not enough moments to make it at least with one thing interesting. The main difference is that this song has a feature that is really bad. So naturally the whole song sucks. It's not completely bad but it isn't good. (For those listening on streaming: Deep in My Heart wasn't part of the original US release, only the EU bonus track release, so skip it if you want to) 'Thinkin' About You' is the same thing again. It's boring without many catchy moments. The production is alright which makes it a passable song but far from being good. I absolutely do not care. The bad aged and bad lyrics of 'E-Mail My Heart' are much less than what they try to be. And considering that it's supposed to focus especially on that aspect on the song... it's not really well executed. But there is one thing that is exectuted pretty great: the songwriting. The song has a really good structure, good vocals, a melody that really sticks and a pretty great chorus. It is a pretty underrated song and I think a good song. Nothing crazy or worthy listening to but it is good. The most "experimental" (in VERY BIG quotation marks) song 'The Beat Goes On' closes the album in a mix between the usual style combined with Big Beat and Dub. It's pretty interesting even if it feels so weird on the album but it is a really good song. I wish more on the album sounded like this because this is really f-ing good. (not great though) favourites: ...Baby One More Time, (You Drive Me) Crazy, Born to Make You Happy, The Beat Goes On, E-Mail My Heart least favourites: From the Bottom of My Broken Heart, I Will Still Love You, Sometimes, Thinkin' About You Rating: decent to strong 5 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

In 2016 Frank Ocean released 'Blonde' a creative masterpiece that elevated R&B and Soul into a whole new generation of modern artistry and SZA was one of the first to take the blueprint that the album was and add an own spin to it. The result is an album full of great writing, masterful production and great vocals and raps. The opener 'Supermodel' starts the album with a tape recorder intro that transitions into a guitar driven and smooth playing that feels weirdly hypnotic. This is a perfect example of what I meant with Frank Ocean with her own twists. It feels like something you'd find on a Frank album with the difference that her vocal style complements this instrumental in a whole different way. It's an absolutely gorgeous intro that builds up more and more tension by adding more and more instruments. A wonderful start to a wonderful album. 'Love Galore' features visionary Travis Scott who revolutionized the psychedelic Trap sound and made one of the best albums in that genre with Rodeo. The Trap Soul sound of this song works well with both artists own styles and singing. I really like the styles that are blended here while still sounding true to what the first track introduced. I just personally don't love it as much as others do but I can see the greatness in it even if it doesn't touch me to the core. With 'Doves in the Wind' the sound changes from Trap Soul into a more Trip Hop sounding beat that really feels Kendrick Lamar inspired and funnily enough he is featured and as always he rocks it. You can hear that he's in his "DAMN. era" which I like the least and I therefore don't love it as much as other Kendrick features but it is great nonetheless as is the whole song especially with the chorus. In most peoples eyes, 'Drew Barrymore' is the best song on the album. I agree. It is a masterful blend between her immature but great lyrics with the Soul and Hip Hop sound while building up more and more tension into a nearly psychedelic sound while keeping a great delivery throughout. It's lovely and simply beautiful. I love it. 'Prom' goes a more Synthpop style while still having the incorporations with the Neo-Soul style. It has a lovely sound and chorus with all the layered vocals but the highlight is definitely the beat. It's a pretty good song with great moments that overall sadly don't appeal as much as they could have but I still like it a lot. With 'The Weekend' the Trap returns but much less present than when Travis was featured. It is a a pretty nice and chill song with multiple great moments especially in the detailed production but outside of that it doesn't appeal to me as much as the instrumentals might could've offered. In that way it is pretty much like 'Prom'. The ending is phenomenal though, what a great way to close a song. 'Go Gina' is a much better delivered track that works much better overall even if the details are a bit less present. It's mainly that the way it flows the whole way through while keeping the interest with the listener with the chorus. All that makes it slightly better compared to the two songs before but I missed a lot of the details as mentioned. So in the end... all close by each other. There is a lot of electronic bass work on 'Garden (Say It Like Dat)' that results in something that shouldn't really work but still does. It is detailed, interesting and most importantly just a great written song. It is a great song to close the first half to. The albums third and last single 'Broken Clocks' is another great song. The "breathy" beat adds an interesting twist but I am ultimately annoyed by it a bit. SZAs delivery is really great and might be the best on the album in that more Rap inspired style. I think this is a wonderful song and a definitive standout to the album. 'Anything' keeps the great delivery on top of a very nice beat and although I pretty much love everything about the song, the breaks that are all the way throughout the song make it a bit annoying to listen and break the flow that it could've build. Twice and it would've worked but the way it's done is just to much and once it does switch to another beat it ends way to fast. This had so much unused potential. Although it's just an interlude 'Wavy (Interlude)' is actually a pretty great track. In the short time it plays it actually has a lot going on with the feature and the fast but great deliverd lyrics. I actually wished this wasn't an interlude and extended into a full song. The very sentimental 'Normal Girl' might be the most emotional cut on the album and it also features an incredible vocal delivery in the chorus. It is weirdly relatable even as a guy. It is so underrated and I wish more people gave it the credit that it rightfully deserves. This is the albums second best song and maybe after listening to the album a little bit more... I might prefer it over 'Drew Barrymore'. The pretty Wonky and slightly electronic 'Pretty Little Birds' is another decent cut from the album. It is a really solid and diverse track with the added saxophones that randomly appear for a couple of seconds before the song returns to the mix of Hip Hop and detailed R&B. But overall it starts stronger than it ends and the change of it happens pretty much after the first sax appearence. When the return we get a very raw and raspy feature from Isaiah Rashad that works better than it should which results in making the whole song more interesting than it would've been if SZA was going at it solo. The albums closing track '20 Something' sounds very much like the opener with a strong focus on guitar and vocals that might be enough to call it Singer-Songwriter. I absolutely love the performance and lyrics as well as the chorus. It is such an incredible way to close an album like this and it's easily one of my favourite songs here. favourites: Drew Barrymore, Normal Girl, 20 Something, Supermodel, Broken Clocks least favourites: Go Gina, Prom, The Weekend, Rating: Strong 8

There is no need to pretend like Willie Nelson isn't one of the greatest and most influential country artists of all time. There is something very calm and relaxing about his music, perfect for a campfire night out in the American west. And with 'Red Headed Stranger' he not only created an album full of short but sweet and mellow songs with great songwriting but also an album that really cemented him as one of the most forward thinking artists in 70's country scene. At at this point he was well above his contemporaries even Johnny Cash (at that time). The album opens on the very Outlaw Country 'Time of the Preacher' that puts his songwriting and lyrics into the spotlight while still adding more guitar and effects throughout that add to the sound of a man in the Western-inspired outlaw imagery like most of the albums songs. It is a very sweet but interesting song with well implemented percussion. The similar 'I Couldn't Believe It Was True' mainly stands out with the country guitar solo in the bridge and the fast paced second half that has a very present bass work. It's a really good song, I like it a lot. The continuation of 'Time of the Preacher Theme' returns to the first song in a pretty great way. It has some nostaliga to it even if the actual song was less than two minutes before. It's pretty cute. The 'Medley: Blue Rock Montana / Red Headed Stranger' is very simple because it pretty much only has acoustic and bass guitar on it but that results in a pretty emotional story that doesn't take more room than it needs. I like it even if it doesn't really achieve the interesting highs of before. The albums greatest song, 'Blue Eyes Crying in the Rain' is easily the most sentimental and universally emotional song here with a great depiction of love in a very pure way. It kind of reminds me of "Pale Blue Eyes" by the Velvet Underground for some reason but that only adds to the greatness. A nearly perfect calm Country song. The title track 'Red Headed Stranger' extends the short intro we got to the song with the medley but this time it can shine much more. The songwriting is phenomenal, it flows and the different instruments that appear only add. Especially the very quiet but sweet piano in the second half makes this even more special than it already was. I think this would've been a perfect song if it was a little rougher around the edges and maybe even a little shorter but still, I love it. We get another but even shorter version of 'Time of the Preacher Theme' that works as a great interlude and adds in my opinion more to the albums flow than intended. The piano is much more present on 'Just as I Am' and drives this instrumental outro that closes the albums first half with a great and sentimental melody. This is more genius than others might give credit for. It feels like an outro which it is if you listen to it on vinyl and I love it when artists put certain themes to each half of the album and this is great example as seen by the Time of the Preacher parts. The second Side opens on 'Denver' which is another song with great songwriting that really flows through the song but I would've wished that it was a little longer because I really like the sound of it. Still, I think this is a great song. 'O'er the Waves' is has a very "Mexican" sound to it, if that makes sense and I do like how it plays and works as an interlude but if the previous track was longer, this would've shined even more. With 'Down Yonder' we get a little Ragtime piano and a song that sounds much older than it is but that just adds to the Western atmosphere that the album has. It is really fun to listen to like how will you not have the urge to dance to this! 'Can I Sleep in Your Arms' feels like an epic in comparison to the lengths that most songs offer. With over 5 minutes the song is nearly 5 minutes longer than the shortest song. But the song deserves that length as it is a more typical Country song with more musical and songwriting depth that make the whole time enjoyable while keeping the calm and "campfire" sound that is so great about this album. There is a little Swing and Jazz added on 'Remember Me' which I like a lot in combination with the Outlaw Country sound. It makes this not only a standout track but one of the most interesting songs here as well as one of my favourites. This really shows how he plays with more traditional sounds and genres on this second half of the album. Another quite "long" one is 'Hands on the Wheel' which is much more Folk inspired than most songs here. It is both structured and performed in a very traditional Folk style but with hints of the Country sound. The album closes on 'Bandera', a return to the definitve Outlaw Country sound with fewer influences but great songwriting. And even though it is another instrumental song, like on Side 1, it closes this Side and the album as a whole perfectly. This is the outro an album as wild and different needs. favourites: Blue Eyes Crying in the Rain, Remember Me, Red Headed Stranger, Time of the Preacher least favourites: O'er the Waves, Time of the Preacher Theme (short version), Bandera Rating: decent 8

I love Nick Cave's music. He is one of the most influential artists to me personally and my own poetry. So naturally an album that focuses on his lyrical skills will turn out perfect right? Not really... I like so much this album has to offer but when compared to "Let Love In" or "Murder Ballads" or even his other "love" inspired Piano Rock album "The Good Son"... I am much more uninterested here. I love many songs here and a couple are some of my favourite songs ever but when looking at the album as a whole, I am rather disappointed. But as "bad" as this sounds, it is still a really good release with many great moments that really make me sob. One of these incredible moments is 'Into My Arms' which also opens the album. It is like most songs here, mainly driven by piano and the incredible lyrics Nick has to offer. In fact this is one of his best love songs ever. It is so beautifully written with a chorus that is simply but so effective and on top of that are the lyrics that have a perfect mix between christian references and universally divinity as well as a sentimental undertone that results into something that I simply call perfection. With 'Lime Tree Arbour' there is not only some Rock but also some Jazz mixed. The song also names the albums title in its lyrics. It is another beautiful song that blends the melancholic sound with romantic but also magical notes into perfection yet again. I also love the vocal performance a lot. And yet again, 'People Ain't No Good' is another incredible song that has a very Chamber Pop feel song and is also featured in Shrek!!! It is lovely both in lyrical matter but also in musical. But I do not think that it's perfect. It's a little too long with too many uninteresting moments. The chorus, although great, sadly doesn't save it from being "just" incredible. 'Brompton Oratory' gets weirdly trippy and ambient. It is a much more interesting and magical listen all throughout and the organ keyboard adds the ambience that I was talking about and it adds so much to the experience that this song is. If only this had the lyrics that 'People Ain't No Good' had because than it would've been perfect. The more uplifting 'There Is a Kingdom' returns to the magical thematic that the was there before but it now features my favourite chorus on the album. It is such a great hook that always returns to my mind when think of the album. It is a pure bliss to listen to this song. There are just a couple of moments that hold me back from giving this a perfect score but it is very close. Another really catchy song is '(Are You) The One That I've Been Waiting For?' that returns to the sentimental sound from the start but even more heart-wrenching when he sings the chorus. This is another absolute masterpiece with perfect lyrics and instruments all throughout. 'Where Do We Go Now but Nowhere?' starts the albums second half with one of its darkest songs. The mix between Country and Goth Rock together with the Chamber Pop and the dark lyrics make one of the most atmospheric songs on the album. And while I think that if he did this song in his true Punk Blues fashion, it would've been better, this is still a great way to do it even if it looses itself after a while. The Gothic Country sound is extended even more on 'West Country Girl' and while it is a very interesting but weirly fitting way for Nick Cave to deliver his music, I am not very fond of this song. I just don't really care for it much as it just doesn't really have the edge that I like so much about his darker stuff or the heart-wrenching lyrics that I like about his love poems. It's cute and good but not really more. Similar fate with 'Black Hair': just not interesting enough even if the accordion does add some nice atmosphere. The folkier approach is quite fitting with the rest of the albums styles but it ultimately fails to project much of what makes Nick Cave great in the first place. It's a solid but boring track and he could've cut it off the album without me missing it. With 'Idiot Prayer' there is a slight resurrection of the albums greatest moments. It has good lyrics and very solid songwriting but it in the end fails to make another great song, just a really good one. 'Far From Me' is way too long, right of the bat. It feels streched the moment that the chorus ends the first time. There just isn't much stuff here that makes this great. The lyrics... that's it. It's a very average song with an average delivery and a couple of good moments with the instruments. It's an okay song but nothing that elevates the albums quality. The albums closing track 'Green Eyes' might be a nice ending to the album but not a great song. Again, it is average like most the second half has to offer. It's bluesy, has a nice melody and interesting spoken word additions on top of the vocals. Cute, but not really interesting. favourites: Into My Arms, Lime Tree Arbour, (Are You) The One That I've Been Waiting For?, There Is a Kingdom least favourites: Black Hair, Far From Me, Green Eyes Rating: light 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

New Order already had established themselves as a band much different than the origins in Joy Division. They were the Dance Pop version of them, the 80's that didn't age well version of them, the... ah, you get what I'm saying. I don't like New Order much. Sumner's vocals and lyrics are alright but nothing to the genius of Ian Curtis. The bass work is pretty much the same greatness as JD. The elctronic aspect is pretty neat but I think most of these artists are better at making darker and more introspective music than Dance music. The album opens on 'Fine Time' which neatly combines Acid House with Synthpop that starts off very interesting but gets annoying really fast. There is too much going on at times and not enough at other times. It is really diverse mainly with the quality which results in it feeling directionless and without any depth. It's just basic and annoying song that tries so much more than it can achieve. A much more balanced song is 'All the Way' that also features the best lyrics and songwriting and is easily my favourite song here. It has emotional depth and it feels like this is what New Order is supposed to be all the time. It is such a gorgeous song and the chorus is just the cherry on top. Without a doubt a perfect song and a big step up from the first track. It also much less Electronic and more Jangle Pop which again benefits the song greatly. 'Love Less' keeps the Jangle Pop and adds a little more Punk flavour but still staying true to the Pop sound. It's an alright song that doesn't annoy but it isn't really interesting either. It's just there, flying past you with nearly every second it plays but it isn't a bad "it flys past you". The fast paced electronic sound returns on 'Round & Round' that feels like a blend of the Pet Shop Boys and The Smiths. The Hi-NRG and Acid Techno influences make this a vibrant and colorful experience, much less annoying than the first song and one of the best songs on the album. Especially the chorus works really well. It isn't a perfect song but without a doubt a great one. The most Punk the album gets is 'Guilty Partner' and naturally it is one of the better songs here. The mix between the Post-Punk sound with the bass that shines like on Unknown Pleasures with a bit of Goth Rock and Jangle Pop. It is a pretty good song that closes the albums first half in the way it should. On Side 2 'Run' starts by keeping the Jangle Pop with a couple of synth parts. I do not really care for the song. I just think that it's way to average and boring to be anything that some make it to be. There is neither vocally, lyricially nor instrumentally anything that makes this special. In comparison to 'Love Less', this actually gets a little annoying at one point. Same thing with 'Mr Disco', it is a basic Synthpop song with a couple of House influences but boring delivery. The parts that make it better are overshadowed by annoying vocal synths that really do not fit here. This song is in itself not fitting. The House influence is played with in more detail on 'Vanishing Point' which features a pretty decent melody and good delivery. It isn't annoying, has some pretty interesting and great moments. This is a really good song. No doubt there. Good song. Maybe a little too long and maybe they could've done a little more but it's good. The album closes on 'Dream Attack' which like its predecessor has a great melody and performance but this time it is done so much better all the way through. It's probably my third favourite track here but the difference between 2 & 3 is still pretty signifcant. Anyways, pretty good song. Great closing track. favourites: All the Way, Round & Round least favourites: Fine Time, Run, Mr Disco Rating: strong 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Tears for Fears, a band that made Pop music that sounded 80's but was much less annoying than most and aged pretty well. Their blend of Synthpop and New Wave with catchy melodies and hooks that created the anthemic and introspective masterpiece titled 'Songs From the Big Chair\". It's one of the best Pop records released in the 80's and maybe of all time. Multiple classic songs are featured here including the generationally known 'Everybody Wants to Rule the World' 'Shout' opens the album in the typical blend of Synthpop, New Wave & Big Music that is present on the pretty much every song here. It also gets a little progressive by bringing in slight notes of Industrial into the production which as weird as it sounds, works really well. And even at its nearly 7 minutes of length it really keeps the attention of the listener with great performances and production. The song is so unbelievably catchy and melodic that I am mad that not every 80's pop band with a smiliar sound turned out like this! The bridge is crazy and the whole way they keep the flow of the song and add more and more detail is phenomenal. It's a hypnotic and atmospheric listen especially in the second half, nearly ethereal. And the way it changes its emotional depth by adding slight changes but keeping the same rhytmn and melody. Yeah, I think you get that I really like this song. It's perfect start to finish. On 'The Working Hour' they take on a very mature and sophisicated nearly Jazzy sound that stands in complete contrast to the darkness that the first song ended on. It does take time to build up but it's worth the wait. The vocals are really good and the calm sound is very relaxing while keeping the intricate production. Do I love it? No, but it is a great song nonetheless even if it does drag a little and feels streched towards the end. And to return to the greatness of the start, 'Everybody Wants to Rule the World' with the intro that everybody recognizes. What can I say: the song is perfect in every way. It's romantic and full of great lyrics and songwriting. Do I prefer it over 'Shout'? No... that one's got my heart even more than this classic. 'Mothers Talk' gets a little funky and artsy with the influences ranging from Dance-Punk to Industrial Dance. All of it gives a lot of similarities to Depeche Mode's early stuff. It's very groovy and interesting by being kind of weird with the details in the production. I really like it for the raw and energetic performance and chorus. It's really good, like incredibly good and if they would've left the outro away, it might've been perfect. The albums second half starts with 'I Believe' which returns to the calm and relaxed sound that nearly feels like some Lounge music with the simpler production. Again, I think that makes it a little boring for my liking even if I think they did a great job. It just feels too much like background music and doesn't grab my attention enough for me to genuinely appreaciate the song. Luckily, 'Broken' returns to the Dance-Punk influences in an even punkier way. That results in one of the most underappreaciated tracks on the album. Just because it's short doesn't mean that's worse. Quite the opposite actually, it's incredibly groovy and energetic and I love it. The other song that most know is 'Head Over Heels' because it is one of the best songs on the album. The chorus is so intricate and emotional, the vocals are performed to perfection. The production, songwriting and melody are all curated to its greatest possible form. And as if it wasn't enough, they added a little bit of 'Broken' to the end as a kind of continuation of that. Another perfect song. The album ends with the weirdly ambient 'Listen' that closes the album in a minimal but hypnotizing finale that includes many details from choir to glitchy video game sounds to whips to tribal anthems. It's a magical and atmospheric experience, relaxing and sentimental without being boring. Yes, it's not one of the craziest songs but it has so many incredible moments that I feel like the vocals weren't actually needed at all. This closes the album in the way it should've ended. favourites: Shout, Everybody Wants to Rule the World, Head Over Heels, Broken least favourites: I Believe, The Working Hour Rating: light 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Elvis wasn't just the 50's Rock n' Roll artist that brought the genre to the masses, he also changed genres as he matured. This album sees him adapt into a Soul stlye featuring much less prominent guitar and much more soulful vocals combined with his usual Rock n' Roll, Country and R&B blend. It stands as a new chapter in his musical career as well as one of his best recieved and best known. The single only 'Suspicious Mind' became a classic single and helped the album (that didn't feature the song) to rise to even more sales. The album opens with 'Wearin' That Loved on Look' which perfectly showcases the way Elvis mixed the Soul Vocals with Country Pop music especially present with the guitar. The background singers add a theatrical feel and the bass really sticks out at times. It's a really good opening track with a lot of energy that still has a lot of the feeling that made Elvis' so loved in the first place. 'Only the Strong Survive' is a much more relaxed song that seems to convey raw and hurtful emotions in a true Country fashion but with even more Soul influence. It's a lovely track but it does take a little long to get to the point that I like the song which makes the first moments pretty boring even with the spoken word intro. The tenderness of the vocals is played even more with on 'I'll Hold You in My Heart (Till I Can Hold You in My Arms)', a song with a couple of really intricate vocal highlights but I overall don't really care for what is done both lyrically and musically. The songwriting is alright as some moments are really great but a lot of the "in between" feels a little left alone which really lowers the overall enjoyment of the song. It's okay but nothing special and songs in that style can be very effective but also easily f-ed up and turn out boring and uninspired. With its slow start 'Long Black Limousine' might feel like the last song all over again but as it builds up and adds more organ and backing vocals it gets better. It's not really a great song but it's good. A pretty passable song with a nice horn bridge and a delightful chorus and great ending. The legendary Country classic of 'It Keeps Right on A-Hurtin'' is presented in a pretty good way by Elvis. He definitely does the song justice. His performance and the songwriting are both really great. It's a definite highlight on the album. Just a very well made song. I think there are still many people that doubt that this is Country but if they still think that after hearing 'I'm Movin' On' I don't know how to help them. This is as Country Pop as Country Pop goes at least in a sound perspective because the song itself is pretty boring and slightly annoying after a while. The lead guitar is great but the rest feels kinda soulless at the start. It does pick up a little towards the end and that makes the song much better but that's mainly the outro, so overall it's still an average track. The albums second side starts with 'Power of My Love' in a very bluesy fashion. The guitar isn't the only highlight because everything this song does is very well made: the arrangements, the songwriting, the flow of it. It's a pretty great song. The Country returns with 'Gentle on My Mind' another sweet song that has a really longing and outcast feeling to it which I find very fitting with Country in general. The song feels very honest and pure in Elvis' hands and the strings here add so much. It's a geniuine song that really embodies the greatness of where Elvis was at that time. 'After Loving You' is sadly the opposite of that. It feels forced and not genuine and pure. I think it's jsut a pretty boring song with not much to it. It isn't bad and doesn't drag the album but it's nothing that I enjoy at any moment. I really like the guitar intro on 'True Love Travels on a Gravel Road' but once Elvis gets to the microphone the magic feels destroyed. And the whole song feels kind of ruined to me for some reason. It feels dull and unfinished. The performance and the songwriting both feel forced and emotionless. I don't like this song at all but it's not awful or anything. Luckily the album does pick up again with 'Any Day Now'. It's a beautiful song with some great strings and a really good performance on some really good songwriting. The bridge works great and if the song would've been a little rougher and rawer with its emotions it would have the potential to a perfect song. Like this, it's great. And to close the album, 'In the Ghetto', the albums best known song, closes it with a nocturnal and deeply emotional performance. It's lovely and easily a great song but it's the simplicity that really sets the song apart from the rest. It's different but it needed to be like that to work. It's a really good song but I just don't enjoy every moment of it, sadly. favourites: Gentle on My Mind, It Keeps Right on A-Hurtin', In the Ghetto, Wearin' That Loved on Look least favourites: True Love Travels on a Gravel Road, After Loving You, I'll Hold You in My Heart, I'm Movin' On Rating: light 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

(the website's wrong this was released March 1971 not 1970) Few people were as influential while being commercially this unsuccessful but Nick Drake's lyricism and the way he wrote his songs influenced many people like Robert Smith from The Cure. This particular album (his 2nd) was a continuation of the Chamber Folk style that his debut started with but adds a more Jazz-inspired sound to the very Folky and Singer-Songwriter style. It also features artists like John Cale from the Velvet Underground and a couple of musicians that worked for Fairport Convention, The Beach Boys or Jethro Tull. While it isn't his best, it still has a lot of great moments that make this an incredible listen through and through. A little 'Introduction' introduces the album with a short instrumental Chamber Folk piece that shows the mix between the acoustic guitar with the Baroque Pop inspired strings (or other instruments) to create a warm and pastoral feeling. The first "actual" song, 'Hazey Jane II' which now adds Nick Drake's vocals and lyrics and of course it makes the whole thing better. It is an upbeat and lovely arranged Folk song with a lush and soft sound. It flows really well and the way it builds up to the guitar bridge in the second half is really great with the dynamics. A great song even if I much prefer what Nick did after this album with a nearly all-acoustic Folk. His soothing voice works well with the Jazz inspired rhytmn section/saxophone on 'At the Chime of a City Clock'. The whole song simply works. It is a combination of styles that fit not only this song but Nick Drake's whole musical style at that point so well. The slower and more sentimental approach is what he can do best and of course this song does that in a phenomenal way. 'One of These Things First' comes closest to the style that I love with Nick Drake so much. It focuses on his lyrics with not much arrangements arround it except the guitar. This feels much more stripped down from what most the album features. No strings, no horns, no brass, just guitar, drums, piano and bass. It is a perfect song through and through, I absolutely love it. The delivery is just a perfect mix between warm and soothing and sentimental and poetic. The second, or better first part of 'Hazey Jane'', 'Hazey Jane I' closes the albums first half. It is a more melancholic version of the one at the start with more alienated lyrics and arrangements. Its guitar sticks out much more and the strings move more into the back. I really enjoy the arrangements here more than on 'II' but the song does have some unfitting nuances that slightly harm the enjoyment. I overall think they are pretty equal in how good they are, I personally would prefer this version if I had to choose. On Side 2 we are met with the title track 'Bryter Layter'. It's an easy listen with a relaxed sound to it that gives off a very Lounge sounding feeling. It's also fully instrumental with just some flutes that break the steady arrangements. It's a cute song but I am not too fond of it or its sound. The lyrics return on 'Fly' and while it is pretty good, it doesn't feel really fitting here. It isn't really interesting or has anything to kind of grab onto, not even the lyrics or the performance of them. It all just kind of sits there, waiting to be turned into something great but looses me way to fast. While the Jazz before mainly came from the drums, 'Poor Boy' is a whole Bossa-nova song with some Folk mixed into. It's also the longest song here with over 6 minutes. I really like the style in which it was made. It's so groovy and full of energy but relaxed and laid back at the same time. It fits Nick Drake and the album in a way it shouldn't but ends up still doing. The keys, the backing vocals, the saxophone, it all fits the song and turns it into one of the best songs on the album. Most people say 'Northern Sky' is the albums true highlight and many people say it's one of the best songs in Nick Drakes whole career. I absolutely understand both opinions. It is a beautiful song that accumulates the influences of what the album had to offer thus far and combines it with melancholic lyrics with very tragic sounding arrangements. It is a perfect song without a doubt and maybe the best song here. And I see this as a Top 15 Nick Drake song but not much higher, if you asked me. The album ends with the last of the three instrumentals. 'Sunday' is a more lonely and melancholic sounding one compared to most of the instrumentals. The strings add a finishing touch to the finishing song and it is probably also the best of the instrumentals as well as a great closing track to the album. favourites: One of These Things First, Northern Sky, Poor Boy, Hazey Jane I least favourites: Bryter Layter, Fly Rating: light to decent 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The Cars' debut album was one of the first albums to get the "New Wave" genre name. It therefore was incredibly influential as New Wave became one of the biggest and most important genres of 80's. But did it age good if it was so big and "ground breaking" to begin with? No, in fact, it aged horribly. It's a bland and one dimensional listen full of boring moments that leave you more uninterested than before. Even the "good" songs this has to offer are boring to a point of exhaustion that leaves the desire to sleep rather than listen to more. The album starts with the annoying and downright stupid 'Good Times Roll'. It tries so hard to be Rocky and "cool" but ends up being the same thing that MGK tries with his "Rock" stuff today. It is stupid, useless, annoying and just not a good song. The chorus is weak, the synths annoy the whole time, the verses so bland that boiled chicken reminds you of spicy Mexican food and the songwriting feels so repetitive that some Techno feels like the most dynamic music of all time. It sounds like they took some Billy Joel, some Boston, some Television and some Blondie, mixed it and decided to take the things that didn't work and applied them to the nonsense they made thus far. If you haven't realised it yet, I do not like this song. It's not terrible, it doesn't make my ears bleed but it is so basic in comparison to what similar music from a similar time sounded like. It's just a bad song, that's it. Hopefully, the second song 'My Best Friend's Girl' does things better, right? No, it's the same thing but with verses that feel forced and weird rather than funny and quirky. It's not as dreadful but it is as bad. Just take the same thing I said for the first song and apply it here. What is different is that the guitar bridge isn't totally bad but the synths in there just destroy the whole thing. Most people point to 'Just What I Needed' as THE song from the album and I do think that it is a fairly good song in comparison to the rest of the album. In fact, it is the best song. It's quite enjoyable and not as annoying, the verses are passable and the chorus is okay. It's still not good but it's an okay song that I don't mind listening to even if it does strech towards the end which isn't a good thing when the song isn't even 4 minutes. 'I'm in Touch With Your World' goes a little "Experimental" and "Post-Punk" and I do like what they were going for BUT this type of music has to be done right and with enough edge to it. When it's turned overly Pop, it is turned into something that is simply bad and doesn't work. The sound they tried to do here isn't fitting with the style they end up doing. It's like if the Talking Heads decided to go full on Madonna in the middle of Remain in Lights. Not a good idea. If you want an example of a song like this to be done right, go and listen to 'Mother' by The Police. Luckily, 'Don't Cha Stop' tunes the Post-Punk a little bit more back and lets more of the Power Pop shine through. The result is a fairly okay song, maybe a little over the top and it definitely tries way too hard but it's alright. It's got some nice energy throughout and it isn't annoying except for the hook but you cannot ask for everything, right? An alright ending to the albums first half. Side 2 is opened with 'You're All I've Got Tonight' which interestingly features some quite "Hard Rock" sounding guitars even if they sometimes sound very, very dissonant and not in a good way. The song is mainly boring with a listenable chorus which overall doesn't really make the song much better. It's just there, a little bit hard to get through because it streches the moment the first chorus ended but alright. 'Bye Bye Love' keeps sonically a lot from the song before and it actually sounds pretty much the exact same. If the chorus was removed you could replace them and noone would notice. The song's boring without anything interesting, not even the chorus, that makes this somewhat listenable. It's just not good, like genuinely terrible, just dreadful. At least 'Moving in Stereo' is a slight even if its a very slight step up to the previous song. The artistic approach with some Post-Punk elements are done much better than on Track 4 even if it turns out as boring as that. It's a song you don't mind. It's definitely not good but it isn't terrible either. For every moment that is okay to listen to, there is a moment that just sucks but it evens out into a bad but not truely terrible song. The album closes with 'All Mixed Up' which is quite interesting in comparison. The synths are quite passable and the performances as well are okay. The song is nearly good. It would've needed some added work but it isn't totally off. I am happy that the album at least ended with an okay song and not another downright dreadful piece. favourites: Just What I Needed, All Mixed Up, Don't Cha Stop least favourites: Bye Bye Love, I'm in Touch With Your World, Moving in Stereo, Good Times Roll, My Best Friend's Girl Rating: decent 3 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Nick Cave departed a little from the Singer-Songwriter style he made in the years prior and returned to a little more Art and Alt Rock with a little more experimentation as well as some of his old Punk Blues. The album is incredibly diverse with inspirations and ideas some of which work great while others leave room for improvement. It features some of the best songs that Nick and his band every released as well as a song that became unforgettable by being a part of the seventh Harry Potter movie. The albums first part: Abattoir Blues opens with 'Get Ready for Love', a noisy and punky introduction with a lot of energy and anxious lyrics that make this not only a theatrical and epic opening but a loud one as well. Many people love this song just for that and I do too... the first half... The song is with 5 minutes not the shortest but the repetition of certain themes and sounds make this a little stagnant after a while which ultimately harms the whole enjoyment. It's still a pretty good song but they should've just cut it after the bridge. After the epic intro, 'Cannibal's Hymn' takes a more laid back but haunting direction. It's full of weird noises and lyrics that are both incoperated into a great arrangement and a simply perfect chorus. It's an incredible song that shows how Cave can write dark and haunting lyrics but package them in something more melancholic while keeping the ominous atmosphere that the text needs. I love this song but I wish he'd made the verses a little more musically interesting because they feel kind of left over or forgotten. It's a great song nonetheless even if it slightly missed the chance to be incredble or even perfect. 'Hiding All Away' is the definition of Post-Punk. The inclusions of some Noise Rock as well as the Gospel-like vocals really make this an anxious listen full of tension and great performances both musically and vocally. The lyrics are dark and have some "evil" sprinkled in the delivery. The chorus/bridge is a perfect release of the tension that was build and lets the song go on for so long without feeling boring. I love this song so much and I am certain that this is the first perfect song on the album. The first half of the first part closes with 'Messiah Ward', again, a more relaxed song with some nice influences and mainly great lyrics. The song doesn't start so interesting but the more it builds up the more interesting it gets and the moment the pre-chorus starts the song has a deserved place here. The songwriting is so great and the chorus is simply but effective. It's a great song but like with Track 2, this would've needed a little work on the verses, musically and vocally spoken. One of the album's biggest highlights, 'There She Goes, My Beautiful World', keeps the Gospel inspired vocals while being a fast and incredibly fun piano driven alt-rock song. The lyrics are such a good mix between funny and loving and the chorus is catchy and just f-ing relatable. The song is just one of the most energetic and passionate songs in Nick's whole discography and having this kind of quality is just amazing. Definitely a perfect song. The next song 'Nature Boy' is another really well and lovingly made song with a great flow especially in pre-chorus and chorus. The lyrics blend nostalgia, darkness and hope in a pretty motivational way and the verses with the piano are some of the best on the album. An equally as perfect song as its predecessor. The title track of the first half 'Abattoir Blues' seems to be pretty beloved by many but I never got the song. It feels weaker and pales in comparison to most of the album with the lyrics and especially the way they are presented. It's just a pretty average song with some Trip Hop influence on the drums. The "oh yeah" Gosepl parts are the only thing not making this completely boring. Luckily, 'Let the Bells Ring' is a slight step up by featuring one of the best choruses on the entire project. It's so raw while keeping a certain ominous and twisted feeling to it. Instrumentally, this is pretty standard but the way it builds the tension towards the chorus and then keeping it dense is just done in the best way possible. I really love this song even if some parts do feel a little bit too rough around the edges and that not in the best way. 'Abattoir Blues' closes with 'Fable of the Brown Ape', easily the worst song on the entire album. It is boring and when it isn't its annoying. Nothing redeeming or interesting or edgy or experimental about it. Just not good. And the "epic" and "grand" chorus doesn't work because it doesn't build up or anything catchy. It is just loud and annoying. Yeah, I might be a little too harsh on this one but to see Nick do something like this is simply disappointing. The second part: 'The Lyre of Orpheus' opens with its title track. 'The Lyre of Orpheus' is a dark and twisted new interpreted version of the Orpheus tale. This song is dark, ugly and full of bluesy Punk that makes this one of the most Nick Cave moments on the album as well as one of the best. This is a true masterpiece in every sense of the word and my personal favourite song on the album. It's just so damn good. Following one perfect song, Breathless comes on with a more Pop and Folk inspired sound but Nick and his band are still able to pull it off in the best way possible. The avant-garde flute at the start, the dreamy and nearly children music like sound of the song (watch the music video it literally is about some damn rabbit family) and Nick's lyrics are much less dark and actually pretty soft and cute and full of love. 'Babe, You Turn Me On' continues the incredible run of songs with even more Folk and actually a little Jazz-inspired drums. This style does fit Nick surprisingly well and once the chorus starts the whole thing starts fitting together even better. The lyrics are some of his best on the album especially when it comes to the chorus. It's not as good as the two before but it still is an incredible song. The rock returns with 'Easy Money'. It's another perfect song. The piano and the vocals fit the sound so well and the way it starts the chorus which is again perfect, is just incredible. It's sentimental and slow like a late night romantic dance but in the best way possible. I love pretty much everything about the song which makes it even crazier that this isn't even a Top 3 song on this part of the album. Wow! The second half of the second part starts with the fast paced 'Supernaturally' which not only has a great flow and chorus but also some pretty great vocal deliveries and lyrics that fit perfectly. I just think that it might be a little streched towards the end and the chorus and verses just don't work as much anymore but I still love this song a lot even if it's not perfect. "Hey-Ho, oh no no no!" What a great and funny line. 'Spell' on the other hand is pretty boring all throughout. It's not completely uninteresting but it is a significant drop in quality. The lyrics don't work as much, the Gospel chorus isn't as great as it maybe could've turned out and the overall structure of the song doesn't change and stays in the same basic way the whole song. It's an okay song but he could've scrapped it and no one would care. In comparison, 'Carry Me' is a great song because it is. It's nothing too crazy or incredible but it is a great song. It is does have stylistic smiliarities with the closing track and kind of builds towards that final epic with a lot of tension here but outside of this tension and the Gospel chorus, the song just can't hold what most of this part has on average. But it is pretty much on a level with some of the songs right at the start of the album. The album closes with 'O Children', a song featured in Harry Potter. But here it closes the album with the most emotional song here. The lyrics are tragic with many possible interpretations. It builds up over the span of five minutes until it releases into a sentimental and emotional height that releases emotions in me that I didn't even knew I had. What a perfect song to end an album with. The Lyre of Orpheus > Abattoir Blues favourites: The Lyre of Orpheus, O Children, There She Goes, My Beautiful World, Hiding All Away, Breathless, Nature Boy, Easy Money least favourites: Fable of the Brown Ape, Spell, Abattoir Blues Rating: strong 8 to light 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

This album by the Jungle Brothers is pretty diverse and sets itself apart from the growing trend of Gangsta Rap that started with N.W.A.'s debut. It is playful and conscious and has some nice Jazz inspirations throughout. It was definitely an influential album and I think that this might be the kind of influence that got A Tribe Called Quest to make "The Low End Theory". The album starts with 'Beyond This World' which combines Hip Hop with some House music and some Jazz inspirations. It feels like the bridge between Planet Rock (which is mentioned here) and The Low End Theory. It's got a pretty interesting beat and the lyrics are quite alright with some mainly funny highlights. It's overall an alright song that does some things but doesn't really end up sticking with me as the performances feel a little unfocused and too much like they try to impress their contemporaries instead of doing their own thing. That song transitions into 'Feelin' Alright' which removes some of the House and goes more into Jazz Rap and Boom Bap which results in it working much better. It's a pretty great song with some really well done verses and performances. They all just harmonize much better together. The hook is great, the playful and silly details are fun and the beat is simple but oh so effective. The only problem is that it streches a bit too much towards the end. 'Sunshine' adds a little nursery rhyme twist to it and with the whole theme of sun just makes this a really cute song even if there are some deeper topics worked into it. It's a pretty great and catchy song though with the radio interludes and some pretty well made verses. The slight House grooves come back on 'What "U" Waitin' 4?' but the result is much better as the song is pretty awesome. The beat is phenomenal, the hook is really fun and the verses are performed really great. It's a really incredible song with some of the best arranged and thought through moments on the entire album. '"U" Make Me Sweat' keeps the things its predecessor did great and adds some more sincerity to it. It works as well with a great beat and performances. It's a really fun listen with a great groove even if the hook is something that I'll not get used too. I just don't like the sound of it much but it doesn't make the whole song unlistenable just that part a little weird. The track 'Acknowledge Your Own History' talks about how the black community is put down by how their own history is teached and they now try to get the young generations of black kids to learn about their actual own history. It's a lovely song with some pretty funny bars and a great vibe to it. I just feel like they should've done a little more with the beat even if the lyrics and meaning is the main thing that is supposed to shine here. The end also feels a little streched. 'Belly Dancin' Dina' is a pretty horny track but not in a bad way. It doesn't feel like he's about to rip off her clothes and more like just a shy but still pretty horny crush. It's pretty funny and some of the rhymes are pretty good. It just doesn't really achieve the high points that some other songs got to. The song 'Good Newz Comin'' which closes the albums first half is actually purely instrumental showcasing what they could do with a turntable. Even if there is no Rap to be found here it is still filled to the brim with funny details and added sounds that turn the song into a pretty nice moment on the album. I really enjoy this song all the way through. Side 2 of the album starts with the title track 'Done by the Forces of Nature' which is a pretty good title, no doubt there, and the song itself has some really nice additions in the beat which is the main thing that I like about this song. The beat is done so well, just phenomenal. The Rap performances are also pretty good especially some of the rhymes and the added sax and flute moments that are tied to with the lyrics. It's just a great and stunning listen especially with the beat. I just love it that much. In comparison, 'Beeds on a String' is a much more common and standard Hip Hop song. It's pretty good, especially the beat, but it has too many pauses that don't really add that much. The whole Rap performance is pretty average and doesn't really work here. It's an alright song. The beat of 'Tribe Vibes' feels similar to 'Good Newz Comin'' with some of the vocal chops and the detail work here is pretty well made as are the performances. The songs energy is pretty much unmatched on the album, it feels just very energetic and raw and just like so much fun. The song Is so much fun to listen to. It transitions into the next song 'J. Beez Comin' Trough' which has a really silly beat at the start but it works actually pretty well. The song is pretty good but they could've turned it into much more as the performances are pretty short and the chorus is just way too long. It feels just a little unfocused with pretty much everything here but there are still some nice moments. Even if 'Black Woman' might have inspired one of the best moments on To Pimp a Butterfly, the song itself feels forced and ends up being pretty boring instead of being though provoking and conscious. It's just not a good song but it also doesn't annoy, it just moves past me without anything really sticking not even instrumentally. 'In Dayz "2" Come' starts with a snippet from a tv show which reminded me a bit of BLOOD. by Kendrick Lamar (again). The song itself is alright. I think they had something bigger planned with it but the result feels unfocused and with not enough substance. There are still some nice details worked into all of it but it isn't more than just a good song. Remember how I mentioned A Tribe Called Quest at the start? Well, they are actually featured on this song together with Queen Latifah and De La Soul. Four legendary Hip Hop artists/groups in one song is just a match made in heaven. This is a perfect showcase of what some parts of rap were going to in the years that followed. Anyway, it's funky, has some incredible performances and this is a perfect song... That's it: Perfect! The albums short outro 'Kool Accordin' "2" a Jungle Brother' is alright... Like, they didn't need it but it is kind of silly and kind of puts a nice end to the album in a way that it fits but the track itself doesn't really carry much that would make me return to it. favourites: Doin' Our Own Dang, What "U" Waitin' 4?, Feelin' Alright, Done by the Forces of Nature, Sunshine least favourites: Kool Accordin' "2" a Jungle Brother, Black Woman, Beeds on a String, Beyond This World Rating: decent 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Of course Motörhead is mainly known for the albums "Ace of Spades" and "Overkill" but this live recording just pretty much combines some of the best songs from these albums and also some of the best takes and versions of these songs. The whole album is full of raw and energetic Heavy Metal and Hard Rock and in pretty much the best way you could imagine. It's noisy, aggressive and full of loud and over the top performances. Of course the album starts with the all known and legendary 'Ace of Spades' and it is without a doubt on one level with the studio recording. In fact, this is an even nastier recording with much more loudness and noise and it's just so grimy. It starts with the short outro from the song played before in the show but quickly turns into the iconic riff and the the raspy vocals of Lemmy which in this version add really much as some parts feel even raspier. A perfect start to the album and also a pretty perfect song as a whole. Second song 'Stay Clean' captures the essence of Motörhead and the album pretty good. It's really strong Heavy Metal with Hard Rock mixed in as well as some Speed Metal parts. The hook's pretty memorable even if it isn't as crazy as 'Ace of Spades' for example. The riffs and the whole flow of the song is pretty nice although it would've needed some more dynamic or melodic changes throughout but still, it is a really well made and incredible track. 'Metropolis' is introduced by Lemmy and starts with some cymbals and an epic sounding guitar that is quickly turned into the Metal beauty that the track is. The song in general feels epic mainly with how it's structured and how the vocals are delivered. The lead guitar really rips this thing up and the lyrics just add to the atmosphere of the song. It's an incredible song, nearly perfect if it had a little more memorable hooks. Even if many people really love 'The Hammer', I have a hard time really loving the song. Don't get me wrong, it is incredible but I feel like some people give this track much more credit than I think it deserves. It is pretty well structured and the isntrumentals work really well but for me the song starts to get really good halfway through. The first half just feels a little off even if I can't pin down why I feel that way. But yeah, still a really great track. The less heavy and less noisy 'Iron Horse' feels like a much more centred and "sentimental" track. It feels not like the standard Motörhead song but it is really great nontheless. The way the guitar adds to the more melancholic feeling by perfectly breaking through the verses is just incredible. If they had shortened it, this would be one of the best songs they ever recorded. The albums first half ends on 'No Class' which brings the rebellious and heavy sound back with some pretty melodic deliveries and performances. It is a pretty great song although it feels much less incredible when compared to some of the tracks so far. The chorus is fantastic but some parts in verses and bridge are a little bit off and uninteresting which harms the already pretty short song into being a little less memorable. The legendary 'Overkill' starts the albums second side with fast and rumbling drums and bass that make it feel like a helicopter flys above them when performing. It is an incredible track that even at over 5 minutes never stops to rock even the bridge that at first feels like the song is about to end but then picks it up again with some great guitar work which is repeated multiple times and works every time perfectly. It is one of the most energetic tracks on the album as well as one of the best. Just a pretty perfect song. '(We Are) The Road Crew' keeps the fast and energetic Speed Metal sound and although it isn't as full on mind blowing like 'Overkill', it is still very memorable and catchy especially with the chorus which is performed really f-ing good. The whole song is performed really f-ing strong and easily one of the best songs on the album. Up next is 'Capricorn' which is one of the weaker songs even if it still is a great song. It just feels a little less focused and it takes much less of a presence even when some of the details are really great especially the echoing vocals and the guitar riff. The return to Speed Metal is made with 'Bomber' which is another incredible song. It is fast and energetic and full of great moments and performances both with the instruments but also with the vocals and the chorus. It's pretty much another perfect track. The song 'Motorhead' which gave the band their name actually brings in some Punk deliveries while still keeping the Heavy Metal & Hard Rock sound. It is a mix of genres that work suprisingly well and this performance is just a great showcase of that. It is raw and full of energy and closes the album with some noisy and rebellious deliveries which is why this is another perfect song. favourites: Ace of Spades, Overkill, Motorhead, (We Are) The Road Crew, Bomber, Stay Clean, Metropolis least favourites: Capricorn, No Class Rating: decent to strong 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Ry Cooder was the one who founded the band to preserve the traditional Cuban music known as Son cubano and Bolero. He took several of the best musicians one could find in Cuba and recorded with them an album that made cultural borders dissapear as pretty much everyone felt and still feels the groove, the energy and the warmth these recordings give out. It is a magical album that no one will be able to replicate. The hour of playtime this album offers is filled to the brim with these special and one of a kind songs that transport you into the tropical streets and beaches of Cuba. The first track 'Chan Chan' already offers one of the albums most iconic moments. I don't know if it's just me but I feel like I always remember this song the most when I think about the album. The repeating lyrics that make up the hook and most of the song are just so easy on the ears while sticking in your mind for eternity. It is a beautiful song to begin the album with as it perfectly introduces a lot of the sounds and instrumental themes the album expands further on. It's genuinely one of the greatest non-english songs that I know of. Especially the trumpet bridge makes this such a mesmerizing experience. The next song 'De camino a la vereda' expands on the lush sound that the opener started. It is as memorable but with more happening throughout with more dynamic and melodic changes. the chorus is really great and the vocals are often as beautiful as you could imagine them. It is just such a lovely song to listen to with so many great and wonderful moments in it. I absolutely love it. 'El cuarto de Tula' goes a much jazzier way by not only having a sort of Jam sound to it but also by being pretty long with 7 minutes. But don't be turned away from that as it is another incredible song. It uses the trumpet in a very "Spanish" way, if you know what I mean. It really flows the whole way it plays without once feeling like it gets boring or unfocused. The different vocals that sometimes raise from the repeating chorus. A truely incredible song with many moments that add tons to the album. The instrumental 'Pueblo nuevo' seems to add a lot from early 20th century Jazz with the piano driven melody and the bass. It does feel a little out of place with the overall dense and lush sounds that the album featured so far but the song isn't bad because of that. It's a pretty good song with some nice moments and a great flow and some of the details are actually done really well, it just didn't NEED to be here. There is a lot of Bolero on 'Dos gardenias' which is actually a pretty short song when compared to some of the songs here with just a little over 3 minutes but it does get amazing pretty quickly. The vocals and their delivery are on point and the bass is really interesting here, I'm not even sure if it is an actual double bass. The song is really good but it doesn't achieve the catchiness that some of the first had. '¿Y tú qué has hecho?' keeps the Bolero ballad form while having some pretty decent vocals but the main attraction of this song is the guitar which flows so well throughout the song and when the time arrives to take the main presence, it does it perfectly. It's a great song but it does feel a little rough around the edges and like they could've pulled more out of it than they ended up doing. A female vocalist joins the established male cast of singers on 'Veinte años'. This song is what the last two did good but makes it better. The two vocal styles work together so perfectly that it keeps enough interesting moments for the song to feel much denser and fuller. It's slightly weird after the bridge but in the best way possible. A great song through and through. The albums second half starts 'El carretero' which is sonically also pretty different. It's hard to pin down what it is exactly but the drums are much different, the details aren't as all around but they still work and the structure and how the vocals are worked into that is just different. Don't get me wrong, it's a beautiful song and a lot of the "bird sounds" add much to the overall feeling the song gives off but it's just different. It feels a little like a sitar might pop up out of nowhere even if that doesn't really make sense. Great song... Great song... 'Candela' goes back to the sound that the album right when it started. It's a lush and energetic song with a great performance and incredible moments. This is how the album and the musicians work the best. These types of songs feel the most honest and warm and are simply the best way that Cuban music can sound: lush, dense, warm and full of great energy. It's a perfect song, no discussion. There is some interesting Blues incorporated in 'Amor de loca juventud' and it works really well. It's a lovely song with some nice performances and guitar work but I overall don't care for the song as much as I do with most of the other songs. But as I said, the guitar is the true highlight here. It's got the playful sound of a warm late night that you enjoy with loved ones on the beach. It's a great song, still. Similar to before, 'Orgullecida' adds some American touches, this time with Ragtime and some Bluesy nearly "Country"-like guitar. It's a cute song but it doesn't scratch the itch that most songs do here. I still like it especially because the vocals are really lovely but mostly the song moves past me without sticking certainly strong. 'Murmullo' goes back to the Jazz some very Jazz Pop sounding rhytmn sections and piano while still keeping the Afro-Cuban influences and vocal styles. It's a lovely song the feels like a great mix between these two genres but again, I prefer this album with the dense arrangements and less with the laid-back Jazz parts even if they are still great. The instrumental title track 'Buena Vista Social Club' follows with the same old Jazz sounding boundaries. Even if it lacks the vocals, it is presented in a very well working way by going much more into the Jazz than previous songs did which removes the expectations for the dense Cubano even if that means that it feels a little out of place in the album which does make me a little conflicted. It's a really good song but they could've pulled much more out if it than they did in the end. The albums closing track 'La Bayamesa' feels even more out of place. It's got neither the Jazz nor the dense Cubano. It feels more like a vocal centred Folk song of Cuba. It isn't a bad song, it's pretty good but it feels aged and like an extra that wasn't really needed. It's good that it's quite short because if it was longer it'd be pretty annoying. favourites: Chan Chan, De camino a la vereda, Candela, El cuarto de Tula, Veinte años least favourites: La Bayamesa, Orgullecida, Buena Vista Social Club, Pueblo nuevo Rating: strong 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The band that revolutionized Dream Pop with some of the best albums of the 80's and 90's. This album that the Cocteau Twins released 6 years before their most critically acclaimed album was already one of the most forward thinking albums of the first half of the 80's by combining the dreamy sounding guitars with ethereal sounds and some Goth Rock influences to create a dark and mysterious album full of atmosphere and psychedelic parts. One is thrown into the album with 'Ivo' which is a nice blend of the Dream Pop and Ethereal Wave which makes up most of the album but it also adds some elements from Psychedelic Folk music which is a pretty cool touch especially right at the start. Also, like most of the album, you don't understand a single word that is sung even if it is English but that doesn't matter as it just adds to the dreamy atmosphere. The song feels cryptic and strange and full of mystery which makes it a great intro to the album. The high pitched vocal hook is quite interesting but I wish they added more to it. The song is pretty good but with a lot of room for improvement which still makes it a pretty great song overall. It gets a little noisy on 'Lorelei' which adds some Shoegaze, Post-Punk and even more Psychedlia into the mix. The result is a mix between dark and dreamy instrumentals combined with vocals that feel surreal and other-wordly, almost like a night creature you find in a nightmare but in the best way possible. This song feels more focused and more like it gets the thing done that it wants to achieve. The result shows that as it is one of the best songs on the album, simply incredible. 'Beatrix' on the other hand adds some Neoclassical tones while being much more openly Pop. It feels anthemic and nearly operatic, full of atmosphere you'd expect to find in a church but more Goth, if you know what I mean. The song is really lovely and weirdly hypnotic and the way builds up in the second half is just amazing. It is a stunning song which is just absolutely incredible. It gets even more Goth and Post-Punk on 'Persephone' which means it gets even darker and the atmosphere here is unmatched. The vocals are quieter and feel like they come for much further away which gives the song a creepy distance between listener and artist. It is genuinely a great piece of music and easily one of the albums biggest highlights. A truely wonderful song full of psychedelic and stunning moments especially with the vocals. The albums first half ends with 'Pandora (For Cindy)' is again, very dreamy, very ethereal, very atmospheric but here it feels way more like this would be liked by a bigger sized audience. It isn't as creepy, it has a nice and relaxed melody and is performed like it somehow finalises something (Side 1 in this case). It's a great song but doesn't really reach the heights some other songs here have so far as it is a little longer and looses itself a little. On the second side, 'Amelia' introduces the themes that were established on the first half and here there is again a little more Goth Rock worked into the song. That results in it being instrumentally darker and more angsty with some of the rhythmn sections feeling very anxious which is only strengthend by some of the vocal parts. The track is simply amazing and just full of hypnotizing moments. 'Aloysius' breaks things a little up by adding some jangly guitars that serve as a little more standard melody but the ethereal drums and bass parts add the deserved atmosphere. It's a pretty decent song with some really good moments but in comparison it just feels like it falls a little short although the drums are really good. The slight industrial influences on 'Cicely' are pretty well made and do make up the most interesting parts of the song but overall the song just feels a little like it tries too hard which ends up hurting it a bit. It's still a pretty good song but it isn't one of my personal favourites by a long shot. But I do have to give some credit to the organ which is my second favourite thing about the song, sad that it appears only for a short time. The very Ambient and nearly New Age sounding 'Otterley' adds some very echoey vocals on a mix of laid back instruments and Field Recordings which give the whole thing an own atmospheric touch while still somehow working within the albums context. In fact, they way that it is structured makes it a pretty memorable song and it doesn't get boring at all. I actually think that it is one of the best moments on the entire album. 'Donimo' closes the album with the longest song the tracklist has to offer. It keeps some of the Ambient elements of before but actually adds all of the influences that other songs had as well. There is some Goth Rock, some Art Pop, some Neoclassical Darkwave, some Post-Punk and also some Industrial moments. The result is an amalgamation of what makes the album as a whole which happens to be fantastically enjoyable and one of the albums most diverse and interesting songs. favourites: Lorelei, Persephone, Beatrix, Amelia, Otterley, Donimo least favourites: Aloysius, Cicely, Pandora (For Cindy) Rating: decent to strong 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

(if you want a more passable and more influential Mott album go with "All the Young Dudes") Mott the Hoople had a couple releases so far and if it wasn't for the smash hit 'All the Young Dudes', they would've broke up with today no one knowing who they were. But this single kept them above water for a couple more years until they disbanded in '74. This album is one of the two that most people point to as their biggest achievement album-wise and if you listen to the album, you soon realise that their highest points were pretty average and there isn't much special about the album. It's okay Glam Rock that definitely tries way to hard while succeeding with the fewest moments. Opening track 'All the Way From Memphis' sounds like Proto-Britpop which already throws me off. The hook's quite nice even if they should've done more and the piano riff is kinda cool but overall the song feels so over the top with what they tried to do that nothing really fits together and I am left wondering how this was extended into 5 minutes of a song. This should've been a two minute intro at max but not the fourth longest song. The bridge, the guitar, the vocals, nothing fits and it feels so... just not good. It's a bad song that could've been saved but wasn't. There's a little bit of Hard Rock in 'Whizz Kid' and that actually improves the song. It's got a nice theatrical structure with how the verses are presented and how they move into the pre-chorus. The vocals are less annoying, the guitar sounds good and it overall just works better even if it stays pretty boring. The first song was at least memorable for being not good, this is just boring with a couple of nice moments that aren't really extended on. 'Hymn for the Dudes' is dramatic, full of theatrical performance and builds up like some sort of Opera. It is a pretty decent song, I especially like the intro, and it for some reason reminds me of a certain song but I cannot pin down which one. But the song in general is, again, pretty boring. It's got moments that make me hope that it'll turn better but they just build on the basic aspects of the song instead of the good ones. The song's just a full on snoozer until the guitar solo but then it goes right back. With 'Honaloochie Boogie' we get the first actual good song. It has a nice Pop melody and some weird effects as well as a pretty alright chorus that is weirdly fun to listen to and pretty energetic. The song isn't like perfect or anything but it's alright. It's good. Listenable. And with 'Violence', the first half already ends. The song's a slight return to the heavier sound from Track 2 but this time with some Proto-Punk style both with the vocal delivery and the guitar riff. For some reason they added strings which doesn't fit at all and makes the song sound really weird and dissonant and not in the way were it's good, no this just makes the song bad. It doesn't work. The whole song feels off and like they can't play any of their instruments. It's just terrible, like actually unpleasant and not in the good way. 'Drivin' Sister' gets things going on the second side with some nice guitar riffs and an okay song arround it. It's got a Rock n' Roll feel to it with a lot of Boogie arround it. It's alright but the bridge doesn't fit at all and makes the whole thing twice as boring. The car sound effect is a nice detail but it doesn't safe the song from falling pretty short in general. It's not good and just boring. The slight harmonica blues additions on 'Ballad of Mott the Hoople' are quite interesting and the songs structure creates some moments that aren't bad at all. The main problem is just that the song is way to long and for being a ballad about themselves... it's pretty boring which does pretty much summarize them, I guess. Yeah, not a good song. For some reason they though having a 5 minute snoozer wasn't enough because they added a nearly 8 minute song right after. 'I'm a Cadillac / El camino dolo roso' is made up of two parts but that doesn't really matter as the first part, which is actually quite a good song, gets destroyed by the second half which is just... wait let say it in universal words: "Zzzz Zzzz". After around 3 minutes, the song removes most of the energetic Glam Rock and adds some very present acoustic guitar and turns the whole song into classic British Folk Rock but in bad. These few minutes are dreadfull boring with the few exceptions of a guitar breaking through which awake you from your slumber but as there isn't much more, you fall right back into other worlds that try to avoid whatever hits your ears as much as possible. Ok, that was maybe a bit too harsh but the song gets ruined and ends up being boring. The daring idea of the song is just not converted well at any point. 'I Wish I Was Your Mother' closes the album and the song is like most stuff here, pretty boring and without many interesting things. The only thing that makes the song somewhat cool? is the fact that the vocals for some reason feel a lot like some parts on "Pictures of You" by The Cure. Don't ask me why I think they sound alike but I do know that one of them is much better. This song is pretty boring and why the actual f is there a mandolin here??? favourites: Honaloochie Boogie, Whizz Kid least favourites: Violence, El camino dolo roso, All the Way From Memphis, I Wish I Was Your Mother Rating: light to decent 4 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The cover of the album is so bad that the music feels worse because of it. How was this approved by the band? But away from badly designed covers and over to the Red Hot Chili Peppers legendary album 'Californication' which features the song of the same name and a couple of others Alt Rock and Funk Rock songs that give off the pure Summer California vibe that we all long for in the winter (well except me because I hate summer but let's ignore that for now). The album is pretty diverse both sonically but also with quality as there are some actual bangers as well as some dozy snoozers. The very funky 'Around the World' starts things off with one of the best songs on the album. It has a nice groove and the Rap verses just add to the playful and energetic song. It's just a really good song that's super fun to listen to and has a surprisingly good structure and chorus. I really like it and think that it's pretty much the essence of what makes the RHCP for so many people: early Rap Rock with a lot of groovy Funk, great bass lines and overall good made music that's easy to enjoy. And it is a really good song even if I think that some passages might not be the strongest, it still turns out to be a really well made track. It gets a little heavier and noisier on 'Parallel Universe' which seems to have some big influences of Post-Punk Revival in the chorus. It's a pretty good song but they could've done a little more with the song as it turns out a little bit washed and unfocused. The highlights are definitely there but one or two major problems arise in the verses mainly the vocal delivery which doesn't really fit at some points. But the lead guitar towards the end together with the fast bass is just crazy. Great song overall but with room for improvement. The heavy and raw energy is tuned back 'Scar Tissue' and replaced with some nice Pop Rock melodies. The detail work here is done really well: The guitars slight build up, the background vocals fit incredibly and the rythmn section's on point. It is a really enjoyable and just great written song which makes it overall just a really great track from start to finish. 'Otherside' keeps the Pop aspect but adds a more sentimental and dark twist to it. The song is just really beautiful in how it's written and performed. The vocals do not collide with the bass or the guitar rather they work together which is quite special on this album with how many raw and loud pieces are found here. It's another great maybe even incredible song and one of my personal favourites from the band. The Funk and Rap return right away on 'Get on Top' together with some Rap Metal which is really nice to hear right after the last song to get the mood up again. The song is pretty silly but it feels like they try to sound much more genuine then they turn out which does harm the song as this is a goofy song and not a genuine and deep song like how some parts are presented. It's still "good" but I just don't really like the presentation of how this "good" is set infront of you. It turns the song average and even annoying. 'Californication' is legendary and everyone's heard it but every time I hear it now I always think about how this is the same melody that Akira Yamaoka used on Promise for the Silent Hill 2 soundtrack which is like my 5th favourite album ever. But back to the song: You know it, the Psychedelic Pop Rock sound and the cute David Bowie reference, the chorus which everyone had stuck in their ears at least once. And yeah, the song is pretty good. Nothing crazy, nothing incredible. It's good but it should've been a little bolder with what it does. The little bits of Hard Rock on 'Easily' are quite nice but they don't save the song from being straight up bad. It's boring and when it isn't that boring it's annyoing. This is pretty much the worst thing music can be: forgettable and the things that aren't stuck in your mind as "not good". Straight up terrible music at least gets stuck and leaves with strong emotions of hate and opinions that you'll fight for. This just flows through one ear, scratches a litte, and leaves right through the other. The albums second half is started with something completely different. 'Porcelain' is dreamy and psychedelic Slowcore which is a pretty interesting touch and they perform this style pretty well considering that they normally are a loud Funk Rock band. It's quite the beautiful song and I really like how the guitar is used here. It's a really good song full of emotional moments and deliveries. They return to their usual style on 'Emit Remmus' which is pretty energetic and Punky with the chorus and the song is pretty alright as a whole but some of the structured moments do feel a little bit unfinished and not fully fleshed out. The track 'I Like Dirt' can be summarized with this meme: https://www.youtube.com/watch?v=8a02zyht8B0. No but seriously, the song is bad but it knows that and it doesn't try to be good. It just plays with the silly and downright stupid aspect of it and turns out to be much more enjoyable than some other Rap Rock songs on this album. It's genuinely a really funny track to listen to and I absolutely love it, it's really good. 'This Velvet Glove' is maybe quite well made and the background vocals are a nice touch but I am really uninterested by it. Nothing really grabs my attention and it just flies past me with neither positive nor negative thoughts about it. It's just an average and basic song. The exact same thing is happened with 'Savior', it just flies past me and I do not care for it. It isn't bad but... it isn't good either. Still, the chorus is pretty nice but not enough to make me care for the song especially when the bridge is just that unfocused in how it's presented. The Rap Rock is continued on 'Purple Stain'. The lyrical reference to their guitarist is hilarious and the chorus is really fun. It isn't the craziest song on this album but it's quite good, I like it even if it looses its focus after a while. 'Right on Time' is short but but energetic with some Dance-Punk influence which happens to work really well with the Funky Rap Rock. It's pretty decent but you can't really f*** up a song this short, so even if I am not overly impressed, I still enjoy it. The album closes on the more laid-back Acoustic Folk inspired song 'Road Trippin'' which is a nice ending to the album. It is another song with a switch up of genres and again, it works fine. It feels a lot like an Elliott Smith song which is a nice touch but it doesn't feel overly inventive or like they actually know what they are doing as lyrically, this isn't great or fitting and the guitar carries this whole song. It's still pretty enjoyable though. favourites: Otherside, Scar Tissue, Around the World, Porcelain least favourites: Easily, Get on Top, This Velvet Glove, Savior Rating: strong 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Does Prince need an introduction? He is the King of 80's Pop Rock and Synth Funk and pretty much the King of the 80's in general, at least for me. I'm sorry MJ but you don't stand a chance against Purple Rain. But this isn't Purple Rain, so let's get back to talk about 1999. Prince's first double album and easily his most conceptual work yet. It's full of dancy Pop Rock and groovy Synth Funk with many very forward thinking moments and a few Experimental bits sprinkled throughout. It was at that point in his career his best album only surpassed by a handfull later on. It's just such an incredible album that does not feel like it goes on for 70 minutes with some songs being nearly 10 minutes long. It's just THAT good. The title track '1999' gets the album started with a slightly creepy spoken intro but quickly turns into a mix of Funk, Synthpop and Disco. It's full of incredible production, great vocal performances by both Prince and the background singers and it's just so fun to listen to with so many energetic moments. It's a perfect opening song and a perfect song in general. Hard to get much better than this. This is how you do 80's Dance-Pop! Second song 'Little Red Corvette' goes more R&B and even a little Pop Rock while keeping a lot of the sonic styles the first song introduced. The build up into the chorus is fast and makes the verses absolutely worth it. It's such a beautiful song with so many dynamic changes and energetic moments. His weird and crazy vocals towards the end are incredible and the details are overall done in very thoughtful way. It's another simply perfect song and one of the albums biggest highlights. 'Delirious' sounds pretty silly at the start but the Rockabilly influence in the delivery is just incredible. I am genuinely amazed by how he came up with that, this is literally the 50's but int the most 80's way possible. And the song is just full on amazing and stays as interesting towards the end as it did at the start. The synths are so cute, the vocals amazing and the lyrics are quite fun. This whole song is fun. I absolutely love it... Perfect song again. The much more Electronic 'Let's Pretend We're Married' brings in some moments from the Hi-NRG genre which was popular in the gay bars of San Francisco and New York in the early 80's and even if Prince was strictly heterosexual, the mix works quite well as this song is another incredible song even if it takes a bit to get started but that can be excused when THIS is what it turns into. Full of great moments, production, performances and what else there is to mention. Just a pretty much perfect song, again! It's just so much fun. 'D.M.S.R.' gets really funky with a very thick bass line and a very great vibe to it and it's even groovier than most of the stuff that was featured so far. The vocals are absolutely incredible with how they are layered and echoed. I just absolutely love this song from front to back. The instrumental parts that mainly put the synths in the forefront are just perfect with the few but effective melodic changes. The second half of the album is opened with 'Automatic', the albums longest song running in at nearly 10 minutes. The synths are really carrying this even if Prince is still killing it with his performance and the songwriting. It is a beautiful song through and through and even with the sheer length that this offers, it is really diverse with the sound and structure. I do think that a couple of moments feel a little bit streched but not that it harms the song too much, it is still incredible. The very New Wave sounding 'Something in the Water (Does Not Compute)' is weirly ethereal and even slightly Industrial while keeping the very clear Art Pop tendency throughout very present. The performance is again killer and Prince really perfects himself in some of the weird ways he is using his vocals to shine. I really love this song for the atmosphere but it just doesn't feel like it was completely thought through and perfected. It is a really great song but a couple moments desire for the song to build more into a final climax rather than just ending slowly. Still, a great song. The very strong and present Soul on 'Free' is something sonically completely different but of course Prince also makes an incredible song like this. The quieter backing vocals with his very "aching" voice adds a lot of emotional weight to the track which makes it one of the albums most dense tracks in terms of emotional depth but it also very much stands out with all the dancy and energetic tracks which does harm the song. If it was released as a single but was omitted from the album, the track would flourish in another light but here it just feels a little bit off. Or as a break after all the dancing but still... It is a great song but that's it. Luckily Prince follows it up with the very fitting and dancy 'Lady Cab Driver' which is very funky and I absolutely love the bass on this track. It is a little more Disco and Boogie but groovy. It's a really great song that feels very similar to something you'd maybe find MJ doing on previous records but I don't feel like it needed to be nearly 9 minutes. I know Prince wanted to go all out with this album and it definitely is his best yet but with songs like this I think he should've cut it a little bit. The bridge is nice but goes on for a little too long. 6 to 7 minutes would've done it more justice even if the guitar towards the end really uplifts the song as a whole, it's "just" a great song. 'All the Critics Love U in New York' is another really dancy, Hi-NRG inspired Disco song with some really well made moments especially in the chorus but it feels a little bit bland in comparison with some of the verses and instrumental parts but the strong moments make up for the slightly more average moments to make this at least a really good song but it is one of the albums weakest songs. The Smooth Soul closing track of 'International Lover' is a beautiful end to the album with a lot of R&B sprinkled into the vocals. It's a great closing track and a lot better than the other Soul song here and I do think that it's the second best song on the second side of the album but it doesn't stand a chance when compared to some of Side 1. favourites: 1999, Little Red Corvette, D.M.S.R., Delirious, Let's Pretend We're Married least favourites: All the Critics Love U in New York, Free Rating: decent 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Stevie Wonder had a couple of big hits before and one album which really put him into the conversation of the best current Soul artists but it was THIS album which made him one of the best Soul artists of all time! It is full of incredible and forward thinking production, beautiful arrangements, incredible songwriting and just magical performances that makes this one of the essential listens for everyone. It is pure magic to the ears and it's even crazier when you realize that this isn't even considered his best album. (It's my favourite but most point ot Songs in the Key of Life) The Psychedelic Soul and Funk mix of 'Too High' gets the album started with a groovy and beautiful song full of incredible instrumental performances but also gets some of the conceptual ideas started. The song is hypnotic and enjoyable with many great moments and it delivers the whole way. A perfect song to start such an incredible album with. 'Visions' replaces the Funk with Folk and a surprising amount of Folk. This song is just Progressive and Psychedelic Folk with a very Soul-like vocal performance and while that sounds like a strange combination, Stevie pulls it off in the best way possible. It is a beautiful and yeah psychdedelic experience full of beautiful lyrics and ideas that some might even call philosophical. Do I need to say much more? This is perfect even when the placement of the song could've been improved as it is a very hard cut from the Funk, it still is just wonderful. The albums most forward thinking song is without a doubt 'Living for the City'. It mixes the Funk and Soul like we were used to and it even adds a little Rock into the song and how can you forget the crazy vocal performance that Stevie offers but that isn't necessarily why this song is so good and viewed as so influental. It is the "weird" second half that adds some Spoken Word & Radio Recordings mix that isn't just there as a nice add-on but actually as a conceptual continuation of what the song itself spoke about. It is there to get more people to understand what he wanted to achieve with the song and he absolutely delivered. The "actual" song returns and closes the song properly but still, this idea was a big thing in the way he implemented it. The slightly Smooth Soul 'Golden Lady' is an absolutely beautiful ending to the albums first half. It flows through the verses and the pre-chorus and the chorus itself is just the cherry on top. It is an absolutely stunning piece of Soul music and easily one of the albums best songs and also one of the best songs in Stevie Wonder's whole career. The second half is started with 'Higher Ground' which is a very groovy return to the strong Funk sound with the very, well, funky guitar and bass which absolutely drive the song. Stevie is absolutely killing it with these vocals and the whole way that the song is structured is just incredible. It not only flows but I feel like it flows so fast that you feel on some very strong substances that go far outside of LSD. This song makes me want to get so much energy out like I haven't moved in days. Perfect, it's a perfect song! 'Jesus Children of America' is one of the albums "worst" songs which crazy because it still is an absolutely incredible song with great Gospel vocals and some really well made bass and the whole song is just beautiful. It just fails to really take the edge that most songs here did. Incredible song and better than 90% of music ever but it isn't more, at least for me. Christians might go really crazy for this but I don't. I just really like it. The Smooth Soul returns on 'All in Love Is Fair' which is just a beautiful performance all the way through. I am just stunned by how emotional he sings on this song and it also speaks to me more with the topic. It is just so beautiful and incredibly performed that I am again thinking that this is a perfect song. The emotional and smooth sound is replaced with the Salsa inspired Latin Soul song 'Don't You Worry 'Bout a Thing'. This track just wants to make you dance and groove until you're out of breath. The details with the maraca, the bongos and what else there's on here just gives this a very tropical feeling that adds even more to the dancy and warm song. Absolutely amazing song from start to finish! The album finishes with 'He's Misstra Know-It-All'. A very Pop Soul finale to the album that isn't overly energetic or overly relaxed. It's a beautiful mix of both that makes it a perfect closing track because no matter which sonic paths that the album took you prefer, you will enjoy this song from start to finish. And it again, is a perfect song like most the album is. favourites: Higher Ground, Living for the City, Golden Lady, Too High, Visions, Don't You Worry 'Bout a Thing, He's Misstra Know-It-All, All in Love Is Fair least favourites: Jesus Children of America (still incredible) Rating: decent 10 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Leonard Cohen who is one of the greatest poets to ever walk on this earth who mainly started making music because releasing his text on their own wasn't lucrative came to age. His debut in '67 was released when he was 33 and when this album hit the shelfs a couple months after David Bowie passed away, he was 82. And like with Bowies final album, this also talks a lot about his own death as he also died a few days after this album released. The title track 'You Want It Darker' starts the album off with the best song already. It combines Art Pop, Jewish Music, Gothic Country and many weird and dark references to him and his religion in sometimes a Spoken Word style. The song features organs and very present keyboard bass and it all just feels dark and like he is making his own funerals requiem. It feels like Mozart all over again but instead of writing sheets full of classical music he wrote sheets full of magical and depp poetry. Yeah, the song's perfect and easily one of my all-time favourite Cohen songs. 'Treaty' goes a more Piano Blues way and feels a lot like something you'd hear on a Cohen x Tom Waits x Nick Cave collaboration and as I love all these artists, I love this song. It's very low-key but you can feel how he's not just trying to sing the words, he is adding so much emotional weight into them that the song turns out being very heavy on you. It isn't perfect, sadly, but it is incredible through and through especially the lyrics are just amazing and it mainly comes down to the instrumental side of the song that do harm it a little bit too much to be considered perfect. The Soft Rock guitar on 'On the Level' adds to the Piano Blues but I am really not a fan of how the backing vocals are used here. They don't fit at all. He should've just hummed them himself as this would've added a darker and more emotional twist. This just makes the song feel basic and uninteresing. It turns it just good and not great or incredible. Luckily, 'Leaving the Table' saves it a little by mixing his Folk style with a little bit of Country in a very slow and lonely way that turns the song into a very emotional and hard hitting song and one of the saddest songs on the album. This song literally made me cry which already makes it perfect. It's how he should've made most of the album. Just raw and emotional with a very open talk about Death. The more uplifiting sounding 'If I Didn't Have Your Love' adds a little bit of Soul into the Blues style. It isn't really that interesting when compared to other songs on the album but it's still pretty nice and the chorus is at least one big highlight. I also think that this wasn't the best choice to end the albums first half with as it is a less dark and moody track and it would've worked better at another place. The few flamenco influences on 'Traveling Light' work weirdly well with the dark themes and I am just surprised of how he came up with this idea of adding flamenco guitar into the mix. The slight Blues parts are also pretty nice in combination and the backing vocals work so well. I absolutely love how this song shapes up and plays with the music in it by adding more and more detail. The lyrics are just absolutely on point, like always and Cohen performs them with a wit that I am not used to but see it working so well. That all combines into just another perfect song. The Spoken Word aspect of 'It Seemed the Better Way' adds to the atmosphere that this song was going for. It feels nocturnal and full of mystery with the percussion that feels like out of a soundtrack for a jungle at night. The song is fantastic and just incredible even if I would've wished for a little more detail to be added because the organ and string parts aren't doing just enough for me. The Country influences return on 'Steer Your Way' which features not only a very detailed production and some of Cohens best lyrics but also a beautiful performance from him. It is genuinely a wonderful song in every detail that you could imagine and a real highlight from the album. 'String Reprise / Treaty' ends the album with mainly just strings at the start. They go on in a way that feels like someone's passed away (or is going to hehehe). This feels like it was a melody played on the Titanic as it sunk. After a while it goes back to 'Treaty' from the start with similar lyrics but performed pretty differently on top of the strings. It is the best possible way Cohen could've ended this album and his career. It is a great song even if I would've wished for the strings to go on for a little shorter. favourites: You Want It Darker, Leaving the Table, Steer Your Way, Traveling Light, Treaty least favourites: On the Level, If I Didn't Have Your Love Rating: light 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Stevie Wonder's musical Magnum Opus, a double album that adds an extra 7" EP for a total runtime of over 100 minutes. Yet it still is considered to be one of the greatest and most entertaining Soul albums of all time with many even putting it in their number 1 spot. The album features incredible arrangements, talks about deep philosophical topics as well as modern societal problems and simply beautiful songs that switch from up-lifting and fun to introspective and relaxing without feeling off or repetitive. It is a wonderful album and an absolute staple of Soul music in general. The motivational and smooth Pop Soul opening track 'Love's in Need of Love Today' gets the album started with a lush and passionate groove that features incredible vocals by Stevie Wonder himself but also from the backing vocalists. Even with the 7 minutes of playtime, it flows beautifully within leaving no desires open, it satisfies them all. A beautiful and incredible song to start the album with and without a doubt a perfect song. It builds up with the slightly electronic 'Have a Talk With God' which can be seen as a Proto-Synth Funk and as cool as that name sounds, the song's even cooler. The instruments are a great mix between groovy and slightly silly and the incredible songwriting on top just perfects this song. I absolutely love this song and it's one of my personal favourite songs on the entire album and in Stevies catalogue in general, i just wished he extended this into 6,7 or even 9 minutes. 'Village Ghetto Land' goes a little bit more poetic and mellow with some very classical strings and a few added electronics, I just think the placement of it destroys the way the album build up so far. I was just dancing and this is too hard of a sonic cut for me to genuinely enjoy the song. It's not bad and I support the message of showing the real world that a lot of black folks used to live in with all my heart but I would've enjoyed it much more as a closing track. It's a good song but I cannot stand the way it ruins an incredible run of songs but that's just my opinion. The very Jazzy 'Contusion' is actually an instrumental that combines Jazz with the Funk and Soul elements of Stevies other songs and for not even featuring Stevies vocals this surprisingly works really well. The few background singers add a lot and I think the song turns out incredible. Just a very groovy and beautifully optimistic piece. Stevie returns with the vocals on 'Sir Duke' which most people point to as the albums best song and... yeah I absolutely see why. It's funky, has incredible and very entertaining arrangements and the songwriting is on point. It's just super fun and passionate with everything that it does and it's not hard to call this another perfect song. For me 'I Wish' is even better as it just feels like everything 'Sir Duke' did right but even catchier and a chorus that is just pure Funk greatness. It's such an eclectic song with so many great moments and songwriting that is just so great with all the added deatils in form of a few thrown in words and the bass here is just absolutely stunning. One of my all time favourite Stevie songs and Soul/Funk songs in general. 'Knocks Me Off My Feet' removes most of the Funk and just shows the beauty of Soul music. It's writing is absoutely amazing and the way it builds up the chorus and builds up from there even further is just incredible. The song is an incredible staple of how Stevie can pretty much try every possible way to make Soul music and succeeds in every one of them. Most people will know 'Pastime Paradise' for the cover 'Gangsta's Paradise' by Coolio & L.V. which is just an absolute masterpiece of Hip Hop music and in the same way, this song which was the blueprint is also a masterpiece. Its melody is easily memorable and the vocals are absolutely killing it with how they build the tension towards the chorus and slowly release them again. A masterpiece of music from start to finish (both songs). The great mix of Funk and Soul returns on 'Summer Soft' which has one of the most memorable intros on the entire album. The rest of the song is beautiful as well especially with how it builds up sonically towards the chorus by incorporating more and more Funk elements. The organ near the end also just really adds another layer of greatness. 'Ordinary Pain' closes the albums first half with one of the longer songs at over 6 minutes. The song's first half, while still having obvious Funk influences, is mainly a great Soul song which builds into a beautiful and lush chorus but out of nothing it trancends into pretty much pure Funk with mainly other vocalists shining with the singing. It's a genius way to mix up ideas into two different directions. The first half being more mellow, the second being very energetic and yet they still work perfectly together in one single song. 'Isn't She Lovely' starts the second half with a recording of a crying baby and turns slowly into a very groovy and fun to listen to Pop Soul song which has a total runtime of 6.5 minutes of playtime but it just doesn't feel like that. The song runs past you in the best way possible. Every moment is enjoyable, the chorus is memorable and catchy and the harmonica is a genius addition to the song. The return of the baby and family recordings return towards the end while the song is still playing and as the song fades out, more and more can be heard. It's a beautiful way to start this half of the album with. The slight psychedelic aspects of 'Joy Inside My Tears' adds to the songs atmosphere. It is genuinely a hypnotic piece the way it spirals to the chorus and continues and adds more and more depth into the song both musically and conceptually. It is an absolute masterpiece and I won't write much more because I want to enjoy the rest of this incredible song... The longest song 'Black Man' which comes out to nearly 9 minutes of playtime. It's a great mix of Synth Funk and a little bit of Jazz and a really cool "lecture" gimmick of a class being told about which great things were achieved by a black man or a black woman and also about other achievements other "colours" achieved and it feels super motivational to even me who isn't even black but as white as white gets. It's a song about freedom and how all races are a part of this world and how we should just live in peace together and share the achievements and cultures that wo all created in the thousands of years that we've lived here and I am all for it! Was anyone expecting that Stevie just randomly started to sing Spanish? I wasn't but 'Ngiculela - Es una historia - I Am Singing' is an absolute beast of Latin Soul and even adds some influences of Flamenco which really adds to the song. It's a really good song but I wish he did the whole thing in Spanish because because the second half is significantly more uninteresting. With that I mean that it's still perfect just that I wished that he'd extended the Spanish part. 'If It's Magic' goes very Baroque Pop and even a little bit Chamber Folk and although that style did work really well on 'Visions' on his album Innervisions, this time it's much less interesting. It's not bad, Stevie is still killer with the vocals and the songwriting but I just don't really feel this one to the extend I felt most stuff on the album. The slight Gospel parts on 'As' just make this Jazz-Funk masterpiece even better. It's groovy, catchy, very memorable, has some of the best background vocals on the entire record and doesn't even feel close to the 7 minutes that it's actually long. It is a masterpiece through and through and one of the best songs here in terms of passion, I mean have you heard the vocals that are on here? Incredible, absolutely incredible. The albums second half is closed with 'Another Star' but luckily it isn't the end because Stevie decided to add a 7" EP with 4 more songs which aren't just Bonus Tracks, no they are part of the album which extends this album even further. But back to this song. It's over 8 minutes and combines Latin Soul with Disco and some Samba parts to create a one of a kind mix of sounds that just perfectly work with the warm sound of the album. The background vocals are again absolutely incredible and the groove this song has is outstanding. It's a little bit too "heavy" in terms of the length it hits you with but it's still an absolute masterpiece and would've closed the album perfectly, if Stevie didn't want to add even more stuff! The "A Something's Extra" titled EP starts with 'Saturn' which has the cool addition of a Moog synthesizer which fits in neatly with the Progressive Pop Soul sound this song was going for. It's psychedelic, beautiful and simply incredible. It feels like the Soul version of Space Rock and my god, does this work beautifully. I do think that it isn't perfect, mainly because the second half gets a little bit unappealing when the chorus isn't playing but still, incredible. 'Ebony Eyes' on the other hand adds piano and makes a pretty well made Rhythm & Blues and Soul blend but it feels pretty silly and unfinished compared to the rest of the album. It feels more like they were jamming around a little bit rather than actually recording the song. It's too silly but not in the way where it would add to the song. I also feel like the song goes on for way too long and that all accumulates into easily the albums "worst" song which is still a pretty good song. The Rock influences on 'All Day Sucker' adds a lot to the Synth Funk style of it. It's genuinely an incredible song with a great melody and well made arrangements arround that. The song could've easily been on the "main" album. It's not a perfect song because it would've needed to go a little more adventurous with the songwriting and the vocals but the synth and the guitar do carry this thing very nicely. The full album ends with a nice blend of relaxed Soul and Jazz on 'Easy Goin' Evening (My Mama's Call)' which is a great song and closes the album in a very soothing and finalizing way. The harmonica adds a nice sound similar to 'Isn't She Lovely' but way slower. The song's good but it would've needed a little more too it, it feels to repetitive and the harmonica isn't really doing it all that much after a while. The song is nice and pretty good but after a while it just doesn't interest you as much anymore even if the final moments are really great for closing this beast of an album. favourites: I Wish, As, Have a Talk With God, Joy Inside My Tears, Sir Duke, Ordinary Pain, Love's in Need of Love Today, Knocks Me Off My Feet, Another Star, Black Man, Pastime Paradise, Summer Soft, Isn't She Lovely, Ngiculela - Es una historia - I Am Singing (that's a lot!!!) least favourites: Ebony Eyes, Easy Goin' Evening (My Mama's Call), Village Ghetto Land, If It's Magic Rating: strong 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

A year after the Smiths split up, Morrissey already released his solo debut album which was this one. It is a continuation of the Jangle Pop sound that made the Smiths popular in the first place but already with this project you can feel that without the other band members, the ideas are all over the place and rarely turn into anything close to what the Smiths had created. Still, it was a successful album with many people recognizing it as a pretty good album which I agree. It is a pretty good album with a couple of really great songs but when its held against albums like "The Queen is Dead", this feels rather pale and bland. The albums opening track 'Alsatian Cousin' combines elements of Post-Punk, Noise Pop & Neo-Psychedelia with mainly Indie Rock as the genre that ties it all together. It is much less "jangly" than most of the album but it works quite well. It really ties into the more alternative side of Morrissey which I do sometimes prefer. The song is pretty interesting sonically and the songwritings quite alright but my main problem with the song is that I feel Morrissey tries way to hard to sound Post-Punk and dark and edgy which he obviously isn't. It's a pretty great song but I do feel that some moments feel forced. The song transitions into the next and actually quite short 'Little Man, What Now?' which is way more Pop sounding but for some reason has drums that feel like straight from a marching band which does add a little weird twist to it but that twist doesn't fit. This not only feels forced but it feels off and just not good. The song itself is actually quite nice and cute but these drums absolutely destroy it. It's not a good song but not terrible either. 'Everyday Is Like Sunday' is probably the albums best known song. A great blend of Pop Rock, Chamber Pop and Jangle Pop which has some incredible songwriting with how the song is structured and builds up towards the chorus. It's an incredible song but nothing close to the highest points of the Smiths' career. Mainly the vocal delivery takes away from the enjoyment even if it's just a little bit. He does put in enough emotion for the song to work but he does it in a way that feels arrogant and like he thinks he's the greatest (he probably does) which he just isn't. But still, the highlights it has to offer are just incredible. The most "Smiths" sounding yet is 'Bengali in Platforms' which from the title to the performance feels like something you'd might find in the "The Queen is Dead" sessions. And the song does really feel like it's just a session piece as it doesn't feel finished and like they are still trying to figure out how the song is supposed to sound. It's a good song but with a lot of uninteresting moments and a finished track that doesn't really go too far out of its way. Another short "interlude like" track is 'Angel, Angel, Down We Go Together' which is a pretty sweet mix of Baroque Pop and Chamber Pop but it doesn't really stick with me with anything that it does. It feels like an interlude and not necessarily a good one. It tries way to hard to be epic and full of agitation which it isn't. While talking about epic, 'Late Night, Maudlin Street' tries a similar thing but succeeds way better. It's over seven minutes long and features acoustic guitar, piano, weird "lashing" drums and moves through different sonic stages and builds more and more while keeping it steady for the listener. It's a great and even if the vocals do feel like they want to be way more, the song is incredible. It's sentimental, bittersweet and full of great moments. It isn't a perfect song as there are a couple moments that feel dragged but all in all, pretty great. 'Suedehead' is the other commonly known song this album offers. It also feels a lot like The Smiths but much more like this might actually be on one of their albums mainly because the few Post-Punk influences are incorporated much better than on other songs here and the hook feels similar to how it's made up. Many love the song but I personally don't really find a lot to love about the song. I like it and I think it's good but I don't care for it much. The quite interesting drums to add a little bit of interesting stuff to 'Break Up the Family' but it overall feels dull and just average. It's a basic song with neither a great chorus/hook or great lyrics to make up for that. It feels just basic and like something that has aged just like you'd expect. It's good in the context of its release but from today's eyes it's just boring. ('The Ordinary Boys' was omitted from the album but was a part of the original release) The exact same thing is happening with 'I Don't Mind If You Forget Me' only that there isn't even one thing that stands out, not even the sound of the vocals. It feels dull and like before, just boring and average. 'Dial-a-Cliché' does add more of the lush Chamber Pop sound but the result is as average as the couple tracks before. The songwriting doesn't feature any highs or build-ups and the lyrics are quite middlebrow for Morrissey and the performance of them doesn't help that much. It's a snoozer like most of the last songs. The final song 'Margaret on the Guillotine' is a rise in quality from the last couple songs but it doesn't achieve the highs that some songs had so far. It's a good song and the lyrics are much better and are performed way better but the result feels still a little too average. It's a good song but there is still a lot of room for improvement. favourites: Everyday Is Like Sunday, Late Night, Maudlin Street, Alsatian Cousin least favourites: Little Man, What Now?, I Don't Mind If You Forget Me, Break Up the Family, Dial-a-Cliché Rating: decent to strong 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

James Brown, the legend, the creator of Funk, here in the early 60's, still as a Soul, R&B and Rock n' Roll singer whose fame was at an all time high and decided to release the live show from the Apollo theatre as an album which became his best known and most influential album. David Bowie quoted it as one of his all time albums and many other artists said that it was highly influential to them and their music. The album is full of passionate vocal deliveries and wonderful energetic instrumental performances. The album is an absolute beast in what it does and stands as one of the best albums of that year and the whole early 60's. The 'Introduction and Theme' starts the albums tone with an introduction that hypes up James Brown and his band plays a fanfare to bridge the way into the first song. It is just an interlude but it does its job very well and really hypes the whole thing up with an energetic and groovy melody. Especially the end is just incredible. 'I'll Go Crazy' really starts the whole thing with James showing how great he can sing and it's then followed by an energetic and very dancable song in typical Soul and R&B style that really suits James Brown's incredible performance. The song is just simply incredible although I wish that it'd go on for a little longer. The Doo-Wop example that 'Try Me' really gets a more sentimental tone into the album and Brown still delivers with his vocals as does the brass band and the backing vocals. It's a joyful but slower song nearly feeling like a Waltz. It's beautiful and an incredible song followed up by a short instrumental bridge towards the end. The fast rhythm section that feels very Jazzy which is featured on 'Think' really carries the song which feels much more reliant on the instruments than on the vocals. The result isn't as great as a couple of previous songs but it's still really good, great even. And again, an instrumental bridge in the end. 'I Don't Mind' is pretty much a mix of the styles heard so far. It's a little slower but has incredible vocals in a very Soul sounding style but also a couple of melodic and dynamic changes throughout. It's another pretty awesome song but it again feels a little less like it can hold up to the standard that has been set so far. Really good song but sadly with not enough strength that would really make me love it. And another short bridge towards the end that flows into the next song. The song 'Lost Someone' was actually split into two parts on the original vinyl release because it is a staggering 10 minutes long which is even crazier when the longest song so far 2.5 minutes long. Although this seems like it'd go totally wrong with the length of it, the song actually keeps very steady throughout and doesn't really go down in quality or keeping the listener interested. The vocals are great, the melody is great and it builds tension. It does feel a little bit over the top and even a little dragged around halfway through but it picks up again after a while. The song transitions into another quite lengthy track. The 'Medley' which consists of 9 different song that were put together into one 7 minute masterpiece of Soul, R&B, Jazz and even a little early form Funk. Because it plays with so many different songs and melodies in one, the song is interesting and amazing the whole way through. I absolutely love it and all the little changes and songs throughout. Every hook, every chorus is just simply perfect. All that means that the whole song is perfect. The album closes with the thematically fitting 'Night Train' which is easily the most Rock n' Roll sounding song on the album. It's still very much R&B and Soul but the guitar playing and the drums are very reminiscent of early Rock n' Roll. The song keeps it steady, neither really crazy nor with a slower tone and just finishes the album perfectly even if the song itself might've needed a little improvements around the edges to make it more interesting throughout. favourites: Medley, I'll Go Crazy, Try Me, Think, Lost Someone least favourites: I Don't Mind Rating: decent to strong 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Steely Dan have proven that they never really put out a "bad" album. The perfectionist quality that they wanted was apparrent from the very start, this debut album. It features Jazz and Latin inspired Yacht Rock with chill but interesting arrangements that pull from many influences and ideas to put together an album that within the Steely Dan fanbase is seen as one of their best outputs ever. And while I do like it a lot, they made better projects, especially "Aja" which is one of my all-time favourite albums. The album opens with the classic song 'Do It Again', a classic jazzy Yacht-Rock song with slight influences from Latin Music and Indian Ragas in the bridge which does add an exotic and relaxed feeling to the nearly 6 minute long song which happens to be albums lengthiest piece. It's groovy and the chorus is very memorable as are the verses. The songwriting is absolutely amazing and the song flows from the sitar inspired guitar into the next verses with piano at centre with ease. It is an incredible song but I do think that they streched it a little too long. Don't get me wrong, they did an amazing job making the pretty long bridge interesting and I wasn't turned away a single second but did the song NEED it? I think not. But still, the song is executed masterful and with incredible precission that the song just turns out incredible, even perfect to be honest. David Palmer does the vocals on 'Dirty Work' (and a couple of songs later on) which is a much softer and folkier song by the addition of more present acoustic guitar. The voice itself doesn't really fit in the verses but that's just my personal preference. The chorus though... Wow, it's just so amazing. Absolutely catchy and incredibly memorable. You can't help but sing along to it and it makes you forget that the vocals felt off with the verses and you end the song with the feeling that it's just another perfect song that you just heard. 'Kings' tries to be more Pop and a little progressive with the used styles and how the lyrics are constructed but the result just doesn't work particularly well. The song turns out average without much of a hook that actually hooks you to the song. It feels average and like it just flies past you with pretty much everything that it does. Yes, the song is musically dense and plays with many ideas and styles as well as the use of many different instruments but the result feels not that interesting. I'd say it's a good song but just "okay good" and not "great good". The hook on 'Midnite Cruiser' is much better and it at least hooks you this time but it doesn't do it very well. The song still feels pretty uninspired and plain without many things that it adds to the album or the music of its time. Again, the music itself is complex and dense but the performance of it, the result the listener gets to hear, is rather washed out and just boring. It isn't so boring that you fall asleep or that it hurts your ears but it's not more than an okay listen. Luckily, 'Only a Fool Would Say That' returns to the Latin influences from the start and with it one of the best song the album has to offer. It is groovy, warm and the hook is just executed to perfection. It is a return to the chill but beautiful and energetic sound that made the first songs so great. This song isn't as perfect, mainly because the instrumental bridges would've needed a little more work but it's still absolutely incredible. The albums second side has 'Reelin' in the Years' to start it with a bluesy and progressive Pop song that works so well here. The verses are a little goofy with how fast he's singing them and all I think is: Dude... you do not need to fit 100 words into one bar, this is Steely Dan and not Eminem. But when the chorus starts with the absolute beast that it is, I am once again thrown away. The bridge is a little too long but other than that, the song is pretty much perfect. It feels silly but in a really good way. 'Fire in the Hole' reminds of some late 60's band but I cannot pin down which one it was... Maybe Fairport Convention but I am not sure. Anyway, the song has some really interesting and slightly Avant-Garde piano as the main driver and a really great and playfuk chorus but sadly the song as a whole isn't as interesting as the chorus is. It's got some pretty nice moments which is why I do think that's it's a really solid and good song but sadly not much more. The slight Country influences on 'Brooklyn (Owes the Charmer Under Me)' might be not a bad idea but Palmer is once again the lead vocalist which ruins it this time. The chorus is weak and just not interesting at all and the song as a whole isn't much better. It's just a boring song and the Country guitar does not save it from being a snoozer. In contrast, 'Change of the Guard' pretty much removes all other influences and gives us pure Steely Dan Pop and Yacht Rock but sadly, it isn't much more interesting because of that. The vocals in the pre-chorus are really well made but the song isn't really that interesting. It's okay, I don't mind it, it doesn't make wanna skip it or fall asleep but I wouldn't put it on out of own choice. The album closes with 'Turn That Heartbeat Over Again' which again, tries to be a little more Progressive Pop but this time, it works better. Not necessarily great but the result is alright. It's a nice closing track and it does have a nice melody but there are too many breaks and "play-arounds" which sometimes just destroys the flow of the song. But other than that, It's alright. favourites: Dirty Work, Do It Again, Reelin' in the Years, Only a Fool Would Say That least favourites: Brooklyn, Turn That Heartbeat Over Again, Kings, Midnite Cruiser Rating: strong 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Peter Frampton somehow became successful and made the back then best selling live album. All the singles charted in the US Τοp 15 and the album was voted album of the year on multiple occasions after 1976. It was a well rounded success for him and transported him into stardom. Problem was, he just wasn't that good. He's a solid guitar player, solid songwriter, okay singer... He's slightly above average but that's it. This album was just a one-time lucky strike and he had luck that it was recorded. If this was made in a studio setting, it would not have worked. Back to the album, it's mainly Pop Rock with a couple of Hard Rock, AOR and Soft Rock touches to round out the sound. It sounds commercial but not necessarily bad with a lot of nice details and sonic additions that are not really expected with this type of release. The first song 'Something's Happening' mixes elements of Hard Rock, namely the guitar riffs with elements of Soft Rock into a melodic song that starts the show with a pretty memorable piece. It's mainly the mixing here that kind of removes from the enjoyment. The vocals aren't loud enough and the drums are just quiet. It would've sounded much better and cleaner if it was studio quality and the live aspect takes away from it which not every live recording does... but this does it. It's still a pretty good song with some very enjoyable moments, especially the chorus and the way it builds up to that. The second song 'Doobie Wah' on the other hand is just kind of boring. It tries to be a little silly and fun but it's performed way to seriously and the result feels off and without moments that really stick. It's a Power Pop & Soft Rock mix but done in a way where I feel just not interested with what is done here. It's a snoozer and Frampton's vocals aren't helping much. The mixing is a little bit better, mainly the drums feel louder but now the guitar feels not loud enough... 'Show Me the Way' is one of these more popular songs that the album had to offer after its release mainly as it's got a really "intruding" Pop attitude that must've really resonated with the times back then. From todays point of view it feels corny and overdone. The song tries to be a hit and I do not like it when a song tries to do that when it obviously cannot reach that. If it's done like MJ on 'Beat It', yeah, that works, but here? No... It's not inherently bad but it's nothing more than an okay track. On 'It's a Plain Shame' the type of memorable chorus that the first track offered returns and the song is actually quite good. Yes, the mixing feels off again and the guitar solo as well as the bridge aren't really interesting but the verses and especially the chorus are quite interesting and even groovy. I like the song but it doesn't go far enough out of its way for me to think that it might be anything close to great, it just isn't. The acoustic 'All I Wanna Be (Is by Your Side)' returns to the boring songs as it tries way to much to be introspective and full of great lyricism which it just isn't. He is a Rock artist and should try to stay in that lane as songs like this are just not it. The feel off, boring and just fill the album with unnecessary. The exact same thing happened with 'Wind of Change' which is just another acoustic track and while the song before at least had somewhat of a nice chorus, this is just boring throughout without anything that really makes this worth to listen to. The "gun" sound effect (idk what it is) does add a spark of hope for the second it appears but that's about it and I am pretty sure that this was an accident. Luckily, 'Baby, I Love Your Way' picks it up again with a song that sprawls with amazing songwriting, chorus, verses and even the bridges and instrumental parts are made interesting with the addition of an organ. It's an amazing song throughout and while it isn't perfect, this is one of the few tracks where the live setting actually adds to the enjoyment of the song. It's a great song and one of the albums best moments. The quite lengthy 'I Wanna Go to the Sun' is with the 7 minutes only the fourth longest song on the album but it is the longest in this first half of the album. It also closes this first half and it does it pretty well. It's got a lot of Blues influence and has some quite interesting moments but it fails to build on them and extend what made the song good at first. It slowly becomes more and more boring and in the end it's simply a snoozer, again. Side 2 starts with the folky and short 'Penny for Your Thoughts' which is another acoustic piece and this time it's even completely instrumental. I have no clue why the crowd was going so wild, this sounds, feels and maybe even is basic without anything to it that would need the crowd to celebrate like this. It's just a pretty boring interlude. '(I'll Give You) Money' is quite the contrast with some really heavy riffs throughout that feel completely different to pretty much everything the album had so far. It's also suprisingly good. The chorus is weak but the structure and the songwriting is quite good. The vocals are a little... too dynamic but other than that, it is pretty good and quite enjoyable. The following 'Shine On' keeps the hard rocking riffs but turns out to be way flatter and uninspired. It feels basic and boring and not even the chorus can make up for the way he delivered with the verses. The only thing that I enjoyed was how he used the guitar in the very short bridge. That was one little bit of hope but it fell right back into the dull and average song that it is. Oh god, he absolutely butchered 'Jumpin' Jack Flash'. Nothing that made the original good is kept and it's just dreadfully boring. And when you compare the original side by side, it feels like comparing gold to mud. I am absolutely disgusted by this version. Go on, cover as many songs as you want, but at least do them good. No need to be better, but it shouldn't be a drag through the dirt. The vocals are performed so weak compared to the original, he's just trying to burst out the words as strongly as possible without any emotion behind it. This is not singing. And there is no need for this to be nearly 8 minutes... 3 would've been enough. It does get a little better towards the end, especially the guitar solo is really good but it's not enough to make up for the terrible start. The song's bad but not completely ear ruining. Following one long song comes the next one right along: 'Lines on My Face' is pretty much the same length and while it isn't as bad as its predecessor, it's still not good. A couple of moments in the intro do give hope but the song tries way to hard to be "Jazz" here while clearly not being it just feels so off. It's a quite slow moving song that slowly builds up with more and more and actually sounds really good for a moment but as it continues for another 4 minutes, it spirals into dreadful boringness. The album closes with a song that features a length that puts all the other songs in a shadow. 'Do You Feel Like We Do' is 14 minutes long and moves through different parts and probably has the most experimentation the album offers. The usage of a talk box is pretty interesting and even a little "forward thinking" as it was mainly used in Soul and Funk and not much in Rock at least at that time. The song is overall pretty groovy and uses the time that it has pretty well and while there are some moments that feel a little streched, most of the song is pretty enjoyable and actually a pretty good song. favourites: Baby, I Love Your Way, Something's Happening, Do You Feel Like We Do, (I'll Give You) Money least favourites: Jumpin' Jack Flash, Doobie Wah, Wind of Change Rating: strong 5 to light 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Indietronica was something really unique. Bands did the craziest things heard at that point while not being bound to a record deal. Artists like Sweet Trip created one of the earliest and craziest examples of this but Hot Chip pushed it into a whole other path, if not necessarily a forward thinking one. They made it much more Pop and much more Dance with the main goal being to have something made by them, while having a popular and fun sound that many would like. And it seems as though this worked as this album right here is really energetic and playful with pretty much every song it offers. The problem is that it's really inspired by 80's and 90's Dance which sadly isn't combined with new ideas. It was released the same year as Death Grips' "The Money Store" and this sounds like it's still stuck in the last 30 years! "In Our Heads" opens with 'Motion Sickness', a fast and Rave-like song that, while it does take a while to really get started, introduces a lot of the albums sound in a truely epic way that builds up more and more until a nice laid-back synthy melody enters and shortly after the lyrics come as well. The song really sounds like you are in some capsule and spin around until you suffer from motion sickness. It's a beautiful intro to the album and while I do have some negative aspects to point out, like the length which is too long and the intro that takes also way too long. The bridge and the outro is also not that great but the verses do really make up for that. I think it's a really good song with some really awesome momentsand a very memorable chorus. 'How Do You Do?' does get to the point faster but these vocals are... not good. They feel off and just not fitting and destroy the song for me. The chorus is pretty good and the overall vibe is kept much better but it sadly isn't as good. The song as a whole is quite okay but I have heard much better from other Electro-Dance artists. It also doesn't quite sound like 2010's. If this was 80's, super forward thinking but at that point, the 80's were 30 years ago. The slight Latin influences on 'Don't Deny Your Heart' do add a little extra to the album but like the song before, it fails to really make something outstanding. It still is a nice track and I probably prefer it over its predecessor but I still do not care much about it or what it does. It flows past me for most of it. The verses are quite alright and the synth guitar part is pretty special but other than that, just an alright song. The R&B and Soul attitude of 'Look at Where We Are' is something quite different and actually much more forward thinking. It's pretty much Proto-"Blonde" although it isn't as great or groundbreaking as this album. The bridge is absolutely shit but the rest is really enjoyable and has a lot of nice detail worked into the song. It's a good song with a lot of potential that they sadly didn't expand on and also "oh oh oh" bridge/outro that completely ruins it for me at the end. It's still alright. A return to the more Rave sounding style, now more in the 2-step and House style. 'These Chains' is something much more contemporary but it still isn't crazy at any point. It just lowballs itself and doesn't what would make it better. The have the potential but it is not used at any point and it turns the songs bland and boring. This is just average Indie Electronica with nothing to it. The more House inspired style is kept with 'Night & Day' and this time it goes much faster and more direct with it. It's still pretty much behind its time with songs like this emerging in the late 80's but it's still a pretty okay song, maybe even good. It does have its style and it goes all out with it. It's loud and repetetive but in a way where it's good. It's legit a really enjoyable song with a couple of really good moments. The albums second half is started with the laid back 'Flutes' which tries to go repetetive like the song before but it fails to make it interesting. It's annyoing and bland and simply something that I could do better in a couple of hours. It's legit a bad song. The songwriting doesn't work, the beat is boring and it combines it all into 7 minutes of dread that repeat over and over. This might be the favourite of many but I dislike it. It does get a little better in the second half but it's not enough for me to give this anything over a "slightly bad - blow average". 'Now There Is Nothing' goes a little psychedelic and tries something a little bolder with the echoy effects in the instrumental but the thing as a whole is still pretty uneventful and samey. I do not care for it or what it does. It's just basic, average, whatever you wanna call it. The synthy vocal parts in the instrumental of 'Ends of the Earth' is pretty interesting and it's really enjoyable at first but it takes way too long to get started and there was absolutely no need to strech this too 5 minutes. It might not be a bad song but it achieves its goal very fast but then drags on for another and another and another minute. It's tiring and turns the song stale really quickly. It is more interesting than others before but it isn't a big step up. 'Let Me Be Him' is another pretty lenthy one with nearly 8 minutes of playtime and also the slight House influences but this time it's done more laid back and slower. The result isn't bad at all. It's actually quite enjoyable but it again grows a little stale after a while. It just repeats itself over and over without adding much new and interesting stuff to it. It's a pretty good song at the start but I wish they tried more especially the soundscapes had some nice ideas worked into the track that had a lot of potential that later on just becomes boring and a little annoying which is why I go out of the song with a mixed feeling of "eh" and "ok" which results in a pretty average score from me. The album closes with 'Always Been Your Love', a song that pretty much is a the sonic essence of the album. It combines a lot of what made the albums sounds but this time... well, it does them even more boring and actually a little bit annoying. Not only do I not care for what the song does musically but the vocals and the songwriting are just not good. This song feels like a session leftover that was just thrown on to strech the album. It's not a terrible song but it's not a pretty good one. favourites: Motion Sickness, Night & Day, Ends of the Earth least favourites: Always Been Your Love, Flutes, How Do You Do? Rating: strong 5 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

From what others have said about this album, it seems as though this is mainly about pedophilia or at least the tendencies of that in some or another way. As I do not speak or understand French to a degree that I can judge the actual meaning of these texts and I cannot know if this is actually the artists view or some sort of Lolita type story, I decided that I will not be pro- or anti- towards what is said and its meaning. I believe in seperating art and artist as long as the artist doesn't put these beliefs into the art. If this happens to be the actual beliefs and tendencies of Serge Gainsbourg, I am totally against it and will not acknowledge it as good art. If it happened to be the second option, a Lolita similar story that does not share the authors views, I think it is good art as so many people are still unsure what it is. Alright, now to the album itself: It's some pretty interesting French Pop with a lot of Spoken Word aspects as well as Funk, Blues and Psychedelic Rock influences all throughout. It seems to tell a story but as I said, I do not understand it. It's generally very diverse in its styles and experimentation and it sounds really different from a lot of other works of that time and I am sure that back then this was absolutely groundbreaking. The first track 'Melody' gets things started with a Progressive and Blues Rock sounding song on which the Spoken Word French Pop is added. It's absolutely one of a kind sound and the drums and the guitar mainly drive the songs first half until some symphonic strings are added after around 3 minutes. From there, the song spirals deeper and deeper into the symphonic and epic sound while keeping the obvious dark tones and rhytmic background works to keep the song moving. It's a pretty good song but as I don't really speal French and this is very much designed for the text to be understood, I am in a little disadvantage. The song has some really nice moments but it doesn't get musically interesting enough for me to really enjoy the song. 'Ballade de Melody Nelson' brings in some actually sung vocals although they are still very soft and quiet and sometimes nearly spoken. The song itself is a quite interesting Baroque Pop piece and I wish that it would go on for a little longer especially because the female vocals are really amazing and add much more the the song than on the first track. But except from it being a little short, it's still a really good song. The short Waltz of 'Valse de Melody' goes again pretty symphonic with its style but this time it's way to short to actually build up or have any moments that would make this interesting. It starts and ends right away without much in between. It's forgettable and basic. 'Ah ! Melody' is again, way to short to really stick as a song but at least the songwriting and the "chorus" stick out much more and it does leave at least a little impression for the time being. The albums second half already arrived with 'L'hôtel particulier' starting it. It's pretty similar to the first song in the way how the instruments are used and although I like it and the sometimes actually sung vocals are quite nice as an addition, the song just cannot grip my attention enough. It sounds way to much like the things that the album had so far just combined together. It doesn't feel exciting or new at all. The few Jazz and Funk elements of 'En Melody' are really interesting. They feel off but in a good way, it's just that I am not really a fan of the guitar here. It doesn't really fit where the album has gone now sonically and the vocals and Spoken Word parts are really weird and with the albums context really disturbing. No thank you, I'll pass. The album closes with 'Cargo culte', another pretty Rock sounding song and again with the hefty length of over 7 minutes. It again, focuses a lot on the Spoken Word story that I again, do not understand. But the song does pick up towards the end with a pretty nice choral combined with the Rock instrumental which is a really unusual but well working mix. The song overall just builds tension and does that much more than the first track. I do think that the first song does its job a little better but this is still pretty good. favourites: Ballade de Melody Nelson, Melody, Cargo culte least favourites: En Melody, L'hôtel particulier, Valse de Melody Rating: decent 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Miles Davis invented Cool Jazz, a Jazz genre that tried to be relaxed and "cool" and the way he did it, it was really cool. This album here is a compilation of many songs recorded between 1949 and 1959 and released back then on singles or EPs. But it still was an important release, 7 years later as this not only gave a whole other light on Miles Davis and his artistry but also on Cool Jazz at its rise to stardom. The songs are a mix of Cool Jazz improvs with Bebop as the pillar for these songs. And while it isn't his best album, many still see it as a classic Jazz record to this very day. The album is opened with 'Move' which isn't much Cool Jazz at all but mainly just a really groovy Bebop tune that really goes out with the energetic mood while still being nice, warm and full of mellow tones. It's a lovely first song with many great moments and improvisations and although I much prefer longer Jazz recordings, these short tunes here are still really good. This is an absolutely incredible track right off the bat. To me, 'Jeru' starts off by sounding a lot like a christmas song but I don't know why I think that. It's a pretty nice Cool Jazz song that does tune down the very energetic performance of the first track and adds a nice Hard Bop groove to it instead. It's a beautiful track and while it isn't as good as 'Move', it still has some great improvs throughout which makes it a great song in my book. 'Moon Dreams' sounds pretty similar to something you'd might hear Mingus do somewhere in "The Black Saint a.t.S.L.". Mainly because both are very influenced by the Third Stream genre which combines Jazz and elements of Classical music. And this Cool Jazz approach to it is something really relaxing and moving. Miles Davis really puts all of his soul into this song and while a couple parts do feel a little off, others really take the spotlight. It's a great song through and through. The groovy Bebop returns with 'Venus de Milo' and this time it's mixed with Miles very well performed Cool Jazz improvs. It's a lovely track and actually one of the most consistent and best working moments on the entire record. It's not perfect but really close with the only thing holding it back being a couple of other improvs from other players that aren't quite on the same level. 'Budo' is just plain Bebop and one of the three songs composed by Miles himself. This was still pretty early in his career so he obviously didn't compose one of his greatest pieces but it's still pretty solid. It is one of the weaker tracks on the album but it's still far from bad. It mainly feels unfocused and out of touch with itself and like it moves around aimlessly. But that doesn't mean that it doesn't have some really nice moments on it. The albums first half is closed with 'Deception' which is another mix of different genres but this time it doesn't really work. It is again composed by Miles himself and again, it moves around without going anywhere. This time it's actually quite "annoying" because it builds up to nothing, it is unstructured and not the "Avant-Garde" good way. It's just not that great overall. It's good but much closer to being average than great. 'Godchild' opens the albums second side and while some moments like the start do also feel pretty unstructured, it does find itself after a couple of movements and turns actually pretty solid and consistent after that. It's got some really nice moments throughout and I really like the way some parts are performed. It's an absolutely incredible track. The last song composed by Miles is 'Boplicity' which in comparison feels weak and basic. It is structured much better and it goes somewhere at least but the performances are really weak and standard. It's not bad but I think that it's not much more than a good piece with a couple of really well made moments namely the Miles solo halfway through. The more up-beat performance of 'Rocker' isn't really Rocker because it's Jazz but it's still nice to listen to. It's structured really well but some performances lack the interesting parts that would make them stick out. It's pretty standard and basic but it doesn't feel like you could pull out much more, so it's okay. A couple of Big Band influences are present on 'Israel' which again isn't that special. It has some nice moments and some good performances but as a whole it feels a little bit dull and unfinished and more like a quick session than a finished work. 'Rouge' finishes the album with another high quality song that really works within the album especially as it is the closing track. It's nice that he ended the album with a great song like this, full of beautiful moments and performances. An incredible song to finish a diverse but well made compilation with. favourites: Move, Rouge, Godchild, Venus de Milo, Moon Dreams least favourites: Deception, Rocker, Israel Rating: strong 7 to light 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The New York Dolls basically invented Glam Punk with this album and that when Punk wasn't even a thing. This is the essence of combining the established Glam Rock with the slowly emerging movement that would later be called Proto-Punk. This album is raw, energetic, noisy and full of rebellious anthems that pathed the way for a new genre of music, influential to many, many bands. The album starts with 'Personality Crisis', a Rock n' Roll inspired and really manic intro to the song that is pretty much Punk Rock in its earliest true form. Musically, it's not really difficult and it's basic but the emotion and energy that is put in here is just amazing. The song is loud and the vocals sometimes escalate into something manic, unmatched on many other Punk records. It's such a fun song to listen to and undoubtably an incredible song, maybe even perfect if you're really into this. The slight inclusions of Hard Rock combined with the theatrical performance on 'Looking for a Kiss' is something really unique and definitely another song that's just pure fun to listen to. My main criticism is that the second half of the song feels a little to repetitive and it gets stale pretty quick. It's definitely not a bad track but I am not won over completely and I don't think it's much more than a pretty good song. 'Vietnamese Baby' has some really great songwriting. It builds up to the hook in such a nice way that the tension builds so well and once it does release it's really satisfying. The parts where the moog synth and the drums play together is just incredible as welland the song as a whole is just some really well made Glam Punk. The Punk stlye is pretty much thrown away on 'Lonely Planet Boy' which brings in some Folk and Acoustic into the still very Glam Rock sound. The vocals are sometimes a little goofy but the song doesn't really suffer from that, maybe because the song as a whole isn't really that interesting. It's not bad and there are some really nice moments but it doesn't fit, is a little too long and just isn't made all that great. It's an okay song but nothing more. The quite lengthy 'Frankenstein' brings in some Horrorpunk aesthetics with the story that really tries to give off a similar vibe to what a horror movie might have and I think it does work really well at some points. It's an incredible track and even with the length that it has, it still is really enjoyable all the way throughout without getting boring a single time. The albums second side is opened with 'Trash', another simply amazing song that feels very much like the Punk version of the Rolling Stones. The vocal delivery is at points very similar to that of Mick Jagger and I absolutely love it with this style of music. The song is so fun to listen to and just absolutely perfect throughout. It is without a doubt my favourite song on the album. Such a great performance from literally everyone involved with this track. The Blues Rock additions on 'Bad Girl' together with the loud and noisy guitars are really well integrated with the raw sound that this song just pushes even further. It's an absolutely crazy song with some really outstanding moments that make this another incredible song on the album even if the end gets a little unfocused and less manic in the delivery. 'Subway Train' tunes things a little back and even if the hook gets a little more energetic, it feels just off. The song feels unfinished and not like it ended up how the imagined it. The song turns out bland, uninspired and not really interesting at all. It just plays and sometimes feels like it doesn't work at all and goes right back to just playing. And the longer it goes, the more annoying it gets until the song end with me just feeling like this is just not a good song. The harmonica Blues at the start of 'Pills' gave me some hope that wasn't really fulfilled. The melody and the songwriting is nice and I can't help but groove along but it gets stale very quickly until I am no longer interested in what it does. It's an okay song, still, but I can't give it much more than that. Very similar story with 'Private World', the start and some of the ideas throughout are really interesting but the way they are used and get drowned out by some of the other instruments just destroys the reason the are there in the first place. The result feels off and gets annoying very quickly. The percussion especially is mixed way too loud and just makes my ears bleed (figuratively). It's straight up bad with only the hook and the energy saving it from being straight up terrible. The album ends with 'Jet Boy' which does pick things up again or rather isn't completely terrible. But really, the song isn't bad at all, it has some really enjoyable moments and the guitarwork as well as some of the screechy vocals are really amazing. It's mainly the way the song is put together and performed throughout that makes this a good song but far from great. favourites: Trash, Frankenstein, Personality Crisis least favourites: Private World, Subway Train Rating: light to decent 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The French Pop duo AIR kickstarted their career with an album that neatly combines elements of Ambient Pop with spacey soundscapes and a relaxed and atmospheric feeling that fills every spot of the album. While it isn't anything boundary pushing or crazy experimental for its time, it's a nice combination of what other and older albums (like Mother Earth's Plantasia) tried to do. The album starts with its longest and pretty much best song 'La femme d'argent' which comes around with over 7 minutes of Space Age Pop, Downtempo and Neo-Psychedelia combined together with a little bit of Lounge and Nu Jazz similarities sprinkled throughout. It starts off with some rain sounds that stay for a while but get overshadowed by the bongo-like drums and that different other instruments including spacey Moog synths and an organ which create a hypnotic listen full of magical moments that keep it interesting the whole way through. It's a lovely song but not incredible enough to make feel stunned with what they did. It's not perfect by any means but definitely a great track that makes you really feel like you're on a Moon Safari even if I wished they pushed themselves and the sound further. 'Sexy Boy' plays with a much more electronic sound throughout. It feels very much like an early Daft Punk song with some slightly distorted vocals added on top. It's definitely not a bad song but they fail to use the repetition to their advantege. The detail work is done well with some nice moments throughout especially with the vocals but the structure is just a little stale and boring. The song's overall pretty good but not anything crazy at all. The first of two songs to feature additional vocals from Beth Hirsch who is technically a skilled vocalist but I am really not a fan of her style and how she uses her voice. It feels overdone and odd. The song itself is sadly very much based around these vocals and therefore can't really do much on its own although the final minute has some okay qualities. But as a whole, the song is okay with the vocals ruining a lot of it. It simply feels too average to be properly enjoyed. The slight Synth Funk additions on 'Kelly Watch the Stars' sadly don't work with the Ambient sound that it features in the background. The vocals are again not really good and fit just okay. The song overall just doesn't fit together in itself and simply doesn't work with anything that it tries. The technical and sometimes detailed additions around it do enhance it overall but not enough to still be a below average track. Luckily, 'Talisman' does its thing much better. There is a clear ambition of having some relaxed soundscapes but some tension added and the result works. It feels a lot like something you'd maybe hear in a spy movie with all the atmosphere that is dark and with enough tension to fuel it all while still having a Downtempo and relaxed song by itself. It's done really well and might be one of the better tracks the album has to offer even if it does feel a little repetetive towards the end. Even with the short length that 'Remember' has, it offers some nice blends of the strong electronic sound with some Soul elements in the vocals which are again distorted and some trippy soundscapes around it. It's a pretty nice song and it does have a place on the album even if I think that some of the vocal parts are a little annoying. The other song with Beth Hirsch, 'You Make It Easy', actually features some more obvious Jazz elements with a very Bossa Nova style combined with Trip Hop, Soul and Ambient elements. It's much better than the first song with her and actually a pretty nice song overall. Some of the synth and moog elements are a little annoying and the mixing isn't the best on the album (way to many drums on the left side at one point) but the songwriting is pretty good and the song overall is an alright track with some nice moments. 'Ce matin-là' is without a doubt the most relaxed song here. It's another entirely instrumental but this time it's much less spacey and full of hypnotic soundscapes. No, this is just some really nice and Jazzy Lounge music that's simply very light on the ears with few moments that really go out of it's way. It does feel a lot like an interlude of some sorts but bad at all. It's a pretty good song that's fairly enjoyable for what it is. Another relaxed one is 'New Star in the Sky (Chanson pour Solal)' which does have some more vocals (again, not the most interesting or good) and some nice synth additions but it does feel very boring and bland even with the few Field Recording additions of kids playing in the background. It's got only very few moments that are actually interesting and do that what it obviously tries. Most of it is either boring or annoying which makes the song as a whole end up pretty much as a very boring attempt and nothing more. The album finishes with 'Le voyage de Pénélope' which isn't too much of an upgrade compared to the previous song. It does close of the album and pretty much completes the album sonically with some more Nu-Jazz and Neo-Psychedelia on the established Downtempo electronica and it does have obvious attempts of closing the album like a real finale but for me it returns as a pretty good instead of really grand song but it's a nice ending with some really nice moments throughout. It is one of the better songs on the album. favourites: La femme d'argent, Le voyage de Pénélope, least favourites: New Star in the Sky (Chanson pour Solal), All I Need, Kelly Watch the Stars Rating: decent 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The debut album of the legendary Garage Rock and Indie Rock band The Strokes which since its release has become an classic in many peoples eyes does feature a sound that isn't really found anywhere else and it's without a doubt a special one. I am personally just not a big fan of the Strokes in general. They aren't bad but I feel that many people rate them much higher than what they would actually deserve. Again, they aren't bad but to me their music sound average and often uninspired and bland. The album opens on its title track. 'Is This It' stands out with a more Slacker Rock approach with the lofi sound and the raw guitar sounds as well as some interesting additions in the more detailed production. It's less "basic" than most of the album and therefore introduces the album in a whole other way than you'd expect. I do like the song a lot in term of structure but right of the bat, I don't like the vocals very much, the feel ripped off of other artists but I will talk about that later when it's even more obvious. The song is okay, it's enjoyable to an extend but doesn't go too much out of its way for itself. 'The Modern Age' now introduces the sound that most of the album is known for. It's energetic, raw and very much alternative rock at its finest, at least sonically. The execution and delivery is really not that great and the songwriting is simply too basic for this style of music. It's just a bland and boring amalgamation of some raw and slightly noisy ideas and sounds that don't really do anything. I'm just repeating myself but 'Soma' is another basic and boring song that has pretty much no redeeming quality. It sounds all the same and doesn't go anywhere with the way it builds up. The highlight, no worthy tension build up, no emotional lyrics and no interesting moments. I do think that it's slightly better than its predecessor but not by much. I do think that 'Barely Legal' is a slight step-up in terms of songwriting, the chorus is much better and works for once but the whole song around it is again not that interesting. But the for once pretty well performed hook is enough to make the song at least okay and slightly above average. 'Someday' is actually a pretty good song with more melodic approach and the Jangle Pop inspired sound at a couple moments. But I also want to mention what I meant with "ripped off" vocals. It's very obvious on this track that the style in which he sings is just Iggy Pop all over again and the sound of the music itself is also very much ripped off of the Stooges, Iggy's band. There isn't anything original about it, they just copied the bands they liked when they were younger without making "own" music or adding anything new to the music cannon. The only thing they really did was add some Indie to this sound but that's it. That said, this song is quite okay but again, nothing crazy. The albums second half starts with 'Alone, Together' which is another Iggy Pop rip off. But this time it works even less. The song isn't bad but it definitely isn't good by any means. It's basic and bland with the only redeeming quality being the vocals in the chorus and a few moments in the build up towards that chorus. It just ends up being a very basic song overall. 'Last Nite' doesn't just feel like a sonic copy but it feels like an actual Stooges cover song which definitely isn't an easy task I do think that this makes it the albums best song (meaning that it's good but not great) because making a song that feels so much like a cover without being one isn't an easy task. Funnily enough, 'Hard to Explain' breaks the chain of the pure Garage Rock with some synthy New Wave additions into the sound. It's not really a great addition but it's okay, it doesn't make the song worse mainly because the song itself is another straight up boring song that just makes you feel very tired after only a few moments. It's not "bad" but it's way to basic and bland to be anything above average, in fact, this might be slightly below it. The first song that I'd actually call "bad" is 'New York City Cops'. It tries to be a little silly and Punk but it ends up being just annoying the moment it starts. It's far from terrible, mainly because the pre-chorus is quite nice but the actual chorus just absolutely f-s it up. The song's bad, that's it. 'Trying Your Luck' isn't much better, in fact, it's just as bad. It's annoying, bland, uninspired and has nothing that would give it any redeeming quality. It feels streched for half of the playtime and the song is just a little over 3 minutes long. It sounds bad and it is. The album closes with 'Take It or Leave It' which is a step-up from the previous songs but still isn't really my thing. It's not catchy at all and feels way too basic for the amount of energy they put into this. They just cannot perform or deliver these songs good enough for me to enjoy them. This song is just average at the core but at least they didn't f- it up completely this time, only a little bit. favourites: Last Nite, Someday least favourites: New York City Cops, Trying Your Luck, Hard to Explain Rating: decent 5 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Neil Young's first album with Crazy Horse and a major step-up from his debut album. In fact, this is his first true masterpiece. Every song has simply incredible songwriting and the deliveries that are both sentimental and energetic served as a new path into ´Singer-Songwriter music in the 70's and it's the first time where the title "Godfather of Grunge" makes sense when looking at Neil Young. This album is a masterpiece and incredibly close to being perfect. It mainly takes the in Buffalo Springfield established Country Rock and Singer-Songwriter style but adds some more Folk and Hard Rock into a wonderful mix of any of these genres. 'Cinnamon Girl' kicks things off with one of the earliest examples of Proto-Grunge. It's mainly a Hard Rock song, that has so many other influences from Proto-Punk over Country to Garage Rock but does it that it works together perfectly. The songwriting is absolutely phenomenal and the sound is diverse but true to itself. This is straight up music from the 70's and not 1969. Did I say enough? This is a perfect song, right off the bat. The title track, 'Everybody Knows This Is Nowhere', might be one of the best true Country Rock songs of the 60's. It perfectly combines the Country aesthetic with elements and influences of Southern Rock into a one of a kind experience that simply works. It's beautiful and every part, including the backing vocals work perfectly to create a short, simply but effective and passionate song that is again, perfect. The energetic sound is tuned back on 'Round & Round (It Won't Be Long)' and replaced with a sentimental Singer-Songwriter Folk song that not only makes one incredibly sad but is also full of psychedelic parts that push you further into a spiral of emotions that Young perfectly combines and works upon. Even at nearly 6 minutes, the song doesn't get boring or looses its emotional impact on you and the vocals that he puts on here are absolutely amazing and add so much to the feeling of the song. It's a very sad song but another masterpiece as well. The return of the Country Rock sound comes in a very grand way, as 'Down by the River' is a nearly 10 minute long Jam Band epic that's not only Bluesy Country Rock but also adds some nice Acid Rock and Folk moments into this masterpiece. The songwriting is again, absolutely phenomenal and the chorus is incredible. The Jam part of the song is really well made and keeps it interesting the whole way through, even if I wish there was more Neil Young vocals on it as it is mainly what I love about his music. He does return at the halfway mark with some really nice verses before returning to the wonderful chorus before retuning to the instrumental Jam. The same thing happens again at the end. Now, the song in it's entirety is incredible, no question, but does it need the long Jam session... No. I do like them but the song would've been even better without. Is it still absolutely incredible? Yes. Perfect? Honestly... yeah! I had some doubt but it's just way to good not be called perfect. The albums second half starts with 'The Losing End (When You're On)', a straight up Country song that only features a little bit of Rock in the mix. I do like it a lot and I think it's a great song with absolutely stunning songwriting but some parts are just not deliverd in the way that I'd want them to and the bridge is really not my thing here. It's a really great song but doesn't go past that, at least for me. 'Running Dry (Requiem for the Rockets)' goes back to the Folk Rock and the addition of some Violin is really adding to the progressive feeling of this song but also the entire album. The vocals do sound a little too dull even when it does add to the atmosphere of the song, it is a little too much in terms of contrasting the rest of the songs recording quality. Does that take away from the enjoyment much? Not really. The song isn't perfect but still absolutely incredible and incredibly hypnotic especially towards the end. The album closes off with another long Jam Band epic. This time 'Cowgirl in the Sand' is over 10 minutes long and much more in the Hard Rock sound from the start. But it also adds the Country, Folk and Blues additions that 'Down by the River' had. Neil Young again delivers with amazing songwriting that is hard to top with how effective it is. The verses and chorus are simply perfect and although I do enjoy the Jam parts of the song, they are much less interesting than on 'DbtR' and I do feel a tiny little bit tired near the end. The song is still an incredible song that absolutely deserves a listen but when held side by side with the rest of the album, it does pale a little bit to side 1. Still, a magnificent track and a perfect outro for this masterpiece of an album. favourites: Round & Round (It Won't Be Long), Everybody Knows This Is Nowhere, Down by the River, Cinnamon Girl least favourites: The Losing End (When You're On) Rating: very strong 9 (super close to a 10 but not quite) https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

A mix of Dream Pop and Post-Britpop with aspects of Indie Rock might sound like something that should work well, this album kind of proves otherwise. It's pretty bad, bland, uninspired and often times just dreadfully boring. It's way too long with many songs that just seem useless and streched. The album definitely has some nice ideas but the execution isn't that what it's supposed to be. It's unfocused and often terrible in the delivery, production and mixing. The albums starts with a short and building 'Intro' that is simply some Ambient soundscape with a Drone background. Nothing crazy but it's alright. Doesn't harm anyone, it's just a little too long and doesn't really work as an intro to this album. The first actual song is 'Words' which is a pretty psychedelic Indie Rock song with dreamy guitar and vocals and while the first of that works really well, the vocals on the other hand aren't as good. They aren't terrible but they are very basic and something that you've heard over and over already from other vocalists. They also don't really fit together with the overall atmosphere of the song. Overall, the song feels very streched out and unfocused. It doesn't really go into a clear direction which harms the overall enjoyment. It comes out to a below average song that isn't really anything special at all. The slight influences of Dance music on 'There Goes the Fear' does result in a slightly more interesting song at the start that has some pretty nice moments including much better vocals but it feels even more streched out to nearly 7 minutes when the song realistically didn't need to be more than 2 or 3 minutes. It's not a good song although it has some redeeming qualities like the songwriting and chorus but it overall turns out boring and stale and just way too long which actually makes the song feel dreadful the last two minutes. I actually think that this makes bad song although it's far away from being terrible. The ending is pretty funny though. 'M62 Song' combines some Field Recordings with Psychdelic Folk and actually makes something that might have been actually with emotional weight if it wasn't a straight rip off of 'Moonchild' by King Crimson. Same melody, and the exact same lyrics, just slightly changed to avoid copyright or something. I hate this. Nothing artistic about this. Stealing CAN be art if it's done right (homage, cover, sampling) and done with respect but this is not how you do it. The Space Ambient interlude of 'Where We're Calling From' isn't bad at all and has some nice moments but it's too short to actually work. It's pretty "meh" in the end. 'N.Y.' is definitely trying something but it feels like a rip off of Suede with the way they did the Britpop on this song. It's a bad song, nothing can save this thing anymore. Bland, boring and annoying all together with some awful songwriting and terrible performances and deliveries. It tries so hard but fails so badly that the result is straight up terrible and unlistenable. On the albums second half, 'Satellites' returns with clear Dream Pop aspirations and it's executed a little better this time. It's also streched way too long but again, it isn't as bad as one other songs here. The overall execution of this song, is probably the best the whole album can offer and it is a decent track with some nice moments but it overall still fails to create longer worthy continuations of that. It's a listenable song, the only one remotely close to being good while still being far away from that. 'Friday's Dust' has to be one of the worst Folk songs ever created. Stupid, basic and just terrible lyrics that are undermined with some bad produced and mixed instruments including strings that try to make the song "emotional" which is just stupid because the lyrics itself are just bad. I absolutely hate this with every bone in my body. Nothing good to be found on this track. 'Pounding' feels perfect when heard right after the last one but when looked at it without a terrible song to lighten it up, it isn't merely much better. The song is mixed absolutely horrendously with drums that are so loud you don't hear anything else and after a little bit, it just turns worse and worse until it's not much better than its predecessor. This is genuinely mixed to the point that it turns the whole song terrible. The title track 'Last Broadcast' follows with not really much more that it adds. It's got bad songwriting and an execution that is just terrible. The only thing keeping it "bad" and not "terrible" is the fact that the chorus is not total garbage. But this is still very bad. 'The Sulphur Man' now tries to go a little bit into a Baroque Pop direction with the additions of strings and other instruments that frankly, do not work at all with the song. It's a total mess with everything: the build up and songwriting do not work and are broken up, the arrangements are just horrendous and the vocals do not fit at any point. At this point, this album is causing me physical pain because I cannot write this review with a straight mind when listening to this in the background. The album (finally) ends with 'Caught by the River' which does have a slightly better songwriting and structure but to be honest, it's not enough to make the song likable at any point. Some production choices are downright bad and ruin the song completely. It's not terrible but still pretty bad. favourites: none least favourites: Friday's Dust, Pounding, N.Y., The Sulphur Man, M62 Song Rating: strong 2 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The female Power Pop group The Go-Go's released this debut album in the heights of early 80's New Wave and definitely set a standard in terms of what modern Pop music can be. While this album isn't nearly as adventurous as for example the Talking Heads around that same time, this album still had some nice elements within. At least back then. I personally think that the album hasn't aged all that well. From my modern day perspective, it's pretty bland and samey although there is definitely something to be found here. It's just not really my thing. The opening track 'Our Lips Are Sealed' shows what the album is: a fun New Wave & Power Pop album with elements of Post-Punk similar to what B-52's or even the Talking Heads might do. The song is without a doubt fun and for those who are interested with this type of music, fine, I get how someone enjoys this but I am just a little annoyed. The vocals feel pushed and the instrumental parts feel like they don't really fit together. It's not a bad song and I actually "like" the song to a certain degree but not much more. It's an okay song that is very much a song of its times. The quite Jangle Pop sounding 'How Much More' definitely feels like a forerunner of the Smiths. The elements of Twee Pop are also pretty nice and cutesy and I think the song overall just fits together much better but not enough for me to love it. This is simply a fine song that doesn't hurt to listen to but it definitely does not get me excited for anything. The background guitars in 'Tonite' give it a touch of early Rock n' Roll and the obvious Dance elements together with the quite phenomenal chorus make this actually really enjoyable. My main problem are the instrumental bridges and the way the song is structured. It often feels broken up or like they weren't even finished with building tension. It all just releases way too early to be fully enjoyable. But all that aside, the chorus is incredible and this is one of my favourite songs on the album even if it's not more than a "good" song. The moment I heard 'Lust to Love' I felt like listening to Lose Yourself by Eminem but apparently he didn't sample/interpolate this song and its just an accident that they sound similar... Anyway, the song's okay. The riff definitely carries this one because both verses and chorus are pretty average. All of it feels very... off. And the couple nice moments sadly cannot outweigh the fact that the song is mainly very boring. It's just an average 80's pop song. The albums first half already ends with 'This Town' which is somewhat of a step-up as the music itself fits together much better and the song itself averages itself out into being very much average. The song has no moments that make it interesting at any point and the moments that do stick out, don't do it because they are good. The song is either annoying or boring which makes it a very obvious below average candidate. Side B starts with 'We Got the Beat' the track that probably gave the album its title. The album mainly tries to work with the chorus which is a bad idea because the chorus is basic and not really good. The bridges are boring and again, come way too early. I do not enjoy a single second of what this song brings onto the table. It's genuinely a bad song with even worse transitions between the parts that make up the song. The more psychedelic and Post Punk approach to 'Fading Fast' is definitely not a bad idea as the song is much better than most the album offered so far. The song works: the transitions between verse, chorus & bridge are good, the structure is good and even the chorus has something. This might actually be the best song so far. It's not anything remotely close to being incredible but it's definitely a great song. And if that wasn't enough, 'Automatic' now brings in some inspirations from the Goth Rock scene. It's much darker than everything here so far but it comes at a cost. The song sadly doesn't work all that well again. I really like the Post Punk guitar and the atmosphere but the songwriting is sometimes really awful and way too faltering to actually work. The song sadly turns out bland and boring as well as feeling a little annoying here and there which does make it slightly below of what I call average. 'You Can't Walk in Your Sleep (If You Can't Sleep)' goes Pop again and sadly not with much quality. The song is just annoying and nothing sounds interesting or good. The song isn't completely awful as the bridge is not terrible but the rest just makes this a pretty bad song overall. The lyrics and the chorus are also just really stupid. This right here, is easily the worst song on the album. The more openly Punk 'Skidmarks on My Heart' is a little better even if it's absolutely corny. It's not really interesting or pleasent to the ears but the album had bigger accidents on it. It's still a bad song but definitely not as bad as its predecessor. The albums closing track 'Can't Stop the World' definitely puts a sonic end to the album. It picks a lot of the Pop styles up again and puts them together in a song that's just very, very boring. It's not as bad as some other songs but it's far away from being good. favourites: Fading Fast, Tonite least favourites: You Can't Walk in Your Sleep (If You Can't Sleep), We Got the Beat, Skidmarks on My Heart Rating: light 5 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The Kinks previously were just a very popular and influential 60's Rock band being at the forefront of both Garage Rock and Psychedelic Pop Rock and they did have some well known and big songs like Waterloo Sunset or You Really Got Me but they were missing a full on project that would cement them just barely behind the Beatles in the 60's Pop Rock hall of fame. Luckily, that album was near as this 1968 release did exactly that. Not only was it somewhat of conceptual album (which they later adapted much stronger) but it was as consistent as they ever been at this point. The entire album is full of fun, well produced and well delivered Pop Rock songs that include different genres from Baroque Pop to Folk neatlessly. It is without a doubt, their biggest and arguably best achievement in their entire career. The album starts with the mellow and calm but fun and happy 'The Village Green Preservation Society' which is a beautiful Folk Pop song that not only starts the album off beautifully but also brings on one of the most memorable songs and hooks that the album can offer. It's quirky with silly but well incorporated references to for example Donald Duck. A pretty much perfect song to start the album with. The quirkiness stays with 'Do You Remember Walter?' which gets much more Rock while still being definitely Pop music but most interestingly, this sounds pretty similar to some of their older Mod stuff. The song is really great but a couple moments in the bridge do feel a little left alone which is kind of bumping the song down a little bit. But still, this is an incredible track. Luckily, 'Picture Book' makes up for that. The songwriting here is absolutely phenomenal. It builds enough tension to be interesting while still being easily enjoyable as a Pop Rock song. The happy energy it releases with the nostalgic instrumental and lyrical delivery is just amazing. The song is silly, very silly, but in the best way possible. It's fun and when it ends I even wished that it'd be longer. What can I say, this is simply perfection and easily one of the best songs in their entire catalogue. 'Johnny Thunder' sounds very much like a mix of the Beatles and the Beach Boys but still with own originality within. The song has a very strong hook and the background vocals add a ton of enjoyment to the already great song. The entirety is simply another maginificant track and again, this should've been longer. A big genre swith happens on 'Last of the Steam Powered Trains' which is not only the albums longest song at over 4 minutes but it adds a lot of Blues Rock as well as Country, Freakbeat and even a little bit of British Rythmn & Blues to the Pop Rock sound. It's an energetic and diverse song that doesn't linger too long on on part or another as it moves from guitar riff to vocals into the bridge and so on. It also speeds up at one point, adding even more energy to the song. And while I am not the biggest fan of Blues Rock, this song is very much how all of Blues Rock should aspire to sound like. It's not perfect but it's very close. The sitar inspired guitar as well as the Spoken Word vocals on 'Big Sky' are resulting in on of the albums weirdest but also most psychedelic moments. It's weird and even if it works and has great songwriting, it still leaves you with mixed feelings. Mixed feelings of if you heard the track the right way or not. It is weird but the mastered that perfectly and this song is doing exactly what it's supposed to do. Some moments though, feel a little bit overlooked and pale which is why the song as a whole is "just" incredible. The accordion on 'Sitting by the Riverside' adds a very French touch to the song. The song is also very theatrical in the delivery of the vocals. It's very psychedelic and lush and closes the albums first half with another incredible track that is just absolutely amazing. The B side of the album opens with 'Animal Farm', a beautiful Folk Rock song with wonderful lyrics and even better songwriting. The song feels like it achieves a lot of what some Country tries to do with its sounds and styles. It's genuinely a masterpiece in every sense of the word: not only the songwriting but the vocal delivery, all performances, the mellow strings and other arrangements added. It all results in a song that's simply beautiful and even a little bit nostalgic. 'Village Green' is pretty much a result of a perfect combination of the Beach Boys and the Kinks in both of the best things they bring to the table. The beautiful arrangements that feel like they were made up when both Davies and Brian Wilson worked together while on LSD and then added incredible songwriting and lyrics on top. Incredible!, perfect even! 'Starstruck' is much rawer and simpler in terms of ideas and execution. The songwriting is still incredible and the performances are wonderful but the song feels pretty simple compared to the rest. It's definitely another incredible song but it feels a little "outdated" when held side by side against the other songs. The experimental sides of 'Phenomenal Cat' with the pitched vocals, the interesting flutes added as well as the vocal delivery result in another pretty weird and slightly haunting song while still being very much a Kinks Pop Rock song, just a little bit less of a happy sunshine Pop song. It's great but one of the "weaker" songs on the album. The few moments of theatrical deliveries are pushed to their biggest extend on 'All of My Friends Were There' and while it was a nice touch on the other songs, here it actually harms the song a little bit. I do like the additional instruments and the music itself but some of the verses do feel a little over the top in terms of delivery. It's still a great track but again, weaker. 'Wicked Annabella' gets very heavy with loud bass and down-tuned guitars that result in something that if it was pushed even further might be enough to be called Proto-Metal but in the way it is finalised here, it's just some well performed Heavy Psych with energetic and haunting deliveries from all members. Sonically this very much stands out but not so much with quality. They were definitely trying something but as what they tried wasn't really a thing and also not what they usually do, the result is great and interesting but not much more. The exotic inspirations that very much feel like something you'd hear in South/Middle America together with the typical Pop Rock is certainly interesting but not really all that well made. The song has it's moments but falls a little bit flat. It's still pretty good. The Ska approach on 'People Take Pictures of Each Other' definitely ends the album in a very funny and enjoyable way when it comes to what they did musically and in terms of songwriting. The vocal delivery absolutely ruins this song. Well it doesn't "ruin" it but it harms it a lot. The song is groovy and it is fun but I cannot enjoy it to the extend that I'd want to when listening to these vocals. The song could've been incredible but it ends up being just a pretty good closing track. favourites: Picture Book, The Village Green Preservation Society, Animal Farm, Village Green, Johnny Thunder least favourites: Monica, People Take Pictures of Each Other Rating: decent 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

What do you think you get when you take a guy from the West Coast who has maybe listened a little bit too much Public Enemy (although that doesn't really exist... too much PE???) who then goes out and tries to replicate certain aspects with his own ideas of Experimental and Industrial sounds to create an album full off political statements and personal visions in form of Conscious Hip Hop? I tell you what you get: an hour long album that is much more influental than it is good. It's definitely not bad, a lot of the ideas that were put here are pretty good but oftentimes it lacks the focus or enough performance to really thrive these songs great. (Also, who thought "The Disposable Heroes of Hiphoprisy" was a good group title???) The album starts with the Jazz Rap inspired 'Satanic Reverses' which shows a lot of what makes up the album. Interesting production that incorporates different genres, in this case Industrial and Jazz, and adds political maybe even educational Rap on top of these sampled beats. The song and with it most of the album definitely has a vision and they have goals and ideas that they get close to, even achieve exactly what they try to do... but some parts, especially in the lyrics, didn't age well. It feels old and washed out. This might have been revolutionary but today it feels forced and bland. The song itself is still pretty good: I like the diverse production choices and all but I bet this hit much harder shortly after it released. In terms of hooks, 'Famous and Dandy (Like Amos 'n' Andy)' does deliver. The rhyme in this hook is simple and even a little silly but it works. It sticks to your ears and a couple of Industrial production choices only help with that. The song overall feels much better executed and I like it much more although the opener wasn't bad to begin with. The song does feel a little bit streched but again, it doesn't annoy too much because of the diversity the production brings onto the table. I would've wished for other themes or simply another rapper to rap on these beats though. I think someone like MF DOOM or Nas (although both weren't hitting the scene when this dropped) would've performed these songs so much better on these beats and definitely would've given us better flows and lyrics than that one testicle line. Still, this is a really good song. The Funk elements on 'Television, the Drug of the Nation' definitely make this feel more like common Rap music at these times but that doesn't take away from the fact that his flow isn't all that good at many points throughout and that the song overall is just corny. The track gets even worse the longer it goes on. The production is on point, like before, but the delivery is just horrible at points. And it gets cornier and cornier. And the hook feels less and less interesting until it's genuinely annoying. This feels like the equivalent of these people on TikTok that try to proove that the earth is flat and that birds are goverment drones. It's just stupid. I get why people like this song at first, again great production, but in terms of actual Rap abbility, this is straight up not good. I think it overall balences itself out to being below average but not actually bad. A little bit of hope comes around with 'Language of Violence' which is not only produced even better but the Rap verses are much better performed. It all feels much more at the actual art of Rap than just being well produced Hip-Hop beats with someone trying to talk something meaningful on it. The storytelling, while not being great, is still okay. The lyrics are less corny and much more at actually saying something with meaning. Although it isn't great, the song is still pretty good and another highlight of the album, maybe even the best song in the first half. Just before the album settles into giving more humane lengths for these songs, 'The Winter of the Long Hot Summer' comes in at nearly 8 minutes. Now, normally I don't mind 8 minute songs. If executed well they can be some of the best songs of an artist even in Hip Hop (SAMIDOT - Kendrick Lamar for example) but this track cannot really shine with either a tension building beat or great lyrics/storytelling. Both are very basic, layed back and just boring. The beat feels nearly Ambient at times and the Rap could go through as a reading of a childrens book from a creepy man. It drags, it annoys and it isn't pleasent to listen to or give any attention to. It's straight up a bad song. The albums second half starts with the title track 'Hypocrisy Is the Greatest Luxury' and not only is the beat and production great again (even better at some points) but the performance is also pretty good. For the first time on the album I can confidently say that this is a great song and the rapping is actually solid and doesn't ruin the track. This is a great early 90's Hip Hop track and it's pretty much close to a level of the worst songs on "It takes a Nation of Millions" but still... I like it! 'Everyday Life Has Become a Health Risk' is a similar story but I think that both parts, the beats and the rapping, are again, very much average and kind of boring. The song isn't bad and the hook does leave some marks but I cannot give this more than an "alright" with a slight tendency to being above average. The short interlude of 'INS Greencard A-19 191 500' is pretty much just a beat and sampled telephone sounds for nearly two minutes. It's not terrible but it doesn't really add anything to the album or is interesting at any point. It's simply "eh" and bad. In terms of being similar to standard rap, 'Socio-Genetic Experiment' does start off with a description of his early live but neither his flows nor the lyrics are interesting at any point after that. The hook is horrendous and the beat doesn't really work well at multiple moments. The song is just annoying. This sounds how good Rap sounded to me back when I didn't like Rap. Just saying, I don't like this much but it isn't totally terrible. It's just bad. The guitar and the talking at the start of 'Music and Politics' did give me hope for a better song. After a while I started thinking... this is a pretty lengthy intro. Then I realised that it isn't the intro but the whole song... And then he started singing??? What is going on? Nothing about this works in terms of songwriting, adding to the album or just being enjoyable. It's awkward and weird and not in the good way. The song isn't bad but it isn't what I wanted or what I think this thing needed and just that confusion makes me dislike it the longer and longer it plays. This would've been a good interlude or intro or outro but not just randomly in the middle! 'Financial Leprosy' is luckily not as terrible. The production is pretty interesting although these weird screams are a little much and the rapping is again pretty solid. It's actually an okay song that is definitely listenable. I'm not the biggest fan but it's also far from the worst that the album offered so far. If it was a little more consistent and didn't have some of the weird production elements, this would be slightly above average. If all so far wasn't enough, we also get a Hip Hop cover of 'California Über Alles' originally from the Hardcore Punk Band Dead Kennedys. It samples the original and takes the same hook as well. It's pretty funny just because of that and the Rap delivery he gives us is also pretty good. The song is just really goofy... that's it: goofy. But it actually makes this somewhat enjoyable to listen to. Nothing too crazy but it's quite okay... The album now closes with 'Water Pistol Man' which starts off by sounding like straight out off a Disney soundtrack but well, at least the song is listenable... right? No, it sucks. He pretty much throws away all the little bit of serious rapping he's done so far and murmurs the words like he was stung by twenty wasps in the mouth. It's just so bad in terms of actual delivery. The beat itself is fine but why couldn't you do another take or just cut this from the album? To be fair, it'S not totally terrible but this is not a song to close the album with. The previous one would've done the job as well and probably even better but this is just bad. favourites: Hypocrisy Is the Greatest Luxury, Language of Violence, Famous and Dandy (Like Amos 'n' Andy), Satanic Reverses least favourites: The Winter of the Long Hot Summer, Socio-Genetic Experiment, INS Greencard A-19 191 500, Water Pistol Man Rating: light to decent 5 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The legendary PJ Harvey, a femal powerhouse when it comes to Alternative Rock has always had a pretty consistent discography and of course that had to start somewhere. Her debut album merges the Alternative Rock, that she will mainly create in her career, with elements of Punk Blues and Grunge. So this album is pretty much a younger and female version of Nick Cave around the same time. And as someone who absolutely loves Nick, I also really like this album. The songs are a little bit inconsistent at times but those that are incredible are just masterpieces. The albums starts with the passionate and anxious 'Oh My Lover' which is full of aching love as well as some really nice sludgy guitars that build up until the drums and the rest of the instruments kick in to drive the song even further into a massive tension build up. The songwriting and the lyrics as well as the performance of either is absolutely incredible and if it wasn't for a couple of "pauses" that interupt the song a little bit, this would've been a perfect song. But still, it is an emotional height to start an album with and is absolutely incredible. The Grunge influences comes through a lot on 'O Stella' which keeps the album going with some really nice and rhythmic melodies that are absolute bangers. Sadly, the songwriting closes them off a little too early which does result in the overall enjoyment being harmed a little bit but I think the song is still very enjoyable and simply a great track. The Dance energy is kept and worked out much cleaner on 'Dress', the albums first real masterpiece. It's simply incredible with how the song builds up over the span of just a couple of moments and neatlessly goes into the chorus which is just phenomenal. The bridge where she genuinely sounds a bit like Yoko Ono is so funny and after it the energy does not go away. It's full of incredible moments and one of my favourite Alt-Rock songs ever. It is simply perfect and was the first of two songs that made me fall in love with her music the first time I heard it. I love it!!! 'Victory' gets even more Grunge and actually has a lot of similarities with In Utero in terms of noisy production. I personally think that that aspect does harm it a little bit because it feels very unfocused and out of touch with itself. The great moments that it has do not fit with each other and although I like it, I don't love it because it feels pretty inconsistent and also incoherent. It cannot push itself further than a really good song. The influences of Raga Rock on 'Happy and Bleeding' are pretty unexpected but they fit with her style. The typical droning of the Ragas do feel similar to some of the noisier stuff but sadly the song fails to build up enough tension to be remotely interesting. It does not fit within itself and the songwriting just doesn't help. The song is good but definitely not great. The second half of the album starts with my favourite PJ Harvey song ever. 'Sheela-Na-Gig' is not just energetic and has an incredible hook but it's just so fun to sing and groove along. It's such a perfect blend of Post-Hardcore Punk and Grunge and even I as a man sing the lyrics with all my heart. Simply a masterpiece and I am not going to debate on that. 'Hair' does tune things back in terms of energy and noise but it still shows itself as an ambitious and energetic track. This time the Post-Punk ideas come a little bit through but sadly the song itself isn't strong enough to captivate any of what there might be to catch on. It feels pale and worn out, basic and half finished but it also does not have enough build up to make the chorus worth. The song is okay but sadly nothing more. It gets even more Post-Punk with 'Joe' which builds upon the fast and repeating guitar but again, it isn't enough to make the song thrive fully. It's got some nice moments but it mainly sounds like an unfinished mess without anywhere that it is going. Again, I like it a bit but when I compare it to some of the stronger songs on the album, it does feel a little left over. The next song 'Plants and Rags' does a complete turnover in terms of genre and sound. It combines Folk Rock and Singer-Songwriter aspects with some lofi Slacker Rock and weird production choices in the sound of Avant-Folk. It is a weird song but it surprisingly works. It's not perfect but it's not too far away. I really like it for it's weirdness and this time, the instrumental chorus and the build-up actually works. It's a great song but also with a lot of room for improvement. 'Fountain' comes along and removes the Folk and replaces it with different Punk ideas throughout. It's again one of the songs which try too much but forget the most basic thing of actually taking enough time to build a good amount of tension before releasing. This makes the song feel one-dimensional even if some moments are pretty good on their own. It's okay... The album closes with 'Water' which does take some time to actually start but once it does, it gets things going. The tension is much nice here although I still think it releases a little bit too early. But the overall songwriting and performances as well as the chorus are enough for me to think that this is genuinely a pretty good song. Not the best way to close the album but definitely not the worst. favourites: Sheela-Na-Gig, Dress, Oh My Lover, Plants and Rags least favourites: Hair, Joe, Happy and Bleeding, Fountain Rating: strong 7 to light 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Brooker T. & the M.G.'s released their single 'Green Onions' and the people loved it so they went back and recorded it again but completely different 11 more times, put it on an album and made a surprisingly impactful album. It not only smoothly blends the still very young Soul with established Rythmn & Blues and does all of it without saying a single word but they also gave Soul a whole new light and how there can be instrumental Soul without it being Soul Jazz. The legendary title track 'Green Onions' starts off the album with a classic Electric Blues song that smoothly goes through its parts. I absolutely understand how the song became such a classic because it is a very playful and fun song while not taking too much attention away from you. The song features rhythmic playing and a well added organ which was already established in the Soul and especially Soul Jazz scene even if this is far from being latter. The song is definitely great but it doesn't do enough for me so that I actually love it. Rather it's very nice and beautiful but I don't care for it too much. Another very catchy track is 'Rinky-Dink' which plays with much more Soul aspects. It's definitely a good song but I do think that some organ parts are a little bit annoying after a while and the overall structuring is a little bit too broken up in between to actually flow well enough the whole way through and the second part just doesn't hit well enough anymore. Also, I am not a big fan of how the songs just tune out instead of ending properly. 'I Got a Woman' might be the best achievement they got on this album. It's fast paced and energetic and easily the catchiest song on the entire album. I get why the title track gets all the attention but this should maybe get an equal amount of love. I personally think this is probably the closest they ever got to making a perfect track although some parts here and there are a little bit too rushed or left alone which do hurt the song especially in the second half enough for to "just" view this as a great track. The themes of the first track return on 'Mo' Onions' which is just the same song but a little bit different with a little more Blues added. It's definitely not a bad song but it does feel like a bad cover song. It isn't of course but as a continuation it does feel very, very average. After the Beatles version, this next track might be the second best known version of 'Twist and Shout'. It's very much a R&B and Soul song and the melody is nice to hear in that organ style but it is far from a good or interesting song. Maybe I am biased but it feels dull and not played around with enough. It gets stale the second it starts to repeat itself in the first few moments. It's a pretty boring song overall. The purest Soul song on the album is without a doubt 'Behave Yourself', it strips away all the Blues and makes a calm and relaxed organ Soul song to close off the albums first half with. It is not a bad song the songwriting especially when more instruments join at a few points do make this much more interesting but I think that the song should've just extended on these additions instead of going right back. Overall it again, feels a little bit dull and boring after a while. 'Stranger on the Shore' starts the second side of the album with the same melancholia the first half ended. This is not a song to start anything with, it should be a closer at best. The song is just tiring and sometimes even annoying when it takes too long to end properly. Not a good song by any means. 'Lonely Avenue' starts off way more promising but falls in the same trap of overindulging melancholia and coolness which ends up making the track boring and simply not enjoyable. They can make really fun and playful songs but when they don't do that it automatically makes it tiring and basic. Luckily, 'One Who Really Loves You' comes in to save the album from this boring spiral of doom. It returns with a fun and playful tune with a much better organ playstyle than on the other songs. It is genuinely a fun and actually really good song. The song that feels the most like Blues is definitely 'I Can't Sit Down'. It starts off by sounding like a Muddy Waters tune but replaces the voice with the organ. It does sound very silly and it is but it works at least a little bit. The song isn't the greatest but it is without a doubt an above average track with multiple very enjoyable moments. The mellow style of 'A Woman, a Lover, a Friend' is done much better in comparison to other songs on here but it still gets a little bit stale and old after a while and turns a good starting song quickly into a pretty average one but at least it doesn't get as boring (or even bad) as some tracks before did. The album closes with 'Comin' Home Baby', another quite mellow but this time much more dull sounding one. It gets annoying very quickly as the rhytmn guitar and the bass play in a very halting style that isn't played around well enough with the organ to make it work at any point. The song is genuinely bad because of it. It is not pleasent at all to listen to it especially as it is supposed to end the album. favourites: Green Onions, I Got a Woman least favourites: Comin' Home Baby, Stranger on the Shore Rating: decent to strong 5 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

This is without a doubt the best album that Depeche Mode have released in their discography. It is the perfect blend of their one of a kind Alt-Dance Synthpop and the Darkwave elements that make them tied so closely to the Goth scene. It is full of atmospheric and sensual tracks that flow from one well produced track into the next without ever feeling like it's not dull or unfinished. The sound blends typical 80's synthpop production with the dark and sombre New Wave and even a couple of Neoclassical DW ideas. The album is simply a masterpiece and undoubtably stands on top of the entire DM discography. The opening track 'World in My Eyes' starts by sounding much different from something you'd maybe hear someone like Janet Jackson do but it quickly adds the darkness and even a little bit of Post-Industrial Electronica into the Dance mix. The song is grand and epic and builds up more and more the longer it plays without feeling like the tension is released too early. The atmospheric vocals and cold romantic lyrics add to the overall nocturnal feeling that the track envokes. It is without a doubt a perfect song even if it's not even one of the best songs on the entire project. 'Sweetest Perfection' plays with much more of the Goth Rock elements while still being undeniably Synthpop. It is also much more atmospheric and creates a very strong unease with the detailed production that go from something that sounds like an underground atmosphere to something that sounds like shattering glass and so on. When you indulge yourself enough it turns into a very twisted and even scary listen that is released at one point to just go back into it for a short while until the spacey outro ends it perfectly. Did I say enough? This is another perfect track. As legendary as 'Personal Jesus' has become over the time, I do actually prefer the Johnny Cash version similar to Hurt. But that does not mean that this orginal is not to be messed with. In fact, it still is one of the best songs on the album for so many reasons. The production with the repeating cold breaths as a rythmn pattern together with the loud basslines and the Post-Punk and Industrial elements together as one of the most energetic and most danceable songs is something that history won't be to do again. Ever. 'Halo' sounds like the evil twin of Tears for Fears. It very much sounds like something that would be on a Goth version of "Songs from a Big Chair" with the vocal delivery as well as some of the production elements. The song is definitely an epic track and the romantic but still dark elements work really well together with the Neoclassical aspects thrown together but I simply don't love the song as much as I did others. It's still an incredible track but with a bigger tendency towards great than perfect. But that does not take away from the greatness of the entire album too much. The wild synth production is heavily minimised on 'Waiting for the Night' and is used in a much more Ambient style which does work together really well with the still very present Darkness and the atmospheric vocals which are much more present here. All that results in the song itself to be much more atmospheric than usual with very cold and nearly creepy soundscapes that still are hypnotic and lush in what they are doing overall. It closes the albums first half perfectly although I do think that it feels slightly streched towards the end and it would've needed somewhat of a finale of some sort to make this truely perfect because just having a very atmospheric and etheral sound just isn't enough. It is still an absolutely incerdible track overall. The second side starts off with another legendary track. 'Enjoy the Silence' is a perfect blend of the Synthpop with additions of House music and the Darkwave. It's such a beautiful track with incredible lyrics which are performed perfectly. The background vocals on top just help to perfect this even more. But the actual genius is that after the sond ends, there is actual silence broken up by a simple "Enjoy the silence" until it goes right back into the silence before breaking it up again with a whole different "song" which is simply pure Coldwave perfection. It is gloomy, dark and most importantly, feels cold. Perfect song, again. After this weird but incredible interlude, 'Policy of Truth' picks it up again with a really nice Dance song that includes one of the best "common" chrouses on the entire album. Additionally, the production with the trumpet synths is just exquisite. Even my biggest criticism is that the bridge is a little too early but the bridge itself is just incredible again. In terms of Alt-Dance tracks, this is definitely my favourite on the album. It's just so fun to listen too while still keeping the Depeche Mode atomsphere. 'Blue Dress' adds a flamboyant style onto the vocals and very much blends the dark Synthpop with the New Romantic style that pretty much died out at that point. The song feels a lot like an early 80's song in terms of vocal delivery and songwriting and although that hurts the song a little bit, it still is an incredible listen because of the added Neoclassical Darkwave styles throughout that create a dark and hypnotic background for the sensual song. The albums final song 'Clean' is without a doubt the albums darkest and most grotesque song. The song is full of Industrial production choices which are acompanied by the most emotional and rawest vocal performance on the album. The song definitely isn't an easy listen but it is an incredible one. The poetic and twisted drug discussions are simply beautiful in what they do and even if the song isn't the best that the album offers it perfectly finishes it off with a hypnotic and masterful listen that pulls you into itself and does not let you escape. It is a perfect finale for the album. favourites: Enjoy the Silence, Policy of Truth, Personal Jesus, Clean, Sweetest Perfection, World in My Eyes least favourites: Blue Dress Rating: light 10 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The Electropop group CHVRCHΞS took a lot of inspiration from 80's New Wave and the electronic music from the early 90's to pretty much create a modern and polished version of that sound while still keeping it original. It isn't totally bad but I personally do not really care for what they were doing here. To me it sounds like average Synthpop with very obvious Pop intentions. The energetic opening track 'The Mother We Share' is definitely their best known song and I have to say two things about this. Firstly, I think this definitely influenced Taylor Swifts 1989 album. Secondly, this isn't bad. The production is very much alright as are the lyrics and the vocals but it's mainly the songwriting and the groove that make actually enjoy this song. I don't love it by any means, mainly because there are multiple moments in the song that simply don't work and break the songs structure but overall, it is a pretty good song. The very energetic rythmn production on 'We Sink' are definitely something and I don't know if I like it. The songwriting is fine and I do like some parts a lot but others do feel a little bit left off especially the second half of the song after the bridge. It overall falls pretty average but not too bad. The attempt of an atomsphere on 'Gun' with the synths are absolutely destroyed with how obnoxious they are. I don't get why this song gets so much love. It is a basic and annoying song and nothing more. In fact I actually think that this song is overall pretty bad because the parts that make up the song do not work togther at all. It is just a bad listen the whole way through. The Dream Pop and House influences on the 'Tether' are a nice touch at first but they don't work together and are mixed just obnoxiously loud to the point that the song feels even more annoying than it was at first. Near the end the most annoying string synths that I have ever heard enter the ring as well. It's not as bad as its predecessor but it is a pretty badly produced and performed song and is sitting right on the edge of "below average" and just "bad" with a big tendency towards the latter. The production on 'Lies' might actually be my personal favourite on the album. I really like the loud and distorted sound of it and I could really see this in the hands of a Industrial Hip-Hop group but sadly it is done in the Pop way which does not work at all. It feels like chocolate and cheese, simply not good. It's not totally abhorrent because there is quality but the combination is just not really likable. It's still better than the last two but not by a lot. The House influence returns strongly on 'Under the Tide' which also closes the albums first half. It also switches the vocalist which I don't get because the woman did a much better job than he does here but maybe he was just so eager and doing this one. But sadly that decision seems to not work as the vocals firstly, don't fit and secondly, don't sound good. The song is simply bad in terms of vocal performance and the music itself isn't much better. Some bass parts are not on time and at other times it just sounds bad. Right as the second half starts, we are met with another song which does not work in itself. The vocals do not fit on the production in terms of flow. It sounds jerky and stupid and creates no flow at all. Even Taylor Swift would've perfromed this song better. It is genuinely just a bad Pop song. Sadly, 'Night Sky' isn't much better. It is a bit more enjoyable which does not mean that it is enjoyable. The song is still pretty bad and the songwriting and structuring does not work at all but it at least has a few moments that are slightly entertaining. The lyrics and vocals are just corny though making this overall still not a pleasent experience. 'Science / Visions' definitely tries to sound futuristic and like it actually knows how to structure a song. It definitely builds up and in another context (like a Post-Punk song) this would actually be good but in this Synthpop context it sounds unfinished, overindulgent and unfocused. The result is as bad as the previous songs but maybe a little bit better because the vocal delivery is slightly more on point and at least helps the track. The already weird beginning of 'Lungs' give me pretty much no hope for it and I was right. Who thought that this band trying Glitch Pop would be a good idea??? Björk's Vespertine is how you do Glitch Pop. This just sounds terrible. Genuinely this is the only song so far where I'd say that it's not just bad but on the verge of being simply unlistenable. Glitch Pop is a weird genre and sound and if done right that can create incredible sounds but this is just abhorrent. 'By the Throat' is better but still pretty bad. The production is straight up terrible at points and the songwriting is not much better. The vocals and lyrics are also really uninteresting but it's mainly the backing vocals that are so fucked up that they destroy the song. Bad. The album, finally, closes with 'You Caught the Light' which happens to be the albums longest song and tries to go a more atmospheric, relaxed and even etheral path but this sonic experiment pretty much fails. The synths are annoying and mixed way too loudly and nearly sound distorted. If this was an obvious and genuine attempt at creating a sound like this, it might've worked but this tries to be Pop and not Post-Industrial. The song does get a little better when the male vocalist returns but it's ruined pretty quickly (although there wasn't much to ruin) with the return of the synths. Genuinely unpleasent to hear, straight up terrible. favourites: The Mother We Share least favourites: Lungs, You Caught the Light, Tether, the entire rest (except We Sink) Rating: decent 3 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Since this debut released, Le Tigre have gathered much more attention than they should've ever gotten. One good single was enough to let them create a song like "I'm With Her" in 2016 and still stand as the best known example of the "Riot Grrrl" genre which from its name alone sounds annoying. In similar fashion, most that the album presents here is annoying, washed out and dull. It tries to blend Dance with Pop Punk but instead of sounding like Britney Spears x Green Day, the end up sounding like utter trash for most of the playtime. The possible only song worthy of a listen, 'Deceptacon' starts the album off with a song that most people should be familiar with. It blends elements of Rave, Synthpop and Dance Music with the Punk additude of the band. Oh and with listenable, I meant that it has a catchy melody and is easily recognisable. Outside of that one riff, it is just annoying and infuriating. The vocals swing between bland and tasteless and over the top obnoxious. The song overall is still bad. The much more Indie Rock touched 'Hot Topic' keeps things going and even if it's not as overly unbearable, it still is far away from a good song. This time it's just very, very boring and tiring. The song has absolutely no upbuilding structure. It stays the exact same over the entire playtime. It's not catchy, not interesting and sounds tasteless and uninspired. And at nearly 4 minutes of playtime, it gets more and more annoying because nothing happens. The result is a song that is probably as bad as its predecessor but sticks even less in your memory. The only thing that makes 'Whats Yr Take on Cassavetes' somewhat interesting is the slight Industrial and Noise Pop production. The distorted synths could've been interesting but the way they are put into the songs structure just makes them sound annoying. The vocals and especially the added background sounds make this an even more unbearable listen. 'The The Empty' just takes the already annoying vocals and turns them up even more. There is no need for this Yoko Ono type screaming. Yoko Ono at least did it in a good setting and used it for her advantage. This is just terrible. Genuinely a terrible track through and through. Not even the production or the songwriting have anything of value that it brings to the ears. I am sure that they envisioned 'Phanta' as a much bigger and more artsy track than with what they ended up doing. The tv snippet at the start is a nice touch and the less annoying vocals do actually help the track from being totally tasteless. Which does not mean that it's good. It's just less bad. Still bad... but less. The songwriting is okay as are the vocals, it's mainly the production that is still dragging it down by a lot. The more minimal and noisy production on 'Eau D'Bedroom Dancing' do help the song to feel less obnoxious but the vocals and the songwriting are still enough to make this pretty bad overall. There is just not much going on, the vocals feel small and way too cutesy and the music itself isn't really going anywhere except boring repetition. The albums second half is opened with 'Let's Run', a more Indie inspired song that still shares all the similarities with the bands sound so far. Including the quality. This song feels like a worse version of 'Deceptacon' with a similar structure, energy and even a slightly similar riff but it all is just tuned down and made more boring. I'm telling you, it's not a good sign when a group needs to repeat and redo existing tracks but different. Especially when the original was bad to begin with. This is even worse. 'My My Metrocard' might've been a solid B-52's song but they ruined the slight good idea that they had with an overly annoying repeating sample and added vocals on top that are so terrible that the result is even more annoying than the instrumental itself. And I am not even going to start to talk about how bad the chorus is. This is not even silly in a good way, it's straight up bullshit. And now, on 'Friendship Station' they even try themselves on doing Breakbeat. It's definitely a slight piece of hope even if this hope is still unfathomably small because the vocals, again, ruin a pretty alright Breakbeat track. Yeah, this isn't very good but at least they tuned the vocals in mix down enough so that they don't totally ruin it and leave it at pretty bad. As if the genre experimentation wasn't enough, 'Slideshow at Free University' now mixes Trip Hop and Instrumental Hip Hop and remove all the Punk additude that they had so far. The song is without a doubt the best one on the album but it does not work or fit on this record. It's not like the song is great but it is a pretty alright maybe even okay track. But it is kind of ruined by the confusing placement it has on the record. The go even deeper into the rabbit hole of changing genre on 'Dude. Yr So Crazy!' which borrows from Darkwave and Minimal Synth production. And while I would maybe enjoy the darkness that it tries to envoke, the production here is just so terrible and the mixing is so off putting that the end result is straight up unlistenable. It's like the song was a sonic experiment that was falsely put on the album. The finally close the album with something that sounds more like their inital sound. Terrible vocals, annoying production, songwriting that would make Dylan unalive himself and so on. The worst thing here is by far the production. It does not work, it sounds terrible and weirdly dissonant and feels like if Phil Spector tried to do Hip Hop sampling while being on a major LSD and cocaine trip. Genuinely unlistenable. favourites: Slideshow at Free University least favourites: Dude. Yr So Crazy!, The The Empty, Les and Ray, the rest Rating: decent to strong 2 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Oh boy... Oasis. Within the world of the common people, this is the biggest Britpop band of all time. They had songs like Wonderwall and that other one with Sally. And this album right here is pretty much seen as their magnum opus, their best release with the best songs they ever made including Wonderwall and that other one. I personally prefer their previous, slightly noiser debut but this album is undeniably bigger in terms of sales and universal recognition. But that does not mean that I like it. In my mind, Oasis is one of the most overrated bands of all time. Their songwriting rarely exceeds "good" and the two brothers as persons are just annoying and unbearable. The only Britpop artist (and artist in general) that I personally hate more is Damon Albarn from Blur. They are all so arrogant and tasteless, like a Punk version of Morrisey. And that feeling I have towards them as persons does make its way into their music which is why I pretty much hate the most popular Britpop artists and a lot of Britpop overall. The album says Hello with 'Hello', a psychedelic and Glam Rock inspired Britpop song that does start off by sounding pretty similar to their debut. And I do think that in terms of songwriting, this isn't bad. I like the structure of the song and how it moves between the chorus and the verses although I think that the guitar goes a little faster than actually needed. My main problem is that it sounds like all the big songs on the album. The choruses fill oddly similar to each other as if they just swapped out the words but sang the exact same thing over and over and over. The song is fine, it's an okay song that does get a little over the top towards the end but ultimately doesn't annoy too much. The even noisier 'Roll With It' is sonically a glimpse of hope but the vocals destroy that bit of hope. They feel unfocused and out of touch with the actual song and the chorus is even worse. This is a basic and tastless chorus that has been done hundreds, even thousands of times before. It's not interesting at any point after the first few notes. At one point, the lead guitar sounds like it's gone completely away from the actual. The entire song sounds unfinished and just bad. And there it is, 'Wonderwall', a song that is so overplayed that even the band itself hates it. I hate it too. To be fair, the chorus by itself is pretty good but the verses are just straight ass. I am not going to even pretend as if there was anything of artistic or emotional value to take out of that squeeky garbage of a song. I hate this track with every bone in my body and if it wasn't for the somewhat memorable chorus, this would be a straight 0. I am happy that 'Don't Look Back in Anger' follows right after to sweep up the dirt that 'Wonderwall' left behind. This is without a doubt the best track on the entire album. It has a good melody, a catchy and pretty great chorus as well as solid songwriting. It is everything its predecessor tried to be. The vocals still are a little squeeky and annoying but it's not enough to make me dislike this song. I am also pretty happy that its a David Bowie reference. Overall, the song's good with a tendency towards average but not quite especially because it does feel pretty streched after a while. The Jangle Pop and Shoegaze mix on 'Hey Now!' do feel pretty refreshing at first after the slight run of cleaner songs but sadly, the song can't really show itself as being up to what I expected of it. It's pretty boring and basic with nothing that can really set it apart from being anything. There isn't a catchy chorus, there isn't interesting songwriting. It's just really bland, so bland even that after a while the song is less interesting than most songs on the charts today. It's not totally bad but it does have a tendency towards that. The weird little interlude of 'Swamp Song Excerpt #1' which is just a Hard Rock Jam of 40 seconds isn't really what you'd expect on the album but it is like a little alarm clock that brings your focus up again after the last sleepy song. It's not bad, it's not good, it's right in the middle especially because it's so short. The albums second half is started by 'Some Might Say' which keeps the Rock influences from the previous interlude and mixes it with some Indie and Noise Pop while still being obvious Britpop. The chorus of the song is again pretty basic and sounds like it was done 100 times already without being actually catchy. The guitars again sound out of synch with the actual song but not in a good way and it overall just feels like the start of the album all over again. It is also way too long and feels streched after the half already which does make it a pretty bad song overall. The dreamy and sensual 'Cast No Shadow' comes in with some nice strings and a pretty okay songwriting. It's definitely not bad but I wouldn't say that it's good either. Mainly, it's just a very boring track that tries to be way more introspective and poetic than it actually is. Again, it isn't a bad song rather it's pretty average although it gets very tiring after a while and feels overly streched which makes the overall enjoyment feel even less good. The slight Country influences on 'She's Electric' are a nice touch at first but I am pretty dissapointed with it after a short while. It sounds like a song that you could hear from any average Rock band from Texas with a British frontman. It's not special at all but it at least isn't streched out to over five minutes and ends at a reasonable length for the song. The Hard Rock, Noise Rock and Shoegaze mix on the title track 'Morning Glory' is instrumentally my favourite moment on the album. I absolutely love how the song starts BUT the vocals ruin it. They sound like happy sunday morning on top of this noisy background which just doesn't work at all. And don't get me started on the chorus. It is just so annoying and straight up terrible that it ruins the pretty great instrumental so much that I think the result is actually bad. I am simply disappointed with the song. It's not even disgust or hate but simply disappointment. 'Swamp Song Excerpt #2' is pretty different than the first version. It's mainly a sound collage of Sound Effects, Field recordings and bits of Experimental instrumentation added in the back. It's interesting but nothing special especially with the length. It does transition into the final song, 'Champagne Supernova' though, which is also the longest song on the album. It's a pretty lengthy and psychedelic mix of their distinct Britpop style. I am happy that even at his length it doesn't feel overly streched or unfocused. The song just continues through different phases and it is pretty pleasent to listen to even if I am not the biggest fan of the song itself. It's good and a nice finale to this album but nothing too crazy. favourites: Don't Look Back in Anger, (Champagne Supernova) least favourites: Wonderwall, Roll With It, Some Might Say Rating: decent to strong 4 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

This right here is one of the greatest Singer-Songwriter and Folk albums ever created. Few albums can make me feel this suicidal while envoking a love for life at the same time. It's simply beautiful throughout with every moment being simple but dense and deeply emotional. I don't take this title lightly but this is simply a perfect album from start to finish. As of right now this is one of only 58 albums that I honour with a 10 (at ~1000 albums, only 6% of my albums are 10s). The story behind this album and Nick Drake's life at and after this time is tragic but this album just encapsulates everything he felt perfectly and makes his OD somehow relatable. This thing makes me so sad... but in the best way possible. The album starts with the legendary title track 'Pink Moon', a perfect example of his Contemporary Folk style which stands in strong contrast to his previous two album which had very lush arrangements. This is just him, a piano and his guitar with incredible lyrics and songwriting, both performed in the most emotional way possible. It is haunting but beautiful, sad but soothing, calm but atmospheric. Just perfect with every sense of the word. With the second song it's even less instruments as the piano won't appear again but that doesn't stop the songs from being deeply emotional. 'Place to Be' plays with lyrics that feel even more relatable which results in it being even sadder. It feels romantic and full of love but still dark and mysterious. It's depressive but somehow in a beautiful way. Just perfect... 'Road' feels even more existential and it's obviously about decisions in life and while it doesn't make feel as done with myself like the previous two songs did, it's still an incredible song through and through. The melodic 'Which Will' has some of the best vocal performances on the album and the result is simply incredible. The songwriting is diverse and makes the entire song interesting and his technical guitar playing just adds to the weird place this song is in. It's got a sparkle of hope inside but it cannot escape from the darkness of its creator. Stunning song and perfectly executed in every way possible. The instrumental and short 'Horn' can create a ton of emotions even without any lyrics or vocals on it. It's calm and ambient but still full of magical moments and deep emotions within. Simply an incredible instrumental. The albums first side already closes with 'Things Behind the Sun', a track that is absolute perfection. The lyrics are just pure poetry, the vocals are done in the best and most depressive way possible and the short build up of hope that is ruined in the way that it should've. Absolutely amazing song and one of the best ever. Depressive, romantic, lonely and nocturnal. Best possible songwriting is achieved here and it's performed perfectly. The slight Acoustic Blues of 'Know' starts off the second half of the album with a weird but haunting song that is hypnotic with its simplicity and full of incredible moments even if the repetition does feel a little annoying towards the end but he stops it right when its enough. Incredible but one of the "weaker" songs on the album. And right from the weakest to the strongest. At least I think that 'Parasite' is the albums best song. It is intricate and full of emotional hitting lyrics that feel weirdly relatable and keep spiraling deeper and deeper into more and more depressive and hypnotic songwriting. Everything about this is perfect, it's hard to even put it into words. It makes you feel small and the longer it plays, the smaller you feel until it crushes you. 'Free Ride' has a beautiful melody and a chorus that is simply wonderful. The vocals are amazing and the way he sings the chorus feels like a great mix between magical and calm that I am just enchanted by the song and its writing. Another perfect song, again. And the beauty keeps going with 'Harvest Breed', a song that is incredibly simply even with the lyrics but they are delivered in such a majestic and beautiful way that you can only love it because of that. It's such a wonderful moment on the album but I wished that it was longer which would've made it perfect. The album sadly already closes with 'From the Morning', a song that plays with pieces of hope but it keeps it behind a closed wall and that wall is a beautiful song that is just a perfect finale to this incredible and one of a kind album. This is simply perfection. favourites: Parasite, Things Behind the Sun, Place to Be, From the Morning, Pink Moon, Free Ride, Which Will least favourites: NONE (if I had to choose one, it'd be 'Know') Rating: light 10 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The Swedish Pop powerhouse ABBA already had a couple of really big songs including 'Dancing Queen', 'Mama Mia' and 'Gimme! Gimme! Gimme!' but with their album 'The Visitors' they not only got another big song in the form of 'Slipping Through My Fingers' but they also made their possible biggest artistic statement by going into a more progressive and art focused direction away from trying to stay as popular as possible. I personally like ABBA for a few songs but albums like this pretty much prove that the are good at making a couple of really good songs but pretty much fail to make a full artistic project. The album starts with the spacey and New Wave inspired title track 'The Visitors' which does show their aspirations of making a more Progressive Europop sound while still keeping it easily enjoyable. And I am sure that many people enjoy this song a lot but I think that it's pretty average. Not in terms of ideas but in terms of songwriting and performance. It sounds stale, boring and like they don't really know what they try to do. It often feels like it goes nowhere at all and changes sounds just for the sake of it. To be fair, some moments are really enjoyable but others simply aren't. Some parts of the mixing and the production also definitely needed more attention. With the length that isn't really used to its full potential and repeats itself way too often, the final result is a below average Pop song where you could easily find more interesting songs in the charts today. Luckily, 'Head Over Heels' is much more interesting. The vocal style is very theatrical nearly like a Cabaret and the chorus is incredibly catchy without feeling like it comes too fast or goes too early. It's a perfect mix of styles and ideas and the result is an incredible song. Simply phenomenal. This is what ABBA is about, not full on albums. The synths are used well, the songwriting and the structuring is great and if the bridge was done a little more interesting this would've been a perfect song. 'When All Is Said and Done' follows with something that at first sounds like an 80's version of a christmas charol but sadly this isn't really added to. And the song that actually emerges is much less of a cool idea. The song as a whole definitely isn't bad but it lacks the interesting moments or a catchy chorus. The song is pretty okay but nothing special at any point after the intro. I'm just happy that they didn't strech it much longer than the average 3+ minutes. The guitar on 'Soldiers' is definitely my favourite part of the song, sadly they don't appear a lot. The song has a somewhat okay chorus and the production definitely tries to, again, go a more Progressive Pop way. I do think that they executed it here much better than on the title track but it's still a little bit bland at a couple of points. Other moments like the vocals and lyrics after the actual chorus, have enough power to elevate it into a pretty okay song though. The albums second half starts with 'I Let the Music Speak' which returns to the theatrical vocal style and this time it pushes that even further by pretty much just being a more modern version of early to mid 20th century Contemporary Show Tunes with influences from something like movie Sountracks (like Disney) and even Theatre songs (like maybe a Bertold Brecht piece). While I do appreciate the ideas and the result, it isn't really all that interesting. It feels unfocused and like it doesn't really know where it wants to go or even where it is going right now. There are way too many ideas and influences packed together that don't really know how to harmonize together. The result feels odd and not good. 'One of Us' comes along with slight influences of Raggae together with the still very Europop sound. Pop from Europe mixed with influences from a Jamaican style of music. If done properly, this would sound great but sadly it doesn't. It feels not just odd but simply bad. The chorus is quite okay but the production ruins a lot of what might be good about this. This is pretty much what cultural appropriation is. Again, if it's done properly and with enough respect towards the original culture, something like this "might" work, this just doesn't. The slight Pop Rock influences on 'Two for the Price of One' are quite interesting and the switch of the lead vocals are not a bad idea to mix things up but I can't help but feel like this is nothing more than an Ad song. Not just from the title but the chorus feels like the catchy finale for an ad except the ad is played for three minutes and is finished off with a marching band. It's not totally bad but I don't like the idea or the execution much. The soft Adult Contemporary Pop song 'Slipping Through My Fingers' might be the albums most recognizable track. It has a beautiful and wonderful chorus that is easily my favourite one on the album but... the verses and the songwriting as a whole is not that great. Not bad, the song is still good but it's pretty boring and harms the overall enjoyment a lot. The result is okay, even good but not much more, sadly. The album closes with 'Like an Angel Passing Through My Room', a song that is much more relaxed, nearly Ambient and brings in strong similarities to a Lullaby. That does make it sonically a fitting closing track but I personally am not a fan of hearing them do a three minute Lullaby instead of just doing their average Pop song maybe a little more relaxed. The song is just boring, even a little bit corny and sounds straight up bad with the repeating clock rhythm pattern. favourites: Head Over Heels, Slipping Through My Fingers least favourites: Like an Angel Passing Through My Room, One of Us Rating: decent 5 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Common, who is a fairly underrated rapper, shines on this album not just with quality verses but with the overly upflifting energy that he provides with them. The album starts and ends fun. His optimistic and warm deliveries that are also very concious of himself and his surroundings is something not many Hip Hop artists can envoke this strongly. While the album isn't perfect and merely scratching the marks of incredible, it is still a beautiful piece of 2000's Hip Hop music. Most of the album is also produced by Kanye West who back then was still a very cool person and that very much shines in the Jazzy and Soul inspired beats. The album introduces itself with the Jazz bass sound of 'Be (Intro)' that is quickly added on with synths and piano until it creates a grand and orchestral Boom Bap track that sounds just awesome and not just with the beat itself. Common's verses and flows are impeccable, the themes of life, freedom and going forwards just speak with true soul. And once the song finishes I just want to play it again and again, it is such a beautiful mix of ideas and influences and is simply a perfect start. The early Kanye production is very present on 'The Corner' which not only makes an incredible Chipmunk Soul track but also gets The Last Poets on the track as well as the background vocals. The different MCs including Kanye pull the entire track off beautifully even if I wished that at some points they put in a little more focus but that doesn't take away from the song being simply incredible. With the start of 'GO!', the album more and more feels like a Kanye collab but to be honest, he was so good back then that I am not even mad. Common still shines with his verses and because Kanye only does the chorus, it still works perfectly. The song isn't just beautifully produced but overall just makes fun to listen to. It flows and not just with the verses on their own. Another incredible track and while I don't love it as much as the intro, it is still wonderful to listen to. The very Christian and Pop Rap 'Faithful' not only brings in the typical Kanye Soul sound but also a theme that Kanye often talks about. I do think that the sample gets a little bit annoying after a while but Commons verses are incredible enough to even that out. The song is absolutely incredible and I really love the vocoder elements as well as the Gospel backing vocals in the outro a lot. The change of flow and voice on 'Testify' comes in a little bit surprising and even if I am not the biggest fan of the very choppy sounding beat, the verses that Common is pulling of are among the best performed on the entire album. Thematically, it is a little bit darker and while I appreciate that, it frankly doesn't work on this beat. This could've been one of the best songs on the album in terms of rapping but the beat destroys that. It's still great though. 'Love Is...' really reminds me of a couple of moments on Kendrick Lamars "To Pimp a Butterfly", which means that I really like this track. The beat is rather "simple" as are the more relaxed sounding verses and even the sung chorus. But it all feels so low-key, in the best way possible. I love the thematic, I love the sound, I love performance, this is a perfect track. 'Chi-City' opens the albums second half with a change of sound and thematic. Not only does the song sound like a more "typical" Hip Hop track with a lot of turntable sounds but it also brings in a couple of Hardcore Hip Hop themes. The song feels angry and powerful but is performed incredibly well. It does sound much, much different than the other songs here but is easily as great in quality. I absolutely love everything here from the beat but especially the flow and the lyrics. Honestly, another perfect song. Next comes the live recorded, 'The Food (Live)', with Kanye on the Dave Chappelle Show. It's a pretty good song and the live setting and sound are definitely a nice touch. I also like the beat but it all feels a little bit unfitting. It's definitely not bad but it feels quite weak in comparison. It's still a pretty good song. The return to the Jazz sound 'Real People' together with the cleaner recording is sonically much more pleasing. Common performs really some great verses and the beat definitely keeps the thing steady. I really, really like the track but I feel like something is missing. Maybe it's the drums but I do like the Drumless sound of it at some points. I don't know, still really great. 'They Say' with Kanye (now as an official feature) and John Legend (who wrote the track and has backing vocals). The song is pretty good and the Soulful vocals in the chorus that feel nearly Gospel-like and especially the Kanye verses are really great. But again, I feel like something is missing that would improve the track a ton even if it's still great the way it is like this. The album closes with the two parted 'It's Your World (Part 1 & 2)' that stretches to over 8 minutes of playtime, the albums longest track. Luckily, the track is pulled off incredibly well, so that it doesn't actually feel stretched. The beat is beautiful and Common's verses are performed wonderfully and at one point the song removes any vocals and adds a recording of kids that tell about their aspirations in the future and what they want to be when they grow up. Then comes a poetic finale that talks to us directly that this is in fact our world. It's a beautiful and simply perfect track to finish the album off with. favourites: Love Is..., Chi-City, Be (Intro), It's Your World (Part 1) least favourites: Real People Rating: light to decent 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The first real Heavy Metal album: Black Sabbath by Black Sabbath featuring the song Black Sabbath. Even for the simple start of the genre, it does feature some very heavy riffs with some strong Doom Metal sounds sprinkled throughout. But for the most part, it is the early Heavy Metal and Hard Rock blend that Black Sabbath was and is known for. Even if the album in its entirety isn't the most perfect collection, the fact that the first ever album of a major genre is this consistent and great overall, is very much to appreciate. The sounds of thunder, rain and a chruch bell start the album with an ominous sound of Nature Recordings that transition abruptly into a Heavy and dark sounding atomsphere that back when this released must've sound straight up scary and disturbing. Although the song is much slower and more sombre than what most Metal will later become, it still is an absolutely incredible track. It slowly transcends you into a nocturnal and psychedelic nightmare that swings from one explosion to the next while in between it is fill with mystical lyrics that only strenghten the ominous feeling of it. The second part which picks up more speed almost feels like a chase before exploding into even bigger and greater soundscapes. If this song doesn't make feel uneasy, I can't help you anymore... This is perfect. 'The Wizard' goes more into the direction of Heavy Psych and Blues Rock with Ozzy pulling out his harmonica and giving us a Bluesy riff that is replaced by a Heavy guitar riff. If I'm being honest, this is what early Led Zeppelin tried to be but failed. It is heavy but still sounds entertaining and is extremely fun. While it isn't as perfect as the title track, it still shows as an incredible track full of great moments. I mainly prefer the more Metal songs than the ones that go more into Hard Rock. A more Psychedelic Rock touched sound finds its place on 'Behind the Wall of Sleep' which mostly shines with the weird and echoed vocal effects. The song itself starts too slow and doesn't really have enough to really work in that sense. The riffs and the guitar solo is alright but the album does much better. But I do think that the vocal performance saves this enough to still be considered a really good song otherwise... not so much. The albums best known song is probably 'N.I.B.' which, in my opinion, is like a better version of Sunshine of your Love by Cream. The riffs sound very similar but this song pulls the thing much better off. It is catchy, it is heavy, it has some great performed lyrics that match the whole aesthetic of the album and it just sounds good. The guitar solo is pulled off incredibly and no single second is wasted or out of focus. Easily a perfect song although I still think that 'Black Sabbath' is a superior Metal track. The albums second side is started with 'Evil Woman' (originally titled 'Evil Woman, Don't Play Your Games With Me') and although the chorus is really catchy and great, the vocals are mixed a little bit too quiet to fully work and show what energy is actually behind the loud facade. I also think that there isn't mearly enough heaviness on this track. It just sounds a little bit pale and except the chorus and a couple moments here and there, it's just an okay song. Good but not too good. 'Sleeping Village' returns to the Heavy Metal but before doing it starts with another ominous intro that is mixing aspects of Folk with a Jew's harp that very fittingly works here to create that ominous feeling. After the heavy sound returns we get a mostly instrumental Heavy Metal Jam that has some aspects of Blues and complex structure sprinkled throughout. The song is really great even when Ozzy isn't shining here. It then transitions into the 10 minute 'Warning' which also closes the album with a mix of Heavy Metal and Blues Rock in the form of an even longer Jam that adds even more complexity at some points that it's nearly Prog and has other moments that get close to Doom Metal. It's an incredible closing track although some moments do feel a little bit out of focus and washed out but luckily not enough to hurt the song in a major way because it still slaps. favourites: Black Sabbath, N.I.B., Warning, The Wizard least favourites: Evil Woman, Behind the Wall of Sleep Rating: decent to strong 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Maybe even the only EP that landed on the 1001 Albums list but rightfully so because it pretty much was the start of Grunge as a major genre and no other album was released around that time. The EP while being pretty short is still really great. A lot of energetic, noisy, raw and rebellious tracks that are a perfect mix between early Grunge and Garage Punk. People who listen to it on streaming will now wonder what tracks the actual album is so I'm going to clarify. Tracks 1&2 are a single previously released, Track 3 was a track on a Split EP with three other bands around that time and the EP itself is Tracks 4-9. The rest is bonus stuff even if it's worthy to listen to if you like the actual EP. 'Need' kicks things off with an energetic Grunge track that has much less Punk than other tracks here. It also has a couple of Stoner Metal guitar riffs but that's mainly secondary. The song is energetic, raw and pretty repetitive but it uses this as an advantage it overall comes out great, even incredible. There is so much fun and energy in here that it's hard to not move to it at least a bit and if it wasn't for a couple of pretty unnecessarry breaks (not the false ending, that one's great) that harm the flow of the track a bit, this would've been perfect. The Hardcore Punk inspired and really short 'Chain That Door' gets much noisier with the sound and the production but I absolutely love it. I really like how they mixed the Hardcore sound with a more complex but still short structure and if it wasn't for the vocals which just don't fit the track, this again would've been a perfect track BUT it isn't and the vocals harm it actually quite a lot. It's still great but it could've been more. Following the shortest track, comes the longest with nearly 6 minutes. 'Mudride' keeps the Noise but brings in similarities to Sludge Metal while still being undeniably Grunge. I do really like how the song builds but it is too long, it is not properly finished and many points feel really weak. The chorus sadly doesn't help enough and keeps the song "okay". I like it and a couple of moments are really great and entertaining but these moments are covered side by side with boring and annoying instrumentals and verses that are just not interesting at all. The EPs second side already starts with 'No One Has' which goes back to the fast paced and energetic Punk sound. It's noisy, it's loud and most importantly it's fun. The instrumental chorus adds a lot of needed melody behind the noisy sound and the vocals while still being a little obnoxious, are much better on this track. It does have its flaws especially the length but it's still really good. 'If I Think' returns with a slightly more Metal inspired sound with the heavy sounding bass and I really like the more subtle and introspective sounding intro that turns louder and more Punk before going back. It's good but I think they could've pulled it off much better with a little more focus towards the songwriting and pacing. The final track 'In 'n' Out of Grace' closes things off by presenting the essence of the album: a mix of Grunge in its earliest full form and Garage Punk with a bit of Noise Rock added. It's vocally the most impressive as well as the overall best performed with so much energy that is not let loose and probably the best fine tuned songwriting on the entire project. While I do think that some moments don't work as well as they maybe intended, it still is easily my favourite track on the entire EP. favourites: In 'n' Out of Grace, Need least favourites: Mudride, If I Think Rating: strong 7 to light 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

I am not a big fan of the Garage Rock Revival scene of the late 90's and 2000's. I find bands like the Strokes, The White Stripes or Arctic Monkeys to be extremely boring and average. It merely feels like a bland shadow of what once was the loudest and most Punk music before Punk was even a thing. And trying to replicate something like The Sonics is not really a good idea especially when the sound already is more sonically accepted. Additionally, The Libertines haven't really had a big influence or big importance other than one of their songs being in a movie. I think the album is terrible... Just straight up terrible! How has anybody given them the platform that they had? The albums first track, 'Can't Stand Me Now' is one of the albums "better tracks". While the vocals are already pretty bad, the songwriting is only alright as is the sound and chorus of the song. It's a bad song, it feels like if Morriseys had a twin who couldn't sing was to approach Indie Rock. Vocally, absolute trash. The rest is slightly better. Overall, not good nearly bad. 'Last Post on the Bugle' comes with a more Punk inspired sound and somehow the vocals sound even worse. And if that wasn't enough, the delivery is genuinely terrible. Nothing about this in terms of vocals is pleasent at any point. It's just terrible. And the music behind all that is definitely not enough to help the track out of the missery. Next song 'Don't Be Shy' is the same thing again just that the even the instruments sound bad now. The vocals are at points slightly better but at others just even worse, however that was possible. It is genuinely off-putting and terrible. It gives me physical pain and discomfort to listen to this garbage. 'The Man Who Would Be King' sounds like terrible Britpop which is interesting because Britpop is often times bad to begin with. The vocals are bad, as established, the lyrics try to be poetic? I guess? Because they are just terrible. And finally the instrument switch between basic and annoying. The entire project would've been better if everyone just started playing at random in Free Jazz style because that concoction would at least sound more interesting. Another terrible track. 'Music When the Lights Go Out' changes the style to a more Indie Rock style and it does make it slightly better at some points. It's still really bad but it is much less terrible than other tracks so far. A slight The Who and general Mod influence is really present on 'Narcissist' which is only slightly more entertaining because of it. It's bad but less bad. 'The Ha Ha Wall' is another terrible song. Bad delivery, terrible vocals, bad songwriting, terrible instrumentation. It's just unpleasant. I am German and I am very aware of the history and seeing the title 'Arbeit macht frei' is not something I want. For those who don't know, this was written above the entrence of Auschwitz. It is a sentence that should only be a part of history and not art and definitely not art in this way. I don't even care about the music, the title is enough for me to skip the song because I do not want to hear it. I might be ignorant but I don't care. This is not an album where I want to hear this used. 'Campaign of Hate' fittingly plays next and continues the annoying and bad vocals, the annoying and bad songwriting, oh my god I am just repeating myself. Terrible! More Indie again on 'What Katie Did' which starts more promising but it gets as terrible quickly with the god awful "Shoop shoop, shoop de-lang-a-lang" vocals. It's corny, annoying and performed worse than a theatre made by 5 year olds. Before I repeat myself again, 'Tomblands', 'The Saga', 'Road to Ruin', 'Road to Ruin' and 'What Became of the Likely Lads' are all just terrible in every single thing that they or try. I cannot write more because listening to this is worse than the Salt and Goat torture where your feet are covered in salt and goats lick it off until they reach your bones. This album with nothing else around you is worse. favourites: none least favourites: the entire atrocity of an "album" Rating: strong 0 to light 1 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Queen's debut album even with solid critical acclaim, could not create a mainstream sensation which did change with this sophomore release. While it still was far away from the hit that Killer Queen became later the same year but Queen II still could gather much more attention from both the people and the critics. It blends the sounds of mainstream Glam Rock with Hard Rock and at a couple of points Prog Rock as well as some Heavy Metal. This wild and eccentric mix of genres is what pretty much makes this earlier side of Queen up until their third album. The album starts with the Art Rock 'Procession' which uses the guitar to create a Funeral March effect as if it was violins playing. Added bells, harpiscord and more create a pretty interesting intro. But it still is just an intro and doesn't have much value of its own. It's alright but pretty basic in what it does for the listeners excitement. It then transitions into 'Father to Son' which wips out the Heavy Metal and Hard Rock guitar playing similar to something you'd maybe hear Black Sabbath do a couple years ago but combined with more complex ideas as well as Freddy's one of a kind theatrical and nearly operatic vocals that sting through the heaviness of the music. It's a well written and vocally great performed song but I think that the mixing is a bit too quiet and the guitar doesn't shine enough. I still think that it's a pretty good song but if the guitar was just a tad bit louder at times, it would help the track much more. 'White Queen (As It Began)' with a more tender approach as it takes away the heavy guitar and replaces it with acoustic Folk ideas together with obvious Hard Rock ideas at some parts. It turns the ideas even more Progressive by having fast changing sonic and rhythmic concepts added throughout. I do think that some of these "breaks" that turn the song back to the Folk after it exploded into Hard Rock do destroy the flow and come a little too early but the ideas are still really great especially the sitar inspired guitar work in the second half and the choral backing vocals. It's a really good song but far away from anything incredible. The Folk aspects are further extended on 'Some Day One Day' which has a fast Psychedelic Folk guitar throughout that adds some Psychedelic Rock elements in a similar fashion too its predecessor but less crazy. I do think that the song has some redeeming qualities especially the vocals which at some points, seem to appear perfectly. The starts feels a little bit rough but it gets to its fleshed out idea later on. It's an okay song that mainly looses impact from a lack of focus. The first half of the album known as 'Side White' ends with 'The Loser in the End' which is a return to heavier territory which adds a lot of Led Zeppelin inspirations in the form of a more Blues Rock sound and the vocal delivery which work perfectly with the song itself. Freddie's vocals just rip apart the entire song. It's energetic, loud and closes this first half really well and is definitely a great song. 'Side Black' starts with 'Ogre Battle' and I might be biased because I loved this song way before listening to any other song on the album but its fantastic. It's Heavy, Progressive and has some Experimental ideas as well in the form of Tape Music throughout which creates this incredible effect that makes the song so great. The songwriting is incredible and the guitar works so perfectly with the way the song builds. The backing vocals, ad libs and general vocal delivery are on point at any time the song plays. While I don't think that it's a perfect track, it's still absolutely incredible and easily one of my favourite tracks on the album. The quirky 'The Fairy Feller's Master-Stroke' follows with some interesting Pop Rock ideas that are performed pretty theatrical and play around with a lot of instruments and ideas. It's a pretty cute song but I don't think that it's anything special or massivly interesting. I don't mind it but I don't exactly like it either. Just pretty average overall. 'Nevermore' feels like a short Piano Rock interlude similar to what they did later in their career but very short and not really fleshed out. It's got some nice moments but the length stops it from really doing anything much more than just an "Oh!". It's okay but with more to it, it would've been better. The albums most eccentric, most progressive, most wildly delivered song is without a doubt 'The March of the Black Queen'. It flows from one part into the next with feeling like it was too fast or like it lingers too long at other points. The songwriting is genuinely impressive as is everyone's playing and even the vocals are diverse like never before on the album. It just works together perfectly. I don't think that I go too far when I say that it's a perfect song and for me personally the only perfect song on the album. Everything about it is interesting, enjoyable and just incredible. After this beast of a track, 'Funny How Love Is' changes sounds by given a Psychedelic Sunshine Pop track that still has some nice Rock elements added. The song is alright and I don't have much to say against it except that I'm not a fan of how the drums were mixed and the lack of diversity in the songwriting but it still is pretty well performed which is why it's just a pretty average track. It overall feels very boring and even basic. I just don't care for it. The album closes with the Hard Rock and Sea Shanty inspired 'Seven Seas of Rhye' which does have some nice energy and the chorus is pretty fun but the whole make up around it feels pretty stale and just not really all that great. But I do think that the highlights are enough to make the track still a good track. favourites: The March of the Black Queen, Ogre Battle, The Loser in the End least favourites: Funny How Love Is, Procession, The Fairy Feller's Master-Stroke Rating: light 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Brian Eno was easily one of the most important people in music history. Not only was he at the forefront of Art Rock, Experimental Sound Design and even Drone but he also invented the actual genre of Ambient. This album was purely created because he was annoyed with the Airport music and *boom* Ambient!!! The album kickstarted a new way of approaching and looking at music and even though better Ambient albums have been created (even by Eno himself), the album is still packed with great ideas and beautiful moments as well as a Blueprint of any following Ambient projects. The album is made up of 4 tracks all titled after the number of the song and the number of the vinyl side. So, '1/1' starts the album with some great moments right off the bat. It combines Modern Classical Minimalism (which artists like Steve Reich were at the forefront of) and New Age and even Impressionism. Meaning that right at the start, the Ambient genre shows what it tries to give you: peaceful and even meditative melodies that are easy to listen too and put one into a state that is both soothing and ethereal. The track is mainly made up of simple and lovely Piano sounds as well as some synths. There isn't much more than a total of three instruments on the entire track. It is incredibly simple but it knows that and it doesn't push itself further than that. I guess that it's hard to really give a "score" or anything to a track like this because either it works for you at this moment or it doesn't but I personally love this track. Brian Eno was and is one of my biggest inspirations and a track like this just emphasizes that less can be more. The track does exactly what it wants to do and I am hypnotised by what it does: This is a perfect track. '2/1' keeps things going by adding a lot of Choral A Cappella from four vocalists including Eno himself and using that as an Ambient instrument by playing it from a tape in different ways. It does sound like it's just a few parts of a church Choral and I do like that sound on its own but this track repeats and all of that and often breaks the little bit of flow that it had. The only thing that I really enjoy here are the synths but to be honest they aren't really so prominent that it takes the fact away that the vocals are simply annoying after a while which is the least thing Ambient tries to do. It does get incredibly frustrating because it feels like the exact same thing over and over and over and yes, the first track also sounding like that but it did it better and not as obnoxious as this track. I am sorry but I genuinely think that this is a very, very unpleasent track and without a doubt one of Eno's worst songs ever put out on a major release. The second half of the album starts much better. '1/2' does feature very similar vocals but there is piano again and doesn't fully rely on the vocals. They are still very present but they are used much more sparingly and are broken up by the piano which often times does a much better job at keeping the track together than the synths did on '2/1'. I do think that after what happened on '2/1' that I am connected to these vocals a little more than I should be because they still feel a little bit annoying which does ruin the song a little bit for me. I think that it's still an incredible track but it's simply not perfect because of these vocals. The album is closed by '2/2' which is another complete change of sound because it goes much more into a genre that only later was put under the Ambient umbrella. It uses Electronic Space Ambient in the form of only synthesizers to create a similar Ambient atmosphere. It does still fall under the "normal" Ambient genre because it does set itself apart from other Space Ambient tracks and mostly the Progressive Electronic aspect but it does utilise a lot of the sounds that it first made popular. The track sounds like a dreamy sci-fi movie about astronouts and I absolutely love it. While I do think that '1/1' is overall better, this is still a perfect Ambient track and has some of the best moments on the album as well as closing it perfectly. favourites: 1/1, 2/2 least favourites: 2/1 Rating: strong 7 to light 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

I said it before and I'll say it again, I don't like Britpop. There are some artists like Suede who can actually make something good with the genre but most popular Britpop artists are just stale and often times even bad. I hate Blur, I don't like Oasis, I cringe to Supergrass and now the Charlatans come as well to give me a new feeling: annoyed. The songs are all the same in terms of songwriting and much more than Oasis was but they are all so wannabe humorous. Not a good album. The atrocity starts with 'With No Shoes' which right off the bat is a terrible song title. But the song itself might be worse. It is a bad mix of harmonica and synths in the intro that turns into an annoying mix of Neo-Psychedelia and and Britpop with vocals that feel like the disabled son of The Verve and Oasis. It's just wannabe Britpop without any of the qualites that would make actual Britpop a tad bit interesting. There is nothing new here, it's just Oasis all over again but with worse songwriting and a worse vocalist. 'North Country Boy' does the exact same thing again but is even worse. The opening track is really bad and often just unbearable but THIS, this is just unlistenable, one of the worst songs ever. Terrible vocals, songwriting that does not work or fit the song and even worse backing vocals that feel like they appear a beat to late. This feels more like a improv Demo than an actual and finished track. Terrible, straight up terrible. The title track 'Tellin' Stories' isn't much better either. It tries itself on Baggy which will the album do later on more often but here, where it starts, it doesn't work to begin with. The different aspects of Baggy that they try to do on the track are just dissonant with the rest. It genuinely sounds terrible. If this was some wacky Experimental shit it would be good but this is Britpop and not The Velvet Underground or Robert Wyatt. Terrible, again. And if that wasn't enough, they now try to do Breakbeat inspired Britpop. That not only sounds like a terrible idea but it actually is. This feels like if the Prodigy just collabed with Oasis but neither of them bringing own stuff to the project. It does not work, sounds bad and didn't even have potential to begin with. The only fact that it's not completely terrible and just very bad is that there are moments without vocals and they are just bad or boring which is actually the highest in terms of quality you can get out of here: boring. 'You're a Big Girl Now' would've been better if it actually covered 'You're a Big Girl Now' by Bob Dylan but no, they wrote own lyrics. The song feels way too overproduced to work as a pleasent Folk tune. It sets its focus on lyrics that are not good. And it also has the terrible vocals the album had so far. Terrible. The second half of the album starts with 'How Can You Leave Us' which returns to the Baggy influences and they are implemented and executed much better here than they were before. I still think that it's a bad song but the songwriting is actually quite passable at points. It's mainly the vocals and some guitar parts that really throw me off here. 'Area 51' brings in more trippy synths which do actually kind of work and are not too far away from being Trip Hop which would actually work with their sound as long as someone else was doing the vocals. Luckily, this song is without vocals and is purely instrumental. The songwriting has some nice ideas and the production isn't too bad. I wouldn't say that I like it but this song gives a little bit of hope that there might be another song lurking here that isn't totally unlistenable. This is still bad but it's much more okay-bad. The more energetic approach at the start of 'How High' made me hope that they might go into a Punk direction but no, just Britpop. Terrible songwriting, bad delivery, annoying performance. The main problem of 'Only Teethin'' is that it is streched to over 5 minutes. The song is bad, not terrible and has some redeeming qualities like the drums but the sheer length just annoys most of the track. If it was half of the length, it'd be bad and that's it but with the way that they streched it more and more and more is just annoying. The result is really, really bad but not as bad as most the songs served so far. And if that wasn't streched enough, 'Get on It' feels like the worst that Country Rock could've influenced. The harmonica sounds bad, the different instruments sound terrible together and I'm not even going to talk about lyrics and songwriting. And on top of that it is streched to nearly 6 minutes of playtime. Nothing here works... Terrible. The album, luckily, ends with 'Rob's Theme' which is the biggest genre change on the album. It's not even really Britpop anymore as it's a straight-up Trip Hop tune with some psychedelic and Ambient elements added. It's one of the better tracks that the album has to offer although I still think that it's a mildly bad track mainly because the structuring of the track feels unfocused and not fully fleshed out but I think that even though it's bad, it's the albums "strongest" track. favourites: none least favourites: most Rating: strong 1 to light 2 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Massive Attack invented Trip Hop with this album and even though it was the start of the genre, this album is still really solid and stays as one of the best Trip Hop records of all time. The blend of the trippy and dreamy Hip Hop inspired beats with the light vocals that switch from gentle rapping to soulful performances as well as the additions of instrumental and electronic Raggae in the form of Dub is just a one of a kind spectacle. And although their album 'Mezzanine' is much, much stronger, this record had crazier and more forward thinking ideas that pushed Trip Hop into the path we know today. 'Safe From Harm' kicks things off with the mix of the trippy sounds of Trip Hop and the energetic breakbeats of Street Soul while incorporating a lot of Turntablism into the mix. The song uses the repetetive nature of sampling with a turntable perfectly as an advantage to create tension while still having a lot of soundscapes build around the main beat. And on top of that, the vocals are absolutely amazing and work so perfectly. I think the entire song works perfectly and not just as an opening track but as a song itself. The Dub appears fittingly on 'One Love' which is a perfect mix of the Raggae influence with the Trip Hop style. The vocals are a little bit silly at points but to be honest, it doesn't annoy much. I think the main "problem" is that the song is feels not fully fleshed out and at multiple points like they didn't check over it. I think it's still a good song but it also stays at good and not much more. The title track 'Blue Lines' now adds much more Hip Hop with some very low-key and gentle rapping that has a pretty warm and atmospheric feeling too it. I really love the production with the Jazz Bass, the sample flip as well as the actual verses that sometimes even go into Abstract Hip Hop territory. I think if there was a little more to it like a chorus or a hook (vocally or instrumental), it might've been a perfect song but the way it's done here is still really incredible. The very prominet Soul vocals of 'Be Thankful for What You've Got' with the R&B sound of the track do make this a really enjoyable track even with less Trip Hop in the actual production although it still has the typical drums, it's just that the entirety of the song is much more a Soul song than it is Trip Hop. I think the song is great and I love the chorus as well as the vocal deliveries but I just don't connect with it as much as with other songs on here. 'Five Man Army' returns to the strong Hip Hop influence and combines it with some Dub which is a lovely combo. I really love the production with the few trumpets in the mix that really add the enjoyment of the beat. The verses from the rappers are really well written and performed and are pretty much some of the best UK Hip Hop moments that have been made up until this point and are still from todays view, really solid. They obviously aren't close to anything from Little Simz or idk GZA but they are solid. As is the full track by the way. Even with the length of it it does have a lot of incredible moments and comes out to a pretty great song. The albums second half is started by 'Unfinished Sympathy' which combines strong Dance elements with Cinematic Classical strings that create a sound that feels both epic and energetic while still having the dreamy soundscapes of Trip Hop above it. Although I think that these elements don't perfectly work together, the vocal performance is really holding this together as a track but I believe it would've been better without the strings. It's still a great song and I get why so many see it as the best track on the album. 'Daydreaming' returns with more Rap influences and I think that they work pretty well especially the flow seems to fit neatlessly on the beat which I think is really the star of this track. The production is so great especially the details in there. I really like the song but I think that it doesn't have enough to it overall to reach a great level although I'd really wish that because I really like the production choices, it's just the thing finished that don't feel enough. There is again more Soul on 'Lately' but I feel like it doesn't go as hard as it did before. This track doesn't feel fully finished and also pretty lame in comparison. It's not bad but it doesn't go above an okay track that is fine to listen to but I don't really care for it at all. The album closes with a sonically very pure Trip Hop track 'Hymn of the Big Wheel' that only adds a couple of Dub, R&B and even New Age elements beneath the surface and with it being the albums longest track, it does feature some of the most interesting moments. The production feels grand but still very atmospheric and even a little bit cold. Although the vocals are again a little bit silly, they still work and I do think that the song ends up being pretty great. I really like the song on its own and also how it closes the album. favourites: Safe From Harm, Blue Lines, Unfinished Sympathy, Five Man Army least favourites: Lately, One Love, Daydreaming Rating: decent 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

At the time WAR released their critically most acclaimed album, Funk was already on the rise and had just seen more and more mainstream success. And with an album as forward thinking and progressive as this, Funk and the Soul surroundings that it was still mainly touched with got pushed into a new niche that pretty much walked hand in hand with what The Temptations did before and around that time. The album starts with the Latin Funk 'The Cisco Kid' that plays with versatile percussion and rhythm sections while incoprorating a variety of different South American instruments and sounds that give the track a lush feeling. The different aspects in songwriting and flow are really interesting and the vocals just add even more enjoyment to these tracks. I really love this track and it's easily a perfect track. It's just very fun to listen to it. 'Where Was You At' plays with more Soul and even a little bit of Blues Rock while still having a lot of Funk as a main attraction. I really like the different wind instruments but except the moments where they really shine in the bridge or as a solo, I am not really interested with what the song does. I think the song is alright but if it wasn't for the already mentioned few wind instruments, I wouldn't even really enjoy it much. The song is alright and pretty much right in the middle of enjoyment. The bad/boring moments and the few good cancel each other pretty much out. The albums longest song, 'City, Country, City' closes the first side of the album with a playtime of over 13 minutes. The track is a pleasent mix of Psychedelic Soul and Jazz-Funk with a very pleasent use of harmonica as well as some Latin Funk influences here and there. And although I like the slightly laid back and dreamy sound of the start, it does take too long to change that repetitive pace that I am even annoyed after a bit and once there is more percussion added that is supposed to give a more energetic feeling, I can't but feel like the harmonica doesn't fit together with the vibe of the track. For the most part, it just feels off and while I do very much enjoy the percussion on its own, the entirety is pretty ruined by that annoying repetitive harmonica. The change of lead instrument to guitar is pleasant at first, there are some moments where the playing sounds actually bad. The result just feels average. And even though the song is supposed to be anything but average, the result, at least to me, is exactly that: average, unfocused and basic. On top comes the sheer length of the track that makes some parts so overly annoying that I cannot even think of the track as just "basic" but actually as an below average track. I really like the sound and some ideas but the execution is really not that good. The albums second half is opened by the Soul Blues 'Four Cornered Room' which brings in a lot of Psychedelic inspirations as well as more harmonica both used in a both tender and ominous way that make this feel like a mix between a Western soundtrack and a Mexico soundtrack. And I think that this track might've been better if it was actually bulding tension and had more lush surroundings but the way it was done here, it feels repetitive, boring and sometimes annoying. I really like the bass playing and it does its job good at building the slight tension that the song actually offers but no other instruments can really do anything. The vocals (or more the Spoken Word parts) can become really annoying because they "explode" like it was already time for a chorus when nothing build towards that. And while I do think that the explosiveness of such hooks can be extremely benefitial, the way it's done here just doesn't work. The song is a boring and average Soul track. Luckily, the title track 'The World Is a Ghetto' comes to save at least a bit. It is very much a Progressive Soul song with only a few Funk influences. The result works much better even at over ten minutes than the last songs. This song is great in terms of structure, flow, songwriting, performance as well as the vocal and musical delivery. This song is full of soul and does its thing in a hypnotic, passionate and optimistic way while still being tender and beautiful in terms of vocals. At the lenght that it is, the quality does suffer a little bit at some parts but it's not enough to make the track anything less than simply great. The solo's, the verses, the chorus, all of it is fun and enjoyable. The album closes with 'Beetles in the Bog' which not only brings back more Funk but it does it not all that great. I do like the anthemic vocals and the ryhthm of the track, I also think that multiple instruments don't really work togther. It sounds very messy, very bloated and just unfocused. This would've nearly passed as Free Jazz if it was more like Jazz which isn't a good sign when you want to do Soul & Funk and not Free Jazz. Especially when most Free Jazz would be more enjoyable than this. It's still not bad but the messiness of the track just turns it stale and annoying. favourites: The Cisco Kid, The World Is a Ghetto least favourites: City, Country, City, Beetles in the Bog, Four Cornered Room Rating light to decent 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

This is one of the first really big Brutal Prog albums. If you ever wanted to know what it would sound like if Pink Floyd would go into the studio with way to many party drugs and cocaine in their body, this would be it. It blends the manic and chaotic Noise Rock with the even more manic and chaotic Brutal Prog and makes it even more complex by playing with some very, very uncommon time signatures. It's crazy to put it in simple words. Just crazy. And while crazy can be good, this often times doesn't do it right. There are a lot of moments where it's so chaotic and weird that it looses the structure and turn just boring. Other moments though, are so repetitive that they turn annoying. When I compare this to the Brutal Prog of the last years, mainly Black Midi's Hellfire, I know why this album here is still the start of the "big" rise of the genre. But even though some moments aren't that good, some are really strong and do exactly what the album promises. The album starts with the improvisational Noise intro 'Hello Morning' which is does start off the project fittingly and with a lot of sonic ideas that it will go on to further explore. But isn't even a minute long which results in it not really giving out a lot of great moments and turns out pretty stale. Maybe it's just that I am not really big on Noise yet but I actually slightly dislike this short intro just because it doesn't really do anything except start the album in a not really needed way. This intro transitions into the Noise Rock track 'Assassins' which brings in some Brutal Prog elements while also adding Post-Hardcore with a lot of very complex sounding structures. I really like the song when it goes wild at the start and later but the moments where it's just the same droning synths with not much extra just makes it boring and not even really interesting. It's not that I dislike it sonically, I just find half, if not more, simply boring and the great moments sprinkled throughout aren't enough to make it interesting which makes this a very average song. Luckily, 'Dracula Mountain' makes things a little more interesting. The song is sonically more diverse and while the vocals are burried deep in the Noise, I do like the feelings of darkness, fear and the overall surreal atmosphere that it gives the song. I do think that they could've added a tad bit more melodic parts to help the Noise not feel bland but I think the result is the chaotic and crazy sound that the album tries to create. It's a great song and one of the albums best. '2 Towers' goes heavier and even crazier with a lot of complex and avant-garde guitar playing added. This is probably the best that the album can offer because it's noisy, loud but complex and weird with a lot of crazy playing. I think that they could've mixed the drums a little bit louder and added more noise but apart from that, this is a fantastic track and easily an incredible one. The songwriting is repetitive but this time it uses it as an advantage to create a lot of tension similar to what Post-Punk often does. And because it has more melodic aspects and not just Noise, it does work much better and actually great. If they had repeated this pattern of songwriting of every song with new ideas of course, it would've turned out much better. The first half of the album ends with the slightly psychedelic 'On Fire' which plays with more avant-garde melodies once more and actually has some great and redeeming qualities. They sadly tuned back a lot of the Noise but that leaves room for more melodies which does help the songs structure. I think the song turned out great, even incredible because I don't have much negative to say about it. The second side of the record is opened by 'Crown of Storms' which starts with more Avant-Garde and adds some Noise Rock until the vocals set in again. I do really like what they did on this track and the great mix of all of these ideas and weird concepts and sounds is magnificant. This is another incredible track with some really interesting and wonderful moments that do really do what they album tries and on top of that has slight but noticable variation. As if the rest wasn't weird enough, 'Longstockings' adds Experimental Rock ideas with some stinging guitar sounds and effects that set themselves strongly apart and while some of it reminds me a bit of what The Velvet Underground did ont their first two albums, this song here goes too far with these ideas. The first half is sometimes really annoying and feels really boring but luckily, the second half is so energetic and noisy that it really saves the entire song. While it doesn't end perfectly, it does sound really great in that second half. The title track, 'Wonderful Rainbow' removes a lot of the Noise and goes even more into the Experimental aspects, even does a Minimalist approach at the start. It is a very short track and doesn't really have any interesting moments or great ideas which let's it end up being pretty average. '30,000 Monkies' is a return to the Noise Rock and Brutal Prog sound with some really complex guitar solo moments throughout. The structure here is pretty wild as is the sound of course but I feel like the overall presentation is a bit overboard with itself. It sounds much more like a professional guitarist that tries to flex than some crazy Noise Rock. The second, much noisier, half of it though is where it actually goes wild. I do like the song and I think that it's really good but the album has had stronger pieces. The album closes with 'Duel in the Deep' which plays with some really interesting and ominous soundscapes within the wild Noise Rock. I like the ideas that this song has but the execution is a little bit lacking. It goes a little bit too far with the Noise and the result feels overly repetitive, tiring and after a while boring. Sonically, a perfect closer but in terms of enjoyment... not really. favourites: Crown of Storms, 2 Towers, On Fire, Longstockings least favourites: Hello Morning, Wonderful Rainbow, Assassins, Duel in the Deep Rating: decent 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Madonna, easily the biggest female Pop star of all time. Since she broke into the scene with some really energetic Synthpop, she's made her way through the top of the charts everytime she released new music. This album might be her biggest critically acclaimed album after her debut and features classic Pop songs such as the title track. And while most songs are Dance-Pop oriented, there is a lot of more artistic approach often in the style of Pop Soul or Adult Contemporary. It is the first wave of the more Art Pop approaches she'll go to try in the 90's and further on. The classic title track 'Like a Prayer' which blends aspects of stadium ready Pop Rock and adds some R&B and Gospel aspects. I think that the great moments of the song, namely pre-chorus and chorus, are really, really great but the songwriting on its own can be and often is holding the song back. There is too much stopping and tuning down which ruins the flow of the song. The longer the song plays, the better it gets but the first minutes are a little annoying but I think that the song overall turns out pretty okay. The second track 'Express Yourself' goes very much into a Prince inspired direction with a blend of Pop Soul and Synth Funk with a good amount of Dance added as well. Its songwriting is much more even and the energetic vocals are really adding to the groove of the track. I think that this song is overall much stronger than the title track and even when the highest moments are less high, they are close and with a more even songwriting, I actually think that this is a great track. It would've been incredible, if the bridge was less corny and the length was a little shorter but still, wonderful. The Prince influences don't stop because 'Love Song' isn't just thematically similar to a Prince song but it's a full on Minneapolis Sound Pop Soul track that even features Prince himself as a songwriter, backing vocalist and producer. The result is really good, production wise, but I think Madonna would've needed the strong sexual tone in her voice to really do the song justice. If this was a Prince song, it would've been really good but Madonna sadly cannot do that. It turns out boring and stale. One of the albums strongest tracks is without a doubt the New Wave 'Till Death Do Us Part' which is sonically pretty much an amalgamation of different popular 80's genres but Madonna does that surprisingly well. Synthy New Wave, Jangly Pop Rock and Danceable Sophisti-Pop all find a place tied togther by beautiful songwriting, production and one of the best hooks ever. Her vocals are on point as is pretty much every aspect of the song. If the song was a little tighter and had more focus in the verses, this would've been perfect. Now it's "just" an incredible Pop song. The Adult Contemporary 'Promise to Try' closes the first half of the album with a sombre and mellow song that mainly uses piano and vocals to create a song that is mainly focused on the lyrics. Even if the lyrics are technically alright, the songwriting is really boring and turns the song very average and nothing that you want to hear from Madonna. It's not terrible but it definitely isn't good. Side 2 opens with a mix of Dance Music and Sophisti-Pop and a couple of other inspirations but that's not not important here because the song is awful. It's the bad type of 80's music where the production is actually pretty good but the songwriting ruins all of it. It has a horrible chorus that is probably as annoying as some of the songs on "Cupid & Psyche '85" and I detest that album. I hate this song. 'Dear Jessie' is definitely better and I like the string addition as well as the Psychedelic Pop approach but overall the song doesn't go further than an okay song. The chorus isn't really sticking out, the verses are really uninteresting and the songwriting is boring. It is mainly the production that makes some moments have a cutesy felling to it but it ends there. I had 'Oh Father' much worse in my memory after the first listen and although I think the verses are bad, the chorus and some aspects of the songwriting do safe it from the doom that I anticipated. Especially the chorus is really intriguing but in the end it's not enough to make the entirety of the track feel boring and average. The New Jack Swing 'Keep It Together' gives a lot of similarities to something you'd hear from Janet Jackson and I do think that Madonna did a really good job when making this song. It's not great but it is pretty fun to listen too with the chorus and the production. It's mainly the generic and boring verses that make the whole song lack interesting moments. It is also too long. 'Spanish Eyes' brings in some Latin Pop inspired Adult Contemporary which, again, doesn't really work well. It's not terrible, the production has some really nice elements and the chorus as well as the vocals are spot on but the verses are a little lackluster and boring which together with the stretch of the length turns the entirety pretty boring. The album finishes with a weird Sound Collage that is a mix of Plunderphonics and Tape Music from different Hard Rock and Gospel tracks on top of which she sings and also just speaks. It's a neat idea but the result is pretty bad... Not terrible but this isn't a Madonna song and still it tires to. Favourites: Till Death Do Us Part, Express Yourself least favourites: Cherish, Oh Father, Act of Contrition Rating: decent 5 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The Temptations were one of the most popular Progressive Soul groups of the late 60's and early 70's and with this, their most popular release, they put out some of their best known and most influential songs, mainly 'Papa Was a Rolling Stone' which is a staggering 11 minutes long which goes to show that they didn't really needed to sacrifice artistic value to stay relevant. From a today's perspective, their music might not have aged as well as maybe Marvin Gaye's or Stevie Wonder's but they aren't to be messed with overall. The Deep Funk inspired Soul song 'Funky Music Sho Nuff Turns Me On' starts things off with a live introduction that adds the (probably) studio recorded instruments on top that features nice playing as well as some very catchy backing vocals that make this song very easy to vibe with. Although it sometimes feels like the song lacks substance and isn't fully fleshed out into what it might've been in its final form but it's regardless of that a really nice song with a ton of great moments. It gets even funkier with 'Run Charlie Run' which has a really funny hook which seems to be influenced by some stuff by The Last Poets and in that regard might've influenced a lot of early Hip-Hop. Again, it does feel unfinished and has a certain lack of substance even if it's very fun to listen to, there isn't much to hold onto. It's really good but it kind of ends there. The very Progressive Soul sounding and long playing 'Papa Was a Rolling Stone' is THE song of the album. A lot might've known it before and it's become an absolute classic in the Prog-Soul scene working as a kind of blueprint for later appearing artists. The psychedelic sound that plays with different dreamy instruments and even some interesting guitar effects that over the span of the song build up into more and more tension that stays interesting and funky. I do think that the vocals appear at a weird time. They should've either came much earlier or even later but at the moment they appear, it feels just off. But even with that, they manage to pull it back into making a really catchy chorus that sadly vanishes too early. It's overall a really interesting and really good song but there are so many things that I would've changed about it, mainly the structure and the building of tension, that in the end, I cannot think of it higher than "really good". Nothin totally mind changing and definitely not perfected to the fullest potential. On Side 2, 'Love Woke Me Up This Morning' brings in a lot of Smooth Soul performances that beautifully mix with the piano and strings and create a really lovely sound with the different vocalists that all work together. I do think that the mixing is a little bit off and too raw and also the song ends way to early to be really anything substantial. It's nice, don't get me wrong but it feels like an interlude. The smooth vocals stay on 'I Ain't Got Nothing' which would've been really good if they didn't add the weird "Shoo-wop-shoo-wop" hooks at the weirdest and most unfitting times that totally disrupt the song and make it annoying at these times. It's just not needed or adding anything "quirky" to it. I really do not care for what they did here at all in the end. 'The First Time Ever (I Saw Your Face)' might be the best of the Smooth Soul songs here mainly because it features the best vocal performance as well as the best arrangements even if both are mixed really weirdly. It's not a crazy song or anything too special but it's fine. On 'Mother Nature' they return to more typical approach to Soul that mainly shines with the different arrangements as well as the tension that it builds. It sounds like it's working towards one of the catchiest choruses ever made but that just doesn't appear. That doesn't make the song bad but it does make it feel pretty redundant even with the trumpets and the incredible vocals. It's nice to listen to but again, not like it has too much substance within. The final song, 'Do Your Thing' returns to more Funk while still being majorly Soul with some actually catchy moments that are really enjoyable. The piano especially as well as the hook are some real standouts here. It's a really good song and easily one of the best on the album. favourites: Papa Was a Rolling Stone, Funky Music Sho Nuff Turns Me On, Run Charlie Run, Do Your Thing least favourites: I Ain't Got Nothing Rating: strong 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Nas started writing on this album when he was only 16 years old but once it actually released he was 20. 4 years of writing, rapping and co-producing and one of the most critically acclaimed albums of all time was finished which still to this day is regarded as one of the best written Hip Hop albums of all time. Even at his young age, Nas was able to right self conscious and introspective texts that he could perform like no one else. This album is a masterpiece and without a doubt one of the best Hip Hop albums ever made as well as one of the best of all genres. The album starts with the intro track 'The Genesis' which isn't really a finished Rap track. It's more a Spoken Word sound collage that sets a sonic tone for the album that Nas will extend on. There is still a beat and it's pretty great but it's the sounds around that that make this an incredible intro track even with how short and substence lacking it actually is. The first actual track is the legendary 'N.Y. State of Mind' which is just one of the craziest songs ever made. Nas starts off but stops his delivery to say "I don't know how to start this shit" before giving us 4 minutes of one of the greatest flows that I have ever heard. He did this track in only one take and this is what came out! That alone should tell you how crazy this guy and the album itself is but there's more. Because not only is the beat incredible, the chorus catchy and his flow impeccable but the lyrics itself are some of the best written Hip Hop lyrics ever. They do "only" tell about Brooklyn and New York and his state of mind but he does it with so much lyricism and attention to detail that even Leonard Cohen might be jealous of some aspects of his writing. He also drops one of the most legendary bars in the form "I don't sleep, cause sleep is the cousin of death" which was used by so many other rappers as well. The song is simply perfect. The chorus of 'Life's a Bitch' might be one of the albums best but don't be fooled because the Jazz Rap verses on their own are again lyrical perfection. They are both philosophical but also extremely real while being performed with incredible flow. The production is also absolutely incredible. Pretty much everything from 'N.Y. State of Mind' that can be applied to this track, can be applied to this track. It's groovy and jazzy East Coast Hip Hop perfection. From one incredible chorus to the next. 'The World Is Yours' keeps the Jazz Rap production as well as (of course) absolutely amazing verses that don't really stop with the introspective and philosphical depth performed like he's been rapping for 30 years already. I don't even know what else I can say except that this is another perfect track. The track 'Halftime' already shows us that the first half of the album is nearly over. It turns the Jazz Rap a little bit down and lets more Boom Bap shine through together with the Conscious Hardcore Hip Hop we're already familiar with. His flow and his verses are stunning but I am not going to suprise anyone with these infos now. Yeah, perfect track again. (It's really difficult writing a review when every song is incredible in the same exact things and there isn't really a change of quality. It's all the same perfect...) On the second Side of the album, 'Memory Lane (Sittin' in da Park)' reintroduces a the Jazzy production with some nice Soul Jazz sample flips. No one will be surprised but he delivers perfectly some perfectly written bars. I think this might be one of the best songs on the album although they are all so incredibly close to another that that doesn't really mean much here because even the worst moments are some of the best in music history. 'One Love' not only adds some Political aspects into the rhymes but also Q-Tip who is one of my personal favourite rappers in terms of voice and overall ability. He performs the chorus perfectly and Nas verses are just majestic on this track. The production is simple but unbelievably effective. I think this might be my favourite song on the entire album just because of the lucky addition of Q-Tip. The "worst" actual song on the album is probably 'One Time 4 Your Mind' which in consideration what this album offers still means that it's incredible but just less perfect, if that makes sense. Even with most people agreeing on this take, I still love the track but I get where they come from. His flow at points feels much weaker and at parts actually off. But I think the problem is the beat which I feel like doesn't serve him too well but he did the best thing possible with it and still delivered some killer verses. The pure perfection picks right up again on 'Represent' which not only has some killer verses but also a lovely Boom Bap production that serves Nas much better. He's absolutely killing it on this track and delivers some of his most energetic and thought through bars of the entirety of the album. One of the best on the album. The album ends earlier than I want with 'It Ain't Hard to Tell' which is just a perfect finale to this perfect album. The beat and the production is Jazz Rap finesse, the verses and the delivery is absolutely amazing and Nas nails the albums ideas and concepts for a final time and closes the album in a way that the listener only wants one thing: another listen of the album! favourites: One Love, N.Y. State of Mind, It Ain't Hard to Tell, Represent, Memory Lane (Sittin' in da Park), The World Is Yours, Life's a Bitch, Halftime least favourites: none Rating: decent 10 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

IDM even in 1994 already had some quite interesting and important releases and even the idea of mixing Ambient soundscapes and ideas with it wasn't new as one could hear on the Aphex Twin debut. To be fair, this album was going a much more classic Ambient approach than Aphex Twin and deserves at least that credit for what it brought after. But that still does not mean that the album is good. There are certain elements that are done very well and even interesting but most that the album offers fails the most fundamental thing that Ambient tries. It does not create a relaxed ambience that can work as background music but also as a beautiful soundscape if you listen closer. Instead, the album is just annoying and in some cases gets progressively worse with how demanding it is and I don't use demanding as a compliment here. 'Bubble and Slide' opens the album in not the most pleasent way with something that sounds like a clogged toilet turned into a Techno beat. It sounds abhorrent and disgusting as if a Goregrind Metal vocalist decided to put his voice through the worst computer synthesizer that one could find and play around with it. The additional synths (those that bring in the Ambient) as well as the Industrial aspects don't really improve it much and the song ends sounding as terrible as the start. And as if wasn't enough, 'Bubble and Slide II' comes in as the second part of that same song but luckily, the toilet sounds are gone and replaced with overly repetitive drum machine sounds that sometimes get broken up by some synths before it repeats again. Repeating the same thing is very often what makes Ambient interesting but it is also very easy to f*ck up as they did here. If it was a less obnoxious drum machine and more of the Ambient synths, it would've been okay but the result as they did it here is too much, too loud and just annoying. After around 3 minutes, it does get better and does exactly what I just said but still not enough to be good because after a while it goes right back to what it did in the beginning. That middle part is the only listenable and not bad one but it isn't good either and the song as an entire entity is overall just bad. The following 'Duke of Earlsfield' is even longer at nearly 9 minutes of playtime and is actually the longest track on the record. I do think that both the drum machine as well as the other synths and production choices are much better here and actually create something that is a nice mix of IDM and Ambient even though I wished there was more of the latter because the way it is here, is just a little bit questionable as you can clearly hear their ambition but very much wonder why they didn't go into that more. But apart from that, the song is actually quite okay, if not good. The mix of bell synths and the darker and more distorted Ambient synths later on feel like they are implemented in a good way, only the the part at the 6 minute mark holds it back a little bit. Overall, this is a pretty good IDM track. The darker and more distorted tones are amplified a lot on 'Flight Path Estate' which is present from the very first second. And while I liked it the firt few repetitions, the longer it played the more annoying it got. Until the additional synths come in, it's just hard to listen to and once something else appears, it feels like it doesn't really fit. These Ambient synths on their own would've been lovely and actually sound like something you'd hear in Minecraft but these loud soundscapes are just unbearable. One part of it I love, the other I hate but the second plays for much longer, so it's a not a good song. The track 'Planet D' was mixed and produced by Portishead and although I really like some of what Portishead did back then, this is certainly not one of them. The drums and the Ambient synths are really well made but for some reason they decided to put an unfitting sound as a "hook" into an otherwise okay IDM & Trip Hop track. The song isn't bad by any means but a couple of their production choices do feel rather weird. But it still is a listenable and okay song that just doesn't do very much at all which does help the Ambient aspect of it but not really the Electronic or Trip Hop side. The lead single 'Wilmot' comes around with some very interesting choices that range from tropic sounding guitar to cow bells to weird soundscapes and some very obnoxious vocal samples. But, that was just the intro (which isn't good by the way). The actual song mainly builds around a very present bass and adds a lot of different elements, some of which we heard in that weird intro. I feel like nothing here fits together, it's all thrown into one pot and stirred a little bit too much. There are definitely Ambient IDM ideas here but there is too much change here and there that it doesn't really end up being good at either one of them. Ambient lives off of well repeating beautiful sounds that put you into a trance and IDM lives of a certain repetition that is worked around with some artistic ideas and aspects but here it's just too much. I cannot fully enjoy the song because the moments when I do think that it's about to actually work, the next weird detail is added while another one goes astray. The entire time, I am just confused and annoyed by everything the song does and it ends up being very unpleasent. I have no idea why they thought repeating a loud alarm siren at the start of 'Tow Truck' was good idea. Nearly the entire first minute is ruined by it but luckily, it does go upwards from there. The dark and Western sounding guitar is really well worked into the song and I think that it if the drums were a little bit less obnoxious and the siren wasn't put in there again, it would've been a good song but overall I am just too annoyed by those "details" that I can't really put much love towards the parts that I do enjoy. It's an okay track, still The albums second half is started with the 'Theme' that goes into a epic sound that builds up and nearly feels like from a spy movie. It has energetic and epic guitars and the whole thing is just EPIC... Well, it would've been if they didn't decide to add way too loudly mixed drums and bass above it that make all the good stuff feel like background music. I do think that these epic parts are really great but the rhythm section they plastered on top destroys it all and tuns a great song very, very average. Which is sad because it could've been one of the albums best tracks. Of course after a first theme you need a second one, or better a fourth one because 'Theme 4' for some reason appears as a very short, nearly interlude like track that has some Ambient elements going for it but they are mixed so incredible loud that instead of being atmospheric, the are unbearable to human ears. I bet that a bat or a dog might find this more pleasent but I definitely do not. If they had just mixed the atmosphere quieter it would've been okay but this is really bad. 'Return to Planet D' does a similar thing where it tries to do the Ambient IDM mix but mess up with the mixing and make parts way too loud that should not have been made this loud. Some synths are also pretty terrible, giving me flashbacks to the toilet sounds at the start of record and while I think that a slightly different production and better mixing would've saved it, the way it got onto the album is just terrible. The album really doesn't get better when 'Ballad of Nicky McGuire' again features synths that sound like a clogged toilet. It isn't as terrible as the opening track and some production elements do actually work, the main rhythms are just unlistenable. And if a terrible sound isn't enough, it is streched to over 8 minutes of repeating terrible synths and annoying sounds. Just the sheer length with the production is enough to qualify this for a terrible song. It does get better later on but the first half is unlistenable while the second is just not good with a lot of very high pitched, nearly stinging synths and the clogged toilet sounds. On the other hand, some synths are quite good and actually have a well sounding Ambient tone to it but they go under between all the badly produced and mixed ideas. 'Jacob Street 7am' goes into a Space Ambient direction and tunes the IDM a little bit down. It does create a nocturnal and dark sound but some production ideas just don't work especially the distorted synth and "drum" parts. If it was stripped down and more bare bones, it would've been passable but like this it's just not really good. It has an ambition and you can hear that ambition but they fail at actually making it happen. It ends up sounding really annoying and ruined. They ruined a good song into something really bad. With a similar title, 'Chapel Street Market 9am' comes next and extends the spacey sounds into an even longer track and also adds even more annoying and misplaced addtions that ruin a completely fine Ambient track. Even the drums are better mixed and if they were a little slower, would've actually made a good song but the synth that I suppose was intended to sound like some mechanical sounds from a spacecraft or something, ruins the well made Ambient synth that plays more in the background. It is more pleasent to listen to that its predecessor but that still does not make it close to being good. In fact, they streched it another three minutes with some synths that are definitely too loud and ruined the okay first half into something that causes physical discomfort. Something that Ambient should never do. NEVER. Still, they made them so obnoxiously loud that I feel like my eardrums have taken permanent damage from listening at medium volume. The album closes with the title track 'Haunted Dancehall' which has some more high-pitched and too loudly mixed synths but also some dark and distorted ones that are mixed even louder and make the entire song sound even worse. It does not work at all and sounds absolutely abhorrent. Abysmal, terrible, unlistenable, torturing. Whatever you wanna call it, it probably fits here. favourites: Duke of Earlsfield least favourites: Haunted Dancehall, Bubble and Slide, Return to Planet D, Wilmot, Ballad of Nicky McGuire, Chapel Street Market 9am Rating: light to decent 3 (if it wasn't for Duke of Earlsfield, it would've been a 2) https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Eminem's debut made him not only loved by many but also hated by the entire other half. It also made him one of the most polarizing figures Hip Hop has ever seen and since then he became the best selling Rap artist of all time. This first album is without a doubt his most Hardcore in terms of style (in terms of sound and listenability, his latest albums are definitely more "hardcore") and lyrics which are also some of the best in his entire career. The album features production by Jeff Bass but also some Dr.Dre tunes that do fit very well with Eminems delivery which comes off as both vulgar and distrubing but also very humorous, funny and exaggerated. The albums intro is the short and comedic 'Public Service Announcement' which sees a narrator giving a warning about the dangers that this album is going to offer. It is really funny to hear and definitely an intro that you won't forget. The quite legendary 'My Name Is' follows and does a Comedy Pop Rap that has some incredibly funny verses that are absolutely stupid but in the best way possible. The beat is well made, the lyrics are also as are the effects that are adding a lot in terms of enjoyment and if it wasn't for the chorus that I think is really overplayed even in the song itself, this would've been perfect. It's still incredible but really "only" because I think the chorus has become annoying and it feels a little bit streched with the way to song plays out at the end. The very skit-based 'Guilty Conscience' sees Dre and Em as the conscience devils, one good, one bad and switching between skits and scenes. The idea is really good and I really like what they did here together but I think that the multiple skits just break the flow of the track too much to have a fully entertaining track. Except of these flow breakers, the track is incredible. The beat is groovy, the perfromances and the lyrics are really funny and often times even crazy with how it absolutely goes too far. I love it. The first bits of Boom Bap appear on 'Brain Damage' which has some incredible rapping as well as some interesting conscious lyrics that together with the comedic and story-telling verses fit really well into Eminem's repertoire. The slower and even slightly sentimental chorus is off place but still fits weirdly well in the song and the story of it. In terms of rap abbility and performance, this might be one of his best ever even if it's not perfect overall. The short 'Paul' skit is just a recorded call of someone talking about the rough version of the album. It's nothing sepcial, or funny or really adding except making a little bit of space between the last and the next song which it does pretty well. The combination of R&B inspired Boom Bap and Slam Poetry on 'If I Had' is going further into the dark and slightly sentimental and much more vulnerable side of the album and I really love it. The backing vocals fit so well with the simple beat and Em's performance is really deep and emotional. I think this is one of the best songs on this album and the first one that I'd call perfect. After that segement of deeper content, the album now turns into the Horrorcore Comedy Rap that people know it for. While it still has a certain sentimental vibe to it, he is just rapping about murdering his daughters mother and drowning here which is also what the cover of the album shows. The ethereal beat with the insect sounds added give it a very relaxed feeling that has a certain indifference to itself that just adds to the comedic effect of it. I like listening to the song but the chorus is firstly not that good and secondly way too often repeated. It's still a great song but these little bits as well as the fact that it's streched too much, just don't help the song stay interesting the whole way through. The 'Bitch' skit follows the theme of phone calls but this time it feels even less interesting and even more redundant. The intro of 'Role Model' is really funny and the following aggresive and Rap Rock inspired track just gets funnier and funnier with effects as well as vocal additions. Even with all this, I think that some parts are a little unfocused and repetitive with what it tries to do. I'm not saying that it's bad but it overall doesn't go further than being a good song. The 'Lounge' skit does a much better job in doing a skit and the a capella drunk singing is helping with the themes of the album. It's not a special interlude but it's funny and pretty good. 'My Fault' has a really annoying chorus, a bad beat as well as some not that interesting performances. It's mainly the comedic parts that save the track at least a bit but it's still pretty bad and feels like it's not finished properly. I really don't enjoy listening to this song even if the idea and the verses are pretty good. The albums second half starts with the 'Ken Kaniff' skit which is just a short Prank call and while the ending is pretty funny, the first half is just useless and annoying and doesn't serve any value to the skit. It's not good. Even as a skit. 'Cum on Everybody' returns to the R&B inspirations and does it more comedic this time which does add some value to it. But: the beat has some really bad parts, the returning themes are really annoying and neither the chorus nor the rapping is enough to help this track out of the mud. It's bad, I'm sorry. Luckily, 'Rock Bottom' follows it up with one of the best songs on the album because not only is the beat both epic and ethereal but just lovely. Plus, the rapping is absolutely phenomenal. The way that the chorus combines a hook with rapping as well is really well thought out and finalised. This is a masterpiece and easily one of the best songs in the entire Eminem discography. The Experimental Hip Hop inspirations on the beat of 'Just Don't Give A Fuck' with the screams is definitely interesting but neither fitting nor all that pleasant. But, Em's rapping is enough to help the track to have at least some credibility which it does definitely have. If the beat wasn't as obnoxious, this would be much more than just good. The 'Soap' skit is just a silly sketch that doesn't really do all that much. I don't care for it at all. 'As the World Turns' comes with some Hardcore lyrics that so stupidly funny that I don't even have much to say against the track except that the chorus is destroying the flow a bit and that the middle isn't as comedic as the start or the end but except that, this is an incredible track and if it finished earlier, even perfect. The Trip Hop sounding beat of 'I'm Shady' has some interesting ideas buried beneath but it overall comes off as annoying and the mixing isn't good. You know what also isn't good? The chorus. It's absolutely abysmal and the somewhat funny lyrics can't do enough to make these two terrible parts of the track forgettable. What sticks is a bad feeling and not a funny one. This is the worst song on the album. The pretty goofy Western sounds at the start of 'Bad Meets Evil' might've been a great intro to an EP or something but it works here too. The Abstract Hip Hop influences on some parts of the song are really adding to the beat, the flow as well as the feature which might even out-perform Eminem. This is another perfect song and definitely the most underrated track on the album. The album ends with 'Still Don't Give A Fuck' which puts a pretty fitting thematical finish to the album that is accompanied by both an incredible beat as well as some really good lyrics. This is simply a perfect Boom Bap track that ends the album with a real Boom. Just crazy, the whole album. favourites: If I Had, Bad Meets Evil, Still Don't Give A Fuck, Rock Bottom, As the World Turns, Brain Damage, Guilty Conscience, My Name Is least favourites: I'm Shady, My Fault, Cum on Everybody Rating: decent 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Bon Jovi might be the worst big Metal band of the 80's. Terrible vocals, bad songwriting, annoying stadium rock anthems that are overplayed the second they were presented the first time. In fact, they aren't even barely Metal. They are weak Hard Rock that tries too hard to be something like Metallica and even this "best" album of theirs is still pretty bad overall. The album opens with 'Let It Rock' which already shows why Bon Jovi is so popular but still so bad. It's a song that combines Glam Metal and Hard Rock with a lot of Pop influences that turn the song... well Pop. And that is something that destroys the good things that might be lurking way beneath the surface. There is just too much synth organ at the start and once the actual track hypes itself up, you are already not interested anymore. The production and the mixing is way too muddy and noisy to be pleasent and the vocals are just bad. I can praise the energy as well as the anthemic vocals in the chorus but the chorus is also the only thing that makes it somewhat okay even if the entire track is still not good. 'You Give Love a Bad Name', is nearly a good song. It's okay but not good, not even close. Rather, it's listenable with a legendary chorus but again, the vocals are terrible. With just some very fun parts, that are destroyed by verses and brings the overall enjoyment to a point that it's not more than an average AOR Glam Metal track. The synthpop influences on 'Livin' on a Prayer' give it a legendary intro and even if the song is so overplayed and it still has terrible lyrics, both production and songwriting is much better which makes this an above average track which I do not mind listening to once in a while. It's still one of the most overrated songs of all time. With 'Social Disease' they seem to add influences from Jazz-Rock which is executed pretty badly. The moaning and synthesized intro is even worse and the Pop influences are even bigger. The song is just a big mess of weird additions of which only a few are somewhat helpful. But it could've been worse which does not mean that it's good. It's average. The Country and Western influences on 'Wanted Dead or Alive' are not only musically but also lyrically which makes it incredibly stupid. This is a Rock album and not a Willie Nelson album. This is just unpleasant to listen to and without a doubt a really bad song. Like actually terrible. On Side B, 'Raise Your Hands' introduces a much heavier sound that actually helps the song have somewhat of a credibility. I do not think that it's good but if every song was like this, the album might've been better. It's mainly the songwriting as well as the mixing that really throws me off. If the song wasn't just thrown together like it is here, it might not have been as bad as it turned out. It's not abhorrent but it's bad. If that wasn't enough, 'Without Love' is one of the corniest and most annoying "sentimental" songs I have ever heard. The songwriting causes physical pain to me and is just terrible. It's supposed to be a love song to cry to but I am just crying because I think it's torture to listen to the entire thing without going insane. 'I'd Die for You' starts off somewhat promising but once the vocals start, I know that it's going to be the same as the last one: terrible. The lyrics and the songwriting is just absolutely terrible and the chorus is easily one of the most lackluster things I have ever heard. A third grader would've came up with something more interesting. The mixing is horrible again but that is established at this point. I wish that I could say goodbye to the album already but 'Never Say Goodbye' sadly isn't the final song. It goes even deeper into that stream of sentimental Pop with the Metal around it which ends up sounding just bad. Again. The song has horrible: songwriting, lyrics, production, mixing, ideas, and more I guess. There is nothing of value to get out of these songs. Finally, the album ends with 'Wild in the Streets' which, can you guess?, is absolute garbage. It's bland, annoying, bad and has an amount of emotional value where even a fly's buzz could create something more inspiring. My only thought when hearing this is, if someone can turn off the terrible Springsteen cover band. It's just bad. favourites: Livin' on a Prayer (still not good) least favourites: Without Love, I'd Die for You, Wild in the Streets, Never Say Goodbye, Wanted Dead or Alive Rating: light to decent 3 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

This might be the funniest Hip Hop album of the early 90's which is a big reason why it's also Kanye West's favourite album of all time. It's a bizarre and playful mix of Boom Bap and Jazz Rap that plays a lot with skits as well as some more abstract concepts all the way throughout. The album is very easy to like and it doesn't take much to appreciate the incredible production and rapping on this album. It opens with the short interlude '4 Better or 4 Worse (Interlude)' which gives a little look into the Jazz inspired side of the album. It's purely an instrumental but it's still beautiful to listen to which is why I think that it's an incredible opening. The first real track 'Oh Shit' gets things going with some pretty comedic verses as well as a lovely turntable production that results in an energetic but beautiful Hip Hop song that is fun on one side and sophisticated on the other. It very much feels like what the Beastie Boys always tried to be but better. Maybe it's the fact that I just love a jazzy Hip Hop beat but songs like these are just pure bliss. The 'It's Jiggaboo Time (Skit)' brings in some very interesting Free Jazz elements in the background production which is just perfect for someone who's as much into Avant-Garde and Free Jazz as I am. And even as a short skit the performance is really good and funny. The whole thing could've been mixed a little bit louder and brighter but apart from that it's an incredible skit. The full song of '4 Better or 4 Worse' is not only bringing in some aspects of Jazz but also Experimental and Abstract Hip Hop and a slight morbid Horrorcore performance in the second half which all of it feels like it was a big inspiration to MF DOOM as a lot of both production and rapping has aspects that feel very much like DOOM. But this song is a little treasure of its own with all of the different parts being just incredibly performed and if the chorus wasn't as often repeated and the whole song shortend to like 4 minutes, it would've been the best song of 1992. This way it's just Top 15 but still, masterpiece. 'I'm That Type of Nigga' goes even deeper into the obvious Jazz influences by naming e.g. Thelonius Monk but also because of the production which is again really well made. And even with all that, the song has a very 'basic' feeling to it which I don't mean as "bad basic" more as it's a typical 90's Hip Hop song that could've been made by someone like the Wu-Tang Clan but with the way they did it, it's just perfectly executed. The next skit, 'If I Were President (Skit)', not only gets a little political but also gets them singing a little bit which makes it pretty silly but great and fun to listen to. This is how you do a skit on a Hip Hop album. With 'Soul Flower (Remix)' they take a little inspiration from Disco Rap while still being very much Boom Bap. I do think that the moaning in the beat is a little bit too much and does ruin a good portion of what makes this song but the verses and the rapping are so incredible that this is easily one of the best performed tracks on the album but sadly the chorus and the voices in the beat make it water down to just an "incredible" track. The both very Jazzy and very Turntablism made beat on 'On the DL' is really beautiful to listen to and one of my personal instrumental highlights on the album. On top, the rapping is absolutely incredible with some absolutely stunning performances. It's a great mix of funny lyrics and relaxed sounds that make this another absolute highlight on the album. The short Instrumental 'Pack the Pipe (Interlude)' brings in some very nice and obvious Jazz elements that really make a nice interlude but I would've wanted it to be longer as 20 seconds just isn't enough. It's really good but I'm annoyed by it not being longer. The track 'Officer' isn't on streaming (probably because of sample clearance) which is pretty sad because it's really great. There are some very interesting soundscapes added to the track which does slightly interupt the otherwise incredible track. It's still incredible but without these few weird production choices, it would've been perfect. 'Ya Mama' continues with more funny lyrics that feel very juvenile but that doesn't mean that this makes it worse. In fact, this is great but I find some parts of the performances to be a little less interesting than other parts on the album. Some of it also feels very streched out which also doesn't help it but luckily the production is on point to save at least a bit. Really really good but improvable. The few Trip Hop influences on the beat of 'Passing Me By' give it a really dreamy feel and the added rapping just improves it even more. I don't really have anything negative to say about it: the production, the verses, all is on point. Only the bridge and some deliveries feel a little bit too bare-bones but apart from that it's a beautiful song. 'Otha Fish' keeps some of the Trip Hop elements but also adds some Neo-Soul into the songwriting. I really like the chorus and the sometimes sung vocals but the beat feels a little bit unfitting and not properly mixed. But even with these few things, the overall enjoyment with the deliveries and the chorus is still there and the track ends with me having a very, very positive feeling. It's nearly perfect. The short Sktech of 'Quinton's on the Way (Skit)' that combines a short story with some Vocal Jazz is a really funny sequence. There's a lot of silly moments even in the short time of the song constantly switching the music. I do think that it's a little too long but the energy with the singing is just really, really funny. The Comedy stays with 'Pack the Pipe' wich also brings in some Experimental ideas by having a very stripped down and unusal beat that simply feels weird. There is a certain ethereal uneasiness throughout the track and I am sure that this wasn't intended. It definitely has it's qualities but for some reason it scares the living shit out of me. It's a feeling that I don't want to have on an album like this. In the end the good parts slightly overweigh the scariness which still makes it an "above average" track but I won't be revisiting this one on my own. The final song 'Return of the B-Boy' combines Disco, Synth Funk and even some New Jack Swing to create a really funky and energetic finale that has a very groovy vibe to it. It's definitely a really good closing track but I personally don't like it as much as other tracks on the album. It feels a little too basic and some parts even stale. Good but not great. favourites: 4 Better or 4 Worse, On the DL, I'm That Type of Nigga, Oh Shit, Passing Me By, Otha Fish, Officer least favourites: Pack the Pipe, Ya Mama, Return of the B-Boy Rating: decent 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The Eagles debut album might already be as overrated as the entirety of their catalogue. Of course most will know Hotel California but seeing them this deep in Country Rock felt somewhat unusual. Still, most of the album is very much below average with just a couple of standout tracks that aren't shallow to the core. I don't think that the Eagles should be as praised as they are especially with albums and songs that don't have the name Hotel California. The album starts with the Country Pop Rock mix of 'Take It Easy' which adds from Folk as well as Bluegrass which actually helps it sounding somewhat alright. The chorus is well made and the songwriting is a pretty decent mix of the influences and except for the fact that it's not the most exciting thing, I don't have anything to say against the track. It's a great song and I don't mean that lightly. 'Witchy Woman' goes a bit into Yacht Rock and adds a little bit of Blues as well. It's a pretty nice Soft Rock track that doesn't harm anyone. It also doesn't excite many. The chorus is pretty good and the verses are passable as well but the bridge tries too hard. It's still a okay-good song but nothing too special. Even for '72 a lot of it feels dated and like it should belong in '68. In comparison, 'Chug All Night' is much more Hard Rock but Country Pop influences are still too strong for it too work. Instead, it results in something that doesn't work at all. The guitar stands oppositinal to the vocals and the rest of the songwriting. It's just stupid and doesn't bring on any value. This is a really, really bad song. Excecution failed on so many levels here. The attempt on making a sentimental Soft Rock song with 'Most of Us Are Sad' goes completely down the drain. The songwriting feels like any average Soft Rock song with a lot of corny passages as well as a very annoying delivery. It's another really bad song. This had nothing of value to begin with and everyone would live the same way without it. 'Nightingale' is the last song on Side A of the album and closes it with a Rock & Roll inspired Country Rock song which is a little bit better. It's not great or anything but I don't mind it as much as previous tracks. It's somewhere between average and slightly below it. On Side B, 'Train Leaves Here This Morning' with a lot of Country and just a tad bit of Rock. That isn't necessarily bad as the result that was made of the song is much, much better and actually has some value to it. The vocals are well made, the songwriting is lovely and it all just comes out to a sombre and sentimental Country track that is actually somewhat good even if it's streched a little bit too long. 'Take the Devil' comes back with a little bit of Hard Rock influences even if it's much, much less prominent. But like before, it doesn't fit at all. The songwriting is absolutely horrible and the vocals differ between listenable and annoying. I don't even wanna get started on the lyrics. This is absolutely terrible. If that wasn't enough, 'Earlybird' comes on with a mix of Bluegrass and Bird sounds that are mixed so loud that the high pitch is ripping apart my ear drums. After that the song actually starts and it's not totally unlistenable but the songwriting choices are just weird. The Bluegrass Banjo isn't needed the whole time... It does not make any sense. It's just annoying to the part that it ruins an okay song. Even if 'Peaceful Easy Feeling' is a pretty peacful track, it actually isn't too boring. It has decent songwriting and a simple but effective chorus. The song is decent and actually really good at many points. If the backing vocals weren't there and the song not as long, this would've been one of the best here. Still, good track. The closer, 'Tryin'' is a Blues inspired Country Rock track that sonically closes the album pretty neatly even if the songwriting is still not really all that great. The vocals are also pretty bad as is the added guitar (mixed on the left ear) that feels very useless. It's not terrible but it's still bad. favourites: Take It Easy, Peaceful Easy Feeling least favourites: Take the Devil, Chug All Night, Most of Us Are Sad Rating: strong 4 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Kurt is dead and Dave is sad so he makes his own "band" which doesn't actually exist because he plays all the instruments and only after the album gets actually new guys to form a proper live and recording band... yeah... The self-titled debut album of the "band" released a little more than a year after Kurts death with a more Pop oriented Grunge and Alt-Rock record that at some points plays with some Shoegaze. Of course Dave Grohl isn't nearly as good of a songwriter as Kurt was but he is at least solid and the ongoing career of the Foo Fighters which with their 2023 album "But Here We Are" that turned to a new and surpisingly well made high of the band, shows exactly that. This album right here is solid with a couple of standouts and a couple that aren't that noteworthy. 'This Is a Call' opens the album with a pretty good one which feels like a mix of Jeff Rosenstock, The Beach Boys and well, Nirvana. It's a pretty wild clash of ideas and genres but the melody as well as the vocals do tie it all together pretty nicely. It also feels much less formulated which you'd might excpect from someone's first attempt at own songs. Instead it doesn't really build around certain things and just flows from part and idea to the next which at a lot of points works really well but also shows already the weak point of the record. It can often feel unstructed, thrown together and like it's missing substance. This one right here is really great though. 'I'll Stick Around' goes much more into Hard Rock riffs as well as a certain Noise Rock additude which does work well with the style's that Grohl went for. Sonically, this is fitting and pleasing with the vocal style but the main problem is that there isn't really much to grip onto. It just plays and you enjoy it but it doesn't get you excited except for when the chorus starts to get really raw. It's a good song but with options for improvement. The quite drastic change of sound on 'Big Me' which sees him go into a direction of Jangle Pop with a more relaxed and warm feeling. Again, it's a pleasent listen but the feeling of not enough substance gets even more prominent because although I enjoy what I hear, I don't really care for it or really attach to much that he does. Especially the chorus feels very, very weak. It's still a nice track. The Noise Rock inspiration together with more Grunge returns in a very Nirvana fashion on 'Alone + Easy Target'. This could've been an outtake from "In Utero" that Grohl presented the band but ultimatly was denied. The delivery, the chorus, the way it builds up. All of it screams Nirvana. I don't mind it of course, but it does very much feel like an imitation that was done after a certain expectation which seems to ruin some of the emotional value you'd might expect to find. I personally like the song but are a couple moments that seem very plain and formulaic to me. The shoegazey guitar on 'Good Grief' does add a nice little extra to it which only gets better with the pretty good songwriting that Dave puts on this song. The lyrics seem lost within the song itself but very much like it was intended that way and that adds a certain unknowingness and lostness to the song. Sadly, the chorus ruins this feeling and leaves behind a shallow version of what it was at the start. The dreamy guitar sound returns on the bridge which is the second highlight after the first chorus but it overall feels bland and like it very much lost its own potential. 'Floaty' begins with some very pretty acoustic guitars that suddenly break into a pure Shoegaze and Noise Pop song very reminiscent of "my bloody valentine" with noisy, dreamy and very melancholic songwriting that is easily the best song on the entire album. It's just beautifully crafted together an while it's not perfect, it is an incredible song with some very outstanding moments that especially with the start of the verses show the potential that Dave Grohl had. The albums second half starts with the Post-Hardcore Punk inspired 'Weenie Beenie' and while I see his vision, the way it's done is just unfitting, weird and not really all that interesting. It's not bad or anything but there is just nothing of any bigger value to find. It's just very plain and basic. With 'Oh, George' he returns to the more Power Pop inspired songwriting which does suit him much, much better. Still, it feels like all the ideas were drained out and he's reusing certain ideas which is very much what most of the song feels like. The only parts that feel unique are the chorus and the bridge with the guitar solo but that's it. I can enjoy it but it's again nothing that really excites me. The Blues and Country inspired guitar on 'For All the Cows' together with a songwriting and delivery that very much feels like Elliot Smith at the start kind of throws me off because I think it doesn't really fit into the album. Additionally, the chorus comes and goes too fast and is too strong of a sonic difference that it throws you more off than intrigue you. He returns to the noisy shoegaze on 'X-Static' which sadly isn't a step up in terms of songwriting quality. The chorus is pretty neat but it ends way to early to really make it interesting. The verses and the bridge all feel thrown together and not properly finished which again, doesn't help the song. It does have some potential especially with the chorus but the result is somewhere between boring and annoying. 'Wattershed' again turns to a very Punk Rock inspired sound which is actually pretty well made. It's definitely a territory where Grohl can make music that sounds like he knows what he's doing. The songwriting is alright, it's not too long. It has some nice energy. While yes, this isn't a great song, it's still a good one. The very Noise loaded closing track 'Exhausted' might sonically be the most challenging but it's also one of the better tracks on the album. His songwriting neatly works within the very strong Noise Pop and Grunge levels. If it was a tad bit shorter and maybe had a more clearly fleshed out chorus, this would've been one of the albums best. The dreamy Shoegaze sound with the not so coherent vocals do add some very interesting parts but the bridge and mainly the strong walk towards a more Rock sounding song near at the second half does destroy some of the aspects that I like about it. It's still a good song but with options where improvement would've been useful. favourites: Floaty, This Is a Call, Alone + Easy Target least favourites: Weenie Beenie, X-Static Rating: decent to strong 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

To my dissapointment, this album does not feature the sounds of 5 dinosours from the jurassic age. No but seriously, this is one vibey mix of Conscious Hip Hop lyrics, warm and Jazzy sampling and uplifting performances. It may not be one of the strongest or most groundbreaking releases in said genres and styles but it's nontheless a nice listen that deserves more attention than it's getting. The album starts with the intro: 'This Is' which is a mix of Jazz bass, a radio speaker and some more Jazz in that order before neatly sayin "this is freedom" which then transitions into the next track. I think it's a quite lovely introduction to the album and its sound and even though it isn't an intro that will stick with you, it's fairly enjoyable. 'Freedom' then really gets the album started with some chopped sounding vocals that repeat the songs hook before turning to the first verses from the MCs. The different voices of them give a nice mix of difference within these verses. It's a chilled but very meaningful song with both beat and performance which has some nice energy to it but doesn't go to crazy with what it does. I think this is incredible right of the bat. The beat is catchy, the rapping is nice and it's just very pleasant to listen to. The Jazz aspects make an even bigger appearence on 'If You Only Knew' with a very nice beat that features simple piano as well as some flute. It works really well but I personally think that the chorus just kind of ruins the ideas that it brings together. It feels corny and forced. If it was just bar after bar on the beat: Wow! But with these breaks for a chorus that isn't needed, it all feels weakened. It's still good but not as great as the previous track. The following 'Break' puts on a much more energetic beat that sees the group perform faster raps, sometimes even together. But I think that again, it breaks the flow that would've been needed on a song like this. The attempt of making more Pop accessible Hip Hop tunes just ultimately hurts the original ideas that should've been performed bar after bar and without much of a chorus. It's not a bad song but I am really uninterested in what it does. It feels basic and average. The interlude 'React' which seems to sample from television and feels very much like something MF DOOM would do. It's not a bad beat but it feels out of place. Still, it's an okay listen. 'A Day at the Races' not only brings on the best and most consistent rapping thus far but also one of the best executed Jazz Rap beats with a higher energy. It's incredibly groovy and perfromed on point for the entire track. This is how they should've made every song on the album. I think I'm not leaning myself to far out of the window but this is a perfect song. Absolutely incredible! Although 'Remember His Name' takes some time to get started, once it does it continues a really consistent and lengthy flow with some well written verses. The additional vocals and effects also add to the meaning as well as the entertainment. It isn't as crazy as its predecessor but it's still really great. The most iconic track, 'What's Golden', follows with a groovy beat and well put on verses. It's just catchy from the first second and the chorus is also really fitting for once. The trumpets that sometimes appear, the flow and just general rapping and the great chorus: if this had a bit more to it in terms of lyricism, this would've been perfect. 'Thin Line' then starts with a really well made beat that slowly builds tension until the rapping starts and again, the rapping is absolutely on point and even the chorus works with the song. It's executed perfectly at every aspect of the track including the added synths as well as the effects that add more depth into the song which also ties into the verses. Perfect song. On 'After School Special' there's a little boy (or girl, not sure) talking about they want to be on the album which actually happens at the end which is pretty cute. The full song is really nice with a good beat and some great deliveries. It's a great song but it feels a bit more low-key in comparison. The turntable sampling on 'High Fidelity' is pretty interesting and does somehow work as a semi-hook. The song is pretty good but it would've needed a bit more work in terms of concept because it sometimes doesn't really feel like it's tied together perfectly. But even though there is some work needed, it's still a pretty good song this way. I get what they tried to do on 'Sum of Us' but I just feel like the flow of the rapping has been done so often that it feels just very basic and even uninteresting. I don't think that it's bad but the track just doesn't do it for me. It feels just way too formulaic and simple as it sounds like something that could've been done a decade earlier. The next short interlude 'DDT' mainly rhymes without a beat with a lot of background noise. It's cool but a little too long and also doesn't really fit. 'One of Them' has a much slower and more eerie beat that just isn't really good to begin with but the rapping makes you expect something else from the beat. The two parts feel like they were recorded at different times and just thrown together. It does not work together. The result is very irritating and annoying. On one hand I want to experience the beat at its fullest potential and want a different rapping, on the other hand is the rapping pretty decent and would work much better on another beat. In the end it's a weird listen and not the good weird. It's slightly bad. While 'Hey' is sonically more fitting, I think that it still isn't good. For one, the beat feels off on its own. I don't know what they produced here but it just sounds bad. Secondly is the addition of R&B vocals a little too much to be quirky or anything. And lastly, the rapping really sucks. Is often really basic and doesn't work at all with the beat. Each part works together but they don't work on their own and the result is even worse. This is (sadly) another bad track but for once, really bad. Luckily, 'I Am Somebody' returns to more quality and working Hip Hop. The beat isn't fully fleshed out, yes, but the rapping is really good and the vibes are there. I'm really enjoying it for the most part which is much enough for a good song. Even the chorus works and adds some additional grooves. I also really like how they switch between verses by switching within words, it's a really neat detail. The closing track 'Acetate Prophets' is also the albums lengthiest track with over 6 minutes of runtime. It's got a really energetic and fast paced beat that mainly focuses on the rhythm section and just adds some turntable scratches as well as other recordings from people, african vocalists, etc. For the most of the time it's just an instrumental which is pretty cool and right when it gets a little bit too reptetitive it breaks and does a beat switch to a more percussion based beat that again repeats with some additions. It switches between D&B, African, South-Asian and other inspirations but ultimately it does loose some of its concept and starts to feel more and mroe tiring after a while. Overall, there is a lot to get out of but also so much that it might be too much. favourites: A Day at the Races, Thin Line, Freedom, What's Golden least favourites: Hey, One of Them Rating: light 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

In a Silent Way is Miles Davis' most underrated album. Most people point to Kind of Blue or Bitches Brew but for me this is his best album by far. Although it contains only two songs (both made up of two parts each, so actually four) but they are filled to the brim with some of his best playing, ideas and composing. Additionally, he changed his sound into a more Psychedelic Jazz-Fusion style and got new artists into his band to roll out that new sound. One of them is the legendary John McLaughlin but also people like Herbie Hancock, Chick Corea, Joe Zawinful and Wayne Shorter meaning this thing is an absolute powerhouse. And they created an absolute masterpiece that blends Jazz Fusion with a very atmospheric and often dark sound that still has a lot of diversity and as well as soothing and mellow passages. The album starts with 'Shhh / Peaceful' which takes up the first half with around 18 minutes of playtime and brings in a mix of the established Modal Jazz sound he's been doing for a decade together with the new Fusion ideas as well as a bit of Avant-Garde playing here and there. On top of that it all follows the very Cool Jazz additude that makes his career and playing so poignant in the first place. The track starts with the sound of an Organ around which more and more instruments get together and just play a ton of lovely melodies and ideas around a certain theme. It just flows from one instrument taking mainstage presence into the next with all of them feeling like they work together beautifully. Sometimes a little bit weird or Avant-Garde but this is Jazz of course it'll be a little bit weird here and there and this is really not that strong here which is a good thing because I think that too much Avant-Garde would disembody the atmospheric nature of the track. After certain ideas are established and the guitar takes the the centre together with the electric piano, the song really starts with the psychedelic influences and creates a beautifully hypnotizing effect that pretty much lasts for the entire duration of the song. There are such beautiful moments woven into all of it that it not only makes a perfect night time album but often just a great album to appreciate the calm moments of life. And everytime Miles Davis returns with a beautiful trumpet improv it really filps everything over and shows a new side of the song but in a different light and angle. And the song goes back and forth it returns in a split of a moment back to the theme at the start and again gives same ideas a different light with the same atmosphere but all different and with even more psychedelic sounds until it returns to the start once again and let's Miles himself finish this song by building some intense tension that is released slowly by a more and more quiet playing from everyone. This entire song is simply perfect! The second side starts with the title track 'In a Silent Way / It's About That Time' of which that first part is composed by Joe Zawinful which plays out very calm, nearly Ambient but full of beauty especially with the guitar that transitions into Miles' trumpet. I think that this guitar/trumpet part right here at the start sounds exactly like the album cover art looks like. After this "intro" it suddenly changes its pace very fast and turns into a more energetic and more Avant-Garde playing that with the Jazz-Funk influences feels totally different than the start of the track. After it calms down and settles into a more atmospheric sound which is still more energetic than the title part, it again turns into a calm and hypnotic listen that beautifully transitions between the different instruments and playstyles including a wonderful guitar passage that very much embodies this first wave of Miles' Jazz Fusion adventures. But of course the sax, the pianos, the organ, the rhythm section and Miles Davis all do a wonderful of giving this part incredible life and love that really pays off with the way it's structured and flows from part to part. And although I still love this part, it is definitely the weakest on the album. It then transitions back into the Ambient beauty of the title part with less rhythm, mainly driven by the piano, organ, guitar and the trumpet to finish the track which again, is absolutely beautiful and definitely a perfect song as a whole. favourites: Shhh / Peaceful, In a Silent Way / It's About That Time least favourites: none (If I had to choose a part: It's About That Time) Rating: decent to strong 10 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

One of the most groundbreaking Hip Hop albums of the 80's even if it didn't age all that well when held against albums like those from Public Enemy. The combined energy of Rick Rubin's production which he showcased on previous albums like Run-D.M.C or even Slayer with three white guys that mixed Rap and Rock that created the first #1 Rap album in the US. Still to this day, the Beastie Boys get some legendary credit, mainly for pushing Hip Hop into a more commercial frame that ultimately helped artists later to be as popular as they are. Still, it is a relic of its time and at many points sound simply dated which does give it some very Old-School vibes (it's Mid-School Hip Hop but whatever) that might hit a nerve with some but to me it's more influential than an actual good listen. The fitting description of Hip Hop with 'Rhymin & Stealin' opens the quite fittingly. Because that's what they are doing: sampling rock records to make beats and rapping on top. That's what Hip Hop (at least back then) was and was about. The song itself is pretty good as well with a lot of Rock and even a tad bit of Metal which is abviously accompanied by the energetic and playful rap vocals. It's a very typical Beastie boys track in terms of sound and delivery and even if it does sound good, there is still the fact that I find that it sounds incredibly dated and not as interesting as when it released in '86. There seems to be lack of focus, knowledge as well as ideas even if that's not the problem here. It's above average but just slightly. On 'The New Style' they go more into Hip Hop than Rock but with enouh influence to not sound too far off. It also does some very interesting and experimental things with the beat which feels like a predecessor of the Trap genre but still is undeniably 80's (with the turntable bridges). Even in terms of delivery it's more interesting and the mix of ideas, production & rap results in a much more interesting song that even if it isn't perfect because there are just too many things happening, it's still good. 'She's Crafty' has a really well implemented riff that repeats throughout the track with some interesting elements added like a cowbell. The delivery has a nice energy but it doesn't come over the best way and has some moments that feel very dull. I think it sounds good but I don't care much about what it ultimately does. The Electro influence in the beat of 'Posse in Effect' does make it very much feel like early, early Rap and even though I think it's done better than Afrika Bambaataa did it, I still think that this isn't really the best way to make Hip Hop. The rapping also isn't the most interesting and I'm often more annoyed than hyped. It's still okay. The mix of Jazz and Latin Funk on 'Slow Ride' does make the song in the intro and the times it appears later on but sadly it's not there when they are rapping which does make the verses feel a bit empty. Again, it's okay but if they did more with the verses, they might've made an overall better track. The "Comedy" Rap of 'Girls' that combines a very silly New Wave sounding beat with some very annoying deliveries on the even more annoying instrumental. This is absolutely horrible to listen to and the text doesn't make it remotely better. Easily the worst song that they ever did on a major project. The legendary 'Fight for Your Right' which combines Stadium Glam Metal with Hard Rock and of course a bit of Hip Hop but mainly Rock... The result is a song that sees them do a much better performance that works incredibly well with the beat and stays interesting throughout the entire track. I think that it's a bit sad that they do the "Rock" better than the "Rap" (at least on this album) but it is what it is. It's an incredible track. On Side 2, the second legendary Rap Rock track 'No Sleep Till Brooklyn' starts with a pretty Heavy riff that repeats throughout. Both the production and the delivery doesn't feel much different than what they did before but it's both so much more effective and makes this easily one of the best songs here. It's the sound that they did all these songs before but something changed that makes this so much better. It's nearly a perfect song and one of the best Beastie Boys tracks ever. With 'Paul Revere', one of the most Experimental tracks on the album with the reversed drums and simple but weird production. Additionally the verses are much longer and feel more stiched together than on previous tracks but I personally am just irritated with what they did here. I get that some might like it but I personally think that this is a time when experimentation doesn't mean better. I can appreciate what they did but it's still pretty bad. 'Hold It Now, Hit It' continues the experimentation but does it less and a bit better. It does sound really dated with the Electro beat and the rapping is just 'eh' but the sampled interludes are pretty cool. I think that it's a middle of the road track with some nice moments that ultimately don't do much as well as some annoying parts that do effect the final outcome. With 'Brass Monkey' they go even further into the Electro Hip Hop which I am not a big fan to begin with because it just sounds incredibly dated. This song especially also doesn't much sound like them and could've easily been from someone else. Plus, it's annoying with both the rapping and the beat. It's really annoying and honestly bad. The return to more Rock on 'Slow and Low' also means another high in quality because even with some really annoying parts with the rapping, the beat and the energy is enough to make a really enjoyable track that is honestly pretty good. Only the bridge does ruin it a bit but it's still enough that I'd call it "good". The final track 'Time to Get Ill' which combines a lot of stilistic ideas that they played with throughout. I really like the instrumental at some points as well as the chorus but there are times that I do not enjoy it quite as much, mainly because it sounds a bit weak and not fully fleshed out but ultimately it's still a nice track. favourites: No Sleep Till Brooklyn, Fight for Your Right least favourites: Girls, Paul Revere Rating: strong 5 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

After 'Sea Change' this album saw him go back to a certain sound that his early albums had started but still with the "new" Beck doing it. The result is less weird and abstract, less crazy but still a mix of Alt-Rock with Hip Hop influences, this time often more psychedelic Trip Hop and less actual Rap. I personally prefer the weird Beck but that doesn't mean that this album doesn't have its qualities even if they are not as fully thought out. 'E-Pro' gets things going with a Rap Rock track that also pulls influence from Dance, Breakbeat as well as Trip Hop which will become much more used later on. It's a loud and energetic track which works really well with the more laid back vocals from Beck while still being catchy especially with the chorus. I do like the song but it already shows that the sound isn't fully fleshed out or at least that's how it sounds to me. There is a lot going on but it doesn't fit together all that well. It's just there. Of course, it's catchy and the whole song is great but it could've been so much better. The English/Spanish track 'Qué onda guero' combines Abstract and Pop Rap with Latin Jazz influences and also some recordings which seem to me from a Mexican street or something. The song is really catchy, well produced, well... everything is done well. The song is perfect and a really good listen that sounds like the best of old and new Beck combined. On 'Girl' the Pop Rock mix is combined with Bitpop as well as some Indie which does make it sound very... nerdy. At least at the start. The longer it plays the more interesting it gets with some interesting songwriting and performances that seem to pull from a lot of different influences. I'm not a big fan of the intro but the rest is lovely which results in an incredible song. The mix of a Trip Hop beat on 'Missing' with Bossa Nova and Chamber Pop influences here and there creates a really interesting and psychedelic instrumental that could've been incredible on its own but for some reason Beck decided to sing in a style that does not fit the instrumental at any point. It feels weird and unfitting and destroys the things that the beat does well. I don't get what he thought when he made this but it's not good. The Funk and Dance influences on the still very much Trip Hop track 'Black Tambourine' seems to really figure out the sound the album tries to go. In terms of sound this is pretty diverse and fun but the entire songwriting and the vocals do kind of ruin it a bit. It's not bad but I am a bit bored with it and it doesn't have much going for it except some interesting additions on the beat. The Dub and Electronic ideas on 'Earthquake Weather' are interesting at first but the addition of the guitar seems very weird and unfitting. It feels like these two parts of the instrumental where put together without hearing if it works. The feel out of rhythm the entire time and even if the vocals actually work and create a well done chorus, is the music enough to confuse me the entire time. Either or. Both sounds of the instrumental don't work together. More Abstract Hip Hop is done on 'Hell Yes' which combines some Experimental & Abstract Pop Rap with G-Funk and Dance with a very groovy and weird beat (weird in a good way) that works well with rapping from Beck that's very West-Coast. I also enjoy the electronic vocals that appear at times and remind me of Kraftwerk. It's done well but I do think that everything would've needed a bit more but it's still a good song that is just streched out a bit too much. The Downtempo & Ambient Pop song 'Broken Drum' which adds Trip Hop, Neo-Psychedelia and even some Slowcore to create an emotional and genre experimenting track. Both instrumental and vocals are adding to the sentimental and sad track that is absolutely perfect even if it's out of style with both Beck and the album. Hauntingly beautiful. A return to more Alt-Rock happens on 'Scarecrow' which also plays with Country Soul and of course Trip Hop drums. The combination of sounds and ideas works pretty well here and even the vocals are interesting. There's not much to talk about here because it's a very low-key and diverese song that is just okay-good. I like the guitar, I like the harmonica, I like the drums and the bass. It's a nice listen that isn't too crazy or too dull. If the long instrumental bridges were cut out, it'd be better. 'Go It Alone' does some Blues with the established Trip Hop/Alt-Rock mix. It's not bad but mainly just boring. The hook is pretty okay but the rest is repetitive dullness that isn't bad but not interesting either. I don't care for it, I don't like it, I don't dislike it. It's just there and does not do a thing. I didn't expect it but on 'Farewell Ride' Beck goes all in on Alt-Country Rock that pulls from Gothic and Blues Country to create a darker and haunting sound that still feels like it's Beck. But it isn't the good Beck. The song does some very weird things in the production that don't work. The songwriting has also not that much going for it which is sad because on paper, this could've turned out great but instead it sounds something between dull and annoying but certainly no good. The Rock returns in a very heavy style on 'Rental Car' which again sounds a bit dull and just not that interesting. There are certainly enough qualities that make some parts interesting but there is so much at times thrown together that the result doesn't make sense. It's either okay or annoying which isn't all that good overall. The closing track 'Emergency Exit' combines Trip Hop with some Ambient elements as well as Alt-Country guitar and even some Glitch Pop. It does certainly have a very interesting sound but it does linger on for too long and kind of goes into a weird direction at times that do just feel weird. It's not bad but also not often good. It's tolerable with some okay moments. favourites: Broken Drum, Qué onda guero, Girl least favourites: Missing, Earthquake Weather, Farewell Ride Rating: strong 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The most recent release of legendary Singer-Songwriter and Art Pop icon Fiona Apple who stayed a welcome presence in both mainstream and with the critics since her debut in 1996 and became even more talked about since her sophomore record "When the Pawn" which to this day is viewed as her most extravagant album. With this 2020 Art Pop album which features influences from Piano and Experimental Rock as well as R&B and Cabaret to create a one of a kind release that sounds very "home made" but still with a lot of quality in the experimentation and songwriting. It features a lot of non-musical percussion, effects and even some dogs that add further to the well made weirdness of the album which the cover art already hints to. The opening track 'I Want You to Love Me' starts with a weird percussion intro before moving to a very beautiful piano that takes influence from both Jazz and Blues. Both the vocals and songwriting again feels very much inspired by typical Jazz standards but with much more Pop and Rock focus and a lot of additude in the vocals. I think the experimentation and the things she sometimes does with her vocals is adding a lot to the enjoyment but overall I feel like the song came out duller than it could've. It definitely has qualities but something is holding it back from being more than just good. On 'Shameika' she goes more into Cabaret & Jazz vocal delivery which does result in some very interesting moments and a staggering performance throughout. It often switches between building tension and going absolutely manic with the instruments that just do everything while obviously sticking together in the chaos. But after some time, it does get a bit repetative because it does the same "crazy" again without seriously changing it which does result in it not feeling fully tied together in itself. Overall, this is an okay track but again, the potential is there for much more than that. With the title track 'Fetch the Bolt Cutters' it not only gets more Jazz but also more Experimental with a mix of Musique concrète, Animal Sounds from dogs & Spoken Word passages. It's without a doubt a very, very weird song that seems to be all over the place but I personally think that it makes it so much more interesting than previous songs. The hook is incredibly catchy and the instrumental passages are more intriguing as well. It's both psychedelic and undefinable but also catchy enough to sound great the entire time. 'Under the Table' returns to the Cabaret vocal delivery but also does a pretty nice mix of production choices that complement the songwriting very well that finalises in a nice chorus that repeats a lot but never too much. The bridge with the crazy mix also has its interesting moments. It's a good song, pretty good. The Blues vocals on 'Relay' give the track a very groovy and classic feel that is mixed with a Experimental Pop Rock production. The result is sounds a lot like some Experimental R&B from the 60's mixed with modern times. It's interesting and groovy throughout the whole track with the vocals carrying most of it. I think it's done very well in terms of songwriting and the song's great even if the outro wasn't needed at all. The Jazz, R&B and Soul influences don't stop on 'Rack of His' but again, it's implemented in an Experimental and weird setting. I think that on paper this is a great song: the vocals are incredible, the production is done well including some very, very interesting percussion but there's just something there that makes the song feel a bit basic in full. It's still a good song but it could've been much better. The weird combination of R&B vocals and Industrial production sounds like it shouldn't work but somehow it does. It isn't the craziest by any means but it has something that makes me stay interested with it much longer than I thought I would. It's still streched a little bit too much to be fully enjoyable but it is a pretty solid track with some very outstanding parts that are sadly buried a bit in the length of the track as well as a certain repetition in the songwriting. 'Ladies' is a more standard Jazz Pop track with influences from Soul & Brill Building while still being obviously Pop. It also focuses a lot on more sentimental Piano melodies that the vocals are added on top. My biggest problem isn't the sound or the songwriting but again the length which is just way too much. No need for this to be more than 5 minutes. But it is still a pretty well performed and put together track which is why it's still good. While still having Soul influences, 'Heavy Balloon' does return to a more Experimental instrumentation that is stiched together from ideas that are all over the place but it is one of the tracks where this actually works. The songwriting is absolutely incredibly and both vocals and lyrics are performed equally perfect. Some parts in the verses are a little bit unfocused but the pre-chorus is just masterful. It reminds me a lot of Nick Cave which is enough for me to really like the track. It's incredible. Even on 'Cosmonauts' the Epxerimental ideas are present even if they are pushed much further back in the sound. The focus are vocals and lyrics which I personally find pretty basic and standard and in return think that it does ruin a bit of the track but the angelic backing vocals are at least adding something. It sadly doesn't help enough to save much. I think this song is not good and often even bad. The claps at the start of 'For Her' seem to introduce something completely else but it's actually an A Capella girl group that follows with only some weird instrumentation appearing later and not always all that present. The idea is there as well as the product but to me it's just not that interesting. There are certainly moments that are good but it doesn't reach further than okay. 'Drumset' again focuses mainly on the vocals but I find most of the track to be pretty boring and even annoying at points. The good and the bad equal each other out to a very average and decent track. The closing track 'On I Go' is one of the most Experimental tracks with a combination of Avant-Garde Post-Industrial and Pop vocals that add a dark and twisted twist to the sound while still feeling in touch with what the album mostly did. I personally think that these two "parts" don't really fit together well and the result feels very average, again. favourites: Heavy Balloon, Fetch the Bolt Cutters, Relay least favourites: Cosmonauts Rating: strong 6 to light 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The revolution of Noise Pop has begun and it did with this album. The Jesus and Mary Chain were some of the first to combine dark Post-Punk with noisy Pop melodies that feel like a mix of the Beach Boys and Sonic Youth but ultimately better than both (except Pet Sounds of course, you can't beat that one). It's a raw, dense, atmospheric and romantic mix of genres and ideas that ultimately pathed the way for a whole new thread of music including genres like Shoegaze. Opening track 'Just Like Honey' is a beautiful and psychedelic Noise Pop song that pretty much embodies what Noise Pop is: incredible Pop songs with Noise put on top. Here, they create a lovingly made and romantic song that just screams "1960's" with the songwriting as well as the performance. Latter of course to a degree because there is a lot of reverb added but that doesn't stop the song from being absolutely beautiful and perfect. The Deathrock inspired Noise Rock and Post-Punk 'The Living End' goes into a much heavier and even noisier direction that still shows a lot of beauty in both production and songwriting. I really love the vocals that seem to linger above the noisy ground with a finesse that feel like it comes directly from a (male) angel. It's absolutely perfect and there is no doubt in my mind. This is how you do Noise Rock. It gets even noisier on 'Taste the Floor' which has as much Noise as possible before it's considered Harsh Noise. But it's done beautifully and of course, the vocals help a lot. For my personal taste, it might be a bit too much Noise but "oh my god", the songwriting is absolutely perfect which makes up for every bit of discomfort from the instrumental. The verses as well as the chorus are perfected to the most. The dreamy and psychedelic aspect of their music is worked out even more on 'The Hardest Walk' which again, is absolutely beautifully written and because the instruments are a bit more distinguishable, the parts where the vocals are a bit more "basic" work much better. I absolutely love the song but it isn't a perfect track, sadly. There are bits here and there that I'm not the biggest fan of but still, incredible. Interestingly, 'Cut Dead' isn't noisy at all. There's still a lot of effects and reverb which gives it a typical Dream Pop feeling which works absolutely well with the rest of the tracks but there's nothing Noise Pop about this, only psychedelic Dream Pop. It's beautiful but a bit out of place and even if I really like the vocal delivery, the rest feels a bit "empty" on the album. But even this way I love it. In total contrast, 'In a Hole' goes as Noise as probably possible back then. It has a very well made Post-Punk track buried beneath a thick layer of Noise. Sadly, this Noise isn't really put together all that well and just repeats a tad bit too loud. The songwriting is absolutely incredible but that bit too much Noise is enough to ruin a good portion of it. It's great but not more, sadly. The still noisy (but less noisy) 'Taste of Cindy' closes the first half of the album with a pretty Jangle Pop and Post-Punk track that feels very much like something from The Smiths but with a ton of Noise and reverb. It's lovely and absolutely wonderful to listen to. The bass really sticks out here and even though there's a ton of Noise added, it's integrated much better. Side B opens with the Post-Punk track 'Never Understand' which has some very stinging Noise added which is at a point where it helps the song but isn't too loud or too distracting. It may a bit too high-pitched but in the end it adds to the strange feeling of the record. The "actual" song is a really sweet and catchy 80's pop song and even if I really love pretty much everything about the song, it just isn't perfect even with so many great details like the screams that add so much more darkness. 'Inside Me' mixes the Noise Pop Rock with the vocal and instrumental performance of Gothic Rock which just fits the song perfectly. The songwriting and vocal delivery leaves nothing open and it just flows through the stages of dreamy and beautiful vocals with dark and blistering Noise. The mix of genres here is absolutely wonderful and perfected. On 'Sowing Seeds', the Noise is tuned way down and let's the Dream Pop side shine through much stronger which results in a hypnotic and beautiful listen that sounds like the best possible mix of 60's songwriting and production with that of the 80's. The song is an emotional rollercoaster that seems to spiral down to longer it plays. This nearly made me cry... Perfect. The more Punk inspired side returns with 'My Little Underground' which still has much less Noise than some previous tracks but it also still has some beautiful moments with the Noise Rock that is there. What a catchy track it is too. I don't understand half of what he's singing but the delivery is enough for the song to stick with me so much longer than I'd had thought. Absolutely perfect. The more strong audible Noise comes back into the centre on 'You Trip Me Up' which again has some absolutely wonderful songwriting that would be incredible without the Noise but damn, it adds so much. Such a hypnotic and beautiful listen that makes you forget everything for a second and just drones you with half beautiful half angsty but absolutely incredible overall. No, perfect overall. 'Something's Wrong' might have something wrong with it because the vocals are mixed to quietly and all the rest of the song just isn't as catchy. Now don't get me wrong, this is still a good song and I really, really enjoy it but held against the other songs, it is a bit duller and less perfected. Some moments are just not interesting at all with only some really helping it up. On top, it is the longest song on the album and you definitely feel that. They just aren't that good at making song longer than 3 minutes. Sadly. The closing track 'It's So Hard' brings in some Industrial, similar to something from Einstürzende Neubauten but with their Noise Pop songwriting which is really interesting and more Post-Punk especially with the vocal delivery but there's something that kind of keeps me from fully loving it which is why I think that it's "only" incredible but not perfect. favourites: The Living End, My Little Underground, Just Like Honey, Sowing Seeds, Taste the Floor, Inside Me, You Trip Me Up, Taste of Cindy least favourites: Something's Wrong, In a Hole Rating: strong 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

George Clinton, the mastermind behind both Parliament and Funkadelic, the man who pushed Funk Rock into a new sound and additionally created P-Funk with both of these bands. And after having multiple albums out with this new sound including the legendary "Mothership Connection" with Parliament, he returned to the greatness that Funkadelic had in its earlier years of 70's and made this album which in eyes of many stands at the top of the Funkadelic discog with the rest saying it's Maggot Brain... With other words: this is a Funk record of high caliber even if you don't enjoy it as much as others. I personally think that a good portion of these tracks here are a bit "too much" with many ideas thrown into one tracks without really having a bigger structure to it which ultimately means that there are many moments that lack scaffholding. Still, it is a fun album with also many interesting and great moments. The Disco-Funk title track 'One Nation Under a Groove' with a... well, groovy track that gets things started immediately by having both the vocals enter right at the start and not waiting long before going into the incredibly catchy chorus which is played with a bit before returning to the verse. Throughout this first half, the song establishes some "hook words" that later make up a bigger hook, nearly a new chorus in on itself. The instrumental parts also have really great deliveries with the bass as well as the synths and the guitar. All together is just exactly what you'd think people were listening to in 70's Disco bars. I do think that some parts do need a bit too long to fully establish themselves and create a tension that isn't needed or a good kind of tension. It's still incredible but I wouldn't dare to call it perfect, because it just isn't. On 'Groovallegiance' they add more P-Funk as well as some Jazz while still being very catchy. The chorus and some of the vocal deliveries sound very inspired by music outside of the US although I can't really pin it down to a certain region. But it still is a very interesting style which doesn't mean that it works all the time. Sure, some moments are really groovy and funky with some great instrumentation but I just think that some parts are a bit too much in terms of throwing stuff into one pot. Some parts are great, including the "doo-doo doo-doo ahh" parts in the middle but a lot more are on the verge of annoying. It's a decent song nontheless but with a bit more focus, this could've been so much stronger. The Funk Rock on tracks like 'Who Says a Funk Band Can't Play Rock?!' is something that sets Funkadelic a bit apart from Parliament because they did much more Rock especially in their early years. They did Funk & Rock and Parliament did Funk & Soul. This difference between them seems to have a certain weight in either band which is the reason that there have been multiple tracks that mention the fact that Funkadelic do "Rock". It's pretty funny to look at. The song itself is, who would've guessed, Funk Rock with some added Soul vocals here and there but most of the time, the catchy guitar riff has more to offer than the vocals. To be totally honest, if they decided to only have vocals on the chorus and make the rest purely instrumental, it would've been better as I think that multiple times, the vocals distract from what should've actually taken main stage presence, the guitar. But apart from these few verses, it is a really catchy and interesting song with a blend of ideas that sometimes work together perfectly and other times not as much. Overall, I think this is a pretty good song that's just a tad bit too long. The 11 minute Psychedelic Funk Rock epic 'Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chasers)' comes along next with one of the craziest titles I have ever read. It starts off with a mix of stinging guitar and relaxed rhythm sections that have some Spoken Word passages added on top as well as some Soul vocals underneath that. This start is absolutely everywhere. There is so much happening and put on top of each other that you can't really get too deep into it without being turned away from it because it is so totally incomprehensible. It does settle a bit after some time but it goes back into this "everything at once" mentality every half minute or so and after some time you just don't want to hear deeper again because all you find is more stuff that doesn't fit with what there was before. This is most noticeable around 4:30 where there are some beautiful vocals that could've made this so incredibly beautiful but then they add more Spoken Word stuff that lets the vocals drown out. The instrumental: perfect, the vocals: perfect, the songwriting: perfect but these weird choices of adding talking just destroys all of it and leaves behind a genuinely bad song. If they all had just shut up, this could've been the best song on the album which makes it even more tragic that it ended this way. 'Into You' goes more into R&B, Soul and of course Funk and finally has intelligible parts that do have a really nice groove to it. The chorus is really great, the vocals are nice and although the structure can be a bit weak and the mixing plays around a bit too much with and makes it sound like the loudness lever was used by a toddler, it still is a nice song. It's fun to listen to, not too much, not too boring. It's good and catchy but not too crazy or out there. The albums first half, the first LP, ends with 'Cholly (Funk Getting Ready to Roll!)' which returns to the more Disco sounding P-Funk approach that results in a catchy and groovy track that seems to flow from one hook to the next without stopping the Funk to lead the way through the track. I do think that with the amount of ideas that were put in here, they do come of a bit too "low-key" and not as strong as they could've been but it's nontheless a good song. Their originally 1971 released song 'Maggot Brain' is put here in the form of a live recording that was done earlier that same year. There's nothing Funk about this, it's just a Psychedelic Rock song of (og: 10 min) 7 minutes that is based around a repeating theme on which solos are added with minimal vocals. It's a really spacey and hypnotic track that is so different, yet the same at it's core to what previous tracks did that it baffles me how this song seems to fit with the Funk without being Funk. This live recording is absolutely amazing, perfect even. Just a wonderful and enticing listen from the first second to the last and I'm going to be honest... I might prefer it over the original studio recording but I haven't heard that one in a while so maybe their equal... Still, perfect! The second part of that recording is made up of a short Spoken Word section titled 'Chant (Think It Ain't Illegal Yet!)' which is less than a minute long. It doesn't do much at all. I guess it was supposed to hype up the show but on an album? I mean this closed Side C... What does it hype up? The flip of the vinyl? Useless but not bad. The Funk Rock returns in a very heavy way on 'Lunchmeataphobia (Think! It Ain't Illegal Yet!)' which is heavy enough to be considered Funk Metal by many. In that way, this might've been one of the first songs to ever blend Metal and Funk and to be honest, I am there for it. It sounds amazing and both aspects are brought up enough to feel both catchy, loud and just crazy. I really, really like it and I think it's a great song. The album closes with 'P.E. Squad / Doo Doo Chasers' and finally, this is what the first 'Doo Doo Chasers' tried to be but failed. If this had the added singing, oh boy! This is (just) an shortend instrumental version so it does feel like it lacks something but it's still a really, really good song and easily one of the sonically best worked out tracks on the album. favourites: Maggot Brain, One Nation Under a Groove, Lunchmeataphobia least favourites: Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chasers), Chant Rating: light to decent 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The title track 'Station to Station' is my favourite song of all time. Additionally, Bowie is my favourite artist of all time. Therefore the album itself is also one of my favourites, in fact it's even in my Top 15, the second best Bowie album with only Low receving a higher spot. The entire album is just such a beautiful mix between Funk Rock, Soul, Art Rock and Piano Ballads with even the "worst" moments being at the top of Bowie's career. There is nothing to say against the album: songwriting, lyrics, production, ideas, experimentation, all of it is executed perfectly. It starts with the big one: 'Station to Station' starts with train imitating synths that slowly build up in a very Post-Punk fashion. It then forms itself into an operatic and anthemic "march-like" song that seems to pull together Art-Rock, Prog-Rock, Post-Punk as well as Krautrock and first hints of Funk that after an enormous and beautiful first half burst out into a Disco inspired Funk oddysey full of beautiful lyrics and deeply emotional deliveries. As I said, my favourite song ever (closly followed by 'Starless' by King Crimson). It follows the story of the Thin White Duke, a character that Bowie embodied at that time. A drug addict, full of fascist philosophy that seems to have lost touch with the real world and spirals into a deep dark of his own thoughts. It was the exact opposite of what Bowie has or wanted to be but his strong cocaine addiction that held on for years pulled him slowly into this exact person. Maybe it was a cry for help which many songs on this album seem to be but this is darkest and most grim of all of them. Even musically this is full of depth with the mix of repetitive themes and short breaks that help to both release tension and create new ones. I don't even know... This thing is the most perfect thing ever created. Maybe 'Starless' is objectively the best but for me this is. The album could've played this song 4 times in a row and it would not be boring or repetitive. I can't say it enough: Masterpiece, perfect, genre-bending, songwriter masterclass. The lead single 'Golden Years' goes deep into Soul territory with a very strong Funk additude and beautiful backing vocals in the chorus. The song shimmers with light and gold and seems to be an opposite of the previous song while still having very sentimental and thought provoking verses that tie the song together in such a cohesive and wonderful way. And even though it's the albums shortest song it features a lot of memorable moments that make a perfect follow-up to the title track. With 'Word on a Wing', the Blue-Eyed Soul gets the most prominent as of right now with a lot of piano in the forefront on which he delivers some of his strongest lyrics ever written. This is the other cry for help on the album and this time it seems to much, much more emotional about the lack of love he feels and the desire to reconnect with the world, held away by his own doings. The chorus is without a doubt the most heart-wrenching he's ever put out. One of the saddest and most emotional songs I have ever heard. I say it again: PERFECT! The second side returns to the Funk and Art Rock with a really groovy and energetic track which was written about a dream Iggy Pop had about his girlfriend being eaten by a TV which is a crazy starting point but the result doesn't fall short. It's so incredibly catchy that I don't think anyone can really dislike it and even though I think it's the "weakest" on the album because the end feels a tad bit streched, it's still so unbelivably amazing with all the arrangements and catchy play arounds both musically and of course lyrically. This is nothing short of another masterpiece. 'Stay' gets really Rock with a the Bluesy intro but there is more to it. Firstly, the percussion is just so incredibly fitting that it's genius that they thought about adding these Bongos (?). The mix of Funk Rock with Disco and Krautrock is absolutely amazing and catchy which is why it was a common song Bowie played throughout his career on live shows. Again, it's fun to listen to with a lot of energetic playing but has a certain beauty from the vocals as well as the lyrics that again return to the theme of love. Especially here, the mixing is done so incredibly well that while a lot of the stereo aspects are used, none of it feels imbalanced. Another perfect song, I'm sorry but it's just that good. The final song 'Wild Is the Wind' is very similar to 'Word on a Wing' in terms of style but also delivery. He was very influenced by the Nina Simone version of the song and it shows: This is probably his best vocal delivery ever (other options are: Life on Mars?, Teenage Wildlife, & Lady Grinning Soul). It's such a beautiful Soul song with all the inspirations from Jazz, Soul and Funk pulled together in a masterful finale that flows through your mind like only few songs do with such a finesse and Psychedelia. It's a perfect closing track and it's not even close. favourites: Station to Station, Word on a Wing, Wild is the Wind, Stay, Golden Years, TVC15 least favourites: / Rating: strong 10 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Honky Tonk Country Rock + a Moog synthesizer... Does that work? Hell yeah it does and this album is a great example as to why and how. It's a passionate Country record that seems to push the genre onto new paths while still holding true to what it is: an American genre that depicts the simple life of an American in different ways. Yes, it does sometimes slip into different things like it does here with the whole Outlaw Country imagery but it still seems rather "simple" (in a good way) than let's say the philosphical aspects of some 90's Death Metal groups. It is simply beautiful and easy to devour while still having enough to offer that a full album doesn't feel shabby or boring. The opening track 'Cornbread Moon' starts things with an energetic, lush and dense Progressive Country song that is topped with a pretty good vocal delivery from Joe. The added accordion is really fun and just adds to that overall "Country vibe". It's a really fun song, that's all I can say. It does maybe try a bit too much with the way it builds tension but still, this is a great song. 'Because of the Wind' gets a bit slower and lets the synth shine a bit more while still having the typical Country instrumentation. It overall just feels more like a typical slow Country song that has some weird added bits. This type of Country music can be really effective but also easily fu**ed up which happens here. It's not bad but the way it plays out doesn't really sound all that great and the songwriting and vocal delivery seems a bit "eh." It's not a good song and I'd even go as far as to say that it's "below average". His best received song 'Boxcars' is neither as up beat as the first nor as slow as the second. But it definitely has a certain darkness to it that is amplified with the mix of some incredibly well put together accordion and synth. The false end that returns into a mix of synth and guitar solo is just a cherry on top. This song is a perfect example of Progressive Outlaw Country and I'm all for it: This is a perfect song. On 'Jericho (Your Walls Must Come Tumbling Down)' Joe Ely returns to a more groovy and faster Country song that shines with the great songwriting he put here. It's just structures so well throughout. Additionally, the lyrics and the chorus are both catchy and feel special on their own. At the end of verses, before he goes into the chorus, he does something that reminds me of another artist but I can't really pin down who... Maybe Donovan? I'm not sure but this song here is surely a great one. 'Tonight I Think I'm Gonna Go Downtown' closes the first half of the album and returns to a more laid back sound but this time he does it much better. It's still not perfect or anything but it's fun, it's short and I think that it's decent. Nothing that seems disruptive but also not much great stuff. The title track 'Honky Tonk Masquerade' follows with another slow approach but not only his vocals but the entire song just feels much more emotional than on songs before and even though it isn't as great as 'Boxcars', it's still a great Country track that only messes a bit up after the bridge. 'I'll Be Your Fool' is a bit obnoxious especially because it's not as special as most other Country songs in that field of sound. The songwriting is basic, the instrumentation is boring, neither chorus/hook or lyrics have anything of value and the vocals sometimes do anything but sound good. It's a bad song, sadly. Luckily, 'Fingernails' returns with some more interesting songwriting. Yes, it's silly but also really fun. The piano works so well with the Rock & Roll style and it's just really, really playful all the way through. This feels a lot like Jerry Lee Lewis but more Country of course. It's a great song. On 'West Texas Waltz' he turns a bit to Tex Mex together with the Outlaw Country style and while it isn't bad, I am really uninterested by it. There are some moments I like but also some I really don't so it equals out to average, maybe slightly below. It's just way too long. The closing track 'Honky Tonkin'' starts off by sounding like it's about to turn into a Stones track but it of course doesn't turn Blues Rock, no it turns Honky Tonk (who would've guessed.) It's okay. There are some fun parts but even the chorus is pretty annoying and obnoxious. It's also mixed not all that good. It just turns out pretty below average with a tendency to bad but not quite. favourites: Boxcars, Honky Tonk Masquerade, Jericho (Your Walls Must Come Tumbling Down) least favourites: I'll Be Your Fool, Honky Tonkin', Because of the Wind, West Texas Waltz Rating: strong 6 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

The legendary Rumours: one of the best selling albums ever, featuring a ton of unforgettable tracks and maybe the best Soft Rock album ever, at least in the eyes of many. Even if I think it isn't a perfect record, it is certainly a great one and I'll never get people that claim this album isn't. Yes, it is overrated but that doesn't mean that it's bad. In fact, the songwriting, the vocals and so much more here turn this ultimately into a beautiful and melodic song about love, breakup and life that deserves the spot that it has in music history. The cover is also absolute fire!!! The opening track 'Second Hand News' is an energetic Folk Pop Rock song with hints of Country Pop that make this not only easy to listen to but also easy to swing around to. It's just a perfect way to start things off and get the listener into a mood for an album like this. I personally think that it's also one of the most underrated tracks on the album and easily an incredible track. Of course 'Dreams' is a perfect song. The mix of Soft Rock with Psychedelic Pop and Country is absolutely gorgeous and one of the best known songs of all time. It's so legendary for a reason: IT'S PERFECT!!! The lyrics, the delivery, the songwriting and of course the chorus are all absolutely beautifully arranged and produced. I don't even know what to say except that it's a perfect Pop song. 'Never Going Back Again' goes a bit more into Folk & Country Pop with mainly acoustic guitar and vocals that drive the song. It is a beautiful song but I find to be not nearly as appealing. It's still great but just more basic in a way. I do like it a lot but I wouldn't miss it if it was cut from the album. Luckily, 'Don't Stop' picks things up again with a mix of Pop Rock and Glam Rock but also some Boogie Rock and of course a catchy melody as well as a really catchy chorus. Some parts of it are a bit all over the place but that doesn't stop it from being absolutely incredible and one of the best Pop songs of '77. Nearly as legendary as 'Dreams', 'Go Your Own Way' is pretty much an even better version of 'Don't Stop' with better verses, better songwriting and even a better chorus which is crazy because that previous one was absolutely incredible with all of it but somehow they topped that and even mixed in a bit of Springsteen. Yeah, this is perfect, end of discussion. Side A then closes with the Singer-Songwriter Piano song 'Songbird' which is a really lovely ballad with both emotional vocals and also a really great chorus that combined makes a beautiful love song. I think that a lot of it could've used a bit more to it but this is still a great song. The maybe most forward thinking song has to be 'The Chain' which combines Country Rock with Blues Rock, Prog-Pop and even some Post-Punk which is absolutely crazy in terms of the time and circumstances it was released. The song's really good at building a lot of tension and releasing it in the perfect second. Just an absolute masterclass of songwriting. This might be my favourie song on the album. It's an absolute masterpiece. 'You Make Loving Fun' combines bits of Disco, Funk with their usual sounds to create soft Yacht Rock song. I get why many like this song so much and I do like it a lot too but I don't think that it stands out that much among these songs. It's a wonderful song and I really like the vocals in the chorus especially but apart from that nothing really sticks out a ton. It's all wonderful of course and still a great song. The Country Pop song 'I Don't Want to Know' follows and it's a pretty good song but I think it stays there. I like it but it's not like it's a crazy song that blows my mind. It's nice to listen to and I enjoy it but that's it. Really good. 'Oh Daddy' is a Psychedelic Folk song with a weird sexual feeling to it. Again, it's a really good song and I like a lot of the weird details they put into the song but it also feels very basic when held against the rest of the album. It's good but again, it stays at that level. Closing track 'Gold Dust Woman' combines Folk Pop Rock with Raga Rock and Art Rock and so many name this as one of the albums best tracks but I don't see it. It's good of course but definitely not great. There is just not enough to it. It's just there and sometimes does some whacky stuff that makes it interesting but the chorus feels like it's plastered on top without really integrated properly. favourites: The Chain, Dreams, Go Your Own Way, Don't Stop least favourites: Gold Dust Woman, I Don't Want to Know Rating: strong 8 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Easily the best known The Who album. It is THE album that people will point to if you ask them about the best album to start with The Who and even I, who isn't a big fan of them at all, have to agree that there are some pretty nice tracks on this album especially at the start and the end. The middle parts of the album do feel a bit less extraordinary but it's not like it's totally tasteless. I bet for someone who's really into Hard Rock, this is close to a holy grail but as I either prefer softer or heavier music and in total don't really care for Hard Rock and also a lot of Blues Rock, this seems rather overhyped. The legendary ‘Baba O'Riley’ starts off the album with a Hard Rock and Art Rock song that includes both Prog-Rock as well as Prog-Electronic stlyes and create a really interesting sound that you’d not really expect The Who to go into. It’s certainly a fun song that plays around the repetetive electronics enough to create a diverse and interesting song that even though I am not as big of a fan as others, have to agree that it is a great song and easily one of the best in the entire discography of theirs. Especially the end with the groovy classic dance rhythm is a really fun thing and easily my favourite part on the song. On ‘Bargain’ they bring in more Blues Rock but still keep the obvious Hard Rock and Prog Rock ideas. It’s a really energetic and loud piece that certainly has it’s qualitites, mainly with the chorus and its vocal performance towards the end of said chorus. The bridges are a bit to sudden and too big of a change to really keep the energy going but they manage to pull it back after letting the guitar and the drums shine for a while. I really like the song and think it’s even a great one. ’Love Ain't for Keeping’ does a whole 180 on their sound and turns to Roots Rock and Acoustic Folk that plays with Country here and there. It’s definitely not an uninteresting song but I do find that it does much less to me than it might could’ve. It sounds a lot like something Led Zeppelin did on their fourth album and I also think that that album is just boring at many moments and this short song just doesn’t do it to me. It’s okay and I can listen to it but there’s not much more for me in it. They return to their Mod origins on ’My Wife’ but still do the Hard Rock and bits of Art Rock that definied their later career. I do like some of the interesting production choices and weird additions that they did add but again, most of it seems rather uninteresting to me and if it wasn’t for the brass instruments, this would’ve not been as good as it is. At least that they did succeed in. 'Song Is Over’ fittingly ends the albums first side piano driven Art Pop Rock track that features some more Hard Rock guitar at parts but it spans out over 6 minutes and plays a lot of Prog structures and therefore doesn’t always go into said play style. It just seamlessly transitions between the softer Piano parts and the slightly heavier guitar parts in which also the vocal style changes to fit with the songs sound. It’s pretty ingeniously written if you really look at it and although I really appreaciate what they did or tried to do, I personally don’t stay as interested with it for much longer as it does feel a bit repetitive after a while. It’s still really good. Side B opens with ‘Getting in Tune’ which although it starts quite soft and sentimental has well enough Blues & Hard Rock in it after it really gets going. It’s a pretty fun Art Rock song that not only plays around with ideas and sounds but actually succeeds in it by having both some really groovy and sentimental moments that both seem to do exactly what they tried to do with it. It does strech a bit towards the end but it doesn’t feel too boring or repetitive and I think that even though it could’ve been better especially with the outro, it still is a pretty great song overall. They not only go Pop on ‘Going Mobile’ with some added hints of Folk, Country and Hard Rock but they also make the easily weakest song on the album. It sounds like a gone wrong Britpop song with an absolutely stupid chorus that not only lyrically but vocally hits deeps that they didn’t get to since after their Mod phase. It’s definitely not terrible but oh god, it’s pretty bad. Easily, the worst song on the entire album. Stupid songwriting, bad vocal delivery and just absolutely foolish. Luckily, ‘Behind Blue Eyes’ follows with one of the best known and generally best tracks on the album. It’s an Acoustic Art Rock song that not only has some of the best lyrics as well as a great execution in terms of songwriting, vocals, backing vocals and instrumentation. And it gets even better after the song drops into the Hard Rock part of the song. It’s a really lovely song and I like everything about it but it isn’t perfect, mainly because they sometimes don’t know how or when to stretch certain parts but it is incredible nontheless. The epic closing track ‘Won't Get Fooled Again’ returns to the Prog-Electronic style they already did on the opening song and therefore close to album in a fitting circle. I think that it sounds a lot like some Rolling Stones songs the way they wrote it and play with the guitar and the backing vocals. On top, it’s the longest song on the album with over 8 minutes which is spread out into certain sections that are repeated but don’t give us a full on chorus but only a tension building hook that builds and builds more tension. Around the halfway mark they hint to the legendary finale but return to the Stones style song that keeps going and builds with a hypnotic Psychedelic Rock style more and more tension that also lets you drift away as they mix repeating guitar with the Electronic parts to create a really well made hypnotic atmosphere in which one can go lost. It then turns to a section that is only driven by the Electronic parts before slowly adding drums that build a lot of tension in a short time before releasing with the iconic scream that finally releases all of the tension that was build over 8 minutes of playing and closes to song in absolute perfection. Easily the best song on the album. favourites: Won't Get Fooled Again, Behind Blue Eyes, Baba O'Riley, Getting in Tune, Bargain least favourites: Going Mobile, Love Ain’t for Keeping Rating: strong 7 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes