When I'm told an album I'm about to listen to is by a Punk band, this is the kind of thing I'm expecting to hear, in a very good way.

If you ever need an album to envisage American High School in the 80's (The good, the bad and the incredibly suspicious), listen to this. Also: headphones on for the start of Track 4 if you're in a public place.

To quote Ash Williams in Evil Dead: Groovy! I don't usually listen to jazz much but this was a very catchy album; Chameleon and Watermelon Man are tracks I'd happily listen to on repeat, and Vein Melter is very chill and easy to listen to. I found Sly had sections where they were fast and chaotic for the sake of it more than providing any purpose, but on the whole the album is an enjoyable listen.

As an avid Iron Maiden fan this is obviously going to be biased, but here we go. The Number of the Beast is Iron Maiden's 3rd Studio album, preceded by Killers in '81 and the self-titled Iron Maiden in '80. It's the first album with Bruce Dickinson - their longest running vocalist - and last with drummer Clive Burr, and showcases the more complex sounds Maiden are known for, such as the well known tracks The Number of the Beast and Run to the Hills, as well as Hallowed be thy Name - widely regarded as one of the band's best song to date. If there's anything to detract to this album, it's that with such heavyweight tracks in the middle and the end, the rest are unjustly overshadowed despite their quality.

While music like this isn't something I listen to, I distinctly remember family members listening to it when I was a kid. I think it's because of that, the album feels somewhat whimsical in a way to me, with instruments played for the joy of playing. Some tracks did feel like they blended together at places, but overall it was a fun listen.

I'm not even half way through the first track, and I feel like I'm listening to the work of 2000's rock's dark, uncomfortable and inappropriate progenitor. It's been a long while since I've performed this many double-takes while listening to an album. Not a bad listen by any means, but there was a fair amount of dissonance between the music played and the lyrics sung that took some getting used to..

Once upon a time, I had long hair. I'm getting flashbacks to those times while listening to this. Humour aside, I find this album evokes a sense of nostalgia or sentimentality, of simpler or more hopeful times, possibly a - incomplete - reflection of when it was recorded.

The album has a unique charm to it, but I found that on many tracks there were points that the vocals cuts notes short that the instruments continued to hold, which sounded rather off. The title track, Heartattack and Vine, I would say is the strong point.

Considering the sheer number of remixes and edits there are for Personal Jesus, it's interesting to hear the original version in the context of the album it was released on. Depeche Mode create a rather unique sound, one that's hard to mimic while maintaining quality, so it's easy to see how the Violator album brought them the fame and accolades it generated on release.

This album is one of many reasons that Johnny Cash is the artist people think of when Country music is discussed, whether they listen to that genre or not.

When I'm told an album I'm about to listen to is by a Punk band, this is the kind of thing I'm expecting to hear, in a very good way.

Curious, took me by surprise several times, in good ways and... strange ways.

An interesting sound, certainly. Couldn't shake the feeling that the vocalist(s) lines amounted to them talking at the listener to a tune, more than actual singing or meaningful expression.

This is the sound of bottled up frustration and disappointment in the government, being slowly poured out onto concrete.

Composed with purpose; a frantic, almost chaotic energy created with a sense that something wants to be expressed, wants out. However, the lyrics are frequently drowned out by the instruments accompanying it, making the message hard - and at times frustrating - to discern.