I was a little taken aback when first seeing that this record ran 40 minutes in length with only four songs. Right from the jump I could see why “Chameleon” is one of Herbie Hancock’s most popular works. The whole song is built on an infectious groove with a variety of keyboard improv galore. I was disappointed a bit that there was no guitars to be found on the album at all. Seems to be more of a passive listen. The songs display cream of the crop jazz-fusion musicianship, but as with buy and large instrumental compositions, a lot of it is not necessarily memorable to non-jazz enthusiasts, including myself. Sly was my favorite track.

I was a little taken aback when first seeing that this record ran 40 minutes in length with only four songs. Right from the jump I could see why “Chameleon” is one of Herbie Hancock’s most popular works. The whole song is built on an infectious groove with a variety of keyboard improv galore. I was disappointed a bit that there was no guitars to be found on the album at all. Seems to be more of a passive listen. The songs display cream of the crop jazz-fusion musicianship, but as with buy and large instrumental compositions, a lot of it is not necessarily memorable to non-jazz enthusiasts, including myself. Sly was my favorite track.

This album has all the trappings of 80s synth pop/rock. Luscious keyboards? Check. Guitars with copious amount of reverb and delay? Check. This is also the first time I’ve listened to an album by The Cure front to back. “Plainsong” is a terrible song to open a record. Like several of the albums tracks, there’s a lot of “fat” around the edges. There’s periods of those guitars and keyboards droning out for minutes at the time while not varying or developing enough significantly to justify sitting through the 2 minute intros before the vocals start. Often times, the vocals are not up front in the mix, which makes the songs often times difficult to follow. However, sometimes those elements come together nicely. “Lovesong” is one such example and it’s easy to see why it’s one of their most popular/well known tracks. The album does successfully accomplish going for that “anguished” type of vibe as the title would suggest. “Untitled” does prove to be a strong closing track

Undoubtedly the most influential band in the world at their creative peak. There is maybe no better way to open a record than the title song, “With a Little Help from My Friends,” and “Lucy in the Sky With Diamonds.” I do question how much of a “concept” record it is in theme, but that doesn’t really deter too much from the overall strength of the album, songwriting, and production. Nobody is ever going to write home about “She’s Leaving Home” or “Lovely Rita” but this is everything The Beatles are and why they’re so influential all in one album.

While this album falls under the pop music umbrella, it has just a little bit of everything. It has emotional, slow ballads like “Beautiful” and “Cruz,” upbeat dance numbers like “Can’t Hold Us Down” and quasi pop-rock like “Fighter.” Overall the album truly is a hallmark and fitting microcosm for early 2000s pop with an R&B flair. Clocking in at over 70 minutes, it is a rather lengthy listen and has its fair share of filler/dud moments (particularly thinking of “Make Over” which is oddly placed between 2 slower songs). Needless to say the vocal performances are strong and it’s a well produced effort with some gems of the early 2000s pop/R&B era

Every so often does an album come out that not only defines an artist’s career, but also serves as a defining moment for the genre. It’s not difficult to see that’s the case for The Marshall Mathers LP. This is prime Eminem and he really takes no prisoners on this record (as the song “Criminal” would suggest, no pun intended either). The lyrics are overall emotional, authentic and intense, backed by solid, pulsing instrumentals and beats. The album also demonstrates good cohesion and the songs flow well together overall. There’s no real duds on this album.

As a big fan of 1970s/early 80s soft rock (often dubbed “yacht rock”) it’s surprising that I haven’t dug into Fagen’s/Steely Dan’s sooner. This is an overall well-crafted and pleasing record on the ears. The musicianship and songwriting are off the charts here. The 8 song, 40-ish minute record makes it a very friendly and accessible listen as well. The most standout tracks to me are “IGY” and the title track. Vibes all around on this record are good. Will listen again and add this to my collection.

Just to preface this review I listened to the original UK release track list with none of the bonus tracks to fully take in the record and its sequence as it was originally heard. Firstly, who would’ve thought a Brit could’ve pulled off the Motown sound with such ease. It may be unfair to just define the album’s genre as simply pop because there is a lot going on here musically. This record is packed with straight, to the point, and catchy tunes that really are a good example of the best from its era. The original album sequencing is pretty standard and is overall a cohesive and accessible listen.

This is the first album I’ve encountered so far that 1. I already own a copy of 2. That I have already listened to front to back prior to this exercise. Upon listening to it again, I think enjoyed it about just as much as the first time I heard it in my early teens. This is not necessarily the best Deep Purple record, but it is a very important one in their history. At this point Mark II we’re just getting their feet wet, which lends itself to the raw, raucous, and “live” nature of this recording. Right of the bat, this lineup was already coming out firing with Ian Gillan’s screeching, seeing vocals (and lyrics that sound better than they read), Ritchie Blackmore’s fervent guitar work, Jon Lord’s unmistakable distorted organ with Roger Glover and Ian Paice anchoring down the foundation. Obviously the production sounds very old and British, maybe one of the album’s few weaknesses. Overall, the songs and musicianship are solid and indicative of higher heights to come.

First off, RIP Paul Di’Anno. I believe there is no such thing as a coincidence since this album was generated for this project just days after his passing. Sometimes a band is firing on all cylinders and puts out some of their best material on their first record. This isn’t that necessarily. This record lays the groundwork with the ebbs and flows of the New Wave of British Heavy Metal. Funny enough this record kind of sounds like Iron Maiden trying to be Judas Priest but I’m pretty sure the influence actually worked the other way around. Di’Anno has his moments, but is definitely no Bruce Dickinson. “Prowler” is a pretty weak opener. Musically and vocally it sounds like something your local bar band would open their set with. Overall there are some very solid tunes throughout including “Remember Tomorrow,” “Running Free,” and “Strange World.”

To preface the review, I listened to the original album sequence without bonus tracks. First time I’ve listened to a full ABBA record. It contains all the trademarks they became synonymous with; catchy hooks, great musicianship and catchy pop-rock hooks that was the standard of this time. The vibes around this record do feel bittersweet, almost fitting and prophetic that it would be their last record for 40 years and before they disbanded. “When All is Said and Done” encapsulates the feeling of bittersweet nostalgia in the best way and is my favorite track. “Like an Angel Passing Through My Room” is an interesting way to close the record and is overall a pretty melancholic track by ABBA standards and is maybe one of the few weak spots of the album

Legendary, but very possibly overrated title track. Not a great album opener, either. Rest of album, Lennon tried to be Bob Dylan (except Lennon is a better vocalist) and failed. “Oh My Love” and “How?” are dimly lit bright spots buried on side two. “Imagine” thinking this is a good record.

To preface, I listened to the original album sequence without bonus tracks. Overall this record is 11 songs full of soul and emotion. Springfield has a strong set of pipes and delivers this material well. Having listened to “A Girl Called Dusty” last week, this sounds like significant steps forward from that record that a few years earlier. The instrumentation is top notch. “Just a Little Lovin’,” “So Much Love,” and “I Can’t Make It Alone” are standouts.

First time listening to Nina Simone in any capacity. Strange that an album full of outtakes and leftovers is considered not only some of her best work, but one of the essential albums in music history. Needless to say, it is a pretty diverse record. While the piano chops standout, the songs are nothing to write home about, maybe save for the opening and closing tracks. For all the hype “Four Women” gets, the song is not even the strongest on this album. Side two gets particularly dreadful. I give her props for pronouncing “Lilac” the correct way.

To preface, I only listened to the original eight track sequence without the four additional tracks. I’ll be honest, not sure why this album is included on this list. Obviously I’m not familiar with this type of music, nor know the language the lyrics are in. However, I’m not sure how much the lyrics would really do to improve the quality of the songs. While the musicianship is admirable, these all feel more like jam sessions that showcase the individual talents more than a cohesive unit. The songs don’t progress or deviate from their main motifs or structure. I wouldn’t have even known about this album if not for this exercise.

As usual, I only listened to the album’s original sequence with NO bonus tracks. This is the second album I’ve come across in this project that I have previously listened to and own a copy of (through 3 weeks). For as successful and widely recognized and influential that this trio (and later foursome) were, I feel a lot of their work is overall underrated. The record strikes a perfect balance of the 3 amazingly talented singers and songwriters. The harmonies, acoustic guitars and songwriting drive the album and lay the foundation of what would become the “California” or “Laurel Canyon” sound of the late 60s/70s. “Helplessly Hoping” is a favorite of mine. Overall, this record is as enjoyable of a listen as it was influential to the world of music. Always glad to give this record a spin and will do so again soon.

First time ever listening to a Bowie album front to back (not really a fan of his). From the jump, the title track is an ominous, but dreadful opening track that seems like 3 miscellaneous tracks thrown into one. Musicianship is overall solid; lyrics and vocals are sometimes lackluster. It seems that parting, loss and coming to terms with mortality are the biggest themes throughout this record, which of course was eerily prophetic, and probably by design. No song captures that better than “Lazarus” which is probably the album’s strongest track.

Very jazz influenced vocals, piano chops, and rhythm section, but they’re “pop” songs. Unfortunately, there’s not many pop hooks and the songs are overall unengaging to keep the listener for north of 4 minutes.