First of the bunch (meaning, my 1001 albums listen through). I'm familiar with the band, even like some of their tracks, such as Shout. I got an overdose of them in the 80's, when Sky Trax and Music Television we're a thing. The album is the very essence of 80's pop, to my surprise it doesn't feel too dated today, it did feel very much so in the 90's. For me it was a boring album for the most part, the artsy slow bits especially. Some of the light jazzy bits were fine as well, basically I liked the tracks with big beats and groove, disliked the soft moody songs with too much empty space in them.

Ah, Stax Records, The Bar-Keys, soul music and unstoppable groove of the late 60's and early 70's. This album has been on my dive deep -list for quite a while, well all of Isaac Hayes catalog really. It's an awesome record, the psychedelic era is starting to seep through, in a smooth way.

Another 90's trope that was on every radio station, TV show and mediocre DJ playlist. Drove me crazy. I've heard this album in full few times, someone I dated listened to it a lot, but that's about it. Its edgy pop music, with a slight punkish undertones and I understand they made an effort to not include "grunge vocabulary" in their music. I hear and understand the appeal, but do not like the album, for reasons I cannot put to words. I might be biased "having been there", overexposure and what have you.

Santana has been on my radar for a long time, I've enjoyed his Woodstock performance on several occasions, but I've mostly listened to the self titled album. I actually have a version of this album in my collection, but can't remember when I've listened to it the last time! And once again it's a joy, lots of latin vibes, "world music" meshed with rock, psychedelia and mysticism. I love it.

Another album I have in my collection, I think I got it around the same time as Johsua Tree was released and ended up liking it more. Then came Rattle 'n Hum and Achtung Baby and I couldn't be bothered anymore. This album has the good goth-ish post-punk whiney pop sound that I like, they didn't like what was going on and said so in an annoyed manner. Funny and naive, but also pretty and kind of interesting music. New Year's Day is the best U2 song.

I've "It Takes A Nation..." in my collection, but this album didn't hit me like that previous did. I think I was moving on to other things musically, so it took few more years to get back into hip hop via Paris, Cypress Hill, Ice Cube et al. While I'm sure this is an important album in the hip hop context, it's just "more of the same" to me. I do remember several of the tracks on this album, probably can get in on the hook from first go, due to power play in MTV and such, on tracks like "911 is a joke" as well as "Burn Hollywood burn" and "Fight the power". Also, I didn't like the interludes that we're quite common at this time, I feel they just brake the feel and flow of the album, instead of adding to the story.

First album on the list that I've not heard before, Eno I am familiar with of course, but not his music to any real degree. I guess he was ahead of his time, because this sounds like early 80's to me. Not just the sounds, but the pop sensibilities... oh wait, Eno was in Roxy Music before this album came out. Okay, whatever, not my kind of music tho.

One of the big Brit rock records, I was into Oasis even more and I didn't get this album until discounts hit it later. As a metal guy Song 2 hit me harder, while I appreciate the rest of the album too. I remember being quite indifferent to the ridiculous notion where you had to "choose your side" over Oasis or Blur and sometimes Pulp aswell. It's not my favourite, but it's not bad either, quite enjoyable record in fact.

I know the group, but not really the music. I feel like I don't get anything out of it at home, maybe I would at a party or curated into a DJ's set, but like this, almost nothing. Few tracks did make me feel like I should learn to dance.

I've listened to Exit...Stage Left, live recording which I own and came out after this one, and R30, so lots of the tracks are familiar. Out of their albums I've heard some here and there, but haven't real idea how their style has evolved from one decade to another. I mean, this album is basically mostly classics, for me anyway.

I wrote this review once already, but it dissapeared, so F it. TL;DW: have it, bought it way back when, really thin sounding, time has not been nice to it, don't really like to listen to it anymore.

Another band I know exists and that's about it. According to my Last.fm stats, I listened to one of their song, three times. Well that was a handful. It seems the band had no direction whatsoever, they just made music in what ever style and direction they please. I think the first track had a guitar tone I really liked, aggressive low grumble, but it never came up again. The whole album is all over the place, I mean with better guitar sound and fuller production, the song "Baron Samedi" could be a Santana track. There are few great songs on this, but for the most part I find it too scattered. It's like listening to a mixtape, but all tracks are played by the same band. It's kind of unsettling. I just realized this is the band with that hit song "I don't like reggae, I love it" a.k.a. "Dreadlock Holiday". Holy shit.

Another band I'm familiar in name only. I'm sure I've heard some tracks, but I couldn't tell which they are. I don't know what I was expecting to hear, but it for sure wasn't punk laden garage with bluesy rockabilly tones. I feel there's psychedelic elements and repetitiveness from krautrock in there too, some experimental atonal noise elements sprinkled here and there. This is pretty wild stuff!

These kinds of albums I was waiting for! Music history that I've never gotten around to listening. I wish there was someone explaining the importance and relation to the time period, just contextualizing the whole thing for me. Just by the music alone I'm not wildly impressed, I mean Bowie is great, very recognizable and creative master, but still this leaves me feeling a bit... meh. Couple of songs had cool parts to them, that hadn't aged at all.

Ah, country and folk. I've gone to considerable trouble trying to get into this type of music. Just a few outlaw country artists have made the cut so far. I'm not lyrically inclined and most vocals are just another instrument, which is why Young's voice, especially his high pitched yowls, rub me the wrong way. In addition a mere acoustic guitar or piano does not cut if for me. I found this album utterly boring. I basically forgot I had music playing and it melds into the background, until Youngs wailing brings him back to focus. Even the rockier songs are starting to irritate me towards the end.

Nice, a band I didn't know nothing but the name about! I actually thought this would be a reggae/dub/elektro -mashup, after reading up on it I think this is something that my mates in the 90's tried to push on to me. Only things that stuck were Children Of The Bong and some Metalheadz/Goldie things, I suppose. I really enjoyed this one. This is chillout music at it's best and I gotta look into this stuff some more.

I love krautrock and while I know Can, I haven't really gone deep into their stuff. I do however recognize several tracks from this album, for example I love the bumbling groove of Halleluwah. I listened to half of this album with other people at the office, some only tolerated it for a little while and found it annoying pretty fast. I find the minor changes and tweaks to repetition of the songs interesting and enjoyable. Is this still considered experimental today, I don't know nor care. They did experiment the hell out of this record, I mean it's not totally atonal, but it also has bits that are. It is a genre defining album for all I know.

I've never listened to this album in full. I know several tracks out of it quite well, I've read many articles about it and acknowledge Marshall is the rappers rapper. I'm not a rapper and I like screeching guitars, psychedelia and growled vocals. I see a problem. For me, this is a not something I can listen to while doing something else. The ADD flow and ton of rhymes to boot are a bit too much, feels like I need to split my focus between several elements to enjoy. Basic beats, while very groovy, and melodies do not elevate it to "I'm listening to music" category, so it's impossible to enjoy it just as that. It requires too much of me to be enjoyable on as a backing track, as plain music it's too pop and all the cutting edges are in the rhymes, not the music.

I love 60's and 70's psychedelic soul/funk, Stax records hard hitters, even the industrial Motown stuff and the cool soundtracks that exploitation movies brought along. Superfly hits a bit different because the music is made for a movie, it's got it's moments for sure, but soundtrack isn't the best platform for a cohesive whole of an album. Musicianship is top notch, production likewise and it all sounds amazing.

For some reason I love easy listening, jazzy show tunes and 60's pop music in general apparently. I listened to the version of the album with the bonus tracks, so it's almost double the amount of songs and I never felt like I should put on something else. Utterly enjoyable listen, her voice is smooth and has nice rasp when needed. Awesome orchestral bits here and there speak volumes on how little actual studio work modern day music requires. Compared to the production values on this, all new music feels so plastic and disposable and I hate that.

Apparently there is great adversity, bad luck, musical growth, excellent production and producers involved, but also they've been quite the pet of the indie scene. The music sounds like eletro-influenced indie pop with some guitars thrown in to me. Not really music that I'm fond of. These similar soundscapes with less of a hurry and synth vibes, would be reminiscient of Slowdive, whom I do like, but as it was it is just some aural background canvas for me.

Feels like watered down brit-rock with some U.S. folk thrown in for good measure. I get strange vibes, like it's produced by someone used to doing pompous stadium rock, then they're asked to tone it down and they don't really know how. This is not what I though Dandy Warhols was. Then again by late 90's I was not interested in billboard music at all, so I probably glanced over nor had any interest in most of that kind of music. Pretentious, boring, time has not been nice to this album.

I love the idea behind the album, "music as ignorable as it is interesting... capable of inducing calm and a space to think". Also the fact that this is the first piece of music to be called "ambient" is quite astonishing. In 1978 synths were very expensive and new, so not many artists used them and even fewer made music that focus around them. While modern ambient or even 90's modern style ambient, is quite different, I can hear the seeds of the soothing music in this record. I might've listened to this at the wrong moment, it was morning and I just started working, but it still held my attention wonderfully well. Lovely.

Again, artist that I know the name of, but their music is largely unknown to me and I have no idea where they fit in the grand timescale of music events that I have in my head. I have a rough, but kind of solid, idea what this set of songs is, but I was surprised how laid back blues and "rock 'n roll" it was. For some reason I was expecting the hyperdrive of Little Richard. Enjoyable bit of musical history that inspired so many artists, who then inspired lot more artists and so on.

This sounds very familiar, even tho I've never listened to Mr. Burke, atleast while knowing what I was hearing. This has very classic sounding rock ballads, which are filled with clichés, probably because this is where they originated from. I don't know and don't care enough to look into it. Sad to say, I found it quite boring of a album.

This is one of my all time favourite albums. Black Sabbath did so much for the heavy music movement, that it is difficult to ephasize how important the band is, especially the first four records. They almost single handedly spawned the doom metal genre, but also had huge influence in all of the heavy and extreme forms of music today.

I've only fairly recently become able to stomach Morrisseys style of singing and listened to his later albums for a few times with enjoyment. This one however was quite horrible, his manners are multiples more annoying, the music is rather thin and lo-fi and feels like they've added some unusual instrument just because they happened to be around. I had hard time to find a song that would be better that the others, which usually isn't a problem for me.

This is music that would require a lot of cultural knowledge, understanding the language and tons of context for all kinds of things. I don't mind not understanding the language, but not understanding the musical cues and rhythmic communication also, kinda defeats the purpose of reviewing or rating music in the first place. My rating is purely from "how am I enjoying this as an aural canvas" standpoint.

It is clear, I do not like pop music like this. Previously in my 1001 play through the likes of The Smiths and Dandy Warhols made a similar impression, or rather left me wholly unimpressed. This album is too long, there are just few tracks that rise above. The rest is sleepy background muzak, with the exception of the tracks sung by the female vocalist.

Yet one big name from American r'n'b/soul scene of yesteryear. Can't say I've delved into this groups discography, I just know several of the hit songs, probably from going through Motown/Stax stuff. However, just starting the album I realize how much this has been sampled and remixed. Also how huge influence the disco movement had to the sound of whole genres of music.

It's a classic, but doesn't do much for me as a whole, outside beats and sampling. Couple tracks rise way above the rest, Snoop in the house indeed, but most of the gangsta stuff was and is quite tiresome.

It was just christmas, I can't stand crissytunes, even the best ones are just barely tolerable, let alone listenable, so I'm not listening to this. I'll give it and extra star for the performers, that it's Spector production, that it's proper music and not low effort cash grab (I think).

I've listened to Fever To Tell a lot more, bit this too is familiar album. At one point I really liked garage rock sound, however I like the dirtier version of the style like that of MC5 or later The Hives and Thee Oh Sees. This is in the same vein as White Stripes, but lots more pop and a lot less explorative. It's a fine rock album, but lacks in rough edges. Basically, to me, it's modern pop music I can actually listen to.

Very much not my kind of music. I remember when the music critics were hyping this up, but I've probably brushed it off and didn't really pay attention, since this was new to me. I wasn't at all surprised to fing this was a Sub Pop release. Popish folk with a very artsey touch feels very forced.

I've had this album from mid 80's on and I thought I liked it quite a bit, but taking a listen to it now I found it's quite severily lacking as a full coherent album. It's a bit spread out, reaching for the new stuff, but keeping a tight hold of the old. I like the older stule Motown stuff quite a bit, be it traditional or the newer. I do not like the slow stuff, Girl is Mine with Macca was not good at all. I feel like I've only listened to the A-side of the album as a kid, because some of those "extra" tracks are just not that good.

Horrible flashbacks to early-mid 80's, synths of the time were everywhere. Horrible! The tsunami of synth-pop. The horror! I did not remember how simple and one layered this music actually is, I'm sure it got better, but I still shiver just remembering their latter hits, which were all over music channels on a perpetual loop (while I do awcknowledge there where a lot less videos to put in said loop). For old school synth stuff, give me Jarre, Vangelis and Kraftwerk, this I can not stand.

Weird soundscapes are my thing and this album has a lot of chaotic bits in the background. The music itself has a kind of inconsolable feel to it, a sense of otherness, outsider feeling that younger me would've embraced. This music is born of pain and uncomfortable existence. No wonder goth scene has embraced this darkness for well over 4 decades.

Even worse that lame pop or weak synth music is weak country or "americana / alt-country". I can't stand this type of music, at all. The idea of suffering through the whole album is not an option.

I remember liking Pretty Hate Machine, but was also very much into G.G.F.H's Eclipse album, Ministry's Psalm 69, Skinny Puppy stuff and such, before this one came out. By the time Downward Spiral came out, I was more or less moved on from industrial and felt like this didn't touch enough nerves. I was ready to give this album 4/5 before listening, but I would lean more to 3 stars as far as it grips me today. Now taking a re-listen years later, it has even more pop sensibilities than I remembered. It suprised me how much Marilyn Manson's sound was affected by Trent Reznor, seems to me it was especially this album. Upon looking into the matter, Sean Beavan (who also worked on NIN records), Skinny Puppy producer Dave Ogilvie and Trent Reznor produced Manson, so no wonder they share the same DNA. This is however very important album for a whole genre of music going mainstream, I'll stick with 4 stars for the historical values.

I love me some tuareg blues, this was close enough that I recognize the connect. I like it a bit more rough with buzzing guitars if possible, but I did thoroughly enjoy this listen. Can't promise to return to Songhoy Blues's music, but I know I'll continue to spin Tinariwen and Mdou Moctar.

Another artist that suffers from my 80's music video overdosing, which ruined quite many bands for me, that I don't want to listen or it doesn't even dawn on me they might have something I would enjoy listening. While I enjoy Dire Straits playing and laid back style of music, I subconsciously feel like something horrible is about to play, all the time. It is a problem I have with surprisingly many bands, I'm finding out.

Looking back it's hard to hear the melding of styles this album has been lauded for. All I hear is the pop and reggae, on occasion punkish, elements combined in a perfectly tasteful way. It does not tick the "new wave" nor "post-punk" boxes for me, even tho I'm being told by lots of reliable sources that this is, or was, the case. As far as rhythmic and musical gimmicks go, I couldn't say. I know there are such things on this records that are held in high regard, especially on Copelands part, but since I do not recognize where and what they are... It is a pleasant pop album for me, nothing spectacular, but it is also worryingly close to the '80's music video overdose' issue I am suffering from.

Acid house was never in my favourite genres within the realm of techno and EDM. I much prefer trance, trip hop and ambient techno, while this album wasn't bad, it's not what I like to listen. Somehow I find this album chaotic and dull at the same time. There's not enough changes to keep it interesting, there's not enough repetition to make it "kraut" and there is too much small samples in the background that it feels chaotic and incohesive. It's a mess to my ears. I also find the soundscapes quite dated, but that's not relevant in a review of an over 30 year old album.

Another personal classic, which has been on my plate from early pre-teens and never left. Most of the Bon Scott era, plus Back In Black, is what I've always prefered to listen from Acca Dacca, nothing's changed. This is a really good rock 'n roll album, not their best but close enough.

Another familiar album of which I've never done a listen through. I'm beginning to think that music TV's might've done me a major disservice between late 80's and early 90's. I know several songs off the album, few enough to be quite fed up with them. Titular track doesn't sound what I remember it sounding like, I'm assuming the blame on the video for that. I was expecting a lot more funk and bluesy rock bits, but it was mostly simple pop music. Most of the musically interesting stuff for me was happening with the vocals, not the guitar or groovy basslines etc. which was the expectation. I'm not sure if I'm disappointed or not, since it sort of fulfilled the expectations I had based on the video tracks. I wanted the rest of the album to be more ambitious music, filled with funk and soul, but sadly it was not.

I was expecting to hear blues on this list, but not really a live album, apparently one of the first commercially succesful live albums too. Muddy Waters is a familiar name and I've heard his and other's versions of his tracks. I was familiar with just a few songs on this record, so it was mostly new stuff to me. Blues in it's purest form, it's not something I often listen, but on occasion it is fine.

Okay. I was actually waiting to hear this one, I've been hearing so much about them as long as I can remember, but never checked them out. Clearly I can't stand this new wave post-punk shit, it's getting on my nerves and the fucking wailing in annoying as all hell.

I'm culturally, and by a language barrier, unable to rate this album. Tonally it seems like very basic arabic pop music, production also seems nice, but other than that it offers nothing for me. I don't understand why they would want to re-record Lennon's Imagine nearly 30 years later tho.

It seems I've never listened to this actual album as such. I've three of his albums in my collection, namely Live At Winterland, Radio One and Sound Track Recordings From The Film "Jimi Hendrix", but I'm quite sure I've had at least one of them on tape or something. Most of the songs were however familiar, I've heard enough random songs via friends and radio, but there were few that I got to experience with fresh ears. They're more of the same, which is not a bad thing, so nothing jumped out as better/worse. The sound quality and production is top notch on this album. It sounds incredible from my system.

I remember an old friend and a neighbour, returning from his family's temporary move to Germany, a converted and devoted fan. I was kilometers deep in my fanatic hunt for extreme metal with the most exquisite perversions, so DM's "Violator" and songs about inner turmoil hardly registered. I've since learned to like some of their music, so I'm stepping into this one with cautious hopefulness. Quite underwhelming, while the songs are all beautiful, they lack the power and impact that I was expecting from more than few songs. No need to wonder anymore why Personal Jesus and Enjoy the Silence were, and are, such outstanding tracks.

Never been a big fan of Bruce's, his singing is a bit mumbling and music is very dependant on lyrics, which are another thing I don't really emphasize too much. I don't really get why this is so revered and held in high regard. I find it quite a boring of an album.

I had a Doors period in the late 80's and early 90's, which effectively died when the movie came out. My circle of friends did not like the fad that followed. Anyway, most of their albums are quite familiar, including Morrison's poetry albums. I'd say I like Waiting for the Sun or L.A. Woman the best, but I like all of them, even Soft Parade. It is however, very hard for me to rate them, against other music or between their catalog.

Yet another artist familiar mostly by name. I'm quite excited to hear this album, since I'm not very aquainted with Latin dance music like salsa and mambo. While I'm familiar with Tito's music just a bit, I'll be the first to admit that I know "Oye Como Va" mostly from Santana's version. It's energetic, fun and makes you want to move. I have no idea what they're singing about, but the music has lots of details and intricate nuances, which is nice. Surprisingly good listen.

I don't care for americana, country or folk, Dylan is especially bad for my ears, especially in his older age, the nasal gratings are too much for me. Like I've said many a time, I'm not a lyrics forward person and this album is all about lyrics. It literally only has acoustic guitar in the background, "harmonica solos" and not much more. I find it incredibly boring, as far as the music goes.

Old timey swinging jazz is not something I enjoy. Had to cut this one short after four of five songs. I understand the playing, I get the skill, I know these are highly appreciated musicians, but I just cannot stomach the high pitch happiness rampage that these tracks seem to convey.

Like I mentioned before in my Moving Pictures review, I've heard "Exit...Stage Left" and "R30" quite a bit, so on this one there was a familiar track too. Namely "A Passage to Bankok", but I've to admit the live versions are much better, especially in sound. This album's songs benefited from the touring and playing, it's not the best sounding, but the songs are great.

This was my chill out record in the late 80's, in between all that thrash and death metal, which I find hilarious. I know this album quite well, only Lies EP exceeds the amount of listens this has had. I forgot how laid back rock 'n roll this actually is. The lyrical themes are all drugs, booze and debauchery, but the music is just rock 'n roll. Having just read Sami Yaffa's memoirs, I can understand what he is talking about when he mentions G'n'R.

I've probably listened to this album only once in my life, at most. Hole has barely been on the outer edges of my musical landscape, other than the brief brush I've had with their music videos on MTV. I'm surprised how much of an pop album this one actually is, a pop album with grunge bits and edgy lyrics. I now realize I shouldn't be surprised; the volume buying public doesn't care for ugly and harsh. While I usually don't pay lyrics much attention, "Asking For It" grabbed my attention with lines like "Was she asking for it? ...asking nice? Did she ask you twice?". Doesn't change my feelings towards the band much, but I feel could look into their first album, if it indeed has more "hardcore [punk] aesthetics" I might actually be interested.

Feels like another fad band I'm not familiar with, except from the critic circuit hype of the time. I'm happy to say that they don't sound as irrelevant as I was expecting up front. I can't say whether I've heard their music before or not, probably yes, but who knows. The time this came out I was part of the heavy/extreme metal scene; doing interviews, reviews and also DJing at relevant clubs and events, few of them I was part of crew or were my own. At first listen this plays like a rougher on the edges Blur. Soon I realized this was the from the new era of british rock music, but the initial impression is hard to shake off. I like the edge this has sound wise, it doesn't sound too polished and mostly has the gritty feel a rock album should. I don't care about the lyrics, so they're irrelevant to me. Feels like they're about partying and young people romance, but beyond than that I don't care.

The Cars never did anything to me, boring pop music that blew up for some reason. I find this just an annoying amalgamation of music styles that have more bite, watered down to... this.

I'm familiar with Mr. Costello in name only and had no expectations from this album. I've never heard of this band of his tho. Not impressed with this album of the year. I hear energetic rock/pop, Costellos voice is a bit disruptive and nasal at the same time, which I do not particularly like. I have no means to set this into a timeline of pop music, for comparison reasons, to discover the significance of the release, nor do I want to. Ah, I've just realized this release is of no meaning nor value to me.

My youth went with "Peace Sells..." and "So Far, So Good...", at the point this album came out, I was listening to death metal and other extreme types of music. What I did remember was the extremely tinny soundscapes they liked on their albums. It's like they used and inverted V-shape for the soundprofile for many of the instruments, except guitars upper end. (I know of the remasters, they're compressed to shit. The original mix has dynamic range, also that's the version that has the merits to be on this list). There are some nice moments, but for the most part this is quite boring record. Merely technical trickstery for the same of being technical and nimble fingers wankery, over melodies and good riffs.

I was a fan in the early to mid 90's and was excited to see how I like Pixies now. I knew lyrics by heart. Needless to say, I liked it. I have a penchant for quirky music and Pixies are just that. They play with rhythm and sounds, strange melodies are a must, their very distorted guitar parts make even the lightest of pop songs feel menacing and filled with emotion. Favourite track have not changed, Veloria, Allison, Is She Weird and Dig for Fire are still SOOOO good.

This is the second time I tried listening through this album. First time I got about half way through before giving up. I find this album utterly boring, way too long and sort of fumbling through. It's a pop album that is trying to have an edge, emulating what is popular at the moment, but without much passion in the trying. It's got the polished sound of a well produced albu, playing with new gear in the studio with a capable sound engineer, but otherwise I can't hear the millions of dollars poured into making it. To me it's all filler material, none of the tracks grabbed.

I'm more familiar with his San Quentin live, but I've heard this one more than couple of times as well. Johnny Cash is one of the few country artists I can stand, or enjoy even, so I've no quarrels with listening him sing. It's a great and quite unique live record.

I've never been huge fan, possibly never listened to this album from start to finish. I have to admit, I don't like them that much. I do however understand how influential they were for the birth of glam rock and basically the whole scene that spawned Guns 'n Roses et. al. Andy McCoy is a talented guitarist, but not the kind that I prefer. Hanoi is not punk enough, they're not hard rocking enough and their music feels gimmickey. I'm going to listen to this album through (now half way) but do not expect to be blown away by any of the remaining tracks.

Everything about this screams The Hives to me, they're just not as good. I think I've gotten these two bands mixed up many times before, which has led to strange discussions. The Vines have a whiff of garage about them, but not enough for my taste, so they're just another pop group with a touch of flavour to them. Some of the tracks feel off, like it's pop, but producer told them to add some scream in there and more distortion to the guitars. Or the band wanted to do full blast garage, but the producer came in and smoothed things down just a touch... nah, this is not it. It feels out of whack and lopsided. Forced even.

While I'm aware of Arethas career, I'm familiar with some of her recordings with Muscle Shoals, I've never really listened to her whole albums. I'm a fan of her soul and r'n'b tracks, not that into the blues ones and it seems I'm not the only one. I love her voice, I'm deeply into soul music and that side of her career.

I 've been aware of Pogues for a long time, I even knew this album by name, but had not heard it as a whole. I'm more of an Dropkick Murphy kinda guy tho. While the musical ability and variety took me by surprise, this is almost exactly what I was expecting. I'll probably need to look into their older albums, where the punkier side was much more up front. It's sort of party music for me, which means it feel wrong to listen to it at home.

Yeah, it's pop music by Them. I don't think much of it.

I hear afrobeat, funk and what I assume is Brazilian stuff, outside of that I'm clueless. At points I hear what I hear on some Santana records, I do acnowledge they're from the same continent, which doesn't mean much on this context. But I still claim to hear some of that here (oh, apparently the records I was thinking of came out much earlier). It's groovy and moves me like the tide, I like that a lot.

I never really cared for PIL, so I mostly didn't listen for almost any of it. Rotten's wail is espescially annoying, it feels very pretentious even tho I suspect it's lack of ability instead of self-sufficient complacency. Listens like a nephew's high school art project, whose parents keep telling him how talented he is and he honestly believes it. For the most part I skipped tracks after about a minute or so, just so I can feel honest about trying to listen to all of it, but also not get angry and frustrated while doing so. Utter bollocks.

I own this LP and once upon a time listend to it a lot. It's a bit more complicated pop record with a sinister undertow. And a handful of songs that I really like. I know this album was experimental for it's time, especially in sound, but that has not bearing in my scoring. I like Mr. Gabriel, especially pre-90's music, while "Us" is not a bad album either.