1001 Albums Summary

this record marks the inception of an ambitious project blending animation, music, and diverse genres into something truly revolutionary. Damon Albarn’s brainchild, alongside Jamie Hewlett’s striking visual artistry, transcended the boundaries of what we thought a "band" could be, delivering an album that feels as fresh today as it did at the turn of the millennium. From the very first track, “Re-Hash,” it’s clear that Gorillaz is not your conventional album. The laid-back, reggae-tinged groove sets the tone for the eclectic journey ahead. Albarn’s hazy vocals feel effortlessly cool, introducing listeners to the essence of Gorillaz: genre-blurring soundscapes with a cheeky edge. One of the standout tracks, Clint Eastwood, he haunting melody, driven by a hypnotic bassline and eerie melodica, is paired with Del the Funky Homosapien’s unforgettable verses. The song feels like a conversation between the digital and human worlds, perfectly encapsulating the band’s ethos of combining disparate elements into cohesive brilliance. What struck me most while revisiting this album is its ability to balance light-hearted fun with darker undertones. Tracks like “Tomorrow Comes Today” and “Gravity” delve into more introspective territory, with moody beats and melancholic melodies. These songs give the album depth, revealing a contemplative side beneath the animated façade. The production throughout the album is another highlight. Hip-hop, dub, rock, electronica, and even punk all collide in a seamless blend. It’s a testament to the creative vision behind Gorillaz that none of this feels forced or chaotic. Instead, it feels like a celebration of musical diversity If I have any criticism, it’s that the album occasionally leans too heavily on its experimental nature. Some tracks feel more like sketches than fully fleshed-out songs. While this rawness can be endearing, it occasionally disrupts the album’s flow. That said, Gorillaz is an album that thrives on its imperfections. Its rough edges, unpredictable turns, and unapologetic weirdness are precisely what make it special. It’s not trying to fit into a mould, it’s breaking the mould entirely.

This album is often hailed as one of the band’s finest works, and after giving it a listen from start to finish, it's easy to see why. This album captures the pinnacle of Rush’s progressive rock evolution, offering a perfect blend of complex musicianship, thought-provoking lyrics, and rich, immersive soundscapes that make it a timeless classic. From the very first track, "Tom Sawyer," it’s clear that Rush is firing on all cylinders. Geddy Lee’s commanding vocals and impeccable bass work are front and centre, with the song’s instantly recognisable synth line setting the tone for the rest of the album. Lyrically, "Tom Sawyer" is a meditation on individuality and defiance, themes that resonate even more in the modern world. It’s an anthem for anyone who has ever felt like an outsider, and it’s a track that truly encapsulates the spirit of Rush. But let’s be honest, hasn’t it been played to death? It’s everywhere: on classic rock radio, in movies, in adverts. As brilliant as it is, I sometimes feel like it overshadows other songs on the album, which is a shame because there’s so much more to love beyond the obvious hit. “YYZ” is a technical marvel. As someone who appreciates musicianship, this track is an absolute joy to listen to. The interplay between Neil Peart’s drumming and Geddy’s bass is mind-blowing, and Alex Lifeson’s guitar work ties it all together perfectly. Even though it’s an instrumental, it never feels like it’s just showing off—it’s pure energy and emotion, told entirely through sound. Every time I listen to it, I’m in awe of how tight and precise the band is. “Limelight” might be my personal favourite on the album. The lyrics are so introspective and honest, reflecting on the challenges of fame in a way that’s both relatable and deeply moving. Geddy’s vocal delivery feels raw and genuine, and Alex’s guitar solo is absolutely stunning. It’s a track that balances vulnerability and power, and it gets me every time. it might feel a bit niche compared to their usual epic, adventurous themes. If you’re drawn to Rush for the escapism, this one might feel a little too grounded, even though it’s a fantastic track. What I love most about Moving Pictures is how cohesive it feels. Even with all the variety—anthemic rockers, introspective moments, instrumental showcases—it all flows together so seamlessly. The production is incredibly polished, which lets every instrument shine, but it never feels sterile or overproduced. Rush managed to strike the perfect balance between technical brilliance and emotional resonance. Sure, there are minor things you could nitpick. “Tom Sawyer” might feel overplayed to some, and “The Camera Eye” could test the patience of listeners who aren’t into longer tracks. But honestly, those aren’t flaws in my eyes—they’re just part of what makes the album uniquely Rush. Every song has its own identity, and together, they form a body of work that’s as engaging today as it was all those years ago At its core, Moving Pictures is a perfect blend of technical skill, emotional depth, and storytelling. It’s one of those albums that rewards you more with each listen, and for me, it’s one of the greatest works of progressive rock ever created.

the album blends Simon’s introspective songwriting with South African musical influences, resulting in a hybrid of styles that was as controversial as it was lauded. As someone who isn’t a devoted fan of the album but appreciates its significance, I have mixed feelings about it. While it’s undeniable that Graceland showcases incredible artistry and cultural exchange, there are aspects of the record that leave me less than enamoured One of the most remarkable aspects of Graceland is its innovative blending of musical styles. Simon worked with South African musicians. Tracks like “Diamonds on the Soles of Her Shoes” and “Homeless” showcase this collaboration beautifully, with rich harmonies and intricate rhythms that feel vibrant and alive. For someone like me, who enjoys punk rock and rawer musical forms, the polished and layered production here was intriguing, if not immediately gripping. Paul Simon has always been a master lyricist, and Graceland is no exception. The title track, for instance, weaves a personal narrative of loss and redemption while also evoking a sense of travel and discovery. The imagery in songs like “The Boy in the Bubble” is vivid and thought-provoking, touching on themes of technological advancement and global interconnectedness. Even if the music didn’t always connect with me on a visceral level, I found myself drawn to the storytelling and wordplay. For all its high points, Graceland isn’t a consistently engaging listen for me. Some tracks, like “All Around the World or the Myth of Fingerprints,” feel like filler compared to the album’s stronger moments. The pacing of the album also felt uneven; the energetic tracks and slower, introspective pieces didn’t always flow seamlessly. This inconsistency made it hard for me to fully immerse myself in the album as a whole While the polished production is part of what makes Graceland stand out, it also detracts from the raw emotionality that I personally connect with in music. The intricate layers and studio sheen can feel overwhelming at times, making the album feel more like a technical showcase than an emotional journey While the album's blending of South African rhythms with Western pop is musically innovative, and Simon’s lyrical craftsmanship shines. Some tracks don’t hold my attention, and the overproduction feels too polished for my taste, lacking the rawness I prefer in music. Though important, it’s not an album I’ll revisit often.

It’s often hailed as one of the greatest albums of all time, so my expectations were sky-high. After giving it a proper listen, I’ve got mixed feelings about it The album's production is absolutely stunning. You can tell a lot of care went into crafting the soundscape. Tracks like "Time" and "The Great Gig in the Sky" stand out, both emotionally and musically. I also appreciated how the band tackled heavy themes like mental health and mortality, it’s thought-provoking in a way that many albums aren’t. The transitions between tracks are seamless, making the album feel like one cohesive journey. For someone who enjoys music that tells a story, this is a big plus. The experimentation with synthesizers and sound effects feels ahead of its time, too. That said, I found some of it to be a bit too self-indulgent. Tracks like "On the Run" didn’t quite hit the mark for me—it felt more like filler than a meaningful addition to the album. I also think some of the lyrics lean into abstraction so heavily that they lose emotional resonance. While I admire the artistry, I have to admit it’s not something I’d listen to regularly. It’s brilliant in parts, but as a whole, it didn’t completely captivate me. Perhaps it’s just not the style I gravitate towards most. I can see why The Dark Side of the Moon is so revered, it’s a masterpiece in many ways. But for me, it falls short of being a personal favourite. It’s worth a listen for its historical significance and creative ambition, but it’s not an album I’ll be returning to often.

As someone who’s always been drawn to the raw energy of punk rock and its ability to blend chaos with creativity, Surfer Rosa hits that sweet spot between abrasive and brilliant. this album feels like a time capsule of raw, unfiltered emotion paired with innovative soundscapes. What stands out most is how Pixies balance unpredictability with catchiness. Tracks like “Bone Machine” and “Where Is My Mind?” showcase their knack for blending haunting melodies with offbeat, experimental touches. Black Francis’ visceral, unhinged vocals are electric, and Kim Deal’s basslines and harmonies add an almost ethereal quality that contrasts beautifully with the grit. The production is another standout The stripped-down, almost live-recording vibe brings an intimacy to the album, making it feel like you’re in the room with the band as they thrash out each song. Albini’s emphasis on natural acoustics gives the album its signature edge. While the energy is relentless, it sometimes feels a little repetitive toward the back half of the album. Surfer Rosa isn’t just an album; it’s a manifesto for how punk and alternative music can push boundaries. While it might not be perfect, it’s undeniably impactful and innovative. For me, it’s a near-classic that’s as exhilarating as it is imperfect—exactly how punk rock should be.

expansive, soulful masterpiece that perfectly captures the dynamic blend of jazz, funk, and African rhythms. showcasing Masekela’s unmatched artistry as a flugelhorn player, composer, and musical visionary. The album is a stunning fusion of genres, marrying jazz improvisation with African musical traditions. Tracks like “Minawa” and “The Big Apple” exemplify this seamless integration, creating a sound that feels both rooted and exploratory. Masekela’s flugelhorn playing is deeply emotive, ranging from mellow and introspective to fiery and bold. The interplay between the instruments, especially with Larry Willis on piano and Dudu Pukwana on saxophone, is captivating. Each track offers something unique, from the meditative grooves of “Maesha” to the upbeat rhythm of “Ingoo Pow-Pow (Children’s Song). Impeccable Production, the album’s sound is warm and organic, capturing the energy of live performance while maintaining studio clarity. If I had to nitpick, the album’s length could be daunting for some listeners. At nearly an hour and a half, it demands patience and attention, which isn’t always easy in our fast-paced world. A couple of tracks, while beautifully played, could feel meandering to someone not accustomed to jazz’s exploratory nature. Home Is Where The Music Is is an album that deserves to be heard by anyone who appreciates music as an art form. It’s a stunning showcase of Hugh Masekela’s talent and vision, and it has an undeniable spirit that feels alive even decades later. Sure, it’s not casual listening, but that’s what makes it so special. For me, this album is a five-star triumph and a cornerstone of any jazz or world music collection.

As someone who loves punk rock, Smash by The Offspring is an absolute gem. This album perfectly captures the raw energy and rebellious spirit of the genre while also showcasing the band's knack for catchy melodies and biting lyrics The first thing that strikes me about Smash is its relentless pace and attitude. Tracks like "Self Esteem" and "Come Out and Play" are iconic, with their unforgettable hooks and relatable themes. Dexter Holland’s vocals balance between melodic and angsty, which works brilliantly for the album's overall vibe. Noodles' guitar work is another standout, with riffs that are as gritty as they are memorable. Lyrically, the album tackles themes like disillusionment, social alienation, and personal struggle, all of which still feel relevant today. The energy in songs like "Gotta Get Away" and the title track, "Smash," feels authentic, and the mix of aggression and melody ensures the album stays dynamic from start to finish. Another highlight is the production. Despite being independently released, it sounds polished without losing that raw punk edge. The album flows well, and it’s easy to get lost in its high-energy beats and emotionally charged moments. if i had to If I had to nit-pick, some tracks, like "Something to Believe In," feel a bit overshadowed by the album’s heavy hitters. They’re not bad, but they don’t quite have the same punch as the standouts. Additionally, while Smash stays true to its punk roots, it occasionally borders on repetitiveness, especially if you listen to it all in one go If I had to nit-pick, some tracks, like "Something to Believe In," feel a bit overshadowed by the album’s heavy hitters. They’re not bad, but they don’t quite have the same punch as the standouts. Additionally, while Smash stays true to its punk roots, it occasionally borders on repetitiveness, especially if you listen to it all in one go. it delivers relentless riffs and relatable themes. While a few tracks feel overshadowed and slightly repetitive, its impact on punk is undeniable. A must-listen for fans, it’s a fiery reminder of why punk rock remains so electrifying.

I just couldn’t connect with Heaven or Las Vegas. Don’t get me wrong—the Cocteau Twins clearly have a unique sound, and I can see why this album is considered a dream pop classic. But for me, it didn’t hit the right notes, and I struggled to enjoy it beyond a surface level. There’s no denying the ethereal quality of the album. The lush instrumentals and layered production create a dreamy, almost otherworldly vibe. If nothing else, it’s a testament to their talent for creating mood and ambiance. The band’s willingness to blur boundaries between lyrics, vocals, and instruments is interesting, even if it wasn’t to my taste. I know her voice is the heart of the Cocteau Twins’ sound, but I just couldn’t get into it. To me, it feels too floaty and impenetrable, like it’s trying to sound beautiful at the expense of being relatable. it felt too squeaky clean. It lacks the rawness or edge that would ground the music in something more real and tangible. Instead, it sounds too polished, almost too perfect. Her delivery feels distant, and the lack of clarity made it even harder for me to connect emotionally After a few tracks, everything started to blend together. The songs lack the variety or dynamism to keep me hooked from start to finish. It felt like it was all atmosphere with no substance. The entire album felt like being stuck in a dream state, beautiful but aimless. It felt like everything just melted together into one big mush. There was no real structure or dynamic to break things up, making it hard to differentiate one track from the next. I kept waiting for a moment that would resonate with me, but it never came. While I can appreciate the craftsmanship and unique vision behind Heaven or Las Vegas, it’s not an album I see myself returning to. Fraser’s vocal style, combined with the lack of emotional grounding, left me feeling more frustrated than enchanted. If you love dreamy, experimental music, this might be right up your alley but personally it just wasn’t my cup of tea.

As someone who loves music of all kinds, I went into Melodrama by Lorde with a curious mind and no real expectations. After a few listens, I find myself stuck somewhere in the middle. I don’t love it, but I don’t hate it either. it’s one of those albums I appreciate more for what it’s trying to do than how much it resonates with me personally Lorde’s voice is undeniably unique, with a raw quality that cuts through the production and demands attention. Tracks like “Green Light” and “Perfect Places” stand out for their energy and clever songwriting. There’s a theatrical element to the whole album. fitting, given the title that captures the highs and lows of being young and figuring yourself out. The production is lush and detailed, with Jack Antonoff’s touch giving it an expansive yet intimate feel. I like how the album takes risks; it’s not afraid to be different or dramatic, which makes it stand out compared to other pop records That being said, some of the risks don’t entirely work for me. At times, the production feels overly cluttered, like it’s trying too hard to sound profound. A few songs, while emotional, border on feeling repetitive or drawn-out, which made it harder to stay engaged. While I respect the themes of heartbreak and self-discovery, I didn’t connect with the album as deeply as I hoped to. It’s as if I can admire it from a distance but not fully immerse myself in it. Overall, Melodrama feels like an ambitious, creative project that has its highlights but doesn’t quite land as a favorite for me. It’s solid enough that I wouldn’t skip it if it came on, but it’s not an album I’d reach for regularly. So yeah, I’m right in the middle on this one!

Rip It Up is a charming album with plenty of personality, blending funk, pop, and post-punk into a quirky package. While it has some standout moments, the album feels inconsistent, leaving me with mixed feelings overall. the guitar work is absolutely brilliant. From the jangly, upbeat strums to the more intricate riffs, it's clear that this is a key strength of the album. Every track benefits from the dynamic guitar play, and it's one of the elements that keeps me coming back to it. I really can’t get enough of it. The drums also stand out in a good way. They're simple yet incredibly effective, driving the rhythm without ever overshadowing the other elements. They keep things grounded, allowing the guitars and vocals to shine through, which is exactly what I want from a rhythm section. However, the vocals are where I feel the album falls flat. They're just bang average—there's nothing that really grabs my attention or makes them stand out. They’re fine at first, but as the album progresses, they just get more and more annoying. The monotone delivery, combined with the lack of any real emotion or character, becomes grating as time goes on, making some tracks feel like they drag unnecessarily. They're serviceable, but nothing special, and it leaves the overall vibe feeling a bit lackluster. Another big downside for me is the fake horns. I really dislike them—they sound so artificial, and they take away from the authenticity of the tracks. It’s a shame, because I feel like the album could’ve benefited from more organic instrumentation In terms of production, it’s solid, but not without its flaws. The mix is clean, but it feels a little too polished for the sound they’re going for. I was hoping for something with a bit more grit, something that could have made the album feel more raw or urgent. It doesn’t have the rough edges that would have made it stand out in the post-punk genre. Tracks like "Hokoyo" and "I Can't Help Myself" show the band's potential, but in the end, Rip It Up just feels average. It’s an album I can appreciate, but not one I feel the need to return to on repeat. It’s a decent listen, but there’s a lot more out there that does it better. Just about a 2.5

Illinois is a sprawling, intricate masterpiece that feels like stepping into a grand, cinematic world painted with sound. It's an album that’s both deeply personal and expansively ambitious, and while it doesn't hit every single note for me, it comes very close. The instrumentation is undoubtedly the star of the show here. Stevens weaves together a lush tapestry of sound, from the gentle pluck of banjos to sweeping orchestral arrangements. The strings feel warm and alive, while the woodwinds, especially the flutes and clarinets bring a whimsical, almost magical quality to tracks like "The Predatory Wasp of the Palisades." The use of piano and bells in "Chicago" creates an uplifting and anthemic energy that’s hard to resist. The production is immaculate. Every sound is crisp and clear, with each instrument given room to breathe. The way the album balances such a massive range of sounds without feeling cluttered is nothing short of masterful. It feels like a lot of care was taken to make every element shine without overshadowing the others. Lyrically, the album is poetic and thought-provoking, blending personal reflections with historical and cultural nods. Stevens’ storytelling is deeply evocative, painting vivid pictures that linger long after the music stops. At 74 minutes, it’s a bit of a marathon. Some tracks feel like they meander or stretch too far, testing patience rather than enhancing the experience. A few of the instrumental interludes, while interesting, could have been trimmed without losing the album’s overall impact. Additionally, while I love a good brass section, some of the horn arrangements occasionally veer into feeling a bit too theatrical for my taste. They can overshadow the more organic elements, which I personally find more compelling. Illinois is an extraordinary piece of work that showcases Sufjan Stevens' immense talent as a composer and storyteller. The album’s instrumental diversity and rich production make it a joy to dissect and revisit, though its length and occasional overindulgence might deter some. For me, the moments of brilliance far outweigh its flaws. If you’re in the mood for something intricate and heartfelt, Illinois is well worth the journey For anyone who loves music that’s rich in detail and layered with emotion, Illinois is a must-listen. Just be prepared to give it your full attention. it’s not background music, but rather an experience to savoir.

Illmatic isn’t just an album; it’s a masterpiece that defines what hip-hop can be. it’s still as fresh and relevant today as it was back then. For me, this is the gold standard of rap albums, and its influence is undeniable. From the first track to the last, it’s clear that this is the work of an artist who understands the power of storytelling and the craft of lyricism. There’s a timelessness to this record. The first thing to mention is Nas’ lyricism. The word "genius" gets thrown around a lot, but here, it’s entirely appropriate. Nas paints vivid scenes of life in Queensbridge with an unparalleled knack for detail, weaving tales of struggle, ambition, and survival. Lines like “I never sleep, 'cause sleep is the cousin of death” from "N.Y. State of Mind" stick with you, not just for their poetry but for their raw truth. His ability to balance introspection with hard-hitting street narratives is unmatched, making Illmatic feel deeply personal yet universally resonant. Nas’ ability to craft intricate rhymes and blend personal storytelling with larger societal commentary is nothing short of brilliant. He’s got a knack for using metaphors and wordplay in ways that feel effortless, but you can tell there’s so much thought behind every bar. His flow is arguably one of the defining elements of Illmatic. it’s the perfect balance of technical skill and emotion. The production is nearly flawless. Each beat matches Nas’ lyrical prowess perfectly. The jazz-infused samples, boom-bap drums, and soulful loops provide the perfect backdrop for Nas to shine. I love how the production complements the tone of each song, from the dark, gritty feel of “N.Y. State of Mind” to the smooth, reflective atmosphere of “The World Is Yours.” The production is sophisticated yet never detracts from the raw energy of Nas' delivery. It feels almost cinematic, as though the beats are telling their own stories alongside Nas' lyrics. Tracks like “One Love” and “It Ain’t Hard to Tell” exemplify how seamlessly Nas and his producers intertwine with the instrumental layers to create an unforgettable soundscape. Every detail, from the subtle background vocals to the percussion, is meticulously placed. It’s hard to fault Illmatic, but if I had to nitpick, the brevity could leave some listeners wanting more. While its tight runtime is part of what makes it so impactful, a couple of additional tracks might have fleshed out the world Nas creates even further. Additionally, while the production is stellar, a few moments feel slightly overshadowed by the beats, making you wish Nas’ vocals were just a touch more prominent in the mix. But honestly, these are minor issues in an otherwise flawless album. Illmatic is a shining example of what happens when lyrical genius meets top-tier production. It’s raw, poetic, and utterly timeless. Nas doesn’t just rap, he educates, reflects, and takes you on a journey through his world. Whether you’re new to hip-hop or a lifelong fan, this is an album that demands to be heard. There are few records in any genre that come as close to perfection as this one does. It’s a timeless classic, and for good reason. It’s a perfect encapsulation of ’90s hip-hop at its peak and a blueprint for everything that followed. If you haven’t already, do yourself a favour and dive into Illmatic

The self-titled debut from The La’s is one of those albums that feels like a snapshot of a moment—a raw, nostalgic burst of indie brilliance that leaves you wondering what might’ve been if they’d continued creating music together. It’s a solid record with some truly memorable moments, though it doesn’t fully deliver on its potential. One thing that’s undeniable about The La’s is how well the band captures a timeless, jangly guitar sound. Tracks like “There She Goes” are undeniable earworms, with crisp, bright guitar work that feels both nostalgic and refreshing. There’s an effortless charm to the instrumentation across the album, blending elements of folk, rock, and Britpop with ease. The rhythm section keeps everything tight and grounded, leaving room for the melodies to shine. Vocally, Lee Mavers delivers a raw, unpolished performance that suits the album’s stripped-back aesthetic. His voice carries a kind of wistful vulnerability that works beautifully on tracks like “Timeless Melody.” There’s a sincerity in his delivery that draws you in, making even the simplest lyrics feel genuine and heartfelt. However, the album’s production is where things start to falter for me. The production feels overly polished, almost sterile at times, which dampens the organic energy that these songs seem to be striving for. Tracks that should feel lively and raw instead come across as slightly muted, as if their edges have been sanded down too much. Another issue is the album’s lack of variety. Many of the tracks, while individually solid, start to blur together after a while. The jangly, acoustic-driven sound is lovely, but it doesn’t evolve much across the record, leaving the second half feeling repetitive. The La’s is a frustrating listen because you can hear the brilliance bubbling just under the surface. When it’s good, it’s really good – tracks like “There She Goes” and “Timeless Melody” are proof of that. But as an album, it doesn’t fully live up to its potential.

I’ll be honest – Cross by Justice didn’t do much for me. I went in expecting something exciting, given the hype around it, but it left me cold. While I can appreciate what they were trying to achieve, the album feels more like style over substance, with only a handful of redeeming moments. By the time I reached the end, I was just relieved it was over. I’ll give credit where it’s due: the production is clean and polished. Justice knows how to craft powerful, bass-heavy tracks that fill the room. Songs like “D.A.N.C.E.” stand out with their catchy, danceable rhythm, and the vocal layering is interesting. The duo clearly has a unique style, blending disco, funk, and heavy electronic elements. It’s bold, and I can see why it resonates with some people. The use of textures and distortion adds an edge to the album, which, in theory, should create a thrilling listen. Tracks like “Phantom” do have moments where the layered synths and heavy beats come together effectively. But for me, the negatives far outweigh the positives. The album feels relentlessly chaotic, like it’s constantly trying to overwhelm the listener. Instead of creating an immersive experience, the constant barrage of noise became grating. It’s loud for the sake of being loud, and I found it exhausting rather than exciting. The tracks often lack cohesion. One minute you’re hit with blaring synths, and the next, a funk-inspired breakdown appears out of nowhere. It feels disjointed, as if Justice was throwing ideas at the wall to see what sticks. Songs like “Stress” are aptly named because that’s exactly how they made me feel – stressed out. On top of that, many tracks overstay their welcome. They build up but don’t seem to go anywhere meaningful, leaving me counting down the seconds until the next song. There’s very little breathing room on Cross, and the constant sensory assault became tiring. I found myself just wanting it to end, which is never a good sign. While some might call this style exciting or innovative, for me, it felt like overindulgence at the expense of actual enjoyment. By the time I reached the halfway mark of *Cross*, I was already desperate for it to end. The chaotic, disjointed nature of the album made listening to it feel like a chore. Each track seemed to drag on forever, and instead of getting lost in the music, I found myself constantly checking how much time was left. By the final song, I was just relieved it was over. I never want to hear this album again. It’s the kind of experience that leaves you mentally drained rather than energised. Justice may have crafted something bold and experimental, but for me, it was a relentless, unpleasant slog.

Hotel California by Eagles is an album carried almost entirely by its iconic title track. While the song "Hotel California" is a masterpiece of storytelling, musicianship, and atmosphere, the rest of the album feels disappointingly average by comparison. It’s not that the other songs are bad, but they simply don’t reach the same level of greatness, leaving the album feeling uneven. There’s no denying that the song “Hotel California” is the star of the show. From the haunting opening acoustic riff to the legendary dual guitar solo at the end, it’s a masterclass in rock composition. The lyrics are mysterious and evocative, painting a vivid picture of a surreal, almost purgatorial place. Don Henley’s vocals carry just the right mix of detachment and longing, making it an unforgettable track. It’s one of those rare songs that transcends its genre, becoming a cultural touchstone. Musically, the album as a whole is polished and well-produced. The Eagles are undeniably talented, and their blend of rock, country, and soft rock is smooth and accessible. Tracks like “Life in the Fast Lane” have energy and attitude, and “New Kid in Town” is a pleasant listen with its warm harmonies and polished arrangement. Even the more energetic tracks, like “Life in the Fast Lane,” feel like they’re trying too hard to be edgy, without achieving the same depth or intrigue as “Hotel California.” By the time you reach the second half of the album, the songs begin to blur together, leaving little to truly grab your attention. Hotel California is an album that peaks too early. The title track is so good—so iconic—that it overshadows everything else on the record. While there are moments of solid musicianship and a few enjoyable tracks, the majority of the album feels like filler in comparison. For me, it’s hard to recommend the entire album when “Hotel California” alone delivers everything you need. It’s a must-hear track on an otherwise average album. If you’re a die-hard Eagles fan or love classic rock, you might appreciate the album more, but for me, it’s a 3.2/5 at best. Great opener, forgettable rest.

I’ll be blunt: I Want to See the Bright Lights Tonight is one of the most boring albums I’ve ever heard. For all the acclaim it’s received, I found it an absolute slog to get through. The vocals are so painfully average that they’re almost forgettable, the songs blend into one dull blur, and the production doesn’t help matters. To be fair, there are a couple of elements that aren’t outright terrible. The instrumentation is competent, with a few moments where the arrangements show promise. The use of traditional folk influences, like the inclusion of fiddles and brass in certain tracks, gives the album a bit of texture. The title track, “I Want to See the Bright Lights Tonight,” is probably the most tolerable song here—it has a slightly livelier energy compared to the rest of the album Unfortunately, the list of negatives far outweighs any positives. Let’s start with the vocals. Richard Thompson’s singing is so bland and emotionless that it almost lulls you to sleep, and Linda Thompson doesn’t fare much better. Neither of them has the dynamic range or charisma to bring these songs to life. Their voices are technically fine but utterly unremarkable, and they lack the emotional depth needed to make these lyrics hit home. The songs themselves are equally uninspiring. “The Calvary Cross” is a plodding, dreary track that feels like it lasts twice as long as it actually does. “Withered and Died” is appropriately named—it sounds lifeless from start to finish. Even the more upbeat songs, like “Down Where the Drunkards Roll,” feel weighed down by the lacklustre vocals and sluggish pace. The production doesn’t help matters. While some might call it “intimate,” I found it flat and dull. The mix is clean enough, but there’s no vibrancy or atmosphere to draw you in. It’s all so monotone that it feels like the same song is playing over and over again. I know this album is considered a classic by some, but I just don’t see it. I Want to See the Bright Lights Tonight is painfully boring, with average vocals, lifeless production, and songs that fail to leave any impression. The title track is decent, but the rest of the album feels like a chore to sit through. Not an album for me.

The Velvet Underground & Nico is nothing short of groundbreaking. It’s an album that feels raw, unfiltered, and ahead of its time. From the haunting vocals to the unique instrumentation and brilliant production, it’s an experience that leaves an impression long after the final note fades. While not perfect, its near-flawless execution makes it an essential listen for anyone who loves music with depth, grit, and artistic daring. The instrumentation on this album is absolutely phenomenal. From the hypnotic drones of John Cale’s viola to Lou Reed’s jagged, expressive guitar work, every instrument feels intentional, adding layers of emotion and texture. Tracks like “Venus in Furs” are brilliant examples of how unconventional instruments can completely transform a song’s mood—the screeching viola and eerie rhythm make it sound almost otherworldly. The production, overseen by Andy Warhol, has a raw yet intentional quality. It feels stripped down in all the right ways, allowing each instrument to stand out without overshadowing the others. There’s a lo-fi charm to the mix that gives the album an intimate, almost voyeuristic feel, as though you’re sitting in on a band rehearsal. It’s brilliant in its simplicity and adds to the album’s authenticity. Vocally, the album is a perfect mix of Lou Reed’s detached, deadpan delivery and Nico’s haunting, almost ghostly voice. Nico’s performance on “Femme Fatale” and “All Tomorrow’s Parties” is stunning—her voice feels cold yet deeply emotional, like it’s echoing through time. Lou Reed, on the other hand, has this unpolished, conversational tone that makes songs like “I’m Waiting for the Man” feel brutally honest. And then there’s Heroin. This song is nothing short of a masterpiece. The way it ebbs and flows, with its quiet, haunting verses exploding into chaotic, distorted crescendos, perfectly captures the highs and lows of addiction. The droning guitars, relentless drumming, and Lou Reed’s raw, almost confessional vocals make it one of the most powerful and emotionally impactful songs I’ve ever heard. I genuinely love this track—it’s the kind of song that stays with you long after the music stops. For all its brilliance, the album does have its flaws. Some tracks feel more like art experiments than cohesive songs. “The Black Angel’s Death Song” is a chaotic mess, and while “European Son” has moments of intrigue, it drags on unnecessarily, veering into self-indulgence. The production, while effective overall, has moments where the mix feels unbalanced. Some instruments overpower others, and while this adds to the raw aesthetic, it can make certain tracks feel messy. Despite these flaws, a nearly perfect album that balances art, experimentation, and raw emotion. The instrumentation is incredible, the production is brilliantly raw, and the vocals—both Reed’s and Nico’s—bring the songs to life. While a couple of moments might feel too abrasive or challenging a small price to pay for an album that’s as brilliant as this At 4.9/5 stars, this album is as close to perfect as it gets. It’s not just an album—it’s a statement, a work of art that continues to influence generations of musicians and listeners alike.

Elliott Smith’s Figure 8 is a stunning record that perfectly balances intricate musicianship with deeply personal lyricism. It’s an album that feels carefully crafted, yet brimming with raw emotion. From the rich instrumentation to Smith’s delicate, expressive vocals, nearly every element comes together beautifully. It’s not flawless, but its highs are so impactful that the minor shortcomings are easy to forgive. One of the standout aspects of this album is the vocals. Elliott Smith’s voice has a softness that’s incredibly intimate, drawing you in as though he’s singing directly to you. His delivery is layered with subtle emotion—wistful, melancholic, and occasionally hopeful. Tracks like “Everything Reminds Me of Her” and “Easy Way Out” highlight just how expressive his voice can be. The instrumentation is another major strength. Smith blends acoustic and electric guitars seamlessly, creating lush soundscapes that feel rich but never overbearing. The piano work throughout the album adds a sense of grandeur The production, handled by Tom Rothrock, Rob Schnapf, and Smith himself, is stellar. Every detail feels intentional, from the subtle strings in “Easy Way Out” to the swirling, Beatles-esque instrumentation on “Stupidity Tries.” The layering of instruments and vocals is complex but never overwhelming—it’s clear Smith knew exactly how to bring his vision to life. Elliott has a way of turning deeply personal experiences into universally relatable stories. Whether he’s singing about heartbreak, self-doubt, or fleeting moments of joy, his words feel painfully honest Figure 8 is a near-perfect album that shows Elliott Smith as a fantastic songwriter, vocalist, and musician. His voice is haunting and intimate, the instrumentation is lush and detailed, and the lyrics are emotionally raw yet poetic. While I miss some of the rougher edges of his earlier work, the polished production suits the grander vision of this album. This album feels like a conversation with a friend who’s baring their soul—it’s intimate, beautiful, and unforgettable. A solid 4.8/5 for me, and a record I’ll keep returning to for years to come.

I found LP1 to be a frustrating experience. The album feels like one big chaotic mess, with very few redeeming qualities to hold onto. Between the erratic production, lacklustre lyrics, and vocals that just didn’t work for me, this was a difficult listen from start to finish. There are moments where the production shows glimmers of creativity. Tracks like “Two Weeks” and “Pendulum” have some intriguing textures and experimental beats that stand out. The use of layered sounds and offbeat rhythms hints at the artistic ambition behind the album. I can appreciate the effort to push boundaries and explore something unconventional. Unfortunately, the negatives outweigh the positives by a long shot. The biggest issue for me is the vocals. FKA twigs’ voice is breathy and delicate, but it ends up sounding more like a whisper that struggles to convey any real emotion or power. On tracks like “Closer” and “Give Up,” her delivery feels strained and grating, making it hard to connect with the music. Rather than drawing me in, her voice constantly pulled me out of the experience. The production, while occasionally interesting, is all over the place. There’s a lack of cohesion that makes the album feel disjointed and messy. Songs often feel overproduced, with so many layers competing for attention that it becomes overwhelming. Tracks like “Video Girl” and “Lights On” are prime examples of this. the beats are so chaotic that they drown out any potential emotional depth. The lyrics do absolutely nothing for me. They feel vague and unengaging, lacking the kind of sharpness or depth that could elevate the music. Lines like “When I trust you we can do it with the lights on” come off as cliché rather than meaningful. Across the album, the lyrics feel like an afterthought, leaving me searching for substance and coming up empty. i don't care for this album, it just doesn’t work for me on almost any level. The vocals are weak, the production is chaotic and unfocused, and the lyrics fail to connect. While there are brief moments of intrigue in the production, they’re not enough to save the album from feeling like an overproduced, messy experiment. For me, it’s a 2/5. Ambition alone isn’t enough, it has to be backed up by execution, and LP1 just doesn’t deliver.

Roxy Music’s For Your Pleasure is a beautifully layered, experimental album that blends art rock with glam, delivering some stunning moments but also a few missteps along the way. While I can appreciate the band’s bold vision and unique sound, it doesn’t always fully connect with me. There’s plenty to enjoy here The instrumentation on For Your Pleasure is where the album really shines. Brian Eno’s atmospheric synth work brings an avant-garde edge to tracks like “The Bogus Man” and “In Every Dream Home a Heartache,” creating a textured, ethereal sound that’s unlike anything I’ve heard before. The seamless blending of rock, electronic, and orchestral elements gives the album a cinematic quality, with some tracks feeling almost like an immersive experience. instrumentation is striking, with Phil Manzanera's sharp, hypnotic guitar work and Andy Mackay's jazzy, soulful saxophone. "In Every Dream Home a Heartache" exemplifies Roxy Music's ability to blend art rock with pop structures, maintaining experimentation while staying accessible. The mix is near perfect, with every element carefully crafted and each instrument placed precisely where it belongs. Bryan Ferry’s smooth, seductive vocals sit beautifully against the lush, layered arrangements. The production’s intricate details shine through, from the ambient synths and sharp guitar riffs to the rolling basslines. The clarity and attention to detail make the album come alive, letting you appreciate the subtle nuances of each track, adding depth and richness to the overall listening experience Not every track resonates with me. Some feel like filler, lacking the impact needed to grab my attention. "Strictly Confidential" has a groove that doesn’t engage, and the song goes nowhere. Similarly, "The Bogus Man" feels too long, with its meandering structure and repetitive sections, ultimately becoming tedious I appreciate the album for its inventiveness and eclectic blend of sounds, but not every track resonates with me. Standout moments like “Do the Strand” and “In Every Dream Home a Heartache” shine, but some tracks feel flat or overly experimental for my taste. While I recognize the artistry and influence, it’s a mixed bag overall. It lands somewhere in the middle for me, at a 3.5/5 definitely worth a listen for its moments of brilliance, though.

Tina Turner’s Private Dancer is an undeniable showcase of her powerhouse vocals. It’s packed with memorable hits, emotional depth, and a sense of raw power that’s undeniable. While not every song resonates on the same level, the album as a whole is a testament to Turner’s artistry and determination. The first thing that grabs me is Tina Turner’s voice. it’s phenomenal. Her raspy, powerful delivery carries so much emotion, and she balances vulnerability and strength with ease. Tracks like “What’s Love Got to Do with It” are iconic for a reason; her performance is both tender and commanding, making the song unforgettable. The production is polished, blending 80s flair with timeless appeal. Synths, crisp guitars, and steady rhythms create a rich soundscape. “Private Dancer” shines with its haunting, moody arrangement, perfectly matching Tina Turner’s soulful delivery. Mark Knopfler’s masterful guitar work adds depth and sophistication, elevating the track to an unforgettable level of artistry. While the production is strong, it occasionally feels too polished, especially on the uptempo tracks. The 80s influence works well but can make some songs feel slick and impersonal. At times, there’s a longing for a rawer, grittier edge that would allow Tina Turner’s powerful voice to take centre stage even more, offering a more intimate, authentic listening experience. The album boasts strong songwriting, exploring themes of independence, heartbreak, and empowerment. “Better Be Good to Me” stands out as a fiery anthem, resonating as a personal statement from Tina Turner. Her cover of Al Green’s “Let’s Stay Together” is a standout reinterpretation, infusing the classic with her unique flair and soulful energy, making it truly her own. Private Dancer is a testament to Tina Turner’s incredible talent and resilience. Her powerful voice elevates even the weaker tracks, with highlights like “What’s Love Got to Do with It,” “Private Dancer,” and “Let’s Stay Together” being unforgettable. Though some songs feel dated or overproduced, the album remains a strong statement of Turner’s artistry. A solid 4.3/5 from me.

Parachutes, Coldplay’s debut album, is a deeply emotional and timeless masterpiece. With its intimate, melodic, and stripped-down quality, it captures raw emotion and showcases beautifully simple songwriting. Despite minor imperfections, it solidified the band’s reputation as one of the most resonant acts of the 2000s, leaving a lasting impression with its heartfelt and moving tracks At its core, the album’s standout feature is its genuine emotional resonance, driven by Chris Martin’s soft yet powerful vocals. His delivery carries a raw vulnerability, particularly on tracks like Yellow and Trouble, making the lyrics deeply relatable and impactful. The instrumentation is a masterclass in understated beauty. Acoustic guitar-driven melodies, paired with subtle piano and atmospheric layers, create a warm, intimate soundscape. Coldplay avoids overcomplication, focusing instead on letting the melodies shine. Songs like Don’t Panic and Shiver exemplify this approach, blending lush arrangements with a restrained, unpretentious style. Ken Nelson’s production plays a key role in the album’s success. The clean and crisp sound allows every element of the band’s performance to breathe, creating a mix where each nuance is clearly audible—from gentle guitar strums to the atmospheric touches that enrich tracks like Sparks. This meticulous production enhances the album’s intimate and personal feel, as though it was crafted just for the listener. Lyrically, Parachutes explores themes of love, loss, and longing with a poetic yet simple approach. The lyrics, while not overly complex, carry a universal appeal through their introspective tone. Lines like “I’ll be ‘round, I’ll be loving you always” from Sparks encapsulate the album’s emotional accessibility, connecting deeply with the listener on a personal level. Parachutes shines with Martin’s emotive vocals, beautiful instrumentation, and impeccable production, making its minor flaws easily forgivable. Its genuine and soothing quality makes it a timeless go-to album, earning a strong 4.7/5 and showcasing why Coldplay became so beloved

Q: Are We Not Men? A: We Are Devo!, is a wild ride of quirky, robotic energy that’s both fascinating and occasionally frustrating. It’s an album that takes risks and doesn’t shy away from its weirdness, which I respect, but it’s also one that left me feeling conflicted at times. The creativity on this album is top-tier. Devo’s willingness to push boundaries and defy conventional rock norms is impressive. Tracks like “Uncontrollable Urge” and “Mongoloid” are brimming with manic energy, blending robotic precision with punk chaos in a way that feels totally fresh. The angular guitar riffs and tight, punchy rhythms really drive the album, giving it an almost mechanical groove that’s hard not to appreciate. Brian Eno's bold, experimental production shapes the album’s futuristic soundscape. Layered synths, jagged guitars, and off-kilter arrangements create a detailed and dynamic experience. Odd sound effects and unexpected textures emerge throughout, enhancing the album's eccentric charm and pushing sonic boundaries. While the instrumentation excels, the vocals are a weak point. Mark Mothersbaugh’s distinctive voice fits the style but is often buried in the mix, making it hard to connect with the songs. Tracks like “Too Much Paranoias” and “Praying Hands” suffer most, with the vocals lost amidst the chaotic instrumentation, affecting overall clarity. Q: Are We Not Men? A: We Are Devo! is a bold, creative album brimming with originality, though uneven vocal mixing and patchy tracks hold it back. Devo’s quirky energy and boundary-pushing sound shine, delivering moments of brilliance. While not perfect, its uniqueness makes it worth exploring. A solid 3.4/5—interesting, but not entirely revisitable.

Getz/Gilberto is a gorgeous blend of smooth jazz and bossa nova that feels timeless. It’s the kind of album that effortlessly transports you to a tranquil, sun-soaked evening. While it’s not without its flaws, the artistry and near-perfect mix make it a memorable experience that’s hard to forget. the mix is ridiculously near perfect. Every instrument, every vocal line, every delicate detail is balanced so well that it feels like you’re in the room with the musicians. The gentle interplay between Stan Getz’s tenor saxophone and João Gilberto’s guitar is simply magical, and it’s all captured with such clarity and warmth that you can hear the emotion in every note. Getz’s saxophone playing is smooth, lyrical, and deeply captivating, as if it sings its own language of beauty and longing. Tracks like The Girl from Ipanema and Corcovado showcase his rich, velvety tone and emotional depth. Every solo feels perfectly placed, highlighting his ability to convey profound feelings without words. João Gilberto’s guitar and vocals are captivating, with his soft, intimate singing adding warmth to the album and his rhythmic guitar providing a hypnotic foundation. Astrud Gilberto’s breathy vocals on The Girl from Ipanema enhance the allure of the track. The production is flawless, with a warm, timeless sound and seamless arrangements that flow effortlessly. The album exemplifies restraint, where nothing feels overdone, and every note is perfectly placed to serve the music’s beauty. It’s a masterclass in subtlety and elegance. The album cover perfectly captures the album’s serene and elegant vibe. The soft, muted colours and the intimate portrait of João Gilberto and Stan Getz mirror the smooth, calming nature of the music itself. It’s simple yet sophisticated, reflecting the bossa nova’s understated beauty and warmth, making it an ideal visual counterpart to the tranquil, sensual atmosphere of the album. while most of the tracks are undeniably beautiful, the album does lean heavily on its laid-back vibe, which can make it feel a bit one-dimensional after a while. There’s not a lot of variation in tempo or mood, so some tracks can blur together if you’re not fully immersed. Getz/Gilberto is a near-masterpiece, blending jazz and bossa nova with the talents of Stan Getz, João Gilberto, and Antônio Carlos Jobim. The mix is near-flawless, with music that’s simple yet elegant. While some tracks can feel mellow or fade into the background, the highlights more than make up for it. It’s a perfect album for relaxing and letting the music wash over you. A solid 4.8/5 it may not be perfect, but it’s undeniably special.

In A Silent Way by Miles Davis is a fusion of jazz and ambient soundscapes, blending expansive and intimate elements. This near-perfect masterpiece demands full attention, rewarding listeners with its intricate beauty. While it excels in many ways, minor flaws prevent it from achieving absolute perfection. The album's dynamic range is exceptional, seamlessly transitioning from delicate, hushed moments to powerful crescendos. Every shift in volume and intensity feels intentional and masterfully executed, drawing listeners into quiet subtleties one moment and captivating them with the ensemble's sheer power the next. the instrumentation is stunning, with Miles Davis’ restrained yet expressive trumpet carefully balanced, allowing other musicians to shine. John McLaughlin’s guitar adds an ethereal quality, especially on the title track, with his minimalist approach acting as a thread weaving everything together. Teo Macero's production is genius, seamlessly splicing and editing takes to create In A Silent Way's hypnotic, cohesive structure. The album feels like a single, flowing piece of art rather than separate tracks. The immaculate layering ensures each instrument has its space while blending together perfectly. While In A Silent Way offers a meditative, almost hypnotic feel, it’s not a record for casual listening. It demands full attention, and if you're not in the right mood, the long, sprawling compositions might seem meandering. Some might find its minimalist approach too sparse, and the slow pace could be off-putting, particularly for those accustomed to Davis' more fiery early works. However, this minimalist style works in the album's favour, enhancing its introspective nature. In A Silent Way is a groundbreaking album that redefined jazz, with its dynamic range, innovative production, and seamless musician interplay. Timeless and as fresh today as in 1969, it's an almost perfect record. While its minimalist style may not suit every mood or taste, the unmatched atmosphere it creates makes it a deeply immersive experience. A well-deserved 4.9/5.

an album packed with raw emotion, storytelling, and some truly phenomenal vocal performances. It’s a project that blends R&B, neo-soul, and spoken-word interludes to create an intimate and honest exploration of love, relationships, and self-worth. While it has moments of brilliance, there are also a few things that hold it back from being a truly outstanding album for me. Jazmine Sullivan’s Heaux Tales is defined by her stunning vocals—powerful, controlled, and deeply emotional. Tracks like Lost One and Pick Up Your Feelings highlight her effortless switch between vulnerability and powerhouse belting. Rich harmonies, layered textures, and gospel influences elevate the vocal production, making it a standout feature. The production is smooth and well-balanced, with a clean mix that perfectly places vocals and instruments. It shifts between minimalist moments, like the acoustic Girl Like Me, and fuller tracks like Price Tags. Rich, warm beats blend classic R&B with modern influences, creating a fresh yet familiar sound. Lyrically, while the themes of empowerment and self-discovery are strong, some of the messages feel a bit repetitive. The album sticks closely to its concept, which is great for cohesion, but it also means that by the end, it feels like you’ve already heard variations of the same ideas multiple times Heaux Tales is an emotionally rich album showcasing Jazmine Sullivan’s stunning vocals and sharp storytelling. Strong harmonies and production elevate it, but excessive interludes and some weaker tracks lessen its impact. While moments of brilliance shine, the album isn’t consistently engaging. Still, Sullivan’s voice makes it worth a listen. A solid 3.7/5 with flashes of greatness.

I went into Merriweather Post Pavilion with an open mind, given all the praise it’s received over the years. People call it a modern psychedelic masterpiece, an album that reshaped indie music, but honestly? It did absolutely nothing for me whatsoever. From start to finish, I found myself waiting for something—anything—to click, but it never happened. It’s a wall of sound that feels more like a chore than an immersive experience, and by the end, I was just relieved it was over. I won’t deny that Animal Collective had a vision with this album. The production is dense, layered, and full of swirling textures. The electronic elements are interesting in theory, and I can appreciate the attempt at crafting a dreamlike, otherworldly atmosphere. Tracks like “My Girls” at least have a structure that makes sense, and the synth-driven melodies on some songs are admittedly creative. The harmonies, when they work, have an eerie, hypnotic quality that could be enjoyable under the right circumstances. Merriweather Post Pavilion is an overwhelming, chaotic experience that never resonated with me. The album is cluttered, repetitive, and lacks the emotional depth needed to make its psychedelic haze feel meaningful. Instead of feeling transported, I felt trapped in a dense, overstimulating dream with no real payoff. The vocals, drenched in effects and buried in the mix, feel more like background noise than a driving force, making the songs feel distant and aimless rather than engaging. There’s an attempt at warmth, but it never lands, coming off as an echo chamber of abstract musings rather than anything emotionally gripping. Lyrically, there’s little to hold onto—just vague phrases layered over instrumentals that feel more like experiments in sound than structured songs. Tracks like Summertime Clothes and Daily Routine rely too much on repetition, blending together until they become indistinguishable. The album's biggest flaw is its lack of dynamics; it stays in one shimmering, busy space for too long without any real progression. Even supposed highlights like Brother Sport just extend the same swirling noise, never evolving into something more. Ultimately, the album felt like an exhausting, directionless listen that never connected with me. Merriweather Post Pavilion is ambitious and experimental, but it didn’t connect with me. The overwhelming production, repetitive structures, and washed-out vocals made it frustrating rather than enjoyable. I kept hoping it would improve, but it just felt like background noise that dragged on. Emotionally and musically, it never resonated, making it a disappointing listen. I doubt I’ll revisit it—1.9/5.

Violent Femmes is an album that feels raw, unfiltered, and strangely charming in its own way. It’s rough around the edges, full of angsty energy, and packed with infectious melodies that stick with you. The blend of folk, punk, and new wave makes for a unique listening experience, and while it’s not perfect, there’s something undeniably enjoyable about how loose and spontaneous it feels. The best thing about this album is how immediate and stripped-down it is. It doesn’t rely on flashy production or overcomplicated arrangements—just acoustic guitars, a punchy rhythm section, and Gordon Gano’s unmistakable voice. It has this unpolished, almost demo-like quality that actually works in its favour, giving it a rawness that makes the songs hit harder. The harmonies are another highlight. They sound very pleasing and work really well, especially on tracks like “Blister in the Sun” and “Please Do Not Go.” They add just enough depth to balance out Gano’s nasal, almost bratty vocal style, which might not be for everyone but suits the album’s youthful energy. The acoustic bass work from Brian Ritchie is also worth mentioning. It gives the album a unique rhythm that’s both bouncy and aggressive, driving the songs forward in a way that makes even the slower moments feel lively. The stripped-back arrangements make every instrument stand out, and that clarity makes for a fun, engaging listen. The album’s energy is infectious, but its rawness sometimes backfires. Some tracks feel overly rough and could’ve used more polish. and while the loose, jam-like feel adds charm, it occasionally lacks direction. Gano’s vocals are an acquired taste. while I don’t love or hate them, they sometimes verge on whiny, making certain tracks a bit grating. Violent Femmes is a raw, fun, and undeniably unique album. The harmonies work really well, adding warmth to the otherwise rough and sometimes chaotic performances. The songwriting is sharp, the energy is infectious, and when it works, it really works. That said, it’s not a flawless record. The roughness, while charming, sometimes feels undercooked. Gano’s vocals can be polarising, and the production, while fitting for the style, could’ve used a bit more depth. Still, it’s an album with a strong identity. A solid 4.2/5.

Pixies have always had a way of blending chaos and melody into something uniquely their own, and Bossanova is no exception. While it might not be as raw or unpredictable as Surfer Rosa or Doolittle, it still delivers some incredible moments, with a surf-rock edge that sets it apart from their earlier work. The album leans heavily into spacey, atmospheric sounds, but what really stands out to me is the guitar, it’s just fantastic throughout. Joey Santiago's guitar work on Bossanova is sharp, creative, and drenched in reverb, giving the album a hazy, cinematic feel. Tracks like “Cecilia Ann” and “Rock Music” hit hard with raw riffs, while “Velouria” and “The Happening” explore dreamy textures. The spot-on guitar tone elevates the record throughout. Black Francis' vocals are wild yet more controlled, blending yelps with restraint to match the album's vibe. His contrast with Kim Deal’s harmonies adds depth, shining on tracks like “Is She Weird” and “Allison.” The album’s polished production keeps the Pixies' off-kilter energy intact. A clean mix highlights tight drumming and melodic bass, ensuring even the weirder tracks feel cohesive and well-balanced. Bossanova leans even more into abstract lyrics, with Black Francis’ surreal style feeling vaguer than usual. While this detached approach suits the album’s aesthetic, it lacks some of the sharp storytelling of earlier records. Bossanova isn’t my favorite Pixies album, but it’s a fantastic listen. The top-tier guitar work, crisp production, and spacey surf-rock vibe give it a unique identity. It’s more polished than earlier records, losing some raw intensity but gaining atmospheric depth. A solid 4.2/5, especially for the guitar.

There’s something about The Modern Lovers that just works for me. It’s raw, it’s weirdly charming, and it’s got that perfect mix of punk energy and off-kilter storytelling. This album feels like proto-punk at its absolute best—before the genre was fully formed, but still carrying all the restless energy, sharp wit, and stripped-down instrumentation that made punk what it became. It’s got that garage-band simplicity, but the songs are packed with personality and a sense of urgency that I love. This album nails the attitude of early punk. Jonathan Richman’s lyrics blend sarcasm, sincerity, and a weird wholesomeness. Instead of sneering rebellion, he offers awkward honesty, romantic frustration, and a nerdy love for Boston and old-school values. It shouldn’t work, but it does. Tracks like “Roadrunner” and “Pablo Picasso” mix deadpan humour with real emotion in a way that feels truly unique. Speaking of “Roadrunner”—what a song. It’s one of the best punk songs ever written, and I’ll stand by that. The simple, two-chord structure, the driving rhythm, and Richman’s monotone, almost spoken delivery make it feel like the Velvet Underground sped up and stripped down to its essentials. It’s repetitive in the best way, building and building until you’re completely sucked in. It’s a song that makes you want to get in a car, roll the windows down, and just go. The album’s guitar work is raw and minimalistic, like the Stooges or early Velvet Underground—tight, punchy riffs with no frills. “Old World” and “Someone I Care About” showcase jagged garage-rock energy, while “Astral Plane” adds an eerie, detached feel, enhancing the album’s strange charm. The production is also exactly what it should be. It’s lo-fi but not muddy, keeping that live, unpolished feel while still allowing every instrument to stand out. The keyboards add a quirky, almost robotic texture that gives the album a weird but cool dynamic. It’s simple, it’s direct, and it fits the sound perfectly. The Modern Lovers feels both ahead of its time and timeless—raw, weird, and full of personality. The guitar work, deadpan vocals, and dry humour make it stand out, even among punk classics. Some tracks falter, and the production is thin, but it hardly matters. Proof that punk is about attitude, not just aggression. 4.7/5—an absolute classic that still feels fresh.

If there’s a perfect punk album, GI might just be it. From start to finish, it’s raw, chaotic, and absolutely relentless. There’s no polish, no pretension just pure, unfiltered energy blasted out at full speed. It’s the kind of album that doesn’t just sound aggressive; it feels aggressive, like it could fall apart at any second but never actually does. Every element works together to create something that feels like a total force of nature, and I can’t think of a single second that doesn’t hit exactly the way it should. The Positives First and foremost, the sheer energy of GI is unbelievable. There’s an urgency to this album that very few others capture. From the opening seconds of “What We Do Is Secret,” it’s clear this isn’t going to be a standard punk record. it’s something wilder, faster, and completely untamed. The songs don’t waste time. They explode into action, burn out fast, and leave behind nothing but the wreckage of whatever just happened. Darby Crash’s vocals are some of the most unhinged I’ve ever heard, and they completely make the album. He doesn’t just sing. he slurs, shouts, howls, and drags every syllable through the dirt. His voice is a mess in the best way, making every lyric sound even more chaotic and nihilistic. His delivery on “Richie Dagger’s Crime” and “Lexicon Devil” is iconic, and the way he sneers through “Manimal” is almost hypnotic. Pat Smear’s guitar work is another massive highlight. The riffs are sharp, heavy, and incredibly tight. far more technical than a lot of punk at the time. His playing doesn’t just add aggression; it defines the entire sound of the album. Tracks like “Strange Notes” and “Land of Treason” are absolutely blistering, with a mix of classic punk fury and an almost proto-hardcore precision. Then there’s the drumming. Don Bolles is an absolute machine, keeping everything moving at breakneck speed but never losing control. His performance on songs like “Media Blitz” and “Dragon Lady” is unreal, with fills that feel like they’re being thrown in randomly but land perfectly every time. The bass, courtesy of Lorna Doom, is raw and driving, adding to the album’s sense of reckless momentum. And I have to mention the production—Joan Jett did an insane job behind the scenes. This could have easily been another lo-fi, muddy punk album, but instead, it sounds sharp and massive. It’s still rough and dirty, but every instrument cuts through clearly. The mix is aggressive without feeling blown out, and the balance between the instruments and Darby’s wild vocals is near perfect. The Negatives Honestly, the only real “negative” is that it’s not for everyone. If you’re not into punk that sounds like a complete breakdown happening in real time, this album might be overwhelming. Darby’s vocals can be an acquired taste, especially on tracks like “Manimal” where he goes full insanity mode. But for me, that’s a strength rather than a flaw. If I had to nitpick, I’d say some of the songs feel like they end before they even begin, but that’s also part of the appeal. They hit fast, do their damage, and then vanish before you have time to fully process them. The Songs “Lexicon Devil” is probably the most well-known track here, and for good reason. It’s got one of the best punk riffs ever, and Darby’s vocals are at their absolute peak. It’s aggressive, unpredictable, and completely addicting. “What We Do Is Secret” sets the tone immediately—fast, disorienting, and completely unhinged. “Richie Dagger’s Crime” has a slightly more controlled feel, but the sneering vocal delivery gives it this weird, menacing charm. “Strange Notes” is one of the heaviest tracks here, with a brutal guitar tone that makes it sound like it's ripping through the speakers. “Media Blitz” is just pure speed, with some of the best drumming on the album, and “Dragon Lady” has this weird, twisting rhythm that somehow still fits perfectly into the chaos. And then there’s “Shutdown (Annihilation Man).” It’s the longest track by far, completely different from everything else on the album, and one of the most hypnotic things the Germs ever recorded. It’s like the entire album collapsing in slow motion, stretching out into this noisy, drugged-out dirge that somehow still works as a closer. Final Thoughts GI is an absolute masterpiece. It’s fast, it’s loud, it’s messy, but every second of it is completely alive. The combination of Darby’s reckless vocals, Pat Smear’s razor-sharp guitar work, Lorna Doom’s relentless basslines, and Don Bolles’ machine-gun drumming makes this one of the most essential punk albums ever made. It’s near perfection. 5/5.

Goodbye Yellow Brick Road feels like a classic from the first note. Grand and ambitious, it showcases Elton John's versatility beyond piano ballads, blending rock, glam, storytelling, and hints of prog. Packed with some of his best songwriting, its length never drags thanks to perfect pacing, keeping each track fresh and engaging. A timeless masterpiece that defines his artistry. The songwriting on Goodbye Yellow Brick Road is exceptional. Bernie Taupin’s vivid, poetic lyrics create grand, emotional stories, from the nostalgia of the title track to the raw storytelling of Candle in the Wind. Elton John masterfully transforms these words into melodies, ensuring every line resonates. His ability to craft songs that feel both intimate and larger-than-life is truly remarkable. The album’s variety is a major strength. High-energy rock anthems like Saturday Night’s Alright for Fighting burst with distorted guitars and swagger, while the theatrical Funeral for a Friend/Love Lies Bleeding opens with a dramatic instrumental before launching into epic rock. Tracks like Grey Seal and Your Sister Can’t Twist show Elton’s ability to rock just as hard as he delivers ballads, proving his versatility and dynamic range. Despite its 75-minute length and wide variety of styles, the album flows seamlessly. Each song feels essential, and the balance between grand, emotional moments and fun, upbeat tracks keeps it fresh and engaging. The pacing ensures it never drags, maintaining a consistent energy that keeping me invested from start to finish. The main issue with the album is Elton’s high-pitched falsetto at times. While he has an incredible vocal range, on tracks like Bennie and the Jets, his falsetto can feel a bit overwhelming. It’s not necessarily bad, but in certain moments, it feels a little too much and doesn’t always sit right, slightly detracting from the overall experience. Goodbye Yellow Brick Road is one of Elton John’s greatest works, showcasing his ambition and versatility beyond piano-driven pop. The top-tier songwriting and rich, varied instrumentals make it a standout, with only a few weaker moments. While not perfect, its highs more than make up for the flaws. A masterpiece that earns a solid 4.2/5.

There’s no denying that Straight Outta Compton is an important album. It helped define gangsta rap, pushed boundaries, and made an impact that still echoes through hip-hop today. But for me, it’s always been an album I respected more than I actually liked. It has moments of brilliance, but overall, it just feels messy, awkward, and like something I could never fully resonate with. The album radiates undeniable energy, with N.W.A. launching in full force on the title track. Aggressive, uncompromising verses are set against a backdrop of heavy, raw West Coast beats, crafted mainly by Dr Dre and DJ Yella. Lyrically, the album takes no prisoners—tracks like “Straight Outta Compton” and “F*** tha Police” confront issues such as police brutality and urban strife head-on. Ice Cube delivers his verses with searing intensity, while Eazy-E’s unique, high-pitched yet menacing delivery lends a distinct flavour, making tracks like “8 Ball” and “Dopeman” particularly memorable. The album feels messy and inconsistent. While some tracks are fully formed, others seem barely held together, largely due to jarring transitions between politically charged, aggressive songs and ones that are cartoonishly over-the-top. The shifts in tone disrupt any consistent feel, making the album appear disjointed. Lyrically, despite bold statements, the violent and misogynistic themes often come off as excessive and dated, leaning more towards shock value than meaningful commentary. Additionally, although there’s undeniable chemistry among the members, certain flows—especially Dre’s—can feel awkward compared to Cube’s natural aggression and Eazy-E’s charismatic delivery. Straight Outta Compton is rightfully hailed for breaking barriers and shaping hip-hop, boasting undeniable moments of brilliance. However, as a complete album, it feels too messy and inconsistent, with awkward transitions and delivery issues that detract from its appeal. While there are noteworthy tracks, the overall experience doesn't compel repeat listens, earning it an underwhelming 3/5.

I can appreciate The New Tango for what it is—a masterclass in musicianship and innovation. Astor Piazzolla took traditional tango and reshaped it into something entirely new, blending it with jazz and classical influences. There’s no denying the sheer talent on display here, but at the end of the day, tango just isn’t my cup of tea. While I respect the artistry, it never fully clicks with me. The musicianship is ridiculous. Piazzolla’s bandoneón playing is expressive and full of character, weaving intricate melodies that feel both nostalgic and adventurous. The way he interacts with the other instruments, particularly the violin and piano is stunning, creating a constant push and pull of tension. You can feel the depth of emotion in tracks like Milonga del Angel, where every note seems to sigh with longing. The fusion of tango with jazz elements makes the album stand out. It’s not just dance music; it’s deeply layered, full of unexpected turns and dynamic shifts. Adiós Nonino is a perfect example. it starts off gentle, then builds into something far more intense, with moments that feel almost improvisational. Even though I’m not big on tango, I can’t deny that the arrangements here are masterful. That said, this album just doesn’t resonate with me. No matter how much I try to get into it, tango as a genre feels too dramatic and theatrical for my taste. There’s a certain flair to the way the melodies unfold that I can admire from a distance, but I don’t feel the connection that others do. Some tracks, like Michelangelo 70, feel a bit overwhelming, packed with flourishes that border on excessive. The intensity can be impressive, but sometimes it just washes over me rather than pulling me in. It’s the kind of album where I can appreciate the skill but don’t find myself emotionally engaged. The New Tango is an album I respect more than I enjoy. Piazzolla’s talent is undeniable, and the musicianship is fantastic, but tango as a whole just isn’t for me. If you’re into expressive, dramatic instrumentals, this might be a masterpiece. For me, it’s an intriguing listen, but not one I’ll be returning to often. A well-earned 3.3/5.

this band made a career playing other people music. so i have nothing to say and will not listen to it

I’ve listened to Licensed to Ill more times than I care to admit, and no matter how many times I give it a chance, it just never resonates with me. Despite all the hype surrounding its groundbreaking status in hip-hop history, for me, this album is a chaotic jumble of shock value and juvenile antics that ultimately feels messy and unfulfilling. I’ll give credit where it’s due: the album does have a few redeeming qualities. There’s an undeniable raw energy to the production that captures the rebellious spirit of its era. A couple of tracks, like “Fight for Your Right,” have a catchy hook and an aggressive drive that might have appealed to the early hip-hop crowd. The beats are bold and, in some ways, innovative for its time. There’s also a sense of fun and unfiltered attitude in the delivery that, if you’re into that kind of over-the-top bravado, could be seen as a positive. For me, the overwhelming issue is that the album feels messy and disjointed from start to finish. The production is frantic and lacks finesse—layers of noise and samples are piled on top of each other in a way that feels haphazard rather than innovative. This chaotic mix often results in a muddled sound where nothing really stands out or gives a sense of purpose. Lyrically, the album comes across as immature and overly reliant on crude humour. The shock value that some critics applaud feels forced and repetitive, and the vulgarity doesn’t translate into any real substance or cleverness for me. Instead of offering insightful commentary or artistry, the words seem designed solely to offend or provoke without any meaningful payoff. Moreover, I find the overall attitude and delivery to be grating. The aggressive posturing and abrasive vocal style—intended to be rebellious—simply come off as contrived and tiresome. There’s a sense that every song is trying too hard to be edgy, resulting in awkward moments where the intended cool factor evaporates into irritation. Licensed to Ill is a prime example of an album that’s all hype and little substance. Sure, it has a few moments of raw energy and catchy hooks, but overall it’s a messy, awkward, and juvenile collection that I just can’t get behind. Despite its cultural impact, it simply doesn’t work for me. At 1/5 stars this album did nothing for me beyond a fleeting burst of controversy that quickly faded into forgettable noise.

I’ve always had a soft spot for Frank Sinatra, not least because I grew up with his voice as the backdrop to my childhood. My mother would play Sinatra in the kitchen while she cooked, filling our home with his smooth, swinging melodies. That nostalgic connection has forever linked me to his music, yet when I listen to Songs For Swingin’ Lovers! now, I find that while it brings back fond memories, it doesn’t fully meet my expectations as an adult listener. Despite these positives, there are notable drawbacks. The overall sound of the album feels very dated to me. Listening to it now, it seems like a relic from another era, and the style hasn’t aged as gracefully as I would have hoped. The songs, while technically sound, can come across as monotonous. There isn’t much dynamic variation in Sinatra’s delivery—often, his performance feels subdued, lacking the spark or excitement that might have been more engaging at the time. Moreover, the arrangements, although rich in detail, sometimes overwhelm the vocals rather than complementing them, leaving little room for the emotional nuances that I once connected with. The overall pacing of the album can feel sluggish, making it hard to stay fully engaged throughout its entirety. Songs For Swingin' Lovers! holds a special place in my heart because of the fond memories associated with it. My mother’s love for Sinatra introduced me to a world of smooth melodies and elegant swing, which I still admire from a distance. However, in my current listening experience, the album feels a bit like a time capsule. nice to reminisce over, but not something I would actively seek out. For me, it’s a solid 3.1/5 a nostalgic gem that unfortunately hasn’t quite kept up with the test of time.

he Marshall Mathers LP is a landmark in hip-hop that resonates as a true masterpiece. Eminem’s lyricism on this album is nothing short of extraordinary—every line is meticulously crafted with wit, raw emotion, and biting social commentary. I absolutely love how his lyrics cut deep, revealing both his personal struggles and his razor-sharp critique of society. One of the most impressive aspects of this album is Eminem’s flow. His delivery is fantastically fluid and dynamic, shifting effortlessly from rapid-fire verses to more deliberate, contemplative moments. Whether he’s spitting out intricate rhymes or pausing for dramatic effect, his flow keeps you hooked from start to finish. Tracks like “Stan” and “The Way I Am” showcase this prowess perfectly, where his cadence and timing elevate the storytelling to an almost cinematic level. The production throughout The Marshall Mathers LP is near perfect. Every beat and sample is carefully layered to complement the narrative. The dark, moody instrumentals set a fitting backdrop for his introspective and often confrontational lyrics. The balance between raw energy and polished production creates an immersive soundscape that pulls you into his world. I find that the seamless blend of innovative beats with his explosive vocal delivery is one of the main reasons the album stands out even years after its release. That said, there are times when the album can feel too aggressive for aggressive's sake. Some moments come off as relentlessly hostile, where the intensity seems dialed up to 11 simply to shock rather than to add substance to the narrative. This hyper-aggression can occasionally overshadow the subtle nuances in his lyrics, making certain passages feel more like a burst of raw anger rather than a carefully crafted expression of his inner turmoil. Despite these minor drawbacks, The Marshall Mathers LP stands out as a monumental work in the world of hip-hop. Its fearless lyricism, fantastic flow, and near-perfect production combine to create an album that feels both intensely personal and universally influential. Even when the aggression borders on overkill, it’s a part of the raw, unfiltered expression that defines the album. For me, this album is nothing less than a masterpiece, a work of art that pushes boundaries and remains as relevant today as it was when it first exploded onto the scene. A well-earned 5/5 stars

I don't give a flying fuck about this album. In my 29 years on this earth, I’ve listened to my fair share of music, and Highway 61 Revisited is hands down one of the most disappointing disasters I’ve ever encountered. Bob Dylan’s vocals on this record are, without exaggeration, some of the worst I have ever sadly experienced, making every track an exercise in sheer auditory torture. I'll admit there are a few fleeting moments where the album shows a glimmer of what others seem to celebrate. Some of the lyrics are clever on paper, and a couple of the guitar riffs manage to hint at the potential of raw musical genius. These sparse moments, however, are so few and far between that they hardly make a dent in my overall assessmentFrom the very first track, I found myself struggling to connect with anything Dylan was trying to say. The lyrics, which are often hailed as groundbreaking, feel mumbled and incoherent when paired with what I can only describe as one of the most painful vocal performances in modern music history. Rather than drawing me into a vivid world of storytelling, the album leaves me bewildered and annoyed. The production itself isn’t much better. While some might appreciate the raw, unfiltered sound as a hallmark of Dylan’s early work, for me it just accentuates every flaw. The mix does nothing to salvage the overall feel; instead, it amplifies the awkward, monotone delivery that runs rampant throughout the record. There’s a sense of disarray here that makes the entire album feel messy and unpolished. Even if I were to try and find a redeeming quality, I simply can’t. The supposed genius of Dylan’s songwriting is completely overshadowed by his infuriating vocal style on this album. Every track is a reminder of what I consider to be one of the worst vocal experiences in my life, making it impossible for me to appreciate any aspect of Highway 61 Revisited. In summary, despite its historical significance and the accolades it’s received from others, this album is a complete miss for me. It’s a relentless barrage of uninspired vocals and chaotic production that I just can’t stomach. Zero out of five stars—and that’s being generous.

From Elvis In Memphis is rather like being served a lukewarm cuppa tea when you were expecting a piping hot Earl Grey, it’s charming, yet leaves you thinking, Well, that was alright, I suppose. Now, don’t get me wrong: Elvis’s voice is smoother than a fresh jar of marmalade, and there are moments on this record that remind you why the King still manages to hold court. Take, for instance, his soulful delivery on "In the Ghetto"—it’s as poignant as watching the autumn leaves fall in a sleepy English village. However, other tracks meander along like a tourist lost in the labyrinthine streets of Liverpool, not quite reaching the destination they so desperately promised. At times, the album feels as if Elvis was simply having a jolly good time, bantering with the band and occasionally forgetting that he’s supposed to be crooning with the gravitas of a legend. The result is a series of songs that are as unpredictable as British weather: a dash of brilliance here, a spot of drizzle there, and a fair share of “meh” in between. So, while From Elvis In Memphis does have its moments of sparkle—and I must confess, I did have a giggle or two along the way—it ultimately leaves me with mixed feelings. It’s like ordering your favourite fish and chips only to discover that the batter is a tad soggy. In summary, I’m awarding this record a humble 3.2 out of 5 stars. It’s enjoyable for a bit of nostalgia and cheeky tunes, but not quite the full royal banquet one might have hoped for.

this album is nothing short of a masterpiece, and there’s almost nothing I can fault about it. From start to finish, the record oozes creativity and raw brilliance. The songwriting and lyrics are fucking fantastic in every possible way. Each line is a vivid story, packed with emotion, wit, and a sense of otherworldly wonder that only Bowie could deliver. The production and mixing are pure bliss, pulling you straight into Ziggy’s cosmic world. Every instrument is meticulously layered, creating a vast yet intimate soundscape. The guitars stand out with raw, inventive riffs that are absolutely electrifying, adding a dynamic edge. Paired with groovy basslines and punchy drum beats, they inject an energy that makes each track feel alive and exhilarating. The result is a sonic joyride that’s both immersive and thrilling from start to finish. Whilst there’s little to criticize about this album, a minor drawback is that some transitions feel a touch abrupt. Its theatrical delivery might not be everyone’s cup of tea if you lean towards a subtler style, yet it ultimately enhances the record’s distinctive character and flamboyance. Ziggy’s bold, unapologetic persona is key to making this album truly memorable. Every element, from the spellbinding lyricism and infectious riffs to the flawless production, melds together to forge a landmark in music history. The Rise and Fall of Ziggy Stardust and the Spiders from Mars transcends a mere album; it’s an odyssey into the heart of glam rock that resonates with me. For me, it’s an unequivocal 5/5, a timeless, exhilarating masterpiece.

Veckatimest is a beautifully textured and layered album that showcases Grizzly Bear's unique ability to craft intricate sonic landscapes. The production and mixing are impressive, with every instrument carefully placed in a rich tapestry of sound that invites you to immerse yourself fully. The album’s texture is undeniably one of its biggest strengths. The layered harmonies and meticulous arrangements create a soundscape that feels both expansive and intimate. I love how each track seems to reveal new details upon repeated listens. The guitars, often treated with effects that give them a shimmering quality, seamlessly blend with the atmospheric keyboards and subtle percussion. The bass provides a solid yet unobtrusive foundation, allowing the interplay of acoustic and electric elements to shine. The mixing is near flawless, giving each instrument space while blending them into a cohesive whole. The production captures the band's raw energy with a perfect balance of clarity and warmth. From gentle strumming in quieter moments to powerful build-ups, every detail feels meticulously crafted. The result is a sonically rich album that remains engaging and satisfying throughout. That said, while I appreciate the rich, layered approach, at times the complexity of the arrangements can feel a bit overwhelming. Some songs occasionally lose focus in the abundance of textures, making it challenging to identify a central theme or hook. There are moments when the sheer density of the instrumentation can make the overall mood feel slightly indulgent rather than emotionally direct. Overall, Veckatimest is a striking album that stands out for its beautiful sonic craftsmanship and intricate production. It’s an album that rewards careful listening with its rich details and expertly woven layers, even if some parts can feel a bit overworked. For me, it’s a solid 3.8/5. a compelling, if sometimes overly dense, exploration of sound that highlights Grizzly Bear’s distinctive approach to indie rock.

I've never been one to care for Radiohead, and after listening to OK Computer, I still don't care for them at all. Despite all the hype and critical acclaim, this album just didn't move me in any way. I could have gone my whole life without ever hearing it, and honestly, I would have been perfectly okay with that To give credit where it's due, there are a few elements in OK Computer that even I can acknowledge. The production is undeniably polished, with an intricate mix of ambient sounds, experimental electronics, and layered guitars that some listeners might find innovative. A couple of tracks feature interesting arrangements that showcase a high level of studio craftsmanship, and there are moments where the atmospheric soundscapes do manage to create a distinctive mood. For me, however, the negatives far outweigh any fleeting positives. The vocals simply don't do it for me—Thom Yorke's delivery feels monotonous and unengaging, lacking the passion or connection that I look for in music. The overall sound of the album is overproduced and, frankly, too calculated, which strips away any genuine emotion or spontaneity. I found the entire record to be a convoluted, self-indulgent mess that doesn't evoke any real feeling or thought. Furthermore, despite its reputation as a groundbreaking work, OK Computer fails to resonate with me on a personal level. The experimental elements feel more like a distraction than an enhancement, and the themes and lyrics don't connect in a way that matters to me. The album's supposed complexity only serves to make it seem pretentious, and I'm left wondering why so many people hold it in such high regard when, for me, it’s simply not worth the time. In the end, OK Computer is an album I could live entirely without. It doesn't move me, inspire me, or even engage me—it's just another over-hyped collection of sounds that falls flat. For someone who never cared for Radiohead to begin with, this album is a prime example of why I remain indifferent. A disappointing 1.9/5 stars from me.

Eli and the Thirteenth Confession is a fascinating exploration of soulful, eclectic songwriting that showcases Laura Nyro’s unique artistic vision. There’s a raw, honest quality to her lyrics and vocal delivery that draws you in immediately, and the beautifully textured arrangements create a rich sonic tapestry that is hard to forget. The songwriting on this album is fucking brilliant. Every track is a masterclass in blending heartfelt lyrics with unexpected musical twists. Laura’s voice is expressive, soulful, and unmistakably distinctive. which carries each song with an emotional intensity that feels both vulnerable and powerful. The arrangements are meticulously layered, combining elements of soul, pop, jazz, and rock into a sound that’s as innovative as it is personal. The interplay between the intricate piano lines, dynamic guitar work, and subtle percussion creates a beautifully textured landscape that continually reveals new details with every listen. That said, there are moments when the album feels a bit overindulgent. At times, the eclectic production can feel scattered, making the flow of the album seem less cohesive than it could be. Some tracks meander or lose focus, and while the experimental touches are part of its charm, they sometimes distract from the overall impact. Additionally, a few vocal passages and production quirks, though unique, occasionally come off as overly idiosyncratic,. elements that might not resonate with every listener, including me, even as I admire the boldness of her choices. Overall, Eli and the Thirteenth Confession remains an intriguing and emotionally rich album that, despite its minor flaws, continues to captivate me with its intricate textures and powerful songwriting. It’s a record that challenges the conventional and rewards careful, repeated listening. For me, it earns a solid 3.7/5 stars—a testament to its artistic ambition and the depth of its creative expression.

The Last Broadcast is an absolute belter of an album. and I’m seriously impressed by how every element on here just gels together so seamlessly. The vocals are something I’m particularly fond of, there’s a raw sincerity in them that really grabs you, and the way they soar through the tracks makes every lyric hit home. Speaking of which, the lyrics themselves are simply fantastic. witty, introspective, and full of character, they really draw you into Doves’ unique world. Instrumentally, the album is a lush playground. The guitars, drums, and atmospheric synths all mingle perfectly, creating a layered sound that feels both expansive and intimate. There’s this beautiful interplay between the more driving rock moments and the quieter, reflective passages that just makes you want to sink into the sound. Every instrument seems to have its own space, yet they all come together in this wonderfully cohesive mix. And then there’s the production and mix, proper lush I’d say. The clarity is unreal; it’s like each note is meticulously placed so that even the subtlest details shine through. It really elevates the whole listening experience, making it feel like a complete work of art. If I’ve got to nitpick, a few transitions on the album can feel a bit daft. maybe a tad too experimental for my taste. There’s a couple of moments where the atmosphere meanders a bit, which might leave you thinking the band’s trying too hard to be arty. But honestly, those are minor quibbles in an otherwise stellar record. In the end, The Last Broadcast is one of those albums that really resonates with me. The vocals are solid, the lyrics are fucking fantastic, and the instrumentation is rich and diverse. It’s a record that manages to be both grand and intimate. the kind of album that makes you feel like you’re part of something bigger. A solid 4.7/5 stars, no doubt about it. Cheers to Doves for crafting something truly memorable.

n my perspective, Live! by Fela Kuti is an electrifying experience that perfectly captures the raw, unbridled energy of an Afrobeat pioneer in full flow. The album delivers a relentless, groove-driven performance that manages to be both politically charged and musically mesmerizing—a live snapshot of Fela at his absolute best. What really blows me away about this record is the groove. The rhythm section is utterly hypnotic, with tight percussion and basslines that keep you locked in from start to finish. The horn arrangements are brilliant, bursting through the mix with an intensity that injects each track with an unmistakable vibrancy. Fela’s vocals is raw, unfiltered, and full of passion demanding your attention as he belts out his message with an unwavering intensity that’s hard to ignore. The production on this live album is lush for a raw recording. It’s impressive how well the mix captures the atmosphere of the performance, balancing the intricate instrumental layers while still letting Fela’s commanding vocals shine through. Every instrument has its space, yet together they create a cohesive, exhilarating soundscape that feels both spontaneous and meticulously crafted. That being said, it's not all flawless. Some of the extended tracks can feel a bit overlong, especially if you're not in the mood for a marathon of Afrobeat grooves. There are moments when the repetitiveness might leave you thinking, "Alright, mate, enough already," even though I appreciate the hypnotic quality of the repetition. Also, the live setting means there's a bit of roughness in the sound, it's raw and unpolished, which adds to the charm for some, but can be a tad off-putting if you're after a cleaner mix. In the end, Live! by Fela Kuti is an absolute banger that transports you right into the midst of his legendary live shows. The vibrant energy, killer percussion, and soulful horns create a lush, immersive experience that I genuinely dig. Despite a few minor quibbles with its length and raw sound quality, it’s a must-listen for anyone who appreciates authentic, hard-hitting music. For me, it scores a solid 4.8/5 stars – a rousing, unforgettable ride into the heart of Afrobeat.

Van Halen by Van Halen it’s a proper banger. I absolutely fuck with the guitar on this album; Eddie’s licks are out of this world, and every riff hits like a bolt of lightning. The mix is phenomenal, with every instrument having its own space while still blending together into one epic soundscape. First off, the guitar work on this album is next level. Eddie Van Halen’s solos and riffs are nothing short of legendary, and I can’t get enough of the raw energy and innovation he brings to each track. It’s a masterclass in rock guitar, and honestly, it’s one of the main reasons I’m so chuffed with this record. The production is spot on too. The mix is crisp and dynamic, ensuring that the guitar, drums, bass, and even the occasional keyboard work together in perfect harmony. Every layer is clear as day, and you can really appreciate the intricacies of the arrangements. Now, about the vocals, they’re top notch. Sure, they might not be the most groundbreaking aspect of the album, but they work brilliantly for what it is. David Lee Roth’s delivery is charismatic and full of swagger, perfectly complementing the explosive instrumentation. His performance adds that extra bit of flair, even if it isn’t the album’s standout feature. If I’ve got a bone to pick, it’d be that some of the tracks can feel a bit overproduced in places, which slightly dilutes the raw, live feel I love about rock. But honestly, that’s a minor gripe compared to all the high points. Overall, Van Halen is a proper rock masterpiece. The insane guitar work, flawless mix, and gritty vocals combine to create an album that fires me up every time I hit play. It’s a solid 4.8/5 stars from me, a true classic that I’ll be blasting for years to come.

so I’ve slogged through Foxbase Alpha by Saint Etienne, and let me tell you, it’s by far one of the most boring albums I have ever heard. I was already done by the halfway mark, and honestly, there’s little here that managed to grab my interest. To be fair, I can’t say there aren’t any redeeming bits. The production is clean and, in some parts, the electronic textures and ambient synths hint at a potential for atmospheric brilliance. There are moments where the underlying beat is solid, and the overall mix is technically competent. It’s clear the band had a vision for a chilled-out vibe, and there’s a subdued elegance in the arrangement. But that’s where the positives end. The vocals throughout the album are utterly uninspiring and bland—there’s no spark or charisma to be found. They’re delivered in such a monotone manner that they do nothing to elevate the otherwise sterile instrumentation. The melodies feel repetitive, and the lack of dynamic variation means I found myself zoning out, especially after the first half. The whole thing just drags on without any real emotional or musical payoff. The songwriting fails to engage me; the tracks meander with little to no development, leaving me wishing the record would simply end. Despite its polished production, Foxbase Alpha comes off as a tepid, unadventurous exercise that neither excites nor challenges me. Foxbase Alpha is a major miss. Despite a few technically solid moments in the production, the uninspired vocals and overall boring execution mean that it just fails to engage me on any level. A dismal 1/5 stars, it’s an album I’d happily forget in a heartbeat.

You're Living All Over Me by Dinosaur Jr left me a bit gutted. I was expecting something raw and energetic, but instead, I found the whole thing to be overwhelmingly noisy and chaotic. It's like the band decided to throw every guitar riff at you without much thought for balance, and I couldn’t help but feel it was all a bit much. There are a few redeeming bits, I’ll give 'em that. The album does have moments where the sheer energy and attitude come through, and some of the guitar work is undeniably impressive, flamboyant and wild, and you can tell they’re having a laugh with it. A couple of tracks manage to capture that raw, unfiltered spirit of rock, and for those moments, it feels like a proper blast from the past. But, blimey, the noise factor is off the charts. For me, the album feels like an endless barrage of feedback and distorted guitars that, rather than invigorate, just overwhelm. The production seems to favour volume over nuance, leaving little room for any sort of subtlety. The vocals, too, don’t do much to help. they're buried under the chaos, sounding more like an afterthought than a real feature. Honestly; the lack of structure and the relentless clamour made it hard to stay engaged. It’s as if the band thought more noise equals more rock, but for me, it just felt like a messy jumble that I couldn’t really sink my teeth into In the end, You're Living All Over Me is one of those records that, despite its occasional flashes of brilliance, just doesn’t sit well with me. The unrelenting noise and overall lack of finesse make it a frustrating listen. I reckon it might be a cult favourite for some, but I can’t help but rate it a disappointing 2.3/5 stars. Not my cup of tea,

Grace by Jeff Buckley is an absolute stunner from start to finish. I’m blown away by the sheer brilliance packed into every track. Buckley’s vocals are nothing short of wonderful, they stir up all sorts of emotions and make you feel every word like it’s your own. The guitar work is fabulous; each riff and delicate lick is played with such passion and precision, it really sets the tone for the whole record. Of course, if I’ve got a minor gripe, it’s that there aren’t many flaws to call out here. A couple of moments feel a tad over-reverent, like the production sometimes gets so lush you might miss the subtle shifts in mood. But honestly, that’s more of a quirk than a real downside, it hardly detracts from the overall magic of the album. It’s an absolute shame, really, that Jeff Buckley tragically died after that infamous river accident and left us with only this one masterpiece. Grace is a poignant reminder of what could have been a long and even more illustrious career. In my book, it’s a timeless classic, a record that continues to inspire and move me every single time I put it on. A solid 4.9/5 stars. pure unadulterated genius that I’ll always be grateful for.

Dig Your Own Hole is a proper wild ride. The Chemical Brothers went all in with this one, throwing everything at the wall, and for the most part, it sticks. It’s got that filthy, in-your-face energy, the kind that makes you wanna move whether you like it or not. The production is massive, thick, layered, and constantly shifting, with beats that punch hard and synths that sound like they’re trying to break out of your speakers. The mix is crisp as hell too, every little detail sitting right where it should, making the whole thing feel immersive. The instrumentals? Well, they’re packed with all sorts of madness pulsing basslines, wailing siren-like synths, relentless drums, and a proper psychedelic touch that keeps things interesting. Block Rockin’ Beats is an absolute stomper, setting the tone straight away, while Elektrobank is this spiralling, chaotic beast that’s just begging to be heard at full volume. That said, the album does start to feel a bit samey after a while. Some tracks drag on longer than they need to, and a few moments feel like they’re all build-up with no real payoff. The vocals, when they do show up, don’t always hit the mark for me—sometimes they add to the atmosphere, but other times they just feel tacked on, like an afterthought rather than an integral part of the track. Don’t get me wrong, there’s a lot to love here, and when it’s on point, it’s seriously good. But by the end, it’s all a bit exhausting. like it’s trying to keep you locked in a rave you’re not sure you wanna stay at. It’s got moments of brilliance, but as a full album, it loses me a bit. Solid effort though, 3.6/5 stars.

Look, I get it—this album is a proper landmark for music, the birth of rock and roll as we know it, and all that. But if I’m being honest, it’s just not my vibe. I can appreciate what Elvis did here, and I respect the impact, but it doesn’t do much for me beyond that. On the plus side, there’s no denying his voice is something else—smooth, charismatic, and full of that Southern swagger. Tracks like Blue Suede Shoes and Tutti Frutti bring that early rock and roll energy, and I can see why people lost their minds over it back in the day. The production is simple but effective, giving it that raw, live feel that suits the style perfectly. But for me, it just feels a bit dated and one-note. A lot of the songs follow the same blueprint, and after a while, they start blending together. The backing band is tight, but the arrangements don’t do much to keep me hooked. It’s all very of its time, and while I respect that, it doesn’t make me want to go back for repeat listens. I won’t knock its influence—this album laid the groundwork for some of the best music ever made. But as a listening experience in 2025? It’s alright, but not something I’d throw on for fun. 2.8/5 stars https://3.bp.blogspot.com/-zVtQXZOQ5sM/ThML20VuVWI/AAAAAAAAAuo/T3Uh8HLHVYI/s1600/elviscover.jpg

honestly, I’m a bit underwhelmed. Everyone seems to hail Frank Ocean as a genius, but for me, the whole lot is massively overrated. The album gets way too much praise for what it actually delivers. There are a few things I can tip my hat to, though. The production on this album is undeniably slick, lush layers of synths and subtle guitar work that create an atmospheric soundscape. Some tracks have moments of brilliance where Ocean’s vocals are smooth as silk, carrying an emotional weight that’s hard to ignore. The mix is polished, and there are flashes of creative lyricism that hint at what could be genius if only they were consistently on point. That said, I can’t help but feel that a lot of the acclaim is a bit of a head rush. Frank Ocean’s work here feels too self-important; he’s hailed as a visionary, yet I found the album’s vibe rather flat overall. The vocals, while occasionally charming, often come off as detached and don’t really spark the kind of excitement I was expecting. The lyrical content, which everyone seems to rave about, feels a bit overthought and doesn’t resonate with me on a personal level. Frank Ocean is massively overrated, and I reckon people praise him far too much as a genius when, in my opinion, Channel Orange just doesn’t live up to the hype. At the end of the day, Channel Orange is a well-produced record with its moments, but it just doesn't move me the way it’s supposed to. Despite the lush production and occasional standout vocal moments, it’s an album I can’t really get behind. For me, it scores a modest 3.1/5 stars. an interesting listen at best, but not the masterpiece its reputation would have you believe.

I've never been one to give a toss about Nirvana, and to be honest, I still don't really care for them much. But after giving Utero a proper listen, I've got to admit this album is a bloody impressive piece of work On the positives side, the raw energy on display is absolutely mad. The guitar work is pure dynamite, Eddie's riffs are as inventive and explosive as ever, and they really make you sit up and take notice. The mix is phenomenal, every instrument from the pounding drums to the rumbling bass and those blistering guitars, comes through loud and clear, creating a wall-of-sound that’s both powerful and immersive. Even the vocals, while characteristically mumbled and rough-edged, have this raw charm that manages to capture the gritty essence of Nirvana's sound. That said, there are some negatives that I can't ignore. Some of the tracks get a bit repetitive and, frankly, overlong. The relentless noise sometimes feels like it's too much, and while I can appreciate the sheer force of the sound, it occasionally leaves me feeling a bit bogged down. The overall vibe remains stubbornly grungy and moshpit-ish, which if I'm being honest doesn't exactly win me over. Despite all the technical brilliance, it doesn't do enough to change my overall opinion of the band; I'm still not a massive fan of Nirvana in general. In the end, Utero stands as a testament to Nirvana's raw talent and unfiltered energy, even if it doesn't quite convert me into a die-hard fan. It's a well-produced, electrifying record that commands respect, and while it might not be my usual cup of tea, I can't help but appreciate the sheer skill on display. A solid 4.3/5 stars, respectable even if it doesn't change my tune about Nirvana.

Jagged Little Pill is a very clean, easy album to sink your teeth into. I can see why it has such universal appeal; everything from the catchy hooks to the honest lyrics just clicks in a way that’s hard to ignore. First off, the songwriting is top-notch. Alanis delivers raw, relatable lyrics with a clarity that makes each track feel like a personal confession. There’s something incredibly engaging about the way she navigates through themes of love, loss, and self-discovery. The vocal delivery is uniquely expressive, effortlessly balancing vulnerability and strength. The production on the album is polished and accessible—nothing overly experimental, which in my opinion, makes it easy to listen to. The mix is clean, with every instrument and vocal line given its own space, allowing the powerful guitar riffs, tight drum beats, and subtle keyboard accents to complement the emotive vocals perfectly. This straightforward approach makes the album appealing even if you’re not usually into alternative rock. That said, while I appreciate the album’s clean, accessible nature, I can see how it might feel a tad too polished for those who favour a rougher, more unfiltered sound. Some listeners might miss a certain rawness that other alternative records from the era boasted, and there are moments when the album feels a bit formulaic. The overall production, though superb, occasionally sanitises what could have been even more emotionally explosive moments. Still, these are minor quibbles in an album that, on the whole, delivers what it promises. In the end, Jagged Little Pill is a well-crafted, accessible album that clearly struck a chord with millions. I might not be its biggest fan, but I appreciate the effortless way it marries strong songwriting with an easy listening experience. It’s a record that’s both a product of its time and timeless in its appeal. a solid 4.4/5 stars in my book.

------------------------------------------------------------------------------------ WHERE IT ALL BEGAN FOR ME AT THE AGE OF13. ------------------------------------------------------------------------------------ I fucking love this album, it’s easily one of my favourite records of all time. It’s not just an album; it’s the cornerstone that opened the doors to the whole bloody world of music for me. Every time I spin it, I’m reminded of how pure joyful life can be when you’re wrapped up in killer tunes and raw energy. First off, the guitar work on Dookie is absolutely stellar. The riffs are tight, punchy, and full of that raw punk energy that makes you want to jump up and mosh. The guitars provide a perfect backbone to every track, layering catchy hooks with driving rhythms that never fail to get me hyped. The vocals? Top-notch. Billie Joe’s delivery is distinctive, blending a sneer with raw emotion that perfectly captures the angst and excitement of youth. It’s a voice that’s instantly recognizable and totally iconic. The drums and bass are equally impressive, The drums are thunderous and energetic, keeping a relentless pace, while the bass provides a groovy foundation that locks everything together, ensuring every song hits with maximum impact. The production on this album is immaculate. The mix is crisp and punchy, allowing every instrument to shine while still maintaining a cohesive, wall-of-sound vibe that just blasts you into a state of pure exhilaration. The lyrics on Dookie mean the world to me. They capture the raw, unfiltered emotions of rebellion, frustration, and the sheer thrill of breaking free. Each line feels like a personal manifesto, a blend of witty observations and heartfelt confessions that still hit home every single time I listen. They remind me that life is full of ups and downs, and that sometimes you just need to let loose and have a laugh at the absurdity of it all. For me, these lyrics aren’t just words on a page; they’re a soundtrack to the moments that defined my own journey, making me feel seen and understood. I can’t stress enough how much I owe Dookie. This album wasn’t just a collection of songs; it was the cornerstone that kickstarted my musical journey. Growing up, it was the soundtrack to my formative years, and it showed me how pure, joyful, and transformative music can be. It’s the record that taught me that life can be loud, unapologetic, and full of raw emotion. It opened my ears to a whole new world, transforming the way I experience music. Ever since I delved deep into the music world, Dookie has been a constant reminder of that exhilarating first step, a burst of pure unadulterated joy that set the tone for everything that followed. Every time I put this album on, I’m transported back to a time when music was about breaking the rules, letting go of your inhibitions, and simply living for the moment. It sparked my passion for music, shaped my tastes, and even influenced the way I express myself. I truly believe that without Dookie, I’d have missed out on a whole world of musical brilliance, and for that, I’ll be forever grateful. In the end, Dookie by Green Day is a masterpiece that continues to resonate with me, no matter how many times I listen to it. With its killer guitar, raw vocals, powerhouse drums, and spot-on production, it’s a record that encapsulates the spirit of punk rock. For me, it’s a life-changing album that’ll always have a special place in my heart. There’s no doubt about it, a solid 5/5 stars. This album is a timeless gem that continues to inspire, energize, and remind me why music is the absolute best.

Reggatta de Blanc by The Police honestly, it’s one of the most underwhelming records I’ve ever had the misfortune to sit through. I’m not one to mince words, so strap in. To be fair, there are a couple of fleeting moments where the musicianship shows a hint of promise. The rhythm section has its occasional spark – the drum beats and bass lines sometimes manage to keep a steady groove that could work on paper. And the guitar work, while largely lost in the mix, does have a few decent licks that momentarily catch your ear. But let’s cut to the chase: there’s nothing appealing about this album whatsoever. For me, Sting needs to fucking stop with his overblown vocal style and pretentious accents. We get it, mate – you think you're so fucking amazing, but honestly, your delivery is nothing more than a tiresome, self-indulgent display that grates on the nerves. His vocals overshadow any semblance of genuine emotion or subtlety, turning what could be interesting songs into monotonous droning sessions. The production feels flat and uninspired, with a mix that does little to elevate the otherwise lacklustre arrangements. Every track drags on without any real dynamics or innovative twists, leaving me bored and increasingly frustrated as the album goes on. Instead of captivating me with its sound, it just comes off as a confused, muddled attempt at style that never finds a groove. Reggatta de Blanc is a massive letdown. Despite the bare minimum of instrumental competence, the album is utterly bog-standard and fails to move me in any way. Sting’s affected vocal antics and the overall lack of appeal make it a record I’d rather do without. I’m giving it a dismal 1.8/5 stars—hardly worth a listen, and a stark reminder that sometimes, hype just isn’t enough to cover up the underlying mediocrity.

Sincere by Mj Cole honestly, it did absolutely nothing for me. I’m not one to knock a record entirely without a fair play, but this album was such a dreary affair that I legit nearly nodded off on the sofa. To be fair, there are a couple of decent moments here. The production has its moments of crisp clarity, and a few of the beats have that signature MJ Cole touch that some fans might find appealing. There’s a subtle finesse in the layering of samples and rhythmic loops that, on paper, looks impressive. A couple of tracks manage to muster a spark of energy, hinting at what the UK garage scene is all about. However, for me, the negatives utterly outweigh these fleeting highs. The album as a whole is far too bland and repetitive – the beats just drudge on without much variation, and honestly, I found the whole thing to be a massive snooze fest. The soundscape is so monotonous that, at times, I felt like I was listening to the same loop over and over. It lacks the dynamism and excitement that I crave from a proper record. I also can’t get past the fact that the whole vibe of the album is just, well, uninspiring. There’s a lack of genuine character in the instrumentation, and even the vocals – when they’re present – come off as perfunctory rather than passionate. In short, MJ Cole’s attempt at crafting a laid-back, easy-listening record has left me utterly underwhelmed. Sincere is one of those albums that you could easily do without. While I appreciate the technical chops on display, the overall effect is just too lacklustre and boring for my taste. I nearly fell asleep listening to it, and that’s saying something. For me, it’s a disappointing 2/5 stars – a record that fails to excite or even engage on any meaningful level.

Fatboy Slim’s got some cracking albums under his belt, but Better Living Through Chemistry? It’s just… whatever to me. There are moments where I can see the brilliance he’d go on to refine, but as a full listen, it’s hit-and-miss. There’s no denying the man knows how to craft a groove. Some of the tracks here have that signature Fatboy Slim energy – big beats, funky samples, and a general sense of chaos that somehow works. Tracks like Everybody Needs a 303 and Punk to Funk stand out with their infectious rhythms and gritty textures, and you can tell he was onto something special. The production is raw but still punchy, giving it an underground, DIY electronic feel that makes some moments really land. That said, much of the album feels like it’s missing that extra spark that makes his other work stand out. A number of tracks come off as utterly bland—no real innovation or character that grabs me and holds on tight. It’s like the tunes just go through the motions, without delivering that punch or cheeky charm I’m used to from Fatboy Slim. There’s a few moments where the chemistry just isn’t there, leaving me feeling rather underwhelmed. Better Living Through Chemistry has its moments, but as an album, it doesn’t do much for me. Fatboy Slim’s got far better records that showcase his talent in full force, and this one just feels like a stepping stone rather than a defining piece of work. It’s got a few gems, but too many forgettable tracks for my taste. 3.3/5 stars.

Africa Brasil by Jorge Ben Jor is fucking fantastic. The production and mixing on this album are absolutely top-notch; every beat, every groove is crafted to perfection. The vocals are lush, with harmonies that blend seamlessly into the vibrant, colourful soundscape that defines the record. There's a richness in the textures here that just makes the music come alive. It's like you’re right there on a sunny Brazilian beach, feeling every pulse of the rhythm. On the positive side, the overall vibe is infectious. The album's fusion of Afro-Brazilian rhythms with funk and soul creates an atmosphere that's both uplifting and deeply soulful. Jorge Ben Jor's delivery is effortless, and the way he layers his vocals over the intricate percussion and guitar riffs is nothing short of brilliant. Each track radiates a certain joie de vivre, and you can't help but get drawn in by the energy. However, I've got a slight gripe, the album is criminally short. Yes, it's average length by standard measures, but for me, it just went so fucking fast. I was left wanting more once the final track finished, which is a damn shame given how much quality there is packed into every minute. In my perspective, Africa Brasil is a gem that deserves all the praise for its stunning production and the sheer magic of its sound. It's an album that lifts your spirits and makes you want to dance, even if it leaves you longing for a bit more. A solid 4.4/5 stars in my book, a short but incredibly vibrant musical journey.

Debut by Björk is a mixed bag. There are definitely some absolutely brilliant hits on this record that show off Björk’s unique flair and innovative style, but honestly, the rest of the album just feels so meh. It never really brings everything together as a cohesive whole. First off, the standout tracks are pure magic. The hits are innovative, with gorgeous production and Björk’s vocals soaring over lush, intricate arrangements that make them unforgettable. When Björk really hits her stride, her voice and the creative beats blend together into moments of absolute brilliance that you just can’t shake off. The production on these tracks is top-notch. rich, layered, and perfectly balanced. proving that Björk isn’t afraid to push boundaries. However, not every song on Debut lives up to that high standard. While the best tracks shine, much of the album feels a bit flat and disjointed in comparison. There are moments where the production, although technically sound, doesn’t capture the same spark, leaving a lot to be desired in terms of emotional engagement. It feels like the album struggles to maintain its momentum, and the overall experience is marred by tracks that just don’t hit the mark. In short, the hits are brilliant, but the filler tracks simply don’t bring the album together, leaving me feeling somewhat underwhelmed by the overall flow. For me, Debut by Björk is a record of highs and lows. The brilliant hits remind you why she’s such an iconic figure in music, yet the weaker tracks make it hard for the album to truly resonate as a complete work. It’s an interesting listen, but not one that I’d say consistently grabs me from start to finish. Overall, it earns a solid 3.4/5 stars in my book. a mixed record that has its shining moments, but ultimately leaves me wanting more cohesion.

Shalimar by Rahul Dev Burman is a mixed bag. I reckon this album might be absolute magic when paired with the movie—it’s full of lush, vibrant sounds that probably work wonders on screen. Problem is, I’ve never actually seen the movie, so I can’t really vouch for that side of things. As a stand-alone album, though, there’s just too much going on, and it never quite gels for me. There’s no denying RD Burman’s brilliance in crafting intricate arrangements and catchy melodies. Some tracks are full of energy and promise, showcasing his knack for blending traditional Indian sounds with a modern twist. The production is, in parts, really polished—there’s a richness to the mix that hints at the magic the music could conjure when paired with a compelling visual narrative. A few tunes genuinely shine and remind you why RD Burman is considered one of the legends of his time. That said, when I listen to Shalimar on its own, it can feel a bit overstuffed. There’s so much going on in the arrangements that it ends up being a bit chaotic and unfocused. I found that the musical ideas are all over the place, lacking a cohesive flow that would tie the album together. Without the context of the movie’s visuals to ground it, the album feels like a jumble of styles and moods that just don’t work together as seamlessly as they might in a proper cinematic setting. Shalimar is a case of an album that’s probably stellar in the right context—within the movie—but as a standalone record, it’s a bit of a mess. I appreciate the effort and the moments of pure genius from RD Burman, but overall, it leaves me wanting a bit more cohesion and focus. For me, it’s a 3.1/5—a decent effort that just can’t quite hold together without its visual counterpart.

Dirty by Sonic Youth is nearly flawless almost a 5/5 in my books. This album is a proper masterclass in blending noise with melody, and while there are a few minor niggles, it’s a record that just clicks on every level. The instrumentation on this album is next level. The guitars are absolutely brilliant – layered, edgy, and at times, downright mesmerizing. Every riff and feedback burst is crafted with precision, creating a soundscape that’s both chaotic and artful. The drums are tight as anything, laying down a punchy, relentless beat that drives the tracks forward, while the bass provides a deep, grounding groove that ties the whole thing together. The vocals, though a bit raw and unconventional, work brilliantly within the mix, adding an authentic edge that perfectly captures Sonic Youth’s vibe. The production and mixing are nothing short of phenomenal. Every instrument is given its own space yet blends seamlessly into a lush, cohesive whole. The balance between the dissonant guitar textures and the more subtle melodic lines is spot on, making the album feel both experimental and accessible. Each track has its own character, yet they all contribute to an overall sound that feels meticulously crafted and bursting with energy. That said, there are a couple of minor quibbles. At times, the album’s experimental edge can veer a little too far into chaos, making certain sections feel a bit overbearing. While I love the daring approach, there are moments when the noise slightly overshadows the melody. But honestly, these are just tiny niggles in an otherwise cracking record. Dirty is nearly a 5/5 album – a near-perfect slice of alternative rock that redefines what’s possible in merging avant-garde experimentation with accessible songwriting. It’s an album that resonates with me on every level, with its stunning guitar work, tight rhythm section, and lush production making it a standout record. Sonic Youth really nailed it here, and while there’s a smidge of excess at times, it hardly detracts from the overall brilliance. A solid 4.8/5 stars – pure, unadulterated sonic genius.

We Are Family by Sister Sledge is a huge vibe from start to finish. This album is packed with infectious disco grooves and feel-good energy that can instantly lift your spirits, but it’s not without its flaws. First off, the production is spot on – crisp, vibrant, and infectious. Every beat is laid down with precision, creating a rhythmic pulse that makes you want to get up and dance. The instrumentation is top-notch, with funky basslines, shimmering keyboards, and tight percussion that work together to capture the true essence of the disco era. The vocals are another highlight. The harmonies are lush and add a rich, soulful layer to the tracks, giving them an irresistible, celebratory feel. Songs like the title track “We Are Family” really nail that sense of unity and joy, making it clear why this album became such a classic. There’s a raw, infectious positivity that runs through the entire record, making it an easy listen when you’re in the mood for something uplifting. That said, not every track hits the same high note. While the vibe is undeniably huge, some songs come off a bit formulaic and, frankly, a tad dated. The album occasionally lacks variety, and a few tracks don’t quite stand out—they simply blend into the background compared to the standout moments. It feels like there could have been a bit more innovation to break up the disco monotony, leaving me wishing for a few more surprises along the way. In my perspective, We Are Family is a well-loved classic that delivers an undeniable, feel-good vibe throughout. The album’s infectious grooves, stellar harmonies, and energetic production create an atmosphere that's both nostalgic and uplifting. Even though some tracks feel a bit predictable and dated, the overall experience is still a joy to listen to. It’s a record that brings people together and makes you want to dance, even on your dreariest days. For me, it's a solid 3.9/5 stars—a timeless slice of disco that’s worth a proper spin when you need a burst of positivity.

What I will say is Diamond Life while there's no denying it's a fantastic and beautiful album, it just isn't consistent enough for my taste. There are moments when the record shines so brightly you can’t help but get lost in its lush, soulful vibes, but as a whole, it doesn't quite fully work. The production on this album is absolutely gorgeous. Every track is bathed in smooth, polished sounds that effortlessly blend soft jazz, R&B, and a touch of pop. Sade's vocals are, as always, mesmerizing—silky, sophisticated, and full of understated emotion. When she sings, it’s like every word is delivered with a quiet confidence that immediately draws you in. The instrumentation is lush too; subtle keyboards, gentle percussion, and refined guitar lines create a soundscape that feels both timeless and comforting. Tracks like “Smooth Operator” really capture that essence and remind you why this album became such a classic. That said, the album’s consistency leaves a bit to be desired. While a handful of tracks hit all the right notes and flow beautifully, others feel a tad flat or disconnected from the overall vibe. It’s like there’s a gap in the cohesion of the record—some songs simply don’t match the magic of the others. This inconsistency means that, as a complete album, Diamond Life doesn’t quite hold together as well as it could. I found myself wishing for a bit more variety in pace or emotional depth on some of the lesser moments, which in turn detracts from the album's overall impact. Diamond Life is a stunning record that displays Sade's exceptional talent and the pure beauty of her music. However, despite its high points and those unforgettable tracks, the album as a whole doesn't fully hit the mark due to its inconsistent flow. It’s a solid 3.8/5 stars for me. a must-listen for its brilliance, even if it occasionally leaves you wanting just a bit more.

To be honest Bitte Orca by Dirty Projectors is a bit of a mixed bag for me. While there are moments where the album shows some creative flair, overall it just doesn’t really hit the mark and leaves me a tad underwhelmed There’s no denying the ambition behind this record. The production is pretty interesting. layers of off-kilter melodies and inventive arrangements that, at times, feel like a breath of fresh air. Some tracks have a quirky charm, with unexpected twists and a sense of experimental brilliance that can really catch you off guard. The vocals, when they’re on point, add a unique character to the tunes, and there are bits where the instrumentation is downright impressive. However, for me, most of the album ends up feeling overly messy and a bit all over the place. The experimental nature of Bitte Orca is clearly there, but it often comes across as unfocused, making it hard to latch onto a consistent vibe. The lack of cohesion means that despite some decent ideas, the overall listening experience feels disjointed. I found myself drifting off and thinking, “This isn’t really doing it for me,” more times than not. It’s a shame because there are flashes of brilliance, but they’re buried beneath a load of convoluted arrangements that just don’t gel. In my perspective, Bitte Orca is an album that tries hard to be innovative, but it ultimately falls short of being truly engaging. While I can appreciate the effort and the occasional moment of creative genius, the overall experience left me rather lukewarm – a proper 2.7/5 stars. It’s one of those records that might work for some, but for me, it just didn’t manage to keep my interest for the long haul.

Talking Book by Stevie Wonder. while it’s undeniably a brilliant record, I’ve got to say it’s hard not to compare it to the sheer genius of Songs in the Key of Life. In my perspective, Talking Book stands tall on its own with plenty of highs, but when you put it alongside its successor, it feels like Stevie Wonder just got even better, almost overshadowing this earlier work. There’s a real magic to Talking Book that shows off Stevie’s incredible talent. The production is slick, with a warmth that wraps around each track. Songs like “Superstition” and “You Are the Sunshine of My Life” still hold their own, boasting infectious grooves, tight rhythms, and a blend of funk and soul that feels timeless. The instrumental work is superb. those clavinet riffs, crisp drum beats, and vibrant horns all come together to create an irresistibly funky, yet soulful soundscape. Stevie’s vocals are top notch, full of passion and nuance that instantly draw you in. His delivery is smooth yet powerful, with a playful touch that adds personality to every line. There’s a youthful exuberance to his performance that really shines through, making you appreciate the raw energy and talent that were evident even in this earlier stage of his career. That said, while Talking Book is fantastic, it doesn’t quite reach the near-mythical status of Songs in the Key of Life. As much as I love the album, some of the tracks can feel a bit repetitive or safe compared to the bold, expansive statements made on Songs in the Key of Life. It’s like Stevie was still finding his feet in some areas, and though the record is brilliant, it lacks the adventurous, genre-spanning quality that would later define his work. Another minor gripe is that the cohesion isn’t as tight as it could be. There are moments where the vibe shifts a little too abruptly, which can take you out of the groove. It’s a solid album, no doubt, but when you listen to it back-to-back with Songs in the Key of Life, you can’t help but think that the latter just takes everything to a whole new level of brilliance. Talking Book is a cracking record filled with infectious energy, superb musicianship, and Stevie Wonder’s unmistakable charm. It’s an album that still makes you move and groove, with enough timeless hits to keep it in the pantheon of great soul and funk records. However, its legacy is a bit complicated by the fact that Songs in the Key of Life is so unbelievably good that it tends to overshadow much of Stevie’s earlier work. For me, while Talking Book certainly deserves respect and love for its innovation and quality, it feels like a stepping stone that paved the way for the colossal achievements of his later career. All things considered, it earns a solid 4.1/5 stars. a brilliant record in its own right, even if it can’t quite hold a candle to the sheer genius of what came after.

Headquarters is an album that’s as much a product of its manufactured origins as it is a collection of catchy tunes. The Monkees were originally formed to be America’s answer to The Beatles, and while that ambition brought a lot of attention, it also meant that the band was always a bit more about marketability than pure musical authenticity. Even though this record was supposed to be a step toward creative independence, it still heavily relies on studio musicians, and that factor leaves a noticeable mark on the overall vibe. There are definitely moments on Headquarters that catch you off guard in a good way. Some of the tracks feature infectious melodies and upbeat rhythms that manage to get stuck in your head, and you can’t help but appreciate the craftsmanship behind those polished pop hooks. The production is slick and, in many ways, a testament to the pop sensibilities of the era. The album has a neat, tidy sound with plenty of radio-friendly appeal, which is probably why it resonated with such a broad audience at the time. There are flashes of creativity in the arrangements that hint at what The Monkees could achieve when they were allowed a bit more freedom. That said, for me, the album never quite holds together as a fully satisfying musical statement. The whole project is marred by the fact that The Monkees were, and in many ways still are, a band engineered for commercial success. Their reliance on session musicians despite their claims to creative input makes the record feel overly polished and, frankly, a bit soulless. There’s an undercurrent of ‘manufactured’ throughout, and that becomes especially apparent when you compare it to more authentic, raw works of the era. Furthermore, while there are some truly catchy moments, the overall album lacks the depth and cohesion that you’d expect from a band with real artistic identity. It feels like a patchwork of well-crafted pop songs that, despite their individual appeal, never really mesh into a unified whole. The glossy production occasionally overshadows any genuine musical innovation, and you’re left feeling that, despite the effort, it just doesn’t offer much beyond surface-level enjoyment. In my perspective, Headquarters is a decent listen if you’re in the mood for some nostalgic, catchy pop. However, knowing its origins as a band created to rival The Beatles, the album’s manufactured feel and heavy reliance on studio musicians make it hard for me to fully get behind. It’s an album that clearly had its moment in the spotlight, yet it remains a reminder of a time when commercial ambitions sometimes trumped raw musical expression. For me, that results in a solid 2.9/5 stars. a record that might work for some but ultimately leaves me wanting a bit more authenticity and cohesion.

I’ve never cared for country music, and after listening to Heartbreaker, I still don’t. That’s not to say this is a bad album. It’s just one of those records that exists in a space where I neither love it nor hate it. It’s fine, it’s competent, but it doesn’t do anything special for me. Some moments are nice, but as a whole, it’s a whatever kind of album. Ryan Adams clearly has talent. His songwriting is heartfelt, and there are a handful of tracks here that capture a real rawness and emotional weight. The opening track, (Argument with David Rawlings Concerning Morrissey), is a quirky and oddly amusing way to start the album, and it sets up a laid-back, unpolished vibe. To Be Young (Is to Be Sad, Is to Be High) brings a bit of energy into the mix, with its ragged, bluesy country feel, and I can appreciate its loose, almost reckless delivery. The production is warm and organic, which works well for this style of music. You can tell it was crafted with care, and there’s a certain charm to the way it’s recorded. Nothing feels overly polished or forced. Some of the more stripped-down moments, like Come Pick Me Up, stand out as genuinely well-executed tracks with strong melodies and an intimate feel. That being said, I can’t pretend this album moved me in any significant way. The biggest issue for me is that, despite its well-crafted nature, it still leans into that classic country/alt-country sound that just doesn’t click with me. I can recognize its qualities, but I’m not invested in them. A lot of the tracks feel like they blend into each other, with a lack of real variation to keep things engaging. Adams' vocals are fine but don’t particularly stand out. they serve the songs well enough, but they don’t grab me or make me feel anything beyond a passive appreciation. There are moments where the album feels a bit too self-indulgent, dwelling in its own sadness without really bringing anything new to the table. I get why Heartbreaker has its fans. If you’re into this style of singer-songwriter country-tinged music, I imagine it’s probably quite an experience. But for me? It’s just... fine. It didn’t annoy me, but it didn’t excite me either. It’s the kind of album that plays in the background while I’m doing something else, and I wouldn’t rush to turn it off, but I also wouldn’t seek it out. Solid musicianship, solid songwriting but ultimately, it’s not for me. A respectable 3.3/5, but I’ll stick to music that actually makes me feel something.

System of a Down’s debut album is an absolute riot from start to finish. It’s chaotic, political, weird as hell, and a whole lot of fun to listen to. Even after all these years, I can’t deny how interesting it is. Especially for the time it came out. The way it balances raw aggression with bizarre, theatrical vocal deliveries and darkly humorous lyricism makes it stand out from a lot of the heavy music that was around in the late ‘90s. That said, as much as I love this album, I can’t pretend it hasn’t aged. Some of the production choices and overall sound feel very much locked in the era they came from. The lyrics are brilliant. SOAD have never been afraid to tackle heavy subjects, and this album is no exception. War, government corruption, drug abuse, media manipulation, it’s all here and it’s delivered with a mix of anger, sarcasm, and absurdity that keeps things engaging. War? and P.L.U.C.K. hit hard with their politically charged themes, while Sugar and Spiders show a more surreal and eerie side to their songwriting. The vocals are a major highlight for me. Serj Tankian’s delivery is genuinely one of the most unique things about this album. He shifts from manic screams to eerie whispers to theatrical spoken word in seconds, and it keeps you on edge the entire time. It’s unpredictable in the best way possible. Instrumentally, this band is tight. Daron Malakian’s guitar work is punchy and unpredictable, constantly switching between heavy, thrashy riffs and almost Eastern-inspired melodies. His backing vocals add another layer of unhinged energy to the mix. Shavo Odadjian’s bass work doesn’t get as much credit as it should. He lays down some seriously groovy foundations that give these songs their signature bounce. And then there’s John Dolmayan on drums, who is just ridiculously tight, fast, and dynamic. His playing makes even the strangest time signatures feel natural. Production-wise, the mix is solid, especially for a debut. The rawness of the sound actually helps rather than hinders it gives the whole album this frantic, barely-contained energy that matches the band’s style perfectly. While I really enjoy System of a Down, I can’t ignore that some parts of the album do sound a bit dated. It has that early 00s nu-metal sound that hasn’t aged as gracefully as some other albums. The production is still solid, but certain moments and the overall tone do feel a little stuck in time. That said, it doesn’t ruin the listening experience, but it’s something to acknowledge if you’re new to this era of music. There are a few tracks that, while fun, might feel a little repetitive or even a bit over the top at times. Some of the transitions between tracks don’t always feel as smooth as they could, and in some spots, the experimental nature of the album can feel a little uneven. It’s almost as though the band was trying to cram too much in at times, and it can throw off the overall flow. Despite some dated production choices, System of a Down is still a killer debut. The energy, the raw aggression, the thought-provoking lyrics, and the sheer weirdness of it all make it such a fun and unique listening experience. The vocals are a huge highlight, the riffs are memorable, and the way the band locks in together is something special. It might not be their best album, but it’s one hell of an introduction to a band that would go on to completely change the landscape of heavy music. 4.4/5.

while it’s not without its flaws, there’s plenty to admire. This live album captures the raw energy of Johnny Cash like few records can, and I can’t help but get drawn in by the sheer magnetism of his voice. It’s deep, soulful, and, frankly, incredibly sexy. First off, Cash’s vocals are absolutely phenomenal. His voice carries a gravitas and warmth that feels both intimate and larger than life. There’s something undeniably alluring about the way he delivers every line; it’s as if his voice tells stories on its own, resonating with a gritty authenticity that’s hard to come by. The live atmosphere at Folsom Prison lends an extra edge to the performance, capturing that raw, rebellious spirit that defined Cash’s career. The instrumentation throughout the album complements his vocals beautifully. The acoustic guitar, the steady, unyielding percussion, and even the subtle bass lines all work together to create an atmosphere that’s both minimalistic and deeply powerful. The mix is commendable too despite being a live recording. it manages to keep every element distinct, letting you feel the weight of each note and drumbeat. There’s a real sense of place here; you can almost hear the echoes of the prison walls and feel the tension and energy of the crowd. That said, there are a few negatives that prevent this album from being a flawless masterpiece in my eyes. The rawness that makes Cash’s performance so compelling also means that the production isn’t as polished as some might prefer. At times, the audio quality can feel a bit rough around the edges. Typical of live recordings from that era. Which might not sit well with everyone. Additionally, while many tracks deliver powerful performances, a few of them come off as a bit repetitive or overly drawn out. The overall setlist sometimes lacks variety, which makes the album feel a touch monotonous if you’re not in the mood for that raw, unfiltered live energy. It’s a record that demands you’re in the right headspace to appreciate its rough beauty, and if you’re after something more refined, it might not hit the spot every time. In my perspective, At Folsom Prison is a classic live album that manages to capture the heart and soul of Johnny Cash’s performances. His deep, sexy vocals and the unvarnished sound of the live band create a listening experience that’s both moving and visceral. Despite a few production quirks and moments that feel a tad repetitive, the album’s raw authenticity and enduring charm make it a standout record. It might not be perfect, but it’s a vital piece of music history that continues to resonate with me. For all these reasons, I’m giving it a solid 3.6/5 stars.

I’ve never cared for AC/DC, and honestly, I still don’t. They write infectious hits, sure, but quite frankly, they’ve always struck me as a very boring band. Highway to Hell is often hailed as one of their best, a rock ‘n’ roll staple that helped define the genre, but to me, it’s a pretty bland and uninspiring listen. Let’s start with the positives. The title track is undeniably a banger. Straightforward, punchy, and designed to get stuck in your head whether you like it or not. The production is clean, the riffs are tight, and Bon Scott’s vocals have that raw, rebellious edge that fits the music perfectly. Tracks like Shot Down in Flames and If You Want Blood (You’ve Got It) carry a fun, devil-may-care energy that makes them easy to throw on in the background. I can see why people love it. It’s built for stadiums, built for blasting at full volume, and built to be simple, effective rock music. But that’s just it. It’s too simple. Once you’ve heard one song, you’ve pretty much heard them all. The formula doesn’t change: big riff, basic drum beat, Scott’s raspy voice delivering lyrics about women, drinking, and rock ‘n’ roll. Rinse and repeat. There’s no real dynamism, no depth, nothing that really grabs me beyond the initial “Oh yeah, that riff’s kinda cool” reaction. By the time Love Hungry Man and Night Prowler roll around, I’m honestly just waiting for it to be over. I get the appeal. If you love straight-up, no-frills rock, this is a classic. But for me, Highway to Hell is just another AC/DC album: functional, predictable, and ultimately forgettable. 3/5.

I’ll be honest I struggled with this one. Jack Takes the Floor is one of those albums that feels like it drags on forever, even though it’s not even that long. I get that Ramblin’ Jack Elliott is a respected figure in folk music, and I understand his influence, but this album? This was painfully boring. By the halfway mark, I was already clock-watching, and by the end, I felt like I’d endured some sort of test of patience. To be fair, Elliott’s guitar playing is solid. It’s got that raw, stripped-back folk charm, and there are moments where you can hear the influence he had on artists like Bob Dylan (not that I care for Dylan either). The simplicity of his performance is just a man and his guitar. Does have a certain appeal, if that’s what you’re into. I can respect that this is folk music in its purest form, and there’s an authenticity to the way he delivers these songs. There are a couple of tracks where you can hear a bit of liveliness in his performance, and when the pacing picks up a little, it’s almost engaging. But those moments are few and far between. The biggest issue? It’s just so dull. There’s no variation, no dynamic shift, nothing that grabs your attention. It’s the same repetitive folk structures over and over again, and it wears thin fast. Elliott’s voice doesn’t do the album any favours either. It’s got that old-school cowboy folk twang, which I know some people love, but personally, I found it grating. After a few songs, it just started to sound like background noise, and by the end, I was completely checked out. Another thing that got on my nerves was the storytelling. Folk music thrives on great storytelling, but here, it just feels like he’s rambling (pun intended) with no real emotional weight behind it. It’s almost as if he’s just going through the motions rather than actually feeling the songs. There’s no fire, no passion, just flat, lifeless delivery that made it even harder to stay engaged. Look, I get that this album is important to folk history, and I respect its place in music. But as a listening experience, Jack Takes the Floor was nothing but a slog. It got annoying fast, it felt incredibly repetitive, and I honestly couldn’t wait for it to be over. If you’re a hardcore folk fan, maybe there’s something here for you, but for me? Absolutely not. 2.1/5 stars. Never again.

Back At The Chicken Shack is just one of those albums that oozes cool from the very first note. Jimmy Smith is an absolute magician on the organ, and this record is a proper showcase of that talent. It’s smooth, it’s slick, and it’s got such a natural groove to it that you can’t help but vibe along, whether you’re paying full attention or just letting it sit in the background. First off, the playing here is just ridiculous. Jimmy Smith makes that Hammond B3 sound like butter melting on warm toast — smooth, rich, and satisfying. Every track feels alive without ever getting overwhelming. The interplay between Smith, Kenny Burrell on guitar, Donald Bailey on drums, and Stanley Turrentine on tenor sax is absolute class. The sax on this album? Lush as fuck. Stanley Turrentine knows exactly when to come in and how to let the notes breathe. And that guitar work from Kenny Burrell is subtle but effective, never showy, just perfectly placed little licks and chords that add to the vibe. The production is top-notch for its time too. clean, warm, and inviting. There’s a lovely organic feel to the whole thing. You can hear every note, but it’s never sterile. It feels like you’re in the room with them, sat back with a drink in hand, just letting the music wash over you. Honestly, there’s not much I can complain about here. If I had to nitpick, some tracks do start to blend together if you’re not fully tuned in but that’s jazz for you sometimes. And if you’re after something loud and wild, this ain’t it. This is laid-back, groove-heavy stuff. Also, if you’re not in the mood for jazz, I can see it coming off a bit “samey.” But that’s more about the mood you’re in rather than the album itself. I’ve gotta say jazz is just some of the fucking best background music you can put on. This album especially is perfect for that. You can be cooking, having mates round, reading, or just chilling out, and it sets the tone without ever demanding too much from you. It’s smooth, stylish, and just lifts the atmosphere. But what makes this album even better is that if you do decide to stop and really listen, there’s so much going on. It’s that perfect balance. Music that’s there for you when you need it, but not intrusive when you don’t. Back At The Chicken Shack is just class from start to finish. The organ playing is sensational, the sax and guitar work are bang on, and the whole album has a warm, inviting groove that’s hard not to love. It’s one of those albums that you can throw on at any time, and it’ll just make life feel a little bit smoother. Not quite perfect only because it can feel a bit repetitive if you’re not in the right headspace but bloody close. 4.5/5 stars

this one caught me off guard in the best possible way. The United States Of America is one of those albums where you sit there thinking, How the hell did this even come out in the '60s? It’s mad experimental, totally off its nut in places, but somehow everything comes together into this weirdly beautiful, psychedelic masterpiece. the creativity on this record is unreal. It’s absolutely loaded with experimental sounds, tape effects, weird synth textures, distorted electronics but it never feels like they’re throwing stuff in just for the sake of it. Every strange bleep and bloop has its place. It’s clever without being pretentious, and I love that. The vocals from Dorothy Moskowitz are lush, delicate but confident, dreamy but sharp. She really pulls you into that psychedelic haze and somehow makes all the weirdness feel approachable. The lyrics are poetic and trippy but not nonsensical, if that makes sense. They paint these surreal pictures that just fit with the soundscape perfectly. The instrumentation is also bang on. There’s no guitar, which is mental for a '60s psychedelic album, but they make up for it with all kinds of keyboards, electronics, and percussion. The bass work is dead clever too. It holds everything together amidst the chaos. The orchestral flourishes and jazz-inspired moments are lush and unexpected, adding so much colour to the whole thing. Production-wise, it’s proper forward-thinking. Everything feels layered and immersive. Even now, it sounds fresh, like something that could’ve dropped this year from some niche indie label. They were so ahead of their time. The only real downside is that some of the tracks get a little too experimental for their own good. There are moments where it teeters on becoming noise for the sake of noise, and if you’re not in the right mood, it can be a bit much. Also, because it’s so experimental, it’s not exactly something you can whack on at any moment, you need to want to listen and immerse yourself in it. But honestly, those are small complaints. I bloody love how ambitious this album is. It’s bold, weird, and wonderfully creative without losing focus. It’s genuinely impressive how they’ve crafted something so strange and made it so listenable. The textures, the experimentation, the lush vocals, the fearless production. it’s all top-notch. This album feels like discovering a secret little treasure chest. Every time I go back to it, I find something new. It’s playful, it’s inventive, and it’s one of those albums that reminds me why I love diving into music in the first place. 4.8/5 stars. Almost flawless, bold as hell, and completely unique. A proper psychedelic gem that still holds up decades later.

21 by Adele is one of those albums that really sticks with you. For me, it’s a record that encapsulates raw emotion and stellar songwriting, all wrapped up in a sound that’s as timeless as it gets. While there are a few minor niggles, overall it’s an absolute stunner. The production on 21 is top-notch. Every track is polished and lush, yet it manages to maintain that raw, emotional edge that makes it so relatable. Songs like “Rolling in the Deep” and “Someone Like You” are crafted with impeccable detail—the layers of instrumentation, from the driving percussion to the haunting piano, work in perfect harmony to create a soundscape that’s both powerful and intimate. The songwriting is another huge plus. Adele’s lyrics capture the rollercoaster of love and loss in a way that feels deeply personal and universal at the same time. Every track is like a diary entry set to music, and you can’t help but be drawn in by the raw honesty behind each word. I’ve got to say, Adele’s vocals on 21 are nothing short of phenomenal. In my perspective, she has one of the greatest voices of all time, and she should always be in that conversation of who is the best. Her voice is rich, warm, and laden with emotion—it’s like every note carries the weight of her experiences. The control she exhibits, especially on those soul-stirring ballads, is mind-blowing. The way she effortlessly transitions between powerful belting and soft, tender crooning is a masterclass in vocal dynamics. Every vibrato, every subtle nuance is delivered with such precision that you can’t help but be drawn into the narrative of the song. That said, no album is without its flaws. For me, a few moments on 21 could do with a tad more variety in the arrangements. Some of the tracks follow a similar pattern, which can feel a bit repetitive if you’re not fully engaged in the mood. Additionally, while the production is lush overall, there are instances where it borders on being over-polished, slightly masking the raw, gritty emotion that the lyrics demand. Still, these are minor negatives in an otherwise phenomenal record. Overall, 21 by Adele is a stunning piece of work that blends impeccable production, compelling songwriting, and one of the most incredible vocal performances ever recorded. It’s an album that speaks to the heart, and for me, it’s a near-perfect slice of musical genius. A solid 4.7/5 stars

I remember the first time I properly sat down and listened to Pet Sounds. My mum introduced me to this album many moons ago, and I’ll always be grateful she did. At the time, I didn’t fully grasp what I was hearing, but the more I returned to it, the more I understood why it’s hailed as one of the most influential records ever made. The production on this album is, quite honestly, immaculate. Every layer is meticulously crafted — you can tell Brian Wilson poured his entire soul into every second. The mixing is nothing short of top tier; each instrument, from the warm bass lines to the shimmering percussion, sits perfectly in the mix without ever feeling crowded. The vocal harmonies are breathtaking, and they seem to float effortlessly above the complex arrangements. Songs like God Only Knows and Wouldn’t It Be Nice still sound fresh, delicate, and powerful all at once, and it’s incredible to think this was recorded in the mid-'60s. It pushed boundaries in ways most people wouldn’t dare to, blending orchestral elements, odd time signatures, and sound experimentation with pop sensibilities — and that influence is still felt today across countless genres. However, if I had to nitpick, there are moments where the pacing dips slightly — a couple of tracks don’t hit quite as hard as the heavy-hitters, and they can feel like filler when compared to the brilliance surrounding them. But even those moments are interesting from a musical standpoint. At its core, Pet Sounds is an album that taught me that music can be art — not just entertainment. I’ve got my mum for showing me how joyful music really can be. This record remains timeless and continues to inspire not only artists but listeners who simply want to feel something genuine. 4.6/5 stars

Public Enemy’s Fear of a Black Planet is undoubtedly a classic, and there's no denying the massive cultural impact it had when it was released in 1990. The album is a revolutionary work in the world of hip-hop, blending hard-hitting political commentary with some of the most innovative production of its time. While I respect the significance of this album, personally, it’s not one I can fully vibe with from start to finish. Let me break it down. First off, the production on this album is absolutely stellar. The beats are thick, textured, and dynamic, with the use of samples and layered sounds giving it a unique atmosphere that was groundbreaking at the time. The beats hit hard, the basslines are heavy, and the way Chuck D’s vocals are woven into the music is just powerful. Tracks like Welcome to the Terrordome and 911 Is a Joke showcase this perfectly, with the production acting as a kind of chaotic backdrop to the powerful messages being conveyed. It’s dense and in-your-face, but also deeply hypnotic once you settle into it. Chuck D’s delivery is commanding and fearless, and he does an incredible job of mixing political, social, and personal themes in his lyrics. The man’s voice alone is like a force of nature, demanding attention. His deep baritone really cuts through and makes you listen. It’s impossible not to respect the clarity of his message and the energy he puts into every line. His partner, Flavor Flav, provides a much-needed contrast with his signature ad-libs, making for an interesting dynamic throughout the album. Now, I have to admit that despite all of this, the album doesn’t completely click for me. While the production is bold and impressive, sometimes it feels like it’s a bit too dense or overwhelming, making it harder to connect with the individual tracks. I love complexity in music, but with this album, the sonic chaos can occasionally feel exhausting rather than exhilarating. A track like Brothers Gonna Work It Out is a prime example of this. While it's got a strong message, the production feels so busy that it detracts from the focus of the song itself. Another downside for me is that while the album’s political and social commentary is incredibly important, it sometimes comes across as a bit heavy-handed. The messages are crystal clear, but the delivery can be somewhat one-dimensional. I appreciate the directness, but there are moments where I would have liked a little more subtlety or nuance in how the points were made. Fear of a Black Planet is a landmark album that deserves respect for its influence on both hip-hop and wider culture, but it’s not one I find myself reaching for constantly. The production is dense, the lyrics are powerful, and Chuck D’s voice is as commanding as ever. It’s an album that demands to be listened to, and while I admire its ambition and significance, it’s not something I’ll revisit as often as other albums in the genre. It’s definitely worth the listen, especially if you're into politically charged music or just want to hear a classic from hip-hop's golden era. I give it a solid 3.9/5 stars. It’s impactful, but it’s just not entirely my vibe.

For me Destroy Rock & Roll by Mylo lands bang in the middle. It’s an album that neither blows me away nor leaves me fuming. it’s just there, a middle-of-the-road kind of record. There are definite moments on this record that catch your ear. Mylo's production is crisp, and the electronic beats are punchy and inventive. Some tracks have this infectious energy that makes you want to nod along, and the overall sound is polished with a catchy vibe that fits neatly into the early 2000s electro scene. The album’s experimental edge shows a willingness to mix genres, and there are flashes of brilliance where the synth work and samples come together nicely. On the flip side, a lot of the album feels a bit generic and doesn't really push any boundaries. While the production is solid, it sometimes lacks that extra spark or distinct personality that would make it truly memorable. The hooks are serviceable but not outstanding, and by the end, you’re left feeling that it’s more of a background record than something you’d actively seek out. The overall vibe is pleasant enough, but it doesn’t leave a lasting impression. To be completely honest, there’s really nothing to love about Destroy Rock & Roll, but there’s also nothing to hate. It’s not the kind of album that will get you fired up, nor is it one that will make you want to hit the skip button immediately. I wouldn’t rush to turn it off, but I also wouldn’t go out of my way to put it on. It just sits in that comfortable middle ground. A decent listen if you're in the mood for something unobtrusive, but nothing that truly stands out in a crowded musical landscape. In my perspective, Destroy Rock & Roll by Mylo is a decent record that does its job. It’s well-produced and catchy enough to fill in the gaps, but it ultimately lacks the oomph to make it a standout album in my collection. For me, it scores a straightforward 3/5 stars. Perfectly average and perfectly unremarkable.