Once you listen to the lyrics it's hard to get past the misogyny. It's a theme. It hasn't aged well (also wasn't cool at the time). Admittedly though, I enjoyed it for a bit. The first half of the album is definitely better than the second; there's only so much greasy hip thrusting and fist pumping that one can do. "Back in Black" s an anthem, worthy of album title status. I like a good guitar solo, and this has plenty. "Let Me Put My Love Into You" brings the misogyny to the sexual assault arena, then it's not so low-key and I found it hard to enjoy. I'm marking down for misogyny and sameyness.

Patterns is a bop. Music you listen to on a journey and feels like you have a sack slung over your shoulder off on an adventure. Had me in the first half of big bright green pleasure machine but then it started to annoy me and I had to skip. 59th street brought me back with the soft guitar sounds and whispery vocals with the upbeat tone. Liked the vocals in for emily, almost sounded like Bowie at points. Good album, would listen again and have put a couple of songs on my "sunday" Spotify playlist.

Chameleon goes on far too long, and should have started from the second half. Watermelon man does better both in sound and length. The following tracks are less inspirational, but a welcome change in tone and tempo. Overall, I regret to say, that although I once enjoyed the first two tracks, I now find myself feeling like I was "on hold" for the council, and was increasingly aware of how long they'd had me on hold, wondering whether I should put myself out of misery and call back tomorrow. Maybe more indicative of my grown impatience than anything else.

I liked this more than I thought I would. I liked the scratchy guitar and heavy hip hop beats in "Brothers Gonna Work It Out". "911 Is A Joke" is unsurprisingly a hit, the juxtaposition of the funky beat with an essay on police brutality and negligence makes it feel like it's a joke that's been told too many times. I could "get down" to "Power to the People", the fast-and-loose trumpet(?) is fun. The line "Don't diss your sisters" from "Revolutionary Generation" should be graffitied in every bathroom stall - and I endeavour to do so. It's absolutely a necessary album, it's messaging is still relevant today, and no song feels singular (which you don't get much of these days). You move from one song to the next without noticing, but each song is still unique. Am I a hip-hop die-hard? No. Will I be listening every ride to work? No. But, I appreciate it's significance, respect it's production, enjoyed some of the tracks, and I've added some to my hip-hop/rap playlist.

This album went over my head. The "Stars (Are Out Tonight)" was a bit cheesy, and on relistening the lyrics could have been taken from one of Jed and I's improv'd songs after lots of weed and wine (Fuzzed up T-Rex 4eva). 2010s wasn't our best decade for music, unfortunately this seems to have extended to Bowie. It's trying a bit too hard to be cool, maybe something you'd expect from a comeback album following a 10-year hiatus, or just music from 2013. Guitars lacklustre, bit dull? Seeing others' comments on the subsequent album, "Blackstar", I queued it up. It snuck on mid-listen, and unwittingly I thought "Oh fuck, this is good!". I enjoyed that 30s snippet of a song from Blackstar more than any of the songs on this album. Disappointing but forgiven. Struggling how to rate this one after the past few. Dropping the score a tad as it wasn't particularly memorable for me and didn't earn a spot on any playlist. 2.5/5

Once you listen to the lyrics it's hard to get past the misogyny. It's a theme. It hasn't aged well (also wasn't cool at the time). Admittedly though, I enjoyed it for a bit. The first half of the album is definitely better than the second; there's only so much greasy hip thrusting and fist pumping that one can do. "Back in Black" s an anthem, worthy of album title status. I like a good guitar solo, and this has plenty. "Let Me Put My Love Into You" brings the misogyny to the sexual assault arena, then it's not so low-key and I found it hard to enjoy. I'm marking down for misogyny and sameyness.

"Doo Wop (That Thing)" has been a regular on my listens for a while but I've never listened to the full album so was excited for this one! Definitely more my vibe and can see myself having repeated listens. This album is clearly here for a reason, it's the entry into an obsession with '00s R&B, I'm here for it. "Ex-factor" has a chorus that you'll be singing on a night out with the girls after another bad break-up. I loved Carlos Santana on "To Zion", those soulful sassy guitar melodies with Lauryn's more bassy, husky vocals is fantastic. A highlight for me was "Final Hour", great lyricism with a hypnotic backing track. This one FINALLY gets a 4. Good to have a break from all the white machismo posturing.

So much to offer on this album. Bjork's voice is haunting, emotional, yearning. Creative range of instruments and sounds used. There's the slower, intense songs broken up with the finger clicking, hip-dipping, foot scooting tracks such as "There's More to Life Than This", "Big Time Sensuality". The mystique of "One Day". "Like Someone In Love" is beautiful. Feels like a love song, staring out a window in a monochrome Hollywood movie. Bjork never clicked much for me in the past, then I listened to a cover of "Joga" on Youtube by 50 or so children (her version is also amazing). The writing, vocal placement and creative use of sound in her music is genius.

Appreciated it more on the second listen. Bearing in mind I'm in possession of only half my hearing I thought it was stimulating enough. Favourites for me are "& On...", "Cleva" and "Green Eyes". Amazing voice, fun drums and chilled, jazzy melodies.

Not much to say about this one. Obviously beautiful singing and I enjoyed listening to this whilst cooking for my wife, feeling like a good 1950s housewife. Made me want to put on an apron and bake a pie. Reminded me of Christmas at my Nan's. Cosy, warm, wholesome. It has its place and it's victorious in its own arena. Just didn't do anything groundbreaking for me. 2.5

Wasn't huge on this. "Hour of Gold" and the shepherd one was nice. Never heard of this artist so nice to hear something completely new.

Playing catch-up here so I'll keep it short and sweet. I've listened to this album multiple times now, and every time I've enjoyed it that little bit more. I had an issue with Smith's vocals, they lack a grittiness to it that I think I generally enjoy in male vocals. However, it grew on me and would agree in the right mood you can't help but be right there with him. Vocals aside, musically the rest of every single track is great and I will be revisiting these.

I played this in the lab and it fit right in. Gets the energy pumping, hips shaking. I enjoyed it. I'll probably play a couple of the earlier tracks at social events, or when I need something that gives me the confidence of a rockstar and gets me strutting down the street.

I really liked the opening track "Avalanche", almost immediately. The anticipation of the guitar and Cohen's vocals are great. "Famous Blue Raincoat" was also pleasant. Overall, I enjoyed it but don't think I'll be going back for much more.

Appreciate the artistry. Somewhat disparate from other reviews, I found that each musician was on their on groove but they all met in the middle. It was chaotic and harmonic.

Enjoyed a few songs. Think I preferred the 2nd disc to the first. But ultimately nothing jumped out at me and it didn't leave me completely satisfied.

Earworm after earworm.

It's a good album for me if the lyrics are completely discernible and I still get the jist of it. Vocals are blurry-eyed, ethereal and soulful and the whole album is like a world which you're floating through in kaleidoscope. I've always been a big fan of "Cherry-Coloured Funk" and "Iceblink Luck", and of course the titular track with it's catchy (gibberish) chorus gets the heart pumping with some mysterious hope or determination. But all the others also brought a certain charm that I felt was addictive. I really struggled to rate this one as I absolutely like it and will return to it again. The only negative I have is I suppose it is a bit samey? But, it tracks well as an album and I like that it creates a world for you, rather than a messy mush of disconnected songs. 4.5?

This would be a great soundtrack for an indie film based in South America - looking at you "Queer". Glad to have found something new to listen to. Highlight for me was "A Noite Sem Fim", gave techno-soul-samba vibes. 3.5

Rolling into work on a Thursday is not the way to listen to this album. Also hasn't aged well for a club night. Aptly named homework as sounds like a homework project for a year 9 music student. I could see myself dancing daftly to this, a little ironically; your dad after a few beers and you've taken him to a 90s nostalgia night. Is that the intention? Around the world and Da Funk are okay, but you're bound to switch it off eventually lest you're launched into a dystopian world where everything is infinitely looped.

Biggies delivery is buttery smooth whilst always slightly yelling. The sometimes soulful production I really enjoyed and there are a few gems that I'd pick out and listen to on occasion: "Juicy", "Everyday struggle", "Big poppa" were all highlights. Respect was good but the end was vile. In fact, a lot of it was vile; you don't have to listen too hard for the same misogynistic, vulgar, homophobic, violent message. I'm no prude but at times it was too much for me, it's also cringey as fuck. The skits don't hold up well. It was a letdown in light of all the other positives. But, eh can't have it all.

I like a strong guitar melody and this has it in spades. The guitar and vocals also compliment eachother, like you're listening to Knopfler and his guitar have sex or an argument (though it's definitely more jubilant than it is aggressive or angry)! Sultans of Swing is obviously a banger. "Down to the waterline" was good too. It's got a country-kinda-funk to it which is a fun genre. Ultimately though, I think that's all it has - good chemistry between a guitar and a lead singer. It lacks something for me to go back for more than just a couple songs.

I respect the artistry of this band. Though I'm not sure I fully get what they're trying to do here, and even if I did I still don't enjoy it. I wouldn't say that there's no resemblance to music here, its atmospheric. AC/7A was sort of enjoyable but not enough to bump the score.

Couldn't listen. Felt queasy.

My history with Van Morrison is "Brown Eyed Girl" so this album added a creative dimension to Van that I didn't know was there. It feels experimental, for him and of its time. Mixing genres, from the jazzy-bluesy anthem "The Way Young Lovers Do" (which is a bop) to the more folksy sounds of "Sweet Thing", and the toned back "Slim Slow Slider". This is definitely an album that requires a time of day or mood - for me it was at that bluey dusk on the ride home from work (I found it more abrasive in the early morning). My only real problem with it is - I'm not a fan of his voice. I find his vocal progression predictable, a little shouty (but I enjoy the huskiness). So, full marks for the creative genius and instrumental arrangement, fell back on personal preference.

Saw a review saying "music for vegans who vape" - that used to be me. I like "Fight Test" and "Are you a Hypnotist", but it is a bit floppy. It sort of feels like a tribute to "Fireflies" by Owl City. So yes, disappointed. I'm a pescatarian who's quit smoking (and vaping) so I guess it's just not for me anymore.

We don't need noooo education! Too long. Hard to get a sense. Couple songs ok, overall not thrilled and want to hear the next album.

Surprised by how many of this I already knew passively? For me - the album feels like a book of nursery rhymes, sung in primary schools nationwide at assembly time. The album cover is fitting for this. It's warm, wholesome and childlike. I quite liked it. Highlights for me were "Wild World" (an earworm for me that I've found belting randomly without ever knowing who sung it), "Father and Song" (another one) and "Sad Lisa". My rating system feels a bit out of whack as in hindsight I'd drop Monday's a star and this would sit happily at a 3. Enjoyable, some repeat listens, just ok.

I remember grooving to this in my socks, moonwalking across the kitchen floor when I was maybe 8? So for a second I was glowing with childhood nostalgia. Then I remembered who I was listening to... stopped me in my socks. A lot of shamoning, gyrating and "sensual" whispering that has not only lost its charm because it's performed by a child molester, but also it's no aged gracefully. Now... I will admit, I had my toe tapping at times. Dirty Diana is probably the best on there for me. But it's not getting a revisit of my own volition. The King of Pop is a creep, oh how the mighty have fallen.