The introduction track from this album is sort of a funny footnote in the history of the music industry. I can imagine it being commonplace to have a message for fans right there in the vinyl, but looking back at such a track with a 2025 mindset it is something more expected for a social media outlet. That said, it flows beautifully into the first track and the album was great all around. The more bluesy western country is almost nostalgic for a time I didn't experience, but the themes of desire, sins, heartbreak, and substance abuse are as current as anything today.

One of those albums where I didn't know what to expect when starting but within moments exclaimed, "oh it's *this* song" from the title track. All blues progressions, lots of quality tracks I think a beginner could play along with but would take additional effort to master. The final song of Comin' Home Baby is surprising with how different it is while still belonging on the album. It is more open and allows itself to meander away from the standard I VI, I V VI I chord progression, ending with a fade out that leaves it almost unresolved. Overall, good album

Pretty good album, it took several songs to get used to it but overall a memorable prog rock entry I hadn't listened to before. Notable tracks that stood out to me were Asylum for the stage show feeling presentation, Rudy had elements that felt ahead of its time, and the title track felt like something I should hear on the radio more but don't. I enjoyed it, but I don't know if it will be in my constant rotation.

An unavoidable classic for someone who grew up in the 2000s. It is surprising how many double tracks there are in the album, I am curious to figure out why they felt having 9 songs on the track list with 4 being 2 songs in 1 was important for the discography. Ultimately great pop punk

Solid album. Listening with headphones was a little harder because of the panning of instruments to a single ear (drums exclusively on the right, guitar exclusively on the left, etc.) but on speakers it won't be an issue. It is a good recording detail to seat you in the middle of the whole group, but it is jarring for the whole album to be set that way. Song standout for me was Runaway Child, Running Wild. A nine minute and thirty seven second track, pretty long in an era of singles and hit chases, while being a striking warning to not take what you have for granted by illustrating runaway regret. The usage of wailing was chilling and impactful, it'll leave a stronger impression than the majority of love songs on the album.

A very smooth, easy going sound throughout

My schedule didn't let me listen to this as much as I should have, but I appreciated the raw emotions throughout. It is on my list for a re-listen to better immerse myself

It took me a full listen to understand the tone the group wanted. I kept expecting something closer to a Radiohead/Deftones, but the mood stayed pretty consistent throughout. I didn't connect with it too much, but it wasn't bad in the background

Good Album. I have heard the singles before but I hadn't listened to tracks like Scentless Apprentice before. It was supposedly the only song not written by Cobain, so all the decisions like a chromatic crawl upwards during the verses was really surprising. I'll certainly revisit it at a later day

Not bad, but not really to my taste. I didn't realize I initially was listening to the double album of both English and French versions, but the French version was my preference. I think it is the same effect as watching a sub vs dub, where when you aren't picking up small surprising bits of audio you didn't expect, you will smooth over any imperfections because you don't notice them. A solid background album for the right audience.

Really cool album, though it was hard to find a full listing through official videos. It blended a lot of samples into the house genre in a way that was likely novel for its 1989 release, where it doesn't feel as standard as most house music I have listened to. Loads of fun

I only listened through once, I usually have the time for multiple listens for a better opinion. However I did enjoy everything I heard, so I appreciate this album a lot

Pretty good, not a huge favorite but still an easy listen

I have heard some of the hits before, but in general I thought the album was more of the same? I must not be a huge Rolling Stones fan or I misunderstand their hype, because it wasn't bad, but not exceptional to me

Pretty good, I enjoyed listening to pretty much the whole album. Longer songs are always a fun journey, but it's interesting that all the other tracks don't exceed 5 minutes when the title track is over 18. The contrast in neat but did blur the others together because they didn't stand out as much separately.

I recognized a couple of tracks off the rip, but most weren't singles I had heard before. It had that expected Elvis sound throughout, which isn't too surprising when it was this 9th studio album. If anything, I was most shocked by the mix balance, where I assumed Elvis would always feel front and center, but he generally was woven into the sound at the same level. For example, while in my car it was a struggle to hear him over the sound of the drums on several tracks or he would blend into the chorus behind him on others, which for a single artist's work, is a little strange.

Oh baby, it's Anthrax time. I haven't listened to this whole album before, but I am quite familiar with the group as a whole. As a teen, I wouldn't have considered Anthrax to be heavy metal based on the vocalist's delivery, but with time and a greater context of the album as a whole I can't think of it as anything else. Caught In A Mosh is the main single that people would recognize, but I recommend Imitation Of Life as a personal favorite. Something about the tone that accuses the listener of not thinking for themselves was more pointed than the usual recommendations of freewill you usually hear

The introduction track from this album is sort of a funny footnote in the history of the music industry. I can imagine it being commonplace to have a message for fans right there in the vinyl, but looking back at such a track with a 2025 mindset it is something more expected for a social media outlet. That said, it flows beautifully into the first track and the album was great all around. The more bluesy western country is almost nostalgic for a time I didn't experience, but the themes of desire, sins, heartbreak, and substance abuse are as current as anything today.

I am conflicted on the album, which is probably a good thing. Musically it is cohesive and flowing, with a variety of beats and soundscapes to give each track their time to shine. One listen gave a general chill feeling to the whole work, if a little repetitive in the backing tracks. Listening in, I just don't connect with the lyrics on a personal level. I am fully expected to not get certain references and generally being dissociated from a black city gang experience, but there's a layer of overly manly professing that I don't gel with. I am sympathetic to loss from gang violence, the ideas of living your best life, the lessons to fight for yourself and supporting your social network. I think the rub was the idolization of climbing the ladder within a gang. Rationalizing crime as a need vs as a desire is an uncomfortable, and hey, that might be the intention all along in which case, they succeeded at all levels.

I had saved a detailed review before but I just lost it as I refreshed on my way for work, so here it is condensed. Great album, the guitar is the major standout with more expression than I have noted in the past. With no expectations, the technical skill was impressive but muddied with passion which I now view as a bigger boon than I would have just a few years ago. Two instrumentals on a debut album is bold, a cover of Greensleeves is even bolder, and for that bravery I have to give the utmost respect

Overall, good album. I started it thinking I was going to hear hit after hit, because the first 3 songs were all nearly instantly recognized. It did tail off a bit after that, but I enjoyed all the songs I heard. The most interesting track for me was Alone + Easy Target, simply because that *felt* like a Nirvana song minus Kurt. From the singing style to the instrumentation, it had all the hallmarks of being a Nirvana song that might have been left on the cutting room floor before Kurt's untimely passing.

I am surprised how much I like this. Searching for the artist and seeing "Canadian Pop and Country" was worrying as someone who doesn't like a lot of the popular country I hear in passing. But this album was very smooth and a solid work, with rhythms I am unaccustomed to hearing in a country setting (but perhaps I neglected the pop pillar too much). All in all, good album

I have done this listen through before, so I doubt I'll have a lot of surprises. That said, it's a good album. I paid the most attention to the non-singles of the album, especially the interstitial tracks that are admittedly quite strange. Songs like The Show Must Go On, Stop, and Goodbye Cruel World are all cool in the tone setting for the rest of the albums bigger hits. There are the most obvious repeat songs with Another Brick in the Wall (Parts 1, 2, and 3), but the repeat of In The Flesh? and In the Flesh, one for our first introduction of the character and the second being the drugged up performance of the show going on is a great contrast. The statement of the second, when it is sort of the "true face" saying what comes to mind with no filter and full of prejudice, makes for a fun contrast to the start where he jeers that you aren't seeing the full picture. Lots of fun, I wonder if in another world, the Trial hits the same operatic popularity that Bohemian Rhapsody did. Probably not, the works while similar have different scopes and production behind them and the Trial is much more off putting to the average listener

A surprise new favorite, it was a great jam. I had never heard of them before but it all grooved and sounded awesome

A fine album, but it didn't wow me in any particular instance. Everything felt like an 80's brit rock group and I think that was a the sound through and through. I don't dislike it, but it did not feel seminal to me.

A bizarre album only in the vocal line. The instruments other than the voice felt classic 80s/90s soft rock which worked extremely well in highlighting just how depraved the lyrics came off during certain songs. The highlight was Common People for me where they really go on a winding story of showcasing the different mindsets of (as the title says) classes of rich vs poor. Bringing a woman in to deal with rats, see a supermarket, or find a "normal" lover, showed how even if she saw it firsthand the impact of those living situations is fundamentally different when you have a rich father lifeline to just pull yourself out at any time. I really appreciated that song and what it brought to the table, but a lot of the album came off as quite creepy. Many songs feel drenched in angst and from a controlling personality both lyrically and in the delivery, which against the softer rock backing gives off all the more of an uncomfortable vibe. So good album, but I wouldn't recommend it to many people

Good live album, but I am glad that I have listened to most of the Thin Lizzy hits before. Like a lot of concerts, I enjoy knowing what the song sounded like in the studio and contrasting it with their live abilities. The energy was high, the audience interaction was fun, and the extended sections were great. I want to give the studio version of Sha-la-la a listen because of how slowed down and open that song was live, one of the few I hadn't heard before

I started to listen to the album just hearing the R.E.M. sound, not really thinking about the lyrics at all, but the second song "Welcome to the Occupation" made me rethink my approach to the record as a whole. I hit restart and opened up the lyrics to try and read in a bit more, and was met with a general cry against the American government machine. I don't know why I didn't initially catch that "It's the end of the world as we know it" came from this album, but it was an instant recognition, as well as "the One I Love". Fireplace was cool with the saxophone addition, but I think I need a second listen to the album as a whole with more time.

Good album, quite a few recognizable hits. It was funny to realize that a lot of the songs are simply not named what I would have expected. The lead track, "Baba O'Riley" is a great example, I have gone my whole life thinking it was called teenage wasteland. "Behind Blue Eyes" I would have anticipated being "No One Knows What It's Like" based on the refrain, but the music itself is all well done. There wasn't a surprising track on the list, so it is thoroughly classic The Who

A decent album, I wish I had more time to listen to it but life got in the way. The songs certainly groove well, but I couldn't listen in to the lyrics the way I would want for a hip hop or rap album

It's a fine album, but I wasn't blown away by anything in particular.

Good album, I should listen to it again but I'm on vacation and behind in my list. Solid funk feel though

I think without reading in about the album itself it's about a 4/5. The controversy of being a medley of covers mixed with some other songs does bring my opinion down a little bit on it, but I wouldn't have heard them without the recommendation. With that in mind, I'll still give a 4/5 even if it is over the top at times

A solid album, though only the singles really stood out. I could be wrong, but I don't remember there being too much variation in the catalog

Really great, I have heard a lot of this before but not as the full album. Between all the production and the skill behind it, there's no doubt that it would be a classic album for Queen

Seeing the date of 2004, I was utterly confused why it felt so much like the Beach Boys until I really thought about Brian Wilson's name. That aside, the album did feel a little scattered not in the way I really enjoy. It's interesting that this second part to Pet Sounds never made it in the 60s production and that it was so publicly troubled and controversial. That all aside, I just didn't love it that much, it's an ok album

It was fine, but I listened with it in the background and nothing really stood out to me. I could give another listen later, but there's little to draw me back in

I am mixed on what it objectively a good album. Amazing vibrato control, very personal and progressive themes, and well executed. But for my personal taste, there's a bit *too* much vibrato, to the point of feeling that most of the album feels unsettled. Which again, fits to the theme, but it's not the top tier type of album I'll want to return for again and again

A very strange album, and one I probably like more on a second true listen, but it was instructive as to what I personally like in my songs. Pure non-melodic expressive vocals can be a nice listen, but when they feel off time I can't say I'm a huge fan. Ghosts of Perdition has non-melodic vocals I love, and the Idles have lyrics that can be out of sync with the rest of the group that I enjoy, but not here. The drums are so free form and the guitar is practically riff-less, so I just couldn't groove into the songs as well as I wanted. It's very open and chaotic, but I'm still at a point where one of these would be fine, all of them is too much.

A good album, but I could really hear the production quality leaking through to be less enjoyable. There were some pretty solid songs on there, but I didn't find it hitting song after song

A solid album, soft and gentle in a lot of its sound. Not really my favorite sort, but nothing wrong with it as a work.

Good album, I already like grunge so it hit well with me. It has the edgier sound of a group that screams garage band over something highly produced. The Rose was a good pace break and a solid song all on its own as a standout.

Good album, a mix of country with some more funk honestly. Water with the Wine took me by surprise because not paying close attention I thought it might have been a cry for help in an unwanted close relationship. It read more of a bad one night stand from the alcohol versus some sort of full on predation, but it does shine a light on the line and how easily it can be crossed

I think I have heard parts of this before, but I didn't enjoy it as much as I hoped. A solid album, but not a favorite, I wish I had a better critique but I don't have the time

Good album, though not my favorite. The songs are all pretty solid and his talent was on full display, just not really my mood most of the time

Really cool double album. I thought a lot about how this JHE album was the last they recorded, how it was Jimi's first album of entire production credits, and how experimental it still was even for today. 15 minute jams, songs that have no DNA for a radio audience like And the Gods Made Love, and true classics like the Watchtower cover. I really sunk into the feel of Jimi's expression on guitar, where it all feels improvised while being still expertly delivered, and I had to wonder how much was truly written out ahead of time versus what was felt in the moment. Most metal I listen to is all pre-planned, written ahead of time and executed to the T, but so much of this album felt from the heart more than the mind. I'll look into it again for production information, but it was a great time listening through even if it took me a bit longer to get through

Solid album, but I am surprised just how short it was at 33 minutes. It has at least 3 big Van Halen hits, so it had a lot of good songs, but it struck me just how lusty all their songs are. That may have been just the times, just them, just the scene, but it was really noticeable how sexual nearly every song intends to be. Random side thought, they named the album 1984, but it doesn't feel like it ties to the other well known 1984 property despite having an intro with the same name. Seems strange, but I just doubt they were looking that deep.

Solid album, full of different sounds while all feeling fairly connected to each other. It had the weirdness that I appreciate, but I didn't love it as much as some others I have heard. A fun 60s trippy sound to remember though

Good album, it reached a lot of different genres and tones throughout the album. While grounded in a jazzy swing, it has ballad tracks, almost hip hop like delivery in A Gospel, and full instrumentals. I respect it a lot even if some of the sound is a little 80s dated, glad to have been recommended it because I wouldn't have ever found it otherwise

Man, I thought I was getting a cool album with the first track being dedicated to off the wall filler, but I was in for a surprise. It was so slow and moody/open that I never connected with the music. Ryan is a skilled singer, I can't deny that, but it was so far out of my preference I wanted to turn it off. First time this whole listen through I have wanted to drop the album before completing it, I don't want to go back.

Decent album, I only remember listening to Sultan's of Swing prior to the whole album. Pretty consistent, solid songs that feel much more recent than 1978.

This is a difficult album to literally find, a lot of the youtube versions are hit with copyright strikes and therefore muted. From what I could hear though, it is pretty solid driving electric music. It's funny how the percussion was going like a mile a minute during most of the songs, but the pace of the melodies were all very slow. It is both sort of soothing and exciting at the same time, depending on the mood you want to be in

Alright album. I didn't realize this was the same group that did "Come on Eileen" which wasn't featured here, but I hear it now. I think the album tried pretty hard to be bold, so I give it credit for being just that. The 12 minute "This is what she's like" really exemplifies that, and apparently got a 3 minute radio edit months after a poor record sale. But how did it sound? Generally pleasing, just a little too in the background at times. I thought about how the instrumentation is presented most of the time, and there is clearly a huge vocal focus (as with most songs), but it felt even more pronounced. The drums weren't overdone but tried to keep it interesting, and there's a large blend of non-rock instruments to be fresh from most radio hits.

So I don't love Kid A, but I like the album. I know of so many people who gush about it, how it was a masterful pivot from expectations and executed it fantastically. But I just don't vibe with it as much as I would like and I don't understand the intricacies in the theory that elevate it for others. I still like it, but I just don't love to listen to it

I couldn't find a full version of this record to listen to, so N/A

Great deep album. I think I could listen to it another 10, 20, 50 times and pick up on something new each time. Stylistic choices aside, there's a lot of well thought out word smithing about a broad range of topics from calling out hypocriticism to political injustice to black unity. It's easy to see why it is well respected as one of his best albums. On the music itself, it varies from sort of standard jazzy beats to straight spoken word depending on the desired impact and level of attention he wanted to demand

A pretty solid album. Ironically I didn't recognize almost any of the songs despite knowing Ozzy's discography and at least the hits of Black Sabbath themselves. There is a pretty big mix between songs I would expect like Cornucopia and songs that were a completely different style like Changes. There is almost more of a theatrically flair to the album than something heavier than their debut, it's a funny blend

Pretty consistent and good album. Mr. Brightside is obviously the big hit, but I was surprised how many felt like songs I've heard around a lot. From my perspective, I haven't really listened to much of the Killers, but either their sound permeates well or I just haven't been paying as much attention

It was an okay album, my highest praise goes to the variety of backing sound scapes behind Beth's vocals. However her vocal style became a little stale after a number of songs in a row, there wasn't a whole lot of variation between them