First impression is that it has a very 'theatrical' production, which isn't my favourite. However, after a few listens I came to appreciate Wainwright's voice, which reminded me of an early Thom Yorke (when he used to sing lower). There were parts of the album which also reminded me of k. d. lang, which I also appreciated. The lyrics are not my favourite - a bit too sentimental for my taste; at times morose without actually being deep. Will probably not be returning to this.

An album with a wide scope of subjects ranging everywhere from the carefully considered political and personal, to the crassly sexual. The production is consistent throughout and the songs co-exist despite their different moods. The singles are the obvious stand-outs, though I hadn't really appreciated how good B.O.B. was until giving this a re-listen.

Upon first listen, I found the album pleasant, but musically repetitive. The constant guitar strum brought to mind later Interpol albums where each song melds into the next. I appreciated it more upon a second go - the guitar riffs are great and add energy to the tracks, there is a also a very specific sound that reminded me of the Talking Heads '77 (same year!) with occasional glances back at the 60's Motown backup singing style.

I had assumed I'd be familiar with at least some of the tracks on this album, but was surprised to find the whole thing a new listening experience. First impression was not great - the themes reminded me so much of the baroque rock that had dominated the 60s (not a fan) that I practically checked out. Really glad I gave it 3 more listens - the melodies and powerful instrumentals make this more than worth it. I especially liked the range of vocals - not just from Freddie Mercury, but from his equally versatile band mates.

One of those albums that I've unknowingly absorbed through listening to the many covers of its various tracks, which oddly makes it feel like a stripped back, unplugged compilation disk. The obvious comparison is Simon and Garfunkel's work from the same period (even some of the lyrics are shared between them), though I found some of Dylan's lyrics a bit hokey in comparison. I was also surprised how much it reminded me of Jack White's lyricism (and delivery) in The White Stripes. I don't think I ever knew how much of an influence Dylan must have been on him. The album is definitely more lyric than music driven, and none more so than when assaulted by the harmonica in the second half of the record.

Have loved this album for a good while. Good energy, great lyrics propelled by the back-up singers. 'Right' being the standout track for me.

First of all, GREAT opening to the album. Really grabs you. Country not being my genre, I didn't think I'd connect much with this record, especially with the skin-crawling lyrics of tracks like 'We're Gonna Let the Good Times Roll'. But after a few listens it really grew one me. I think the lyrics build up a great persona present throughout the album, I really like the vocals, and the melodies are catchy. There's an equal mix of bravado and sincerity. Wanting love and pushing it away. Very enjoyable. Oh yeah, and the chorus on 'Streets of Laredo' made me jump when it first came out. I've never heard such deep baritone on a record before!

I usually listen to every album twice before reviewing and rating. I've had this on rotation for a good week as I try to wrap my head around the many standout tracks and gems. The production is a little shaky - the album starts with vocals in only the right ear, and there's a few 'creepy' songs (for some reason typical of 60s rock albums), but this is otherwise a very solid pop record with one banger after another.

One of my favourite albums. Catchy melodies, great lyrics, perfect use of harmonies and backup vocal. A no-skip album for me.

Love the energy in this live performance, and the playful banter between songs. I'm a fan of long tracks that let you get lost in the music for stretches of time. In fact, long after the album had ended I kept listening to other tracks from Fela Kuti's contemporaries while I worked. My only reservation about many jazz and freeform genres is that the music seem infinitely more fun for the performers to experience than for me as a listener. I've only have myself and my unrefined palette to blame.

The Kraftwerk sample immediately sets the tone for the experimental nature of the album, and I particularly liked the meandering progression of 'Looking for the Perfect Beat'. Fantastic album.

Having seen Harold and Maude 100 times, I knew Cat Stevens was a prominent feature of the film's acoustic feel, but I hadn't realised that almost the entirety of this one album was used to soundtrack the film. Felt strange - like listening to a 'best of' album, having never been properly introduced to the musician. Great melodies and lyrics throughout.