I missed the boat on Bowie by virtue of being born in 1995, hence only ever listened to Space Oddity, Life on Mars and Lets Dance growing up. That's one disadvantage for me; the other disadvantage being that this album is inextricably tied with Bowie's unfortunate passing almost exactly in tandem with this album, hence the challenge of reviewing this album independently from its essential context, which only adds emotional weight to this already rich and dense album. Objectively, this album is beautiful. The lyrics are very Bowie, as far as I can tell, and that can rub people the right or the wrong way. For example, my favourite track 'Tis a Pity She Was a Whore is astonishingly gorgeous and lush and tense and energised, but I can't really defend the lyrics on it. The melody and arrangement eclipse the lyrics, and I find a similar result on the other tracks. I can arrogantly imagine an alternative version of this album where Bowie wrote more "normal" yet interesting lyrics that would make the album impress me even more. Overall, this is an astonishing piece of work that should have felt rushed given Bowie's impending death, or sloppy given his deteriorating health, and yet feels like neither. Ultimately, I find I can happily listen to this on repeat, which places it among the albums I hold closest to my heart. Highlight: instrumental intro to 'Tis a Pity She Was a Whore

First three songs have by far the most listens on Spotify, and I was concerned listening to them by how dated they sound. All I could picture was that dancing Pikachu meme. I am so glad I persevered; track 4 - Let's Pretend We're Married - and all the following tracks were so much more interesting and entertaining. The remainder of the album is much the same, but ends on a particularly great track with International Lover. It makes a slight change to the song structure I've come to expect and it a very satisfying finisher.

Not the most original sounding band, but the confidence and sincerity of the singer's voice means I can't help but take it seriously. Unspectacular but fun.

Eh I'm not getting it. I fondly remember the opener for its use in House MD, but it didn't click for me this time. The rest of the album made a satisfying change from the opener (god can you imagine if it had all been like that) but still didn't blow me away. Can't be bothered to come back to this one, even if it is a classic.

My reading tells me Smith popularised the Hammond Organ at a crucial point in music history, which would eventually lead into its use in my beloved Progressive Rock of the 1970s. This earns my respect and appreciation even before getting deep into the album. The format is slightly outside of what I typically look for in music and ends up more on the 'easy listening' end of the spectrum for me. Objectively great instrumental work and a transportative vibe to its era bring a lot of enjoyment for me. Nonetheless, I find my attention drifting from it, which is generally my response to a lot of jazz, hence I cannot specifically fault this album for it. No complaints whatsoever, but I can't see this album sticking with me for long.

I really like the slightly jarring sound effects in the intro and at the start and end of Fertilizer for framing the lush musicality of the other tracks; wonderful musical palate cleansers. The mother's interlude is certainly more entertaining than on Blonde as well. My favourite track has to be Super Rich Kids. Great work from Earl Sweatshirt. The driving piano is so pretty and works so well as a platform for all the other sounds to sit upon. Pilot Jones and Pyramids don't really do it for me quite as much; or indeed the second half of the album as a whole.

Alright

Woo this album slaps! Lots of variety to each track keeps the album listening experience fresh.

I'm keen on the great Radiohead albums and never got around to listening to this one due to poor reviews. I agree that this one just doesn't do it.

What a beautiful first minute or so; I was not expecting it to be so pretty. I had to make a concerted effort to temper my expectations; it would be such a shame to be overexcited for the album after such a short time. The rest of the album certainly engages my folk nerd brain a lot more. I love the recording that makes the instruments sound like they're right next to my head. So refreshing compared to modern production techniques. I love the utterly unpredictable melodies and sound palettes. The unabashed extended vocal techniques only add to the folky charm. Great stuff, albeit slightly inaccessible depending on my mood.

Comon bro it's Ok Computer. Free Palestine.

Actually really fun; vibrant and distinct from their contemporary peers. This one's going to stick in my library.

Is this what it's like when most people hear Pet Sounds for the first time without that album's context? I would imagine so. Yet again, doing this music homework for another day has taught me about how we interact with music and respond to it. Given that Pet Sounds is my all-time favourite album, this should be a slam-dunk, right? It is very nice. I enjoy the wall-of-sound production intention of the album, with the country-style highlights added. I think these two things are slightly incompatible, however, but not too much to the albums detriment. The wall-of-sound production it absolutely beneficial to the country aesthetics, but the reverse... perhaps not so much. I acknowledge this may be due to my bias against country music. The melodies are fantastic; while not at all experimental, they are sufficiently unpredictable and very enjoyable. I find myself thinking; "is this the bridge? Or just a cool extension of the verse?" The song structure for each track has such a great flow and I find it so enjoyable to be along for the ride. Really nice album; I'd be excited to have this on for long car journeys. And I'd also be keen, if anyone wanted to know what my favourite country album was, to say that this it. Hopefully that would not frustrate too many, given it's not really country (at least according to Wikipedia). Then... the title track comes on. Yes, we're not even halfway through. Where did this song come from? Gosh, it's pretty. But before I can really grasp the significance of this simple, unassuming track being the title track, the next track starts and I am baffled. Is this secretly a Beatles album? It's capable of being a rocker, a crooner and a sincerely twee pop album... and the flow track-to-track makes sense! Well this is a silly review. Don't write it alongside your first listen; with albums like this, you'll end up confused and your writing will be nonsensical. It's a really good album, ok?

Hell yeah, Stranglers! I've known a handful of their hits that are close to my heart, but coming around to this album reveals that maybe my opinion is skewed by nostalgia bias. It's a decent enough album.

Great voice, mediocre songs

Fantastic album that sounds astonishingly fresh for its age. RIP Ozzy.

Didn't jump out at me as much as similar pieces of work have done.

My favourite Beatles album and in my top ten of all time. Infinitely relistenable, fascinating songs. Final track is the most acid-y psychedelic song I've ever heard. Just amazing.

This album sounds like the soundtrack to the coolest film ever. Like if Firefly got more continuation. Really interesting and thrilling melodies and sound palates. Really engaging and great track-to-track flow. Love love LOVE this album.

Legendary album, one of my favourites.