1001 Albums Summary

Wow - What an album. Shout out to MTW who has told me for 10+ years I would like Pink Floyd. The track list is long but worth it - less is more for all members of the band. Maybe this is a new start...

Whilst the album title track is definitely the outstanding track on the album, it's The Who, one of the grandfathers of rock n roll, a mixture of popping classic rock, bluesy tunes and even a few slower acoustic tracks. Easily one of the most influential albums of its time - MTW Personally, I do think all MODS are pretentious and the music follows suit. However, a very iconic album that I did in fact NOT hate. Objectively too long but some okay tracks in there - HF x

This is definitely not an album lacking in bangers, Walk This Way, It's Tricky, Hit it Run but at the same time not every tracks save worthy and some I was just waiting for the track to finish 3/5 - MTW I really do fuck with this album so heavily. 80's hip hop was 80's hip hopping. Peter Piper is the epitome of opening with a bang, you can deffo still hear some of their influence in more modern H-Hip. Not every single song a banger but a solid 80%. Big fan 3.8/5 - HF x The good thing about formative hip hop is that so many lyrics and bars hadn’t been used yet. It’s the poetic equivalent of when roots rock ‘n’ roll musicians got to fuck about with chord progressions before there were thousands of tunes using E-A-D in thousands of different ways. Also fascinating to hear black men with a platform and how they are using it in the 1980s, when even though the civil rights movement had succeeded 2 decades prior, it was still the United States of America which still has endless work to do 30+ years later. This also makes me wish I was named after Jam Master Jay, and not Jamie Lee Curtis (no disrespect to JLC). And Reverend Run is still probably the most iconic voice in hip hop with Eazy E and Nas. The record as a whole though serves more as good head-bopping background music than a masterpiece of music production that you’re going to strap in for, given the progression of hip hop since. Also it makes me want to skateboard and I cannot skateboard. 3/5 - JF

Not liking Billy Joel is not a personality trait. The Stranger is an absolute masterpiece and obviously his most successful album due to songs like Vienna and She's always a woman. Vienna is one of my favourite songs of all time (alas that could be because it speaks to me personally as a woman). Cornerstone of his musical career, a solid blend of lots of different genres, although somewhat cheesy at times. - 3.9/5 - HF x What can I say about this album that hasn't already been said? One of Billy's most iconic albums with incredible tracks like Vienna, Just the Way You Are and of course my personal favourite She's Always a Woman, you have incredible lyrics, brilliant mixtures of Blues, Jazz. There's soft beautiful guitar, then the heights of organs and brass backing Billy Joel's breath taking voice. Definitely an album to have on repeat during the summer time, 4/5 - MTW If someone asked "What is the appeal of Billy Joel?", you need only play them this record. If you weren't aware of who he was, you'll no doubt have heard at least 4/5 tracks on 'The Stranger'. Very accessible music which you could play in any café or restaurant in the Western world and nobody would bat an eyelid or complain. Some of the songs are even about just that - everyday life. While I understand the appeal, this record stirs nothing in me. It's lazy to compare Billy Joel and Elton John but I'll do it anyway - if I ever needed this particular musical itch scratched I'd go to Goodbye Yellow Brick Road or Honky Chateau. In a time when music was going through so many changes and so many artists were pushing boundaries, from prog to glam to punk - BJ is very safe music which people probably needed back then when they were panicking about anarchy and glittery sexual ambiguity. 2.1/5

Before we even get started on the technicality of Californication as album, I would like to add as a precursor that I have an emotional attachment to RHCP and I am aware I have some bias opinions. (I am also aware that Anthony Kiedis is a piece of shit). That being said, this album has always and will always be a top 10 for me. Longevity in rock music I find is very rare, more so in current rock bands then back in RHCP prime. This album has without a doubt withstood the test of time musically (technically), John Frusciante is undoubtedly a much better fit for the band then Dave Navarro ever was. John Frusciante brings an excess of real emotions with his guitar, he effortlessly switches from the funky "I Like Dirt" to the sculpted feedback of "Emit Remmus" to the beautifully lovely "Porcelain" to the clever, stadium- worthy solos. The biggest obstacle of enjoying RHCP is unquestionably Kiedis' stupidly absurdly horny (but unsexy) lyrics, e.g "To fingerpaint is not a sin/ I put my middle finger in," etc. Alas, diving further into the the Californication of it all, to fully understand this album is to understand the shallow, sunny, fun, and tragic world of L.A (I do not). I feel I have gotten off track, I love this album, the end. - HF 4.85/5 Talk about all killer no filler, opening track for this album we're introduced to the all familiar damn right filthy bass riff of the legendary Flea. Everything about this album fits together so well, Fleas popping basslines play off so well with John Frusciante mixture of mellow clean and harsh distorted tones, all held together with Chad Smith's funky, tight drums. The first half the album is definitely the stronger half of the album with more well known tunes like Scar Tissue, Around the World and of course the title track. However this doesn't take away from tracks like I Like Dirt and This Velvet Glove. Overall, one of my favourite RHCP albums and an easy listen for a Monday - MTW 4.2/5

Can't beat a bit of Beastie Boys, memorable lyrics, that mixture of hip hop and heavy distorted guitar. Rhymin & Stealin is a fantastic opener for this album, dirty riffs, solid flow, tight drums and even a sample from I Fought The Law by The Clash, what's not to love. The albums stays pretty consistent from there, outstanding tracks including Fight for Your Right, No Sleep Till Brooklyn and She Crafty, perfect the Beastie Boys formula. Solid and incredibly fun album - MTW 4/5 Another band with some minor emotional attachment (Thanks Mr Adam Reamswood). The consistent solidness of the album is a bit of a surprise considering the lead single was Fight for Your Right (The FRAT boy national anthem). It is by no means a perfect album, there is some solid misogyny and female degradation (my favourite), but not massively unexpected from 80's hip-hop (or any hip hop for that matter). It is not my favourite Beastie Boys album by any means, (Hello Nasty), and I do fear upon listening to it properly it could potentially be 'rap' music for snotty unbearable white men in the 80's, following the trend of the time. Listening back to it now, Licensed To Ill still has some good songs—“No Sleep Till Brooklyn” may rank among my favourite Beasties tracks, and, surprisingly, the rock-forward approach to rap doesn’t sound as naff as it could. It's an okay album, not their best by any means but always an enjoyable listen. 3/5 - HF Another record with a great opener. There are so many LPs out there that don’t start strong - which unless you’re building up to something in some narrative format (an overture or something similar) - is indefensible. It sets the tone lyrically and musically (iconic record scratches and references to tickle your bollocks from the off). I was confused by Californication’s inclusion in ‘1001 Albums to Listen to Before you Die’, and records like this are why. This is important, influential and one of the more impressive debuts we’re likely to find on here. While it is a snapshot in time in the world of hip-hop, this is something everyone should listen to to appreciate what came before and what paved the way. It also makes me want to skateboard. ‘She’s Crafty’ has one of my all time favourite (and simple) samples of all time using Led Zeppelin’s ‘The Ocean’ (Zeppelin’s best recording that they wrote themselves) and ‘Slow Ride’ has some of my favourite straight-forward lyrics of all time (like trying to kill a guy, failing and simply drinking a beer afterwards). Aaaand ‘No Sleep Til Brooklyn’ is one of my all time favourite hip-hop tracks. So all-in-all a great experience as expected. Probably the best record we’ve had so far. Thanks beast bois. JF 4.2/5

Fan-fucking-tastic, I absolutely love a man hating album, and this one knocks it out of the park. 'Hell hath no fury like a woman scorned', is the phrase that comes to mind whilst listening to the album, from a teenie bit of research I've learned she was 18/19 whilst writing on this album and the teen angst certainly comes through. That being said, the maturity of her song writing is pleasantly surprising, with beautiful lyricism and concise instrumental arrangements. Her vocals are genuine and have a frisky feel to them, the blend between them and the raw energy and minimalistic approach in the production creates a really moody atmosphere (slay) that's consistently present throughout the entire album. I really really enjoyed this album and there is some new additions to my liked songs on Spotify. Bitter women are fantastic. 3.8/5 - HF x No skateboard today - we’re on a big emotional boat with an all-female crew captained by a fucking titan. One of my favourite recent albums is Black Rainbows and you can hear the influence straight away. The clear influence continues throughout and you hear everyone from Phoebe Bridgers to Jorja Smith and Regina Spektor via Amy Winehouse - which is impressive when you consider how genre-spanning that is. Another frankly excellent debut record in an era when every fucker got a record deal and there were some truly forgettable debuts. After years of having to write feminist anthems subtly (what big fat horrible male record label chief was gonna OK feminism in music??) I love going back to the 90s and listening to thumping well-produced records carrying on the good work so many independent artists started coming out of punk in the late 70s. Shadowboxer took me back about 15 years to a wild place in my life but it was a nice little trip. Never is a Promise is a fine example of coming across as so strong but via vocals tinged with the subtle fragility that any true and meaningful singer-songwriter has. Being so in touch with the words in your songs and performing directly from the heart and soul makes for some of the finest records you’ll ever hear. 4.1/5 JF Going into this album blind and I was not disappointed. Definitely a lyrically strong album, from the first track on the album it's very clear in its theme of heartbreak and longing. And that voice, oh my god, at times soothing, others demanding but always a stand out performance and that incredible range? Ooof I need to have a sit down. Tracks like Sleep to Dream and Shadowboxer give a punchy (pun intended) start to this album and it does not let up later on in the album, with tracks like the almost haunting Pale September and the subtle start and enthusiastic close of Carrion. Definitely would give this album another rotation. 3.8/5 MTW

Another album I am going into completely blind, firstly as a precursor before I attempt to review this album; this is seemingly beyond my capabilities as a minor music snob, I'm concerned it's gone straight over my head, but let's find out together. This album does not make me want to ride a skateboard, but it does make me want to sit in the grass, drinking a huge glass of red wine in the sun somewhere very humid and beautiful. The album has an earthy feel to it, it seems to flow from track to track almost like a river (??), it feels nostalgic but also brand new all at the same time. A true giant of African music, and potentially the greatest ambassador of desert blues, I was so pleasantly surprised by this album and can't wait to listen to it all year round. 3.9/5 - HF xo Another blind album here we go. To say I'm a lover of blues music would be selling it short and this album is no exception. Desert Blues has this earthy, rustic feel to it and you can see the inspirations of the feel and sound from Mississippi Blues and a multitude of different subgenres. The mixture of western blues and more African styles of music works incredibly well together. The track Savane in particular carries an air of mystery to it in a way, with the clean strums of acoustic guitar and the sharp twangs of some kind of high strung stringed instrument. A very welcome surprise and would happily spend another summer giving it a listen. 3.9/5 MTW

Marvin Gaye on a Friday? Lucky me ! What's Going On is arguably one of the most influencial albums to come out of the 70s and you can clearly see why. Beautiful 70s Soul music, it has everything you need, funky basslines, backed by incredible drums, flairs of brass and strings, all brought together with Marvin Gaye's almost heavenly vocals. The title track starts this album off with a bang, with everything in the 70s Soul formula included. This album is said to have "Revolutionised Black Music" and you can see the impact this album had on Progressive Soul, in famous albums to follow. It's subtle use of orchestral pieces fits in exceptionally well with every track. This is easily a multiple listen type album and I'd be doing something criminal to rate it any lower than a 5. Marvin Gaye, gone too soon but left us with arguably one of the greatest albums of all time before he went. 5/5 MTW Fuming at his dad for killing him. Near perfect record. Baby making music. 4.9/5

Talk about stand out albums of the 80s ! The iconic Cyndi Lauder, arguably one of the most important figures for Women in Rock and Roll. Not just known for her iconic look, her vocal range is nothing to shake a stick at. Money Changes Everything starts this album off with a bang, Cyndi's incredible vocals backed by banging electric guitar, keys and sharp drumbeat. Moving Swiftly on Girls Just Wanna Have Fun, talk about an 80s banger, it's the perfect mixture of powerful guitar, keys and synth, all backing Cyndi's popping vocals. The album very much continues in this fashion and doesn't let up on it's quality. Iconic album, iconic woman, this can't be any lower than a 4 for me as the impact it made for women in the rock n roll/pop genre is still felt today, what a woman. 4.1/5 MTW If you close your eyes listening to half the tracks on this record you're either in a bedroom covered in posters and bright colours in 1980s America, or you're a character in an 80s movie in a convertible. This is a real pop time-capsule. I'd never listened to a Cyndi record in my life before this. She's always been one of those singles girlies who I'd never even consider would have a coherent and important album (I also overall have very little faith in most music from the 80s - but I do like Cyndi). The first time I saw her I didn't even know she was in the music industry - to me she was Wendi Richter's manager at the first Wrestlemania. I then saw the video to arguably her most famous tune (Girls Just Wanna Have Fun) and her dad was played by Captain Lou Albano, a frankly insane wrestling manager who used to wear elastic bands through holes in his face and ears and connected the dots. While the aformentioned 'Girls' and the equally memorable single 'Time After Time' are probably the general consensus stand-out tracks on She's So Unusual, 'All Through the Night' is my banger. If I were born in 1970s New York I'd be wearing my prom king crown slow dancing to this tune with the prom queen before I played a game of shit american football the next day or something. There's some weird shit on here because after all - she IS unusual. I'd be very happy if I never heard 'I'll Kiss You' or 'He's So Unusual' ever again. But aside from that - iconic pop. Important figure. Fantastic Cyndi Lauper. 3.4/5 JF

Oh I am so god damn excited about this ! A lil shout out to the one, the only, Neil France (or his preference - Dad), for doing the lords work and initially introducing me to this album at the big age of 5 years old. Listening to this album feels like being part of an intimate jam session, with my nearest and dearest. (ALSO HIS WIFE IS ONE OF THE FEMALE VOCALISTS ON THIS ALBUM !!). The huge range of instruments weaving in and out, with direct relevance to the emotional tenor of the songs is just impeccable. Beyond 'No Woman, No Cry', which has become a stand alone reggae classic, Naddy Dread is just remarkable. “Lively Yourself Up” is cool and stripped down — every note and percussive shake seems necessary. “Rebel Music (3 O’Clock Road Block)” folds in sidelines of harmonica and stalls for brief drum turns between the regulation loping, circular beat. Bob Marley, you will ALWAYS be famous. Natty Dread wrangled the seemingly unreconcilable impulses of reggae — its economy of line and expansiveness of spirit — into an intense evocation of a people’s boundless capacities for faith, anger and love. Bob Marley, you will ALWAYS be famous. 4.8/5 - HF xo Bit of Reggae to start off my Tuesday? Don't mind if I do. I don't think I'd be out of place if I said Bob Marley arguably is the face of Reggae music and you can see why. This album was brilliant start to finish, Lively Up Yourself starts off the album at a high and keeps it there, funky basslines, sharp clean guitar tones and Marleys voice cutting through it all, this carries on to No Woman No Cry and Rebel Music. The album comes to a end with the angelic backing vocals, forwarded by Marley's soft enticing voice. Loved every track on this album would happily give it another listen. 4/5 MTW I've always struggled to connect with reggae music. This is probably down to cultural ignorance on my part - I know very little of both Caribbean and Rastafarian culture so I'm not really tapped in on the themes etc. That being said I understand who Bob Marley is and how important he is both culturally and musically. I always find the tunes and rhythm enjoyable and Natty Dread provides that exact enjoyment. The sweet subtle guitar riffs throughout the record remind me of one of my favourite guitarists - South Africa's finest Ray Phiri. I also grew up thinking 'No Woman, No Cry' meant if you have no woman you won't cry because they're some kind of nightmare or something - it's no wonder I have commitment issues. (I understand the real meaning as an adult don't worry). Positive, uplifting music that tickles the nice parts of your brain. I do struggle to connect with the lyrics which drags the rating down. Highlights for me are Rebel Music (which I swear I've seen played while Roger Waters farted around on stage with a cowbell) and Revolution, both great pieces of music. Overall a solid record, even if I did get excited when they went BOB in the group chat and was primed for Highway 61 Revisited. My day will come. 3.4/5 JF

Ergh okay. Diana (RIP) loved Elton so I guess I'll give it a bloody try. I did already know I like 'Tiny Dancer', so a fantastic opening track to an album I am a little bit apprehensive about. Madman across the Water showcases the best of Elton's piano playing, and good god is he talented. The issue I have with this album is, the lyrics are obtuse, meaningless and all round not at all compelling. HOWEVER, Elton does a fantastic job of at least making them sound the complete opposite. The whole album follows this theme, because frankly what the fuck is he banging on about. The ONLY song on this album that isn't hobbled by god awful lyricism is 'Tiny Dancer'. Easily the best song on the album and , the strings are powerful and beautiful, and an example to why Elton John was such an unstoppable force in the 70's. Sidenote, why is Jesus brought up so often in this album ? “Jesus freaks out in the street” and “He calls his child Jesus/’Cause he likes the name” and “Jesus he wants to go to Venus” and “Mercy I’m a criminal Jesus I’m the one/Rotting peaches rotting in the sun”, it feels gimmicky and just all round cheap .For me, “Tiny Dancer”, “Levon”, and “Madman Across the Water” are the only songs on the album really worth listening to. For the rest, the lyrics are so uninteresting, and even just fucking atrocious. However, I am astounded at some of the melodic wonders and breath-taking arrangements on Madman Across the Water, musically it's astounding. I did a bit of research into the album to discover (unsurprisingly), the culprit is Bernie Taupin, 'We Built This City' is just one appalling example of all round wank words spouting from that mans metaphorical pen. I wouldn't bother listening to the whole album again. 2.5/5. - HF x Elton John, whilst I know the classics including the opening track of this album, Tiny Dancer, can't say I can remember the last time I listened to a full album. Tiny Dancer speaks for itself, beautiful chord progressions backed by an orchestra of strings and the occasional sharp clean guitar licks, it all coming together for a brilliant chorus, excellent track. Tracks like Levon keep the same energy, leaning on the heavy strings section, verses building up to a big and epic chorus. Razor Face has more of a bluesy feel to it, a welcome addition to prevent the album from sounding too samesy, the addition of bluesy guitar riffs and an electric organ solo make this one of the stand out tracks for me. The albums title track takes the mixture of the strings with distorted heavy guitar cutting through adding a dark melancholy to the chord progression. The rest of the album stays consistent, following the same Elton formula, quiet beginning with the first verse used to build and build up to a large epic chorus, with the occasional drop down to just the base instruments only to pop back up to an epic finale. It's a good album, definitely worth multiple listens, however to put it simply, it's Elton John, you know exactly what you're going to get. 3.2/5 MTW One of my top 3 Elton albums (I believe I covered the other two on the by-numbers Billy Joel record) - this was the first record EJ really started to make waves as a recording artist to be taken seriously. The title track from this one is also my favourite Elton song, so I knew I was going to enjoy having another listen to this after a few years, the last time being the week I went to see the lil fella in Dublin. I find the concept of someone presenting you with lyrics they've written and putting the music to it interesting and often flawed. Whereas bands often bring lyrics to the table either through a main lyricist or as a collective, this songwriting partnership should have more of a divide in it. Taupin's lyrics range from straight forward ('Seamstress for the band' - his first wife was Elton's seamstress) to the downright mysterious throughout. But I'm more of a music & melody man so what I get out of Big Reggie D on this record is a man coming into his own as a composer. From the beautiful string arrangements on Tiny Dancer and Madman, to the hammond organ on the more bluesy-prog numbers like Razor Face and Rotten Peaches (Rick Wakeman if I'm not mistaken), it's a record of it's time but a record in which Elton really starts to strut his stuff. Not his best record, but an enjoyable revisit and a sign of things to come. 3.7/5.

Oh Elvis? Right, fine. Let's have a look at the "King of the Rock n Roll" or how I like to refer to him, the man who got famous stealing black people's music and maybe writing a couple of his own songs. Knowing he probably wrote none of the songs on this album does take away from the attempted enjoyment of this album. The album starts well enough, very 60s swing and early signs of what eventually became rock n roll. Fever can sod off, it's the delivery of the entire song stinks of ego. "Don't ya worry I'll just snap my fingers the entire song, that's all I need". Elvis does do well in his delivery throughout album, most notable tracks being The Girl of my Best Friend, Dirty Dirty Feeling, which is a upbeat 2 minutes swinging track, it would be even better if he wrote the cunt but anyway. Overall it's an album, the credit goes to the backing musicians more so than anything else and if you want to listen to the actual origins of Rock n Roll, listen to Sister Rosetta Tharpe who was doing what Elvis stole in the 30s, 40s and 50s. 1.8/5 MTW Good fucking god here we go. In a shocking turn of events, I do infact agree with MTW, I objectively quite like Elvis, subjectively is a bit touch and go. The lore of this album is a little bit nuts, fresh off his stint in the army, Elvis has a new depth to his voice; his interpretations were increasingly sophisticated; the group was probably the best studio band in the business; the song selection is imaginative and varied (alas, this is simply nothing to do with him), the technical quality is absolutely excellent. Most surprisingly of all, for Elvis. this album pointed in no one musical direction, it's almost as if Elvis had invented his own brand of music, broken down the barriers and included everything he heard in all the kinds of music he loved (stole). I have very little else to say, as I find the morals hard to approach. It's good, but not his. 2.5/5 - HF x P.s - He is a nonce This is not a record you need to listen to before you die. Elvis as a whole is someone you need to familiarise yourself with before you die. You should probably watch a few documentaries about him (not that god awful biopic with the man who now talks like Elvis full-time). You should probably even watch his comeback special in the full leather pervert outfit, because it's actually class. You do not need to listen to any Elvis record before you die. To paraphrase Alan Partridge; "My favourite Elvis album? I'd have to say... the Best of Elvis". But even then you could probably have a decent enough time without listening to fucking Hound Dog. The majority of tunes on 'Is Back!' have been performed by better artists who produced better versions. A record of no highlights that you could play in a pub and people would probably be okay with it (although they'd hear the voice and perhaps lament it wasn't one of the more familiar Elvis 'hits' playing). An overall dull experience but a necessary figure in music who moved along the theft of blues, soul etc from black people so we could have Led Zeppelin. Cheers you paedo. 1.8/5 JF

When initially starting to listen to this album, I had very low expectations (we haven't had the best albums this week). HOWEVER, I am so pleased to be wrong, my first immediate thought whilst listening was 'This is giving Aretha Franklin' and upon a little digging they were both signed to Atlantic Records. so fantastic news, I am not going mental. This album is really beautiful from start to finish, 'Son Of A Preacher Man' & 'Breakfast In Bed', are my 2 favourites. Every cut is impactful—from “Son of a Preacher Man” to “Just a Little Lovin’”—and the album filled with compositions from song writing royalty (Including Carole King!). Throughout the album, Dusty carries everything with near effortless candour full of joy, before revealing her vulnerability on the more relaxed Goffin-King set closers, which display her trademark melancholy and uncertainty on love and life and, crucially, herself. It’s a sensuous smorgasbord, track after track of some of the most seductive quality music. A really stunning start to my Friday, I am simply blown away. (I love women) - 4/5 HF xo What a lovely change from Elvis, the incredibly talented and brilliant Dusty Springfield! Talk about another important woman in music and this album is a fine example. Just a Little Lovin' starts us off is spectacular fashion, showing you Dusty's incredible range and hitting angelic notes with ease. All backed by tight a drum line and string section. So Much Love follows in the same fashion and includes brilliant backing vocals as Dusty's incredible range cuts through. Then we have Son of a Preacher Man, just...wow. It has everything that makes Dusty Springfield an icon of the swinging sixties, we love a bit of brass, it's jazzy, it's soulful and the lyrics sound like gospel coming from Dusty. The album stays incredibly consistent throughout with beautiful slower tracks like The Windmills of your Mind symbolising the repetitive nature of memories. Can't make it alone tells a tale of pride and reluctance to mention how much their miss someone they love concludes this album is beautifully poetic fashion. Overall holy shit what an album, Dusty Springfield is an icon of the 60s and this album should have many more listens for me. 4/5 - MTW

Well this is a heavy start to the week, Radiohead, oh boy. In all seriousness I do enjoy some Radiohead, Rainbows I think is a masterpiece, it remains to be seen if this album with follow suite. The album starts off with a sort of trance, digital track, robotic in a way, the droaning on repetitive lyrics aren't really what I look for in a Radiohead track so can't say it's a good start. Pyramid song is a little better, piano backed by the occasional string section and sound segment, honestly a beautiful sounding track, with lyrics that seem to describe someone passing on. By the third track I can tell this album isn't going to be Radiohead's most lyrically strong album, you and who's army is musically very well put together but lacking in the lyrics department. Dollars and Cents is actually quite lyrically sound, when you can hear what the fuck he's talking about, the backing reverberated yells, screams and heavy strings section tend to drown out the compelling lyrics talking about life in modern society. I'd like to say the album stays consistent from there but it doesn't, each track seems a little out of place and like it just didn't fit into a previous album so they stuck them all in one. Overall, not one of Radiohead's shining stars of musical brilliance and if I need to listen to a good Radiohead album, I'll stick with Rainbows and Kid A. 2.2/5 MTW Fucking hell it's a Monday morning, have a day off. I actually really like Radiohead, 'Let Down' on OK Computer is one of my favourite tracks of all time, they are objectively a very talented and socially relevant band. That being said, I am very apprehensive to call this an album to listen to before you die ? Amnesiac doesn’t come close to Kid A in terms of quality, passion, artistic courage or originality. Amnesiac is a combination of a few great songs that wouldn’t have fit with the textures and themes of Kid A, one or two mildly interesting pieces weakened by inappropriate embellishments, a couple of less-than-successful electronic experiments, one completely unnecessary do-over and another nominee for the worst thing Radiohead ever did. HOWEVER, from a purely musical standpoint Amnesiac strikes a cunning and rewarding balance between experimentation and quality control. It's hardly easy to digest but nor is it impossible to swallow. Its lapses into self-indulgence - the grinding noise of Pulk/Pull Revolving Doors, the overlong Like Spinning Plates - are occasional and slight and massively overshadowed by its surfeit of haunting musical shifts and unconventional melodies. Alas, it's not my favourite, and honestly Yorke's very whiney voice is simply exhausting when sober and not feeling particularly self-deprecating (yet). 2.9/5 - HF xo

Going blind into another album let's go. Opening track starts with a slow soft sung love track, heavy on the keys and reverbed clean tone electric guitar very easy listening, transitioning into heavy digital effects towards the end of the track. 2nd track picks up the BPMs a bit, big distorted guitar chords, the use of almost whispered lyrics add to it very nicely. There's a consistent echoey type effect with the vocals that really contrasts with a mixture of funky basslines and high end drumming. The album bounces between these two paces making it fairly consistent album overall. Overall it's a fairly easy listen but not an album I'd revisit anytime soon, it's not bad but it's not exactly grabbing me in any kind of way. 2/5 MTW A proper throwback to childhood for me - minimalist rhythm and dreamy vocals. I didn't realised how stoned my dad was for most of the 90s until I was WAY older. Whenever anyone tries to talk to me about shoegaze I just mention Spiritualized and then run away, so I will admit this type of music isn't my bread and butter and I'm not overly qualified to speak on it. You can however hear the influences a lot of bands since have taken from this record in particular, i.e. Radiohead (Tracks 2 and 6), The Verve (track 4), Arcade Fire (most of the record) to name a few. I find LGM to be a very up and down record, with a lot of tracks taking too long without presenting enough meat. It is bookended excellently though by my highlight tracks being the opener and the closer. 200 Bars has the right balance to it and ends the album on a high with a hopeful feel, positive guitar and a still-awake vocalist, against all odds. 2.5/5

Speaking as someone who knows he is not a fan of Black Sabbath, I will refrain from reviewing this today. It would feel wrong to be critiquing someone who died so recently when their accomplishments should be celebrated. I know MTW will do it justice. xoxo Of course it had to be Sabbath and what an incredible choice in album for a wednesday of all days, RIP Ozzy man. What can I say about Sabbath that hasn't been repeated for decades, they're the origins of Heavy Metal and without them bands like Metallica, Megadeth, Iron Maiden, the list goes on, would never have been. Right let's get started with what I believe to be one of the greatest opening tracks to an album, War Pigs, the song starts with the slamming of distorted power chords from Tony Iommi followed with Geezer Butlers heavy bassline before the section and the drum begin to tap tap tap in time, Ozzy then takes the stage with powerful lyrics describing the horrors of war and the politicians that back it for their own corrupt gain (very fitting message in the year 2025 right?) This leads us into the title track of the album and oh boy where do I begin? Arguably one of the most iconic guitar riffs ever written, the sound, the tone of the guitar, the thick chugging of the bass, the blues inspired licks from Toni Iommi, all backing Ozzy's rough vocals, chanting the words of a lost individual. The tone of the album drops with Planet Caravan and not in a bad way at all, Ozzy's powerful chanting are replaced with vocals that sound like almost the ghost of whisper, guiding the listener through and almost psychedelic dream like track and one that isn't out of place. Iron Man speaks for itself a powerful track speaking of the time traveller who witnessed the end of the world and skin was turned to iron as he comes back to seek vengeance on a world that ignored his warnings, I mean come on that is metal as fuck. Musically way ahead of it's time, heavy distorted riffs backed by Ozzy's almost haunting lyrics. The use of the Wah pedal in Electric Funeral leaves you with a overwhelming sense of doom, backed with Ozzy's cryptic lyrics and vocals, then the second half of the song kicks and the pace kicks up with harsh yells from Ozzy, only for the pace to return to that doom like riff and vocals. Hand of doom plays in a similar way, starting small with simple basslines and building up to the full bands thrashing sound. Rat salad stays consistent with heavy blues inspired riffs and licks with the backing bass and drums staying tight, the track is entirely instrumental and plays like a jam between the musicians. Fairies Wear Boots concludes album with heavy reverbed overdriven riffs, followed by consistent drum fills before Ozzy's ludicrous tale of what is likely a drug trip, all backed with Toni Iommis sharp bends, Geezer Butlers heavy basslines and Bill Wards rapid fills. Overall what a fucking album that pioneered what metal music became and will continue to evolve. 5/5 MTW

The Killers...yay... Okay they're not that bad just not my go to band really. The album kicks off with Jenny was a Friend of Mine, you've got everything the fits the killers process, slamming basslines, funky drumbeats, distorted guitar, cutting through you have almost synth sounding keys and the sharp harsh vocals of Brandon Flowers, overall a good opening track. Then you have the infamous Mr Brightside, right this track gets on my nerves because it's just okay, that's it, its not some fucking era defying anthem, it's just been blasted at 3am in every club in the UK. The drums are tight, the basslines are funky and it's a lyrically strong track, it's okay but nothing to call home about. To give this album one thing would be that it's consistent, tracks like Smile like You Mean It, Somebody Told Me and Andy, You're a Star, stick to the same formula, Key heavy with funky basslines, all in 4/4 time signature, there's nothing wrong with that but it's no plummeting the depths of human experience, it's The Killers. Overall a fun and consistent album but no one I would go back to anytime soon. 2.5/5 MTW I like this for a Friday ! The Killers make me feel all kinds of happy nostalgic vibes so I am genuinely really excited to listen to this again. As far as debut albums go, this is an absolutely fantastic one (Mr Brightside can fuck off though) (Although I did have a lil smile listening to it). The bass line in "Jenny Was a Friend of Mine" is incredibly infectious. It can make the most uptight people run outside and start singing (Max). This is the most British album made by an American rock band I’ve ever heard. No wonder “Mr. Brightside” has stayed on the UK charts for so long! All jokes aside, Hot Fuss is a pretty enjoyable listen all things considered with a style to it that feels more influenced by Brit pop or British alternative rock more than anything else. In fact the sonic style of this record both vocally and musically feels like what you’d get if you wanted to make a modern Smiths record with synthesizers. The echoey, distant effect on the vocals feel incredibly reminiscent to the type of sound of the vocals off a track by The Smiths, and the guitar tones and riffs definitely have that similar swanky vibe to them (if that makes any sense). However, there are a few times where the use of synths and they style of production work to this album’s detriment. “On Top” uses a synth tone that sounds incredibly dated and is very irritating when listening to it crop up again and again throughout the song. Not to mention the vocal melody on the same track is incredibly obnoxious for the vast majority of the track, with the only part of the song that really gave me any reprieve was the bridge. However even that was butchered in when it crops up again during the outro of the song, so overall it made for an incredibly grating listening experience. Similar case with “Believe Me Natalie”, although to not nearly as irritable of an effect. That track suffers more from being a bit boring and repetitive with dates production value more so than incredibly tacky sonic choices. The album is a teenie tiny bit mindless, but in the perfect way, The Killers Hot Fuss doesn't require brain cells, or political snide, just a solid 8 pints and an embarrassing dad dance. - 3.8/5 HF xo

Starting off a Monday with Jack White...how fitting. Blunderbuss is certainly an album, let's just get this over with. See the difference between Jack White and White Stripes is that White Stripes have a few good tracks, that can't be said when Jack is solo at the wheel. Missing Pieces isn't necessarily a band start to the album it's every piece to the Jack White formula, out of tune backing vocals, weird sounding keys, Whites eccentric vocals and the occasional heavy distorted guitar, it's fine. I'd love to say it gets better from here but it doesn't. Lyrically Sixteen Salteens isn't a masterpiece by any means "I eat sixteen saltine crackers then I lick my fingers" ...inspiring Jack..truly. Even the arrangement is slightly chaotic but not in a way that fits, but more like Jack was trying to be unique, which is a theme of this album. No other track on this album is a stand out and I really don't have much more to say on this album as a whole, it's lyrically in the toilet, whites vocals irritate me, you get have some solid drumlines and fun riffs when jack's not assaulting his poor guitar to get incoherent squeels and wahs out of it but thats really all you're getting from this album. 1.2/5 MTW No, I can't be arsed. Listened to it, hated it, moved on. - HF 1/5 xo Ive always been hit or miss with Jack Whites work in general. The White Stripes catalogue as a whole in my opinion is a great example of how limitations can bring out the best in a bands ideas and direction. This is an environment where Jack Whites creativity excels for me. This album is definitely in that grey area between the end of White Stripes and the start of his more experimental albums. Listening to this album after already hearing songs off of later works like Boarding House Reach (2018) it’s clear that he hasn’t found his niche yet in this album. There’s good stuff here for sure, but half cooked is the words that come to mind, missing pieces is an anticlimactic album opener in general but saved by a tekky keyboard solo that does enough to keep me involved. I could go through each song one by one but that’s kind of how the album goes start to finish, good ideas that just haven’t quite been dug into deep enough, although some songs are good, blunderbuss hits well, as does love interruption. But I’m not gonna come back to this sadly. 1.7/5 FTW

OH I DO KNOW TIHS ALBUM - I thought I was going into this completely blind, alas, I knew every other song. This album was seemingly an essential and a pivotal moment of electronic synth music, on a par of importance with other great albums from the likes of Kraftwerk & Visage, then Human League, Soft Cell, Depeche Mode etc. Synth 'pop' is not one of my favourite genre's to be completely honest, I have always found it a tad jazzy and objectively a little spooky. HOWEVER, after a galactic instrumental primer, the album really gets underway with Metal. The octave main riff played on a buzzing, staccato synth remains pretty constant throughout the track, but the track is filled out with some fantastic elements. There's a bunch of great bass fills, there's an angular synth motif that interjects in the middle of Numan's phrases, and these sections that feature rushing surges of noise that feel like you're caught in a wind tunnel. The following track, Complex, has a very majestic presentation especially with the addition of some real strings. The track feels like we are about to embark on a brave new frontier. The album's centrepiece is very obviously, the ever trending M.E., which features an iconic, flanged synth bassline. (Basement Jaxx slay - Where's Your Head At). This track is more than just a great bassline though; the drums have a killer groove with the double-stroke bass drum hits and Numan's vocals reach an emotive peak. There's lots of neat production touches as well like the incorporation of both plucked and bowed violin and what sounds like heavily distorted dead strums on a guitar. This track is easily on par with Cars, and it's very easy to see why Basement Jaxx was inspired to build off of this song. I am not going to go into it any further, I fear I would be doing the album a heavy disservice. (The sky got all dark when I started to listen to the album). It's very jazzy, it kinda makes me feel like I am in an 80's horror movie, running away from a man with a mask on. I enjoyed, and I do think some of the deeper lyrical and musical journeys went a little over my head - 3/5 HF xo I’m just gonna be honest here, I don’t like Gary Numans voice, he sounds how I imagine a homeless man shouting at pigeons would sing. That being said, there’s some very good songs on this album. Synth pop can very easily become quite one note I think, and Numan does a good job of changing up the dynamics of his songs throughout this album. The instrumental opener sets the tone for what is I feel a very spooky collection of songs, in the same way the albums closing track weaves through your ears, almost as if to recap the benchmarks of the record to you. These instrumentals were the highlight for me, but that’s purely because of preference and not being fussed about Numans voice whatsoever, if you put Mark Almond or Alison Moyets vocals on these songs I’d probably shout there praises from the hilltops. I might listen to this album again, most likely next summer 2.9/5 FTW What the fuck is this absolute marine biologist looking fuck doing interfering in my Tuesday. This is not the time of the week for Gary Numan. This man hates chords. I’m sure he’s said that somewhere. So I’m massively excited for some dooo dooooooo dooo doooooooooooooo. I do love instrumental opens to albums (Tommy, Mellon Collie, Meddle) - tone setters. Airlane is decent and is definitely Pleasure Principle’s own tonesetter. From here things fluctuate between average and slightly above average. ‘Complex’ is surely an ironic title and is probably the weakest tune on the record. We peak with ‘M.E.’, which of course makes you go AW YEAH WHERE’S YOURRR HEADDD ATTTT ‘til you remember what Basement Jaxx were called. ‘Cars’ is obviously there too, with it’s earlier prelude ‘Observer’ a nice build-up. It tails off there-after and it’s all a bit samey and Numan’s limited vocals make a lot of the filler roll into one long track. Listen I don’t really like the 80s. I think after the ridiculous strides music took in the 60s and 70s the 80s are a weird anomaly where things slowed down, simplified and people probably just got jobs instead of shagging in fields on PCP. (Things then got better in the 90s, continued into the early 00s and then My fucking Chemical fucking Romance fucking killed everything and it’s never recovered). Anyway that wasn’t that much to do with Gary Numan but he’s a good example of the simple stuff. Everyone could afford good synths now and they were coming up with tunes on that instead of riffs on a guitar - which is fine. Not really for me though. 2.4/5 JF Well can't say I expected Gary Numan, fun fact pleasure principle means the desire for instant gratification, let's see if this album holds that standard. That lovely new wave British Synth pop sound and from what I've read this album itself is held pretty highly in terms of influence for this genre as a whole, the opening track being pretty solid, not something I would usually listen to but it's definitely fun, mixture of funky basslines, technical drum fills and that the synth cutting through it's a solid opening track and completely instrumental too. Metal follows the same formula but this time with Numans echoed vocals speaking of a robot wishing they could be human, it's a fun theme looking into the not too distant future to the idea of whether our creations are sentient. Complex starts off on a different note, soft piano backed by strings and synth sets a very different tone from the rest of the album. Another lyrically strong track speaking of themes of isolation and paranoia in a modern society. Films jumps back to previous formula, nothing wrong with this at all but this track doesn't add anything that the previous tracks haven't already. M.E. starts HEAVY on the synth keeping the very robotic musical theme of the whole album, these leads into the lyrics of the track which seems to theme a lot on regret and loss to a degree, mr Numan is not a happy man in this album. Generally with me being very uneducated in Synthpop I don't feel I have much more to offer in terms of describing the album as a whole, it's fun, almost haunting at times and manages to switch things up often enough that the album doesn't get stale towards the B side. Overall probably not an album I'd give another listen to anytime soon but for the time I did listen, I very much enjoyed myself. 2.8/5 MTW

Another blinder album let's go. If I had to describe this album in one phrase it would be easy listening, with an good mixture folk and blues influences, whether it bluesy licks backed with brass on the albums title track or the organ matched with acoustic chords and licks in the albums opening track, some tracks even implementing an almost eastern European/Asian sound them noticeable on The Calvert Cross. Both Richard and Linda's vocal and lyrical world stay consistent throughout the album, especially the use of choir like backing vocals throughout the album. Overall it ticks all the boxes for a fun, easy going album, probably something I'd pick up again. 2.5/5 MTW I love any kind of folk related music, so I feel a bit disappointed that I’ve never listened to this in full. I knew the title track going into this but that about it, and now that I’ve sat on the album, I think it’s good. Linda Thompsons voice is outstanding all the way through this album, the way she changes her voice throughout it’s outstanding going from almost a McCartney like tone in the title track, so a more somber, Nico like drone in some of the quieter songs. Dynamically, it’s pretty basic, there’s good brass instrumentation and solid guitar playing. This is a good album, but that’s it really, and there’s no issue with that. I’d definitely listen to this again, but it sadly doesn’t have the same vocal power as a Crosby, Stills & Nash piece, or a Joni Mitchell. It’s absolutely fine. 3.2/5 FTW Sorry for no in-depth review for this one. Was a big part of my childhood but not one I've listened to much in my adult life so was nice to revisit. JF 3/5

YAY A WOMAN! I have had to do a little bit of research into this album, a I'm aware there's some lore behind this, and wanted to be somewhat clued up before reviewing. Aside from the often deeply dark lyrics, Williams’ voice is reminiscent of Dylan’s. It’s beautifully flawed, she doesn’t have a huge range, although she does have plenty of power to call on when needed. Personally what really did stand out to me when listening to this album, is the emotional journeys that Williams manages to portray with a series of stunning songs. (I love a storytelling album). Beyond a shadow of a doubt, the standout of this album, is the strength and beauty of Lucinda Williams lyrics as she conjures up the imagery of life along those dusty, two-lane southern country highways. I enjoyed ! I love women ! - 3/5 - HF xo New album day shows a very southern, country esc vibe to it. Lyrically this album does well to tell a story, though Williams vocal range is limited, it's exactly how it needs to be to tell the emotional tales it does. Whether it's the sense of longing in Right in Time, Concrete and Barbed Wires speaking of life's many painful obstacles in many forms and Can't Let Go about hanging onto a failed relationship unable to actually let it go (oh look at me relating to that, kill me). One of my personal favourites is Drunken Angel, speaking of the life of Blaze Foley, a musician who I enjoy quite a bit who died quite tragically. Overall this album has a great sound to it, whether it be almost pillow soft acoustic guitar chords or ripping slide guitar backed by tight sounding drumlines, I'd happily give this album another go around. 2.8/5 MTW

FUCK YEAH ! ! (Does anybody else remember when Snoop Dogg was Snoop Lion lmfao). If there’s an album in Snoop’s catalogue that has withstood the test of time, though, it’s his 1993 debut, Doggystyle, the yin to the yang of Death Row labelmate Dr. Dre’s The Chronic (also a slay). One thing that’s also made almost immediately clear on Doggystyle is how elastic Snoop’s flow is, where he easily sells the album’s often jarring tonal shifts by subtly modifying the rhythm of his delivery or hardening his cadence slightly. Take the three-track run from “Gin and Juice,” a party jam with some of the deepest electric bass and slickest portamentos to ever grace a ’90s hip-hop cut, to the horrorcore anthem “Murder Was the Case,” with the hyper-surreal “Lodi Dodi,” a sexually charged remake of a Slick Rick song with some piping high-pitched keys thrown in for good measure, sandwiched in between. Any other rapper would seem out of their element attempting all three of these disparate styles, but Snoop, who impressively freestyles through nearly the entire album, sells all of them and sounds totally unbothered while doing so. (Sidebar, anybody that doesn't like this album art is big fat fucking wrong it's iconic). Snoop finishes up the album in a particularly strong fashion. “Gz and Hustlas” is an off-the-cuff track in the vein of “Tha Shiznit.” During an interview with MTV, Snoop insisted that the song was completely freestyle, and if that’s the case, then I sure wasn’t able to tell. Overall, Snoop has lived up to the potential he showed on Doggystyle. Though he’s matured in some ways, in others he’s still the tall, lanky emcee that oozes cool confidence, equally able to kick a fierce rhyme, pull your girl, or lay back and puff some good weed. It’s no easy feat to have millions of hip-hop fans expect an artist to deliver something truly special, but Snoop rose to the challenge and made himself a legend in the process, Huge god damn slay. - 4/5 HF xoxo No shit my coworker was telling me to listen to this album yesterday, what are the chances. Never really listened to Snoops music tbh, least of all his debut, so I'm excited for this. Opening track sounds like a proper introduction not just to the feel of the album but the snoop as an artist. The album properly starts with G Funk intro and doesn't disappoint, the beat is tight, lot of funky samples, great starter. Gin and Juice is probably the only track I'm familiar with, takes me back to college house parties and getting so stoned I go non verbal. It's the Snoop Dogg formula done to perfection, Solid flow, fun lyrics and a chorus that will be in your head for weeks. I was honestly surprised at the variety of sounds you get from this album, organs, wind instruments and a straight up soul choir in the Shiznit and Who Am I. Overall what a debut album and I'm slightly ashamed I hadn't given it a full listen until now, I'm not massively into rap but would happily give this another listen. 3/5 MTW

What a way to start with the week, but od Crosby, Stills, Nash and Young, prepare yourself some of the best harmonies in the game. Joking aside this is a benchmark album, not only contributing to the success of Neil Young's solo album After the Gold Rush but also being listed as one of the greatest albums ever written and who can blame them, with the beautiful almost effortless harmonies of all 4 members but on top of that Neil Young's banging guitar with a mixture of country and blues style licks and riffs makes this album a brilliant listen every time around. Carry On starts this album off beautifully, the regular folky feel gracefully interrupted by Neil Young's distorted bluesy guitar licks, harmonic vocal cries, organs, funky basslines and bluesy guitar riffs and licks, what else could you want. Teach Your Children goes in the more country feel, with sliding guitar opening the track, tambourine keeping the pace steady, with the all familiar harmonic vocals. Woodstock is the track that introduced a more rock/blues feel to the album, bluesy riffs and licks throughout, with steady funky drum fills and bluesy organ chords with an incredible Neil Young guitar solo with tastey bends that I can just tell can only come from a Telecaster. This album is a must listen for everyone in my honest opinion and repeated listen for me, tracks like 4/20, Our House are as iconic as they are beautiful, what a great album to start the week. 5/5 MTW Certified hood classic x 4.5/5 FTW

If I wasn’t a shit white dude and was in fact a class African-American this is how I would want to write hip hop - I’m gonna make fun of you, talk about how great I am and maybe tell you how to do a lil dance. This is fucking great. There’s something educational about record. I have no idea what it is but I definitely felt like I was learning something. RIP Humpty Hump. 3.4/5 JF

this was a pretty cool listen, enjoyed a lot of the instrumental elements and the songs with vocals were dead cool aswell, what i imagine dancing the tango at warehouse project would feel like the female vocals gave a real oldschool jazz vibe, like mid 60s astrud gilberto to be specific (anything remotely close to stan getz samba gets my cock hard) great album to pull out for your spanish friend during his first trip on mushrooms, will definetly listen again 3.4/5 FTW

Oh we are so back ! I am a big fan of dark lyrics put to moderately upbeat music (The Smiths being my ultimate fave example of this). Unknown Pleasures is in my opinion, one of the most influential albums to come out of the 70's. After listening fully, which I haven't done since I was a teenager, I'm seeing the album in a very different light, Unknown Pleasures represents the rage, the anger and the frustration. It's Ian's fighting against his feelings, not quite wanting to let go, but not really having any strength to keep going. In my opinion it's a bit colder and more isolated than Closer, Its minimalistic stripped back nature is creating such a bleak feeling. The production is incredibly seductive and attractive in a strange way. With a lot of reverb on the whole mix, the dynamics between Stephen Morris' stellar echoey drums and Peter Hook's addictive bass lines are leading the mix, while the disoriented eerie guitar riffs are surrounding it and creating its isolated cold atmosphere with plenty of feedback. Lyrically the album is immensely tortured , with Ian going head first into themes of loneliness, religion, death & depression (my favourite cocktail). I really enjoyed relistening, although it has set my weekend off in quite a strange way. 3/5 (A full point lost because I hate listening to men complain on my Friday morning) - HF xo Joy Division is one of those bands I heard people talk about but never listened to myself so I'm going into this with an open mind. Opening track has everything of the 70s Brit Pop/Rock formula, opening with a memorable bassline, monotone lead vocals and high tone distorted and almost haunted guitar, iconic for it's time but leaves me little bored. Lyrically dark and with a tone that leaves each track eerily tortured and with an air of doom about it. I can see why folk enjoy this band and I enjoy aspects of it however it leaves me a little underwhelmed overall , don't think I'll give this another listen tbh 2.4/5 MTW Think it’s fair to say that this album fucks, it fucks hard. I haven’t listened to this from back to front in like 5/6 years probably and I actually think I like it more then I did when I first heard it. The bass tones on this album from start to finish are just delicious, great atmosphere throughout, it’s a dark dingy album and it just goes full force into that. Lyrically I think it’s fine, but maybe too much complaining from Ian, have a gaviscon and run a bath dude you’ll be fine by Monday. Standout album of its time and will definitely re visit next time I want a wear a black trench coat and walk menacingly through winter weather. 3.6/5 FTW

Oh we are so back ! I am a big fan of dark lyrics put to moderately upbeat music (The Smiths being my ultimate fave example of this). Unknown Pleasures is in my opinion, one of the most influential albums to come out of the 70's. After listening fully, which I haven't done since I was a teenager, I'm seeing the album in a very different light, Unknown Pleasures represents the rage, the anger and the frustration. It's Ian's fighting against his feelings, not quite wanting to let go, but not really having any strength to keep going. In my opinion it's a bit colder and more isolated than Closer, Its minimalistic stripped back nature is creating such a bleak feeling. The production is incredibly seductive and attractive in a strange way. With a lot of reverb on the whole mix, the dynamics between Stephen Morris' stellar echoey drums and Peter Hook's addictive bass lines are leading the mix, while the disoriented eerie guitar riffs are surrounding it and creating its isolated cold atmosphere with plenty of feedback. Lyrically the album is immensely tortured , with Ian going head first into themes of loneliness, religion, death & depression (my favourite cocktail). I really enjoyed relistening, although it has set my weekend off in quite a strange way. 3/5 (A full point lost because I hate listening to men complain on my Friday morning) - HF xo Joy Division is one of those bands I heard people talk about but never listened to myself so I'm going into this with an open mind. Opening track has everything of the 70s Brit Pop/Rock formula, opening with a memorable bassline, monotone lead vocals and high tone distorted and almost haunted guitar, iconic for it's time but leaves me little bored. Lyrically dark and with a tone that leaves each track eerily tortured and with an air of doom about it. I can see why folk enjoy this band and I enjoy aspects of it however it leaves me a little underwhelmed overall , don't think I'll give this another listen tbh 2.4/5 MTW Think it’s fair to say that this album fucks, it fucks hard. I haven’t listened to this from back to front in like 5/6 years probably and I actually think I like it more then I did when I first heard it. The bass tones on this album from start to finish are just delicious, great atmosphere throughout, it’s a dark dingy album and it just goes full force into that. Lyrically I think it’s fine, but maybe too much complaining from Ian, have a gaviscon and run a bath dude you’ll be fine by Monday. Standout album of its time and will definitely re visit next time I want a wear a black trench coat and walk menacingly through winter weather. 3.6/5 FTW

cba listening looks like a pissy poo poo album, it’s just Duran Duran with more guy liner not fussed/5 FTW Japan have one good tune. It is not present on this record. 2/5

decided I’m just not gonna bother until it’s an album I’ve at least heard of, I’m not arsed about new experiences right now I want familiarity team fuck off/5 FTW x

I have rewritten this about 12 times. I love The Smiths, they're THE band of my childhood (explains a lot), and they'll always make me think of my dad (and the fact he still has This Charming Man as his ringtone, and has for over 10 years). Morrissey himself is making this album difficult to review, he's a big prick and unlikeable to his core, but alas we will continue. In Meat is Murder, The Smiths continue their important work of making existential despair and dread sound like a picnic on a sunny day (If that picnic featured an hour long guilt trip by a man who sounds like a sad Victorian ghost). Johnny Marr’s guitar playing is still the sonic equivalent of a perfectly cold pint, bright, smooth, and just enough bite to keep you awake. He layers arpeggios and harmonics so effortlessly that you start wondering if he even knows what a power chord is. (Spoiler, he does. He’s just morally opposed to them). The rhythm section—Mike Joyce and Andy Rourke—are the real unsung heroes here. Joyce’s drumming is tight but unshowy, like he’s trying not to interrupt Morrissey’s monologue about the horrors of a Sunday roast. Rourke’s bass playing is a masterclass in melodic counterpoint; he could probably play Bach if you handed him a Fender Precision and a pint. I love this album with my whole heart, regardless of the underlying guilt I feel for enjoying a medium rare steak. 4.8/5 (0.2 points because Moz is a wanker) - HF xo People have been separating music from the artist for years. James Brown's live album is one of my all time faves and he was not a good person (he don't make love good - he hit that lady). Bowie's racism inspired to the Clash-championed 'Rock Against Racism' in the late 70s. Gary Glitter had that one good instrumental tune. The Smiths are fine. What I've always loved about The Smiths is that in an era where you had to crawl through absolute simple-minded synth fuelled dirt to get to a decent tune, they never swayed from their formula. They stuck to it and used it to pump out consistently good music. Meat is Murder opens in a reassuring fashion for fans of the eponymous debut - sweet flowing guitar riff and Morrissey making weird Morrissey noises. They continue into something that at the time was probably very image-evoking for the teens - a trip to the fair. It was the 80s equivalent of the Streets writing about a fucking minging house party you come out of stinking of tabs and horror. A proper nice painting of nice lil' England (which was actually mostly a shithole at the time as there weren't any jobs for anyone). Morrissey's diary entries then take over the next few songs where he gets a bit sad - something which he never quite gets over and starts to blame everyone but him for (class man am I right Francey). The record peaks with 'Well I Wonder' which is a simple and beautiful piece of music. There aren't really any duds on this record, but to most modern Smiths fans they'd probably look at the track listing of Meat is Murder wondering where all the big hitters are. This is just an all-round good record. And I'm more of an LP guy than a singles guy. So, er... 4/5 JF Booted this album on this morning as I was making my breakfast (bacon sandwich, didn’t feel bad about it) and fair to say the opening track really sets up the rest of this album for a really good time. Morrisey generally likes to be sad about stupid things and blame it on normal people and if you don’t fuck with that then you’re probably not gonna fuck with the smiths, let alone this album. I will continue to calve the calf and eat the fuck out of it, and not out is spite of this album, but because it’s fucking lush with peppercorn sauce tomatoes and potatoes. Oh yeah and the music is good 👍 3.8/5

I’ve always gone back and forth on Miles’ work as a musician and a composer, and I think that’s because for the longest time I’ve never fully understood his material. And to understand his music we have to understand why it’s different to the works of other jazz pioneers. The two that immediately come to mind are Charles Mingus and of course, John Coltrane. Two massive names in jazz but both I’ve come to realise are very different to Miles Davis. John Coltrane was not only incredible at his respective instrument but also an extremely capable composer, who through his career always had something to prove. His solos are hectic, filled with lots of notes in small places and extremely complex, so much so that many musicians at the time were terrified to even play with him, he was incredible, and died too soon. Charles Mingus, whilst being a very capable bass player, was more of a composer himself, and created incredible compositions of music filled with huge noise and collective assortments. These works from the late 60s through to the very early 70s were impressive, but im not sure if he was ever really able to expand his work and push the limits of what jazz could become. This is what makes Miles different, cause he was focused on something else, the space in between. Whilst being able to compose, he never wanted to necessarily create music, he wanted to create an atmosphere, a mental picture for the listener, and once this is understood, listening to his music becomes a very different experience. Miles instrumental involvement on Bitches Brew and scattered throughout, making its presence known through long, singular notes, no complexity, all feeling, every note has an emotion, a purpose, a goal to take the listener somewhere they are not. Both this album and 1969s In A Silent Way (album prior) have a similar atmosphere, I imagine dark streets lit by a singular street light, foggy weather and one person walking through the damp lit scene, Miles Davis. I thoroughly enjoyed this album, and came to realise that Miles’ influence on what jazz could be is incomparable to anyone else, from this record onwards miles goes on to be limitless, I mean listen to Do Wop, the guy is a freak of nature. Sorry for sounding like an unbearable music snob, i unfortunately am one. 4.2/5 FTW Happy Monday girlies, let's listen to some Jazz. Before writing this review, I did a little bit of research because I wanted to understand what I was getting myself into. 'The album that changed Jazz forever', but honestly, it mostly sounds like someone spiked a Jazz bands coffee with psychedelics and let them improvise for a few hours. It doesn't sound like the jazz I imagined, there isn't any smooth sax solos or polite background music, its what I imagine the inside of FTW's head sounds like. So it's definitely not smooth jazz, it's dark. electric and kinda hypnotic? The drums and the base don't swing they 'pulse' in like a weird spacey funky way. Do I understand what's going on musically ? Not even close. But I think that's the point, it's less about melodies and more about atmosphere and vibe. So no I don't get it, but I feel more intelligent for even listening too it. 4/5 - HF xo I love Miles Davis but I'm doing this review with extra gusto under threat that Finn will probably disown me as a brother if I don't. Miles Davis is a name I've been aware of for quite sometime and though my experience of listening to his albums isn't as extensive as Finn's, It's abundantly clear from my dabbling in jazz as a genre both how much of a genius Miles Davis is and how he impacted Jazz not just as a Genre at the time of him producing music but the impact he left on how Jazz would evolve as a whole, with the development of many genres of Jazz as well as the pioneering of Jazz fusion with Funk, Rock and Electronic music mixed in with the chaotic sounds of jazz, on albums like Bitches Brew especially. With the opening track Pharaoh's Dance, it leaves the listener with a sense of controlled chaos and in my case even anxiety in parts as well as there are so many individual pieces to this structure, the chaotic and explosive bursting cries of trumpet from Davis, chaotic keys of the electronic piano, with the backing of a steady jazz fused drumbeat and basslines keeping all the chaos barely contained in the most beautiful way possible. Not to get too real but it's incredible that through Miles Davis this musically mental genius inspired, Prince, Radiohead, even Kendrick Lamar and Carlos Santana have their little bits of inspiration they take from this nutter, it's fucking mad. Moving onto the 2nd track of the album 20 minutes in, that's fucking jazz for ya, The albums title track begins with an almost hesitant bass, throwing out a handful of notes before the cries of high pitch screeching piano notes play out, like cries of the bloody damned, then we're met once again with the aggressive cries of Davis's trumpet, reverb echoes the yells as they look to find their place within the songs structure, backed by a drum mirroring the chaotic anger of a man who's downed a six pack of Stella and wants to go toe to toe with the Mrs. After the song settles into itself, bass takes centre stage, alongside what sounds like an the slow ominous ton of some kind of bass wind instrument, maybe a bass sax? Whatever it is after the chaos that proceeded it, it grabs your attention, sit you down in front of your homework and you don't dare move. As the progression builds, other instruments find their way into the mix, Miles Davis Trumpet, even a few high tone guitar chords thrown in there, if there's one thing this album does well it's controlled chaos, you're just along for the ride. With Spanish Key we finally get to some guitar FINALLY ! And it does not disappoint. A mixture of clean, reverbed, jazz chords, with the feint keys in the back almost goading it on, with the whispers cries of the trumpet flairing in the background, held together by funky basslines and a steady drumline. The occasional sparky chord firing out from the guitar progresses into jazz licks and runs, with half tone bends, and bluesy little pulls offs and hammer ons, this is probably my favourite track of the album I won't lie, it's a guitar wanking wet dream. The wind instruments do take the stage for the later half of the track but this doesn't take away from what is probably the most structurely clean song of the album, bar John McLaughlin which follows in the same way as Spanish Key structure wise, with more of a focus on the guitar as a whole. Miles runs the Voodoo down can be described as the where the Jazz Fusion side of this album really shows it's head, the bluesy fusion of this solo is complex and leaves the listener even unsettled at times. Davis breaks the boundaries of the instrument within this track, the sound is time settles with beautiful grace and other times screams with raw energy. This doesn't even take away from the backing musicians who keep it tight with those same bluesy little licks and beautiful clean chords from the guitar with the drums and bass keeping the structure of the track tight, close to flawless. Sanctuary is a fitting end to the album, it's opening minute holds a deep sense of melancholy to it in a way, through Davis playing there's raw emotion in the held notes of that bloody trumpet, with the back instruments almost on standby in comparison to previous tracks, waiting for their place to slot in. After the four minute mark it's like a jazz backing band interrupted a funeral, the melancholy of the trumpet almost at war with the slapping bass, funky drumlines, then like anyone walking into the funeral of someone you don't know, promptly leave after a minute. For the remainder of the track, the brass is the forefront of the track, with the occasional whisp of the backing track. Right so after I've gobbed on for too long, this album is a staple for Jazz music overall and should be an album you listen to at least once, is it a fun listen? Absolutely but is it a once a week album? No but it is an important album nonetheless, 4.2/5 MTW This is my 3rd favourite Miles Davis album and it is still the 3rd greatest jazz record of all time. 4/5

What an album and in terms of Foo Fighters Discography one that doesn't get spoken about very often overall, with that being said let's get on with this as I type this out on my work computer instead of doing my job. The album kicks off in what would become typical Foo Fighters fashion, beginning with Dave Grohls soft vocals before the track kicks in, blasting distorted guitar, heavy hitting drums and the bass is certainly there. One thing that I think needs to be said about this album is that Dave Grohl wrote it all and recorded it in 6 days, which I think adds to the sheer amount of fucking awesome of this album. This is a Call is the perfect introduction to the Foo Fighters sound, with hints of blues hidden within the powerful rock n roll sound. I'll Stick Around, follows a similar formula but here we really get to hear Dave's vocal range with screams and a more aggressive vocal style, each track of the album introduces little bits of Grohl's style that will eventually see consistently in albums to come. Big Me is the lighter track on the album, the distortion is toned down for rough sounding chord progressions, with Grohl's vocals returning to a softer tone, with lyrics that'll now be stuck in your head for a week, a lovely little 2 minute ditty. Tracks like Floaty and X-Static have a grungy almost punk like sound to them, with Grohls clear vocals sailing through beautifully, showing hints of his beginnings at Nirvana, aggressive music with clean vocals is a personal favourite of mine. Overall class album, not one of my favourites but its an album bigger than the sum of its parts, what we see in this album is a few of Grohl's ideas that blossomed into arguably one of the most fun rock bands of the 2000s and onwards. 3/5 MTW I think it would be fair to say that any work by the Foo Fighters past 2011’s Wasting Light

Peter Gabriel is ok. JF 2.8/5

Oh fuck yeah what better way to nurse a hangover at work than with The Eagles, their debut album whilst leaning more so on the country style than rock fusion we come to recognise, this album shows the unmistakable talent of the band, from the iconic dual guitar riffs, tight song structure and those angelic harmonies. Right let's start, first off we have the iconic Take it Easy, where do I even start, the track starts us off with a powerful set of power chords backed by dual acoustic guitars before a bluesy country guitar riff brings in Frey, backed by a choir of angelic harmonies. This is definitely more a country than a rock song, with the light picking of a banjo in the background making that abundantly clear but probably opening tracks to an album. The musical direction takes a sharp left turn with Witchy Woman, leaning more so on the rock/bluesy sound with sprinklings of psychedelia, showing the bands diverse talent. As well as the perfect harmonies, almost haunting in a sense, we get to see the iconic dual guitars that the eagles became known for with bluesy high reverb riffs and a mean guitar solo, probably one of my favourite tracks on the album. Chug All Night once against shifts the sound, this time to a popping classic rock n roll track, bluesy guitar riffs making their way through the funky basslines and crashing drumbeat, all brought together with Frey's cries and harmonic vocals. Most of Us Are Sad then flips the script with Randy Meisner leading the vocals on this track, a beautiful tragedy of a track, speaking of the unhappiness we all feel on a day to day basis. Nightingale was apparently almost cut from the album which would have been a bloody shame as Don Henley's powerful lead vocals help carry this track into being one of the highlights of the album, a driving track filled with that classic rock sound with the flair that only The Eagles can add. Train Leaves Here This Morning add a more folky type feel to album and is a welcome addition before the driving rock and bluesy country sounds we've gotten used to so far. Take the Devil fits very similarly into this category. Ok ok I think I've gone on enough here (even though I have several more paragraphs to say) The Eagles self titled album is possibly one of the greatest debut albums ever created, showing us a small glimpse into what is one of the best rock n roll bands of the 70s, at the very least it's a weekly listen from me. 5/5 MTW Despite the 60s and 70s being where most of my favourite music comes from, I've never really 'got' Eagles. They were never pushed onto me by my dad as a wee dickhead and they've never crossed me as something I'd enjoy since so I welcomed this opportunity to HAVE to give them a listen, especially given this is one of the records I should listen to before I die so I assume one of their better ones. The first track gave me an immediate Jackson Browne feel - and whaddyaaa knowww he co-wrote it. Nice one Jackson (how are you still alive). As soon as the banjo kicked in it became very clear why to some Americans these are their Beatles (to the other lot it's Kiss and those people need their hard drives checking). This is AMERICANA. With this having such a country kick to it I thought I'd really despise it but going into Witchy Woman I found myself quite enjoying myself. It almost made me want to shoot up a school or something. Also HOW IS DON HENLEY STILL ALIVE TOO?! The man must be 90% cocaine at this point. Through and after track 2 I found myself enjoying the very CCR/Grand Funk Railroad guitar licks rolling around in the ol' country rock formula. But for me the record did just kind of chug along from there - via Earlybird which was frankly ridiculous - into the very chill and enjoyable Peaceful Easy Feeling. Just nice easy music. Ending on the Townshend-tinged Tryin', they round off in decent fashion. I really thought I'd have a bad time listening to this but it was COMPLETELY FINE. Nice one. 3/5 JF

no bad songs, all good songs, radiohead rock 👍 4.9/5 FTW It'll have to be a quick review today due to gig obligations, incredibly consistent album with not a bad track on there, definitely a once a week listen. 4/5 MTW It’s good and I’ve always liked the guy having a gasm on the front I think that’s art. 3.8/5 JF

Happy Tuesday folks and going in blind once again. Sly and The Family Stones Stand! From 1969. From the first track it definitely has the soul feel down to a tee, backing of organs and brass with high powered choir and vocals, with a funky breakdown towards the end of the track, it's funky, feel good, the lyrics are certainly... something but not a bad listen. I'm not going to name the next track for obvious reasons, getting past the first 30 seconds, musically this track is a lot of fun, that mixture of brass, funky wahs from the guitar and some very creative vocal work both lead and backing, it's an intense but funky track. From the year this album was released, it's clear that Sly and The Family Stone definitely fronted a lot of new sounds for the time, funk, soul fusion, rock, with hints of psychedelia and each track opens the listener to a new creative fusion of all of these, each song is tightly put together. Notably I Want to Take You Higher does this perfectly and is a stand out track for me, mixes the funky drum and bass, with the explosive brass backed by a high soul choir and with a electric guitar that makes itself known but doesn't overstay it's welcome. The isn't entirely high energy, shown clearly with Somebody's Watching You, an easy going track that leans more on light funk than the high energy needed for soul music, nothing wrong with this at all as the band is tightly put together, with the welcome addition of an electric organ adding additional flavour. Overall this album was a fun listen and right up my alley. 3.1/5 MTW

The greatest live album of all time. Putting all the mod/invasion shite behind them, The Who help invent hard rock. Shoutout to Townshend for playing off his own echo from the back of the theatre on My Generation and Magic Bus. If anyone you know doesn’t like the Who, play them this and they change their mind (100% success rate). 5/5 JF

Stevie Wonder will never see this review so why should I bother. 4.3/5 JF

WE'RE BACK BABY ! Honestly, I love this album, it’s the perfect soundtrack for staring out a bus window and pretending your life is a black&white indie film. It's moody, it's mysterious and it's sexy. Overall, “XX” is minimalism done right. It’s not flashy, it’s not loud, it's like the musical equivalent of someone whispering “psst… I have feelings” directly into your soul. LOVE ! 4/5 - HF xo - Returning minimalism to the mainstream in a way that hadn't been seen since the 80s, we have the record that spawned 1000 acts that thought they just didn't have to put that much into writing music and could get away with it. The xx managed it and were probably the best at it around the late 00s/early 10s. The most positive word I can use about the songs are that they are quite 'nice'. Wholly unoffensive but they inspire absolutely nothing in me. Ther's some nice little guitar parts here and there which sound like someone put Johnny Marr in an ice bath and put a gun to his head and asked him to pump out some arpeggios. But I was probably spoiled growing up in the late 90s/2000s when music had kinda bounced back (I've bounced back, Lynn) after the previous decade, but in the snobbiest way possible I'm either excited by music or transfixed by music or I'm probably not enjoying it. The more known tracks (VCR, Crystalised, Islands) stack up the first part of this record, and it falls off a cliff pretty quickly. The singles take you back to an era when people thought shows like Skins were like how late teen life should be and aspired to be like the characters, realising they actually weren't middle-class kids from Bristol and actually poor kids from the North where the pills weren't as good and you couldn't afford coke on your EMA. They actually try something with tracks like 'Fantasy' and 'Stars', but they don't have enough about them to stand-out as top album tracks and the record peters out with a whimper. A forgettable experience from a forgettable year. 1.9/5 JF - I thought for a second I didn't know the band or this album then 10 seconds in I'm thrown back to underage drinking, smoking down fairy glen and buying cigs from an old Chinese fella (big up Tony Saltburn OG) VCR is a slow paced, lowfi tune, lyrically well put together with some nice harmonies but very little to say other than that. Crystallised bumps up the BPMs slightly with a funky bassline and minimalist type guitar, once again not a bad track but it's not really grabbing me, with the expectations The Intro set, I expected more. Okay this won't be a long review, mainly because I don't really have much to say about it, it's starts off so well but then it's just kind of boring, I don't mind minimalism in music when it's done well, sometimes less is more and there nothing wrong with that. But an entire album of minimalist build up to minimum if no pay off at all? Yeah not my cup of tea. It's like if the DJ made the first track then fell asleep and team of teenagers on a come down picked up what was left, probably won't pick this album up again tbh. 1.8/5 MTW

So I think I’ve listened to this album probably twice, three times now after today and I’m now realising that this might be one of the most beautiful sounding albums I’ve listened to. jim cain is a heartbreaking song, it’s so beautifully intimate and feels so private, the wind and the dove is another highlight of the album for me, feels like walking through a ghost town. I think another reason this album feels so gut wrenchingly traumatic is bills voice, he’s speaking, he’s singing, he’s borderline rambling but it adds a layer of humanity to the whole album. an album ive probably overlooked greatly 4.3/5 FTW Another blind album and looking at the cover I'm expecting country or just calm good vibes so let's have a go. Okay I really didn't know what to expect with this album and it did not disappoint in the slightest. The album seems to balance simplicity and complexity incredibly well both musically and lyrically. From the lyrics of the opening track flowing you with talks of introspection, about personal progression to Eid Ma Clack Shaw which at one point he just starts talking bollocks but it's beautiful bollocks. This album feels very personal, with Bill occasionally just sounding like he's almost talking to himself, exploring the themes of loss, love, even faith and personal growth in a beautiful fashion. This album took me by suprise honestly, I was quite taken back by the how well put together it all was and how much the first track especially rocked me. Will happily give this another listen and may even learn a track or two. 4/5 MTW What a nice way to spend an early evening on a Tuesday. I'd even be sound hanging outside with them horse lads on the album cover as it's a lovely day. And that's one way to sum this record up - lovely. Anything with nicely worked-in non-overbearing strings is a big tick in my box. Love that shit. Jim Cain and Too Many Birds are standouts - emotional in two very different ways but keeping a signature which Bill C maintains thorughout the record (personal, open, raw at times) while remaining inviting and comforting. My Friend is another gorgeous tune and these are the three tracks I'll probably come back to. While there are no skips per se, I did find myself plodding through a couple where the music was a little more routine and for want of a better term robotic - but not in a bad way. Closes on a long boy which I am a fan of - if you're gonna put long tunes on a record you're either bold and class or just an arsehole. Bold on Bill's part, nice one. 3.5/5 JF

I'm not a fan of jazz. This is probably one of the best examples of acceptable jazz. The bluesy kind that isn't too far up it's own arse. Great to have on in the background. I love this man's dogs and chickens. And his jaunty hat. See u at the chicken shack brotha. 3/5

I hope you're all sitting down for this review - it's what Robert Fripp would want. This record was a big part of me going from being a football obsessed teenager who just wanted to be outdoors all time kicking stuff around to a fucking weirdo who took music far too seriously and liked the INDOORS. My tiny mate Dan had got me into Pink Floyd so I was open to a bit more down that sorta avenue. We listened to this and became unbearable. It's mad that this is a 60s album. It's so far ahead of what else was going in in 1969 that you'd be forgiven for thinking it came out after Dark Side. The opener is class, and probably the most traditional part of the album (opening strong with a solid catch riff) but it goes off the rails already towards the end with just noise. It's been sampled loads since which is a testament to Fripp and Sinfield bridging the gap between accessibility and peculiar. I Talk To The Wind is one of my all-time favourite songs - a gorgeous almost soft folky tune with one of the only acceptable uses of flute as a main instrument in the history of music. Then Epitaph and Moonchild happen and it all gets fucking weird. Epitaph is a powerful tune, and the best example of how perfect Greg Lake (of the band with those other two nerds fame) and his vocals were to this iteration of King Crimson (of which there are 204). Moonchild goes wild with the keyed instruments and you're essentially just wandering through a weird Final Fantasy sidequest for a bit but it had it's moments. Then the finale hits and hits perfectly to begin with. You've been through a bit of a weird journey and then you get hit with safety in the form of a guitar part and vocals. I'm convinced when Roger Waters wrote Eclipse he just listened to this a couple of hundred times and came up with his own version. But then again they can't resist getting a bit medieval fairground amongst it all. But this is pure prog at it's best - heavy, atmospheric, a big vocal AHHHH chorus and weird fucking lyrics about fire witches n that. The record then ends but of course it doesn't cos its prog and we've gotta have at least ONE REPRISE WHEYYYY and it's a bit more upbeat and hopeful - then it gets weird one last time. Class. Love you. 4.8/5 JF - What an album to start off a Monday whilst I'm stuck at work till 8 o clock. First of all, arguably one of the most influential albums of all times in the genre of Prog Rock, without this album its likely we wouldn't see the likes of Darkside of the Moon, Meddle, Fragile by Yes and the list goes on. Its not a perfect album by any means, there are faults which i'll go into more detail about but for the mark it left on musical history, its a bloody giant. As I could write a thesis for every single track on this album, I will try limit the track discussion to not be several paragraphs long (Key word there being try). Starting off with one of the most well-known of King Crimson's discography, 21st Century Schizoid Man, its a powerful banging track, distorted and disjointed, with abrupt chaotic tempo changes and the wailing of electric guitars along with an almost terrified sounding yelling of brass instruments, all backed with tight bass lines and the controlled chaos of the drums. Lyrically it chants of the impact of war, more specifically the Vietnam War, as well as the rise and demand of consumerism in modern society. All in all what more do you want from a prog rock track and what a fucking banging opener. I Talk to the Wind takes the album in the complete opposite direction, where there was chaos and instruments screaming for freedom, there's now gentle serenity, a beautiful track speaking of a longing for connection almost pleading for understanding in a world that is quite hollow and lonely, with the flute being the outstanding instrument of the track. A beautiful bit of calm to differ from 21st Century Schizoid Man, I can see why this would be part of Jay's hangover playlist. Epitaph is probably the bleakest track on the album, not in a bad way, it carries across the image of defeat and hopelessness beautifully well, it paints a post-apocalyptic earth, destroyed by war, greed and humanities inability to learn from their mistakes, as if we are always doomed to fail, its a powerful look into humanity as a whole that can take place at any moment in time. Next we have Moonchild, which is one of my favourite tracks on the album, the soft voice of Greg Lake is hauntingly beautiful, almost like a calling to a far distant land, the first 2 and a half minutes of Moonchild stick to this beautiful haunting folky type theme, then comes the controversial type bits, the remainder of the track is entirely an improvised jam, executed very well but it does take away slightly from the beauty and simplicity of the beginning of the track, if I'm in the right headspace I'll listen to the full track any day of the week but usually? First 2/3 minutes of the track work just fine. Finally we have the albums closing and title track, sticking hard to that the theme of wars and the helplessness of the individual, this time with the added medieval theme. The track jumps between softer verses building up to a bombastic epic explosion of strings, brass and keys all with the familiar banging drums and bass. The track switches momentarily to a softer verse with return of the combined flute and bass as seen on Talk to the Wind. The closing track encompasses everything that makes this album as influential and poetically brilliant. Overall, holy shit what an album, its beautiful, dynamic, poetic, quiet, chaotically loud and one of the grandfathers of Prog Rock, always a happy listen from me and a great way to start a monday. 4.6/5 MTW. - Lots to unpack with this album as it holds a lot of value in the prog rock community, so let’s go. I feel like if it’s your first time listening to King Crimson (or any prog band from the same period) your gonna come away feeling that most of the songs start better than they finish, that’s how I felt first time round anyway. And I still think that’s the case for some of the tracks on this album, however I’d say that although this is a con for me, in the grand scheme of the genre it’s a necessary risk by the artist that’s helped to scape the movement. Schizoid man definetly finishes just as well as it starts tho, seriously this song fucks, and the vocals are the centre piece for me personally, sending it like he’s on the front line hot digging dog. I Talk To The Wind gives us a chance to calm down after being psychologically skull fucked for 7 minutes, which is thoughtful and appreciated, however I do think this song drags on a little bit too long for my taste, as is also the case for the song Moonchild. By fucking god is this song frustrating, the most angelic 2/3 minutes of a song I’ve possibly ever heard, then all of a sudden we enter a duel of two keyboards with half their keys missing, having a whispering contest for 10 fucking minutes. I just don’t think the instrumental elements are strong enough to warrant the runtime of this track sadly. Epitaph however I’d say has a lot more minerals and the structure plays to its advantages, this song rocks, as does Court which is a great way to end the album. Overall a pleasant revisit to an album I haven’t heard in time, will listen again sometime 3.8/5 FTW Hello, happy Monday :) This album is rare in every sense of the word, it practically invented progressive rock in real time, combining jazz complexity, symphonic drama, and psychedelic weirdness. Its importance can’t be overstated; without it, bands like Yes or Genesis might’ve just stayed polite rock groups instead of launching into epic, otherworldly sonic rollercoaster's. The album’s mood swings between haunting beauty and apocalyptic chaos, which is probably why it still feels so alive decades later. And honestly, listening to “21st Century Schizoid Man” at full volume might be the closest thing to time travelling back to 1969 without accidentally growing offensive sideburns and landing on the moon. 4/5 - HF xo

So this album has come as a surprise to me, I say that not because it’s a bad album but because there are 3/4 REM albums that are better than this one. Murmur very much carries the sound of a band still finding its feet I think and while that could be seen as a weakness for the album, it also means there’s a lot of really interesting sounding material here. Radio Free Europe is a great album opener with a really infectious structure, but is then followed by Pilgrimage, a much weaker track in my opinion and a song that feels like filler, almost intentional filler. Laughing and Talk About The Passion are both great tracks but again don’t feel like tracks you’d associate with REM’s general sound. And that’s about it really, the album is good with solid tracks, good instrumental foundations and a soft vocal delivery from a young Michael Stipe clearly still finding his niche not only as a vocalist but also as a lyricist, what a fascinating album. I can see this growing in me in the coming months. 3.5/5 FTW Woooo ! A band I know with an album I don't and REM's debut album of all things, love that combination plus it keeps me occupied at work. Radio Free Europe starts us off and wow what a beautiful track, it just screams post punk with those known REM influences, you get that punky feel and tone, with very hard hitting simplistic chord progressions and basslines, alongside a very 60s folk rock sound. A certified banger to start the album, really familiarising us with REM sound we've all come to love and admire. Pilgrimage goes in a different direction lyrics wise, coming across as very dark and moody, with the clear message, distrust and skepticism of authority and religious figures. Musically the track stays with that 60s esc folk rock sound but adds an almost haunting feel to the track overall. One hell of a bassline starts off Laughing, automatically the bassline and drums remind more of old school disco than a rock n roll or folk track, but its not unwanted at all and fits incredibly well alongside Peter Bucks incredible guitar work and the lighthearted keys, a fun little track showing once again a simple example of the REM we all know. There not much I can say about Talk About the Passion musically thats not already been said, but lyrically its an incredibly powerful track speaking about the helplessness we feel as we are unable to help others who live in poverty or suffer with hunger. Okay I won't keep going track by track but you get the idea, this album is a fun one because its got the fun, boppy, folky rock n roll sound that makes REM brilliant but with powerful lyrics that span a multitude of subjects from social commentary to the human soul and even morality (Moral Kiosk is probably my favourite track on the album). Musically it can became a bit samey but then again, its fucking REM so it slaps. Overall I'm slightly embarrassed I've never listened to this album previously, second banger in a row lets keep them coming. 3.8/5 MTW.

Christ, I haven’t listen to these in a minute, me and max grew up with albums like this one in the car for most car journeys so coming back to it feels pretty nostalgic, but also tricky cause Gun N’ Roses are one of the rock bands that I’ve never really gone back to, I was never that interested generally in there catalogue. I found some enjoyment in the Use Your Illusion albums but other than that I didn’t go near them, so listening to this album borderline felt like listening to a new album for the first time (minus obviously the big hitters), and damn what a pleasant surprise. I wasn’t expecting to enjoy this tbh. I thought this was gonna be 50 minutes of what would nowadays be considered overplayed and of its time pure cock rock, and there is a bit of that, but I really enjoyed the lesser heard tracks on this album, forgot how hard Mr Brownstone goes that songs opening fucks so hard. The cowbell being ever present from back to front on this album as a drummer is never unwanted, and Axl Rose really had some set of pipes in his heyday (almost as good as he sounds now). But in all honesty the parts that dragged me out with this album were actually the hits, Welcome to the Jungle, Paradise City and fucking Sweet Child O Mine. That’s probably because of how popular they are, but I couldn’t help but skip them after the halfway mark, I just can’t stomach them they feel almost superficial with them being some of the most important songs in the change from 80s to 90s hard rock. So yeah overall enjoyed this album except for the popular ones (I’m not like other boys) 3/5 FTW Third Banger in a row lets fucking go ! Before I start this review i'm aware Axel Rose is a diva and a prick. Talk about a legendary debut album, its big, loud and that gorgeous mixture of gritty and flair that makes 80s Rock so fucking delicious. This album is pretty consistent and for that reason I will only really be touching on the tracks that I have the most say about. Opening tracks don't really get any better than Welcome to the Jungle and come on you can see why, that echoing grizzly guitar riff, slowly building up with a rough cry from Rose, the backing guitar, bass and drums all helping to build up to that crescendo of "Welcome to the Jungle, We got Fun and Games !". Say what you want about Axel Rose, I have several negatives, but his vocals on this track fit so well with Slash's screaming guitar. This track for a debut album shows us exactly what Guns and Rose's are, the bluesy rock influenced sound you're gonna hear, the attitude and the grit, its everything Guns and Roses. Its so Easy is a solid track, hearing more bassy notes from Rose, definitely most heavy in the Blues Rock influence, some great licks and solo from Slash but thats to be expected not a bad track just kind of there. Night train is one of my favourite tracks on the album, bopping guitar riffs, you can see why it was one of Slash's favourites to play life, funky basslines with hammering drums, its iconic GnR, very fun track. Paradise City holds a special place in my heart, I remember my Dad showing me this track on CD and being blown away by the build, it felt epic, then in comes Slash with that all familiar screeching riff then at the blow of whistle, in drops the heavy riffs with matching drums and bass, Rose's high pitched vocals cut through it, easily best track on the album in my opinion and it wouldn't be GnR without a face melting guitar solo from Slash. When I was a kid I thought Sweet Child of Mine was the greatest song ever written, now I've grown up I realise its a tad overplayed, not a bad song but definitely one I've heard to death, even the riff is a meme at this point, I still enjoy it maybe once a year mainly for the guitar solo which I will admit is class but yeah take it or leave really. You're Crazy is a great track, that fast paced aggressive 80s gritty rock n roll, all high pitched screams and distorted heavy guitar, probably the track I found myself enjoying most on a relistening of this album, it doesn't overstay its welcome, solid end. Its been interesting listening to album again in full after quite a few years of not really listening to GnR, its a fantastic debut album don't get me wrong but other than a few tracks here and there I didn't really get the same flair from it I used to, still worth a listen every now and then but yeah wouldn't be a regular listen from me. 2.8/5 MTW

Nah. Fuck off Canterbury. Some things are influential because people took elements and made them good. 1/5 JF

'WAR' opens with 'Sunday Bloody Sunday', basically the sound of someone whacking a frying pan in a shed whilst Bono scream shouts like he discovered war all by himself (spoiler, he did not). 'New Year's Day' is actually a brilliant song, hypnotic bassline, slay piano and some fucking fantastic drums, alas, Bono ruins everything yet again, floating on top of the like a man who thinks rhyming 'you' with 'true' is Nobel prize worthy. The rest of the band are inventive and locked the fuck in, Bono's main contribution is making every track feel like work place mandatory training, I simply did not sign up for. An album meant to be stirring is a reminder that U2's biggest legacy will always be, 3 brilliant musicians and one man determined to shout over them. 3/5 (Bono tax applied) - HF xo don’t like u2 cba to listen ThE eDgE! get a grip your a grown man not a sharp surface cunts/5 FTW Don't give enough of a fuck about Bono to review what will likely be dribble with 16 effects pedals. 0.3/5 MTW

I was gifted the newly released Deluxe Edition version of Tommy for being a groomsman at my Dad's wedding when I was 14. I'd really gotten into The Who after listening to the early stuff (The Kids are Alright and I Can See For Miles being my favourite tunes). I thought they were just a jangly bluesy typical mod band until I properly listened to this record and realised they had been destined for different things outside of that mods/rockers bubble. There's been loads of records from the 60s labelled the 'first concept album', but this is the first mainstream release with a full 'rock opera' narrative and it builds on dribs and drabs you could hear on 'The Who Sell Out' (arguably another concept album, as the whole record plays out like a 40 minute radio show). The concept itself is a bit offit - a boy who becomes voluntarily deaf dumb and blind cos he walked in on his mam shagging someone after his dad didn't come back from the war. He goes through all sorts of fucking ALTERNATIVE MEDICINE (proper American) and general abuse before he ends up looking in a mirror, sorting himself out and gaining a messianic complex before being brayed by everyone and finding peace. This isn't a record with standouts (I suppose Pinball Wizard remains a popular tune but it's just another piece of narrative in the context of Tommy). It's the use of motifs and musical plot devices throughout that inspired me as a teen. Through the frankly fucking weird narrative (battered by his cousin, fiddled by his uncle, drugged by a prossie) there are beautiful progressions and fun riffs built upon throughout the story (Overture, Christmas, Underture, Go To The Mirror and eventually into the 'Listening to You' ending to We're Not Gonna Take It). While not the Who's best work, it inspired a young Jay enough to learn the entire thing on guitar as a teenager which gave me a massive appreciation for rhythm guitar and chords progressions while everyone I knew was trying to bust out Slash shit in the music rooms in school. An important record for me and an important one for music. It became a weird Ken Russell film and also led to Quadrophenia (which mods love but it's about how fucking silly all that was). Take Cousin Kevin and Uncle Ernie out of this and you have one of the best records of the 60s. Without it, as Gilmour and Waters will tell you, you don't have Dark Side of the Moon or The Wall. A proper transition from the 60s into proper hard rock with spiritual brothers Led Zeppelin in the 70s. 4.3/5 JF -

Pixies have confidently cemented there place as arguably the most important alt rock band I’d say, I mean without them you most likely don’t get the likes of Nirvana, Pearl Jam, Weezer, I could go on. Whilst I don’t think this album is as consistent as Doolittle, Come on Pilgrim or Bossanova, it still has some of there best individual songs on it, Bone Machine is a roaring opening track and really optimises the sound they pioneered, its raw, stripped down and in your face. Kims vocals in Gigantic are beautifully arranged, and I love how the guitar kicks in and out of the song giving it the presence the song title promises. Where is my mind obviously needs no explanation as to why it’s such a great song, it just fucking is. Enjoyed re listening to this as it reminded me how utterly utterly flawless of a catalogue this amazing band has, they truly have created some of the best rock music of the late 80s and 90s and there sound has proven to be of inspiration of so many bands past and present. Proper rockstars 🤟 4.1/5 FTW

Listen I'm not listening to Massive Attack on a really peaceful Tuesday it's just not the mood but this is a good record that I enjoyed when drugs were way cheaper. 3.3/5 Slay, massive slay, and more slay. Album so good it ALMOST makes paranoia feel poetic. It’s like getting a cuddle from your dealer while questioning your life choices, and somehow loving every second. 4/5 - HF xo I feel like I should be on more drugs listening to this album again, been a while. 3/5 - MTW weirdo guy tunes, done whimsically. like if a vulture wrote elevator music. not there strongest work but still goes pretty hard 3.7/5 FTW

Beatles slap, this album slaps, however d’angelo died today so he will get today’s spotlight x Voodoo gets 5/5 FTW