Alien Lanes is full of short, lo-fi songs that are fun at first, but by the time you start getting into one, it’s already over. Still, not without its catchy charm
Great voice with real emotional grit. Amsterdam is a strong opener. Dramatic big band production. Le Plat Pays has beautiful strings. Overall a good dinner party sort of album elevated by Jacques powerful vocals and inflections.
Let’s Stay Together is smooth and soulful with a great vocal performance, but aside from the title track, it’s a bit too lo-fi for me to revisit often
Bayou Country has some killer tracks and a great vibe, even if a few songs feel a bit repetitive and drag on a little too long.
I like the blues rock direction on Morrison Hotel, but it ends up being a pretty laboured listen, with too many tracks sounding the same.
cure to insomnia
Rip It Up by Orange Juice feels like a fun, slightly messy mix of pop and disco, but the title track is so catchy you can’t help but love it.
Bonnie Raitt sounds amazing on Nick of Time and the album is technically well made but the whole Americana blues-rock vibe just isn’t really my thing
Meat Is Murder is an all time classic for me. Full of emotion and sharp political lyrics that still feel relevant today. It has a passion that sticks and really feels like a template for so much Brit rock that came after… and it’s not even The Smiths’ best album!
tuneless angry noise
Like a wild Cabaret story set to rock music. I’m not mad at it but I’m not sure about it either. Gang Bang was fun. 2 stars. Could become 3 with more listens.
She’s So Unusual is such a fun, personality packed burst of energy, and her cover of Prince’s When You Were Mine is a total highlight that she completely makes her own. 5 stars
The Real Thing by Faith No More wasn’t for me. Well made, but just not my style of music.
The Man of Metropolis Steals Our Hearts is a slow burn with adventurous melodies and intriguing lyrics that hint at deeper rewards over time, though it often feels overstuffed and could benefit from some thoughtful editing, an enjoyable but occasionally overwrought listen.
Juju is a dark, hypnotic ride where every track is a killer with no filler, just pure post-punk magic.
Midnight Ride by Paul Revere & the Raiders is a fun, radio friendly slice of 60s rock with plenty of catchy tunes even if some stand out more than others.
Live at Leeds by The Who packs raw energy and power, but as someone who’s not into live recordings, I just couldn’t really connect with the songs
Untitled (Black Is) by Sault feels bloated and hard to follow, with production that leans more boring than adventurous despite its ambitious ideas.
British Steel by Judas Priest has undeniable energy and metal craftsmanship, but for me, none of the songs really stuck after the last note faded
Get Behind Me Satan feels like The White Stripes got bored and threw together a weird mix of ideas that’s hit or miss at best
Vulgar Display of Power is basically nonstop shouting and growling with zero melody, and honestly, it’s just not my thing at all
Copper Blue by Sugar is packed with crunchy guitars and big hooks, but the vocals sometimes get lost in the mix, so the lyrics can be tough to catch.
Rio by Duran Duran is one of those desert island albums full of irresistible melodies and vibrant energy that perfectly captures the sound of early ’80s new wave.
Lost in the Dream by The War on Drugs feels like an album from decades past yet still fresh and modern, blending nostalgic heartland rock with a dreamy, contemporary touch.
Music From Big Pink by The Band is a laid back, rootsy record that’s uneven at times but there is enough there that makes you want to revisit it.
M.I.A.’s Kala isn’t about singing it’s a noisy, chaotic art piece full of sharp political messages and global beats that hits hardest if you’re in the right frame of mind. Paper Planes is a highlight
Paul Simon’s self titled album is melodic and soothing, like a hug from an old friend you didn’t realise you needed.
Clandestino by Manu Chao is a chill, worldly mix of reggae, Latin, and folk vibes with catchy tunes
Gasoline Alley starts strong with the gritty title track, but some of the covers, like ‘It’s All Over Now,’ feel like filler and and breaks any momentum the record has
At Newport 1960 was enjoyable for a one time listen, but it’s not really my style of music.
After the Gold Rush has some good songs, but Neil Young’s whiny voice makes it a bit hard to enjoy.
Abattoir Blues / The Lyre of Orpheus has some interesting moments and Nick Cave’s lyrics stand out, but the double album feels bloated and tiring.
Alien Lanes is full of short, lo-fi songs that are fun at first, but by the time you start getting into one, it’s already over. Still, not without its catchy charm
Synchronicity mostly sounds rough and demo-ish, with only a couple tracks carrying any real melody, the rest feeling more like filler than a finished album.
Rum Sodomy & the Lash sounds like a half-sloshed poet leading a pub singalong. messy but oddly magnetic if you’re in the mood for it.
It’s noise
Paris 1919 is a cool, kinda dreamy record that didn’t hit me straight away, but I get the feeling it’s one that opens up the more you spin it.
Mellon Collie and the Infinite Sadness is a sprawling album whose length can feel overwhelming, but its mix of fury, melancholy, and drama makes it a striking piece of work.
Metallica’s 1991 album hits hard with its heavy riffs, but it also has surprisingly polished, melodic moments that make it easier to get into even if metal isn’t usually your thing.
Even though jazz and bossa nova aren’t usually my thing, what I heard from Getz/Gilberto was so smooth and enjoyable that I’m tempted to track down a physical copy
Doolittle is full of catchy and quirky hooks, though its wild, chaotic moments can feel a bit overwhelming at times. Less shouting, more singing