I can understand from the get go that grindcore isn't for everyone. However, I will say that despite the influence, it certainly shows that it's very early, and is very rough around the edges. Will I say that it's truly awful? No, but I will say that there is indeed some room for improvement. I will say for the positives though that some of the instrumentation is great, real headbanging stuff even on a first listen. It's the rest of it that irks me. The fast sections just seem like a "let's see how fast we can go" with no room for melody or sense of timing. And thr vocals, despite having 2 different people, sound like a south park interpretation of death metal. If the record as a whole was a bit slower and more melodic, I would say it's a must listen regardless of genre. Other than that though, it's really only a recommendation for those that are brave enough to expand horizons, or for those who are already into the grindcore scene, and looking to see where it started.

Steely Dan is an artist to which i need no introduction, having listened to multiple albums already, such as the Royal Dcam and Aja. However, countdown to ecstasy is a new experience, as it was one that i hadn't got round to. I will say however that it lives up to the standard set by their later works, whether it be the catchy refrain of Bodhisattva, the jazzy and comforting instrumentation of Razor Boy, despite talking about losing everything, or the sunset vibe that comes across on Pearl of the Quarter and its story of seemingly unrequited love (Do note that the normal streaming version is slightly higher pitched, but you can find the original on sites like YouTube). The drumming throughout the album is also impeccably tight, and deserves a mention by itself. Its only downside is the fact that it never got a major radio single, and as such, isnt nearly as recognizable as Aja, Pretzel Logic, or Can't Buy a Thrill. Otherwise, it is very much worth the listen.

From one banging album to another. Seeing this come up on the rotation when the site revealed it to me triggered an audible joy, as I've heard no shortage of good things about this album, but my turn has now come to experience it for the first time, and as such my expectations are high. Right from the get go, its an absolutely high energy, bombastic experience that also provides a deeply insightful and sometimes sardonic social commentary from the perspective of the black community. Not every song is on the up however, as songs like "u" have an anger that really feels like it comes from a place of struggle. The sampling of various genres, like jazz, hip hop, and even some funk all blend together in a way that won't leave your head any time soon. And as for the lyrics, Kendrick has some absolutely fantastic bars, as well as some memorable lines such as "Bitin' my style, you're salmonella poison positive", and "Milk the game up, never lactose intolerant" from 'Institutionalized'. And the guest musicians? Are used in ways that well and truly make use of their strengths, such as Thundercat's bass work, or the lyrical capabilities of Anna Wise. Don't even get me started on the beats, as they carry so much of the album on their shoulders, such as the classic beat from "Alright", the funk of "King Kunta", or the upbeat pop sounding rhythm of "For Sale?", which not only helps to convey the message of its lyrics, but also changes to further convey the message that lays within it, just under the surface. As it stands, it is deserving of both the critical and commercial acclaim that it has received over the past decade, which considering the fact that it's held up as long as it has is yet another compliment to the record.

A fantastic album, with immensely clear instrumentation where it is easy to pick out individual parts. To boot, it is an amazing album to relax to, or to make anything you are doing feel way fancier than it probably is. The only problem that anyone might have with it is if you aren't into instrumentals, as there is not a single word on the album. However, for someone like myself where instrumentals are toward the top of my list, it fits right at home.

The perfect accompaniment to a summer picnic. Also drew comparisons to Gladys Knight, Karen Carpenter, Marlena Shaw, and Carole King during my listen, which is certainly not bad company to have by any stretch. Definitely will listen again

Infectious catchy from the start. A very much feel good album that highlights the strengths of disco in the mid 70s. Not quite sure what them Swedes were smoking, but must have been some good stuff, especially with some of the instrumentation, such as the bassline on "When I kissed the teacher" (in spite of its now questionable lyrics), or the powerful synthwork on the title track. Even outside of the hits like "Dancing Queen", "Money Money Money", or "Knowing Me, Knowing You", the rest of it is genuinely solid stuff. Give it a listen if you get the chance

I do my best to keep an open mind when listening to the albums presented before me, but this was one that was unexpected. I'll say there is some good stuff, but for the most part it feels like listening to a hospital room. Very sterile and inoffensive.

A fantastically raw and refreshing album that perfectly captures the 90s sound, as well as the personal experiences of Alanis. As far as I'm concerned, it is a no skip album that deserves to be listened to at least once by anyone worth their salt in music. Even during my first listen, I was eagerly awaiting the next track in anticipation of what was coming.

I'll admit that when I read it was a disco album inspired by LGBTQ life in New York, I was intrigued and most certainly curious about what it could be. Turns out that what it is is fantastic. With a good balance between disco influences and upbeat poppy tunes, it certainly has enough positivity to go around, and with songs that sound inspired by George Michael and Robbie Williams, it is more than catchy. Even comfortably numb, while not a great cover, is a decent song as well

A wonderful album. Aretha comes out swinging with Respect as the opening track, but keeps hitting out of the park as the album goes on, with tracks like Drown in My Own Tears, and the bossa nova styling of Don't let me lose this dream. Overall, a fantastic listen, and i could only imagine what it would have been like in 1967 listening to this for the first time

Good background noise but nothing more. It is said that he who has never tasted grapes cries sour, and while I'm glad I tasted them, it's not something I'll actively come back to

Some incredibly blues and hard rock with the vocal talents of Rod Stewart, some fantastic bass work from Ronnie Wood, and of course the sublime guitar from jeff beck. A rather enjoyable album, but I feel there is something missing that prevents it from getting that fifth star. Can't quite put my finger on it

A stunning album from start to finish. I knew this album would be good, but wasn't expecting it to go quite that hard. Stewart Copeland, Andy Summers, and Sting really do go all in for this one. A must listen if you're at all interested in 80s music

Somehow I had 3 back to back 80s bangers so far, including this album. Even outside of the usual discussion points like head over heels, everybody wants to rule the world, or shout, there is some fantastic stuff hiding around. Tracks like "The working hour", "Broken" and "Listen were certainly favorites of mine. All in all, it is one that was very much enjoyable.

A genuinely wonderful album, with plenty to enjoy for those that like Bob Dylan and Bruce Springsteen, or those who enjoy ambient music

The vibes are impeccable. A perfect album for driving down a country lane to have a picnic, or sitting on the porch as the sun is setting with an ice cold beer in hand.

It was certainly an interesting listen, and caught me off guard. I genuinely think that it could be better after listening to it a few times, but for a first go around, it gets a 3. If I could give a 3.5, I would as thats a more accurate reflection of the record.

Influential? Absolutely. Has it been done better? Also yes, especially the style that Bon Scott would later embody on songs like "Big Balls", and "The Jack".