worst thing about it is Elvis. Not a fan. The music is actually not that bad though, supporting band is very tight and suits the gospel choir when they also come in.

Enjoying the beats, but can’t seem to find a hook or a killer song. Sounds like a grittier de la soul.

Never heard of this album before but enjoyed. Reminds me of Scott walker or a more melancholy don mclean. Can hear influences of its time (eg. Love) but can see resemblance in current music. Nick Cave etc.

Struggle a bit with this genre of music as it doesn’t half sound samey to me after a while. A bit of light and shade would go amiss but appreciate that it’s not really something that fits.

I’ve had a bit of a soft spot for some of their songs as a bit of a guilty pleasure. The album has peaks and troughs. The synths on some of the songs haven’t held up well, even when trying to eke out 80s nostalgia from them. Ballads and slower songs aren’t great. Suspect they are better as a singles band.

Never listened to this front to back. It’s a great pop album, surprisingly funky even on some of the deeper cuts, percussion carries it subtly throughout along with horn section. Can see why this is often cited as a stand out moment in pop music.

Hard to evaluate this one. Is it a standout in the genre? Why this over other Bollywood albums? Feels very directly western influenced but has taken a heap of styles and pulled it together and layered on more traditional sounds. Some songs have a decent groove going on but then will quickly change in the next - sometimes the difficulty with soundtracks I guess.

It’s just not ‘funeral’ is it? To be hyper-critical, some of the songs sound like filler and meander without going anywhere special. I do really like ‘no cars go’ though, and it’s pleasant enough for the majority.

Something in the back of my head told me that I didn’t like Billy Joel in the same way that I just can’t stand Elton John. Yes it’s a bit schmaltzy, there are over the top flourishes that it doesn’t really need, and some of it is overplayed to buggery but underneath this album is some really good production and some genuinely good songwriting.

It’s not bad, but it doesn’t sound strong in any major area. By the end of it, I’d just kind of tuned it out - not because it was bad, just wasn’t grabbing me at all.

THIS is the kind of thing I wanted to come across doing this. What a wierd and wonderful album. Production is very rough around the edges but the mix of blues, soul, gospel, psychedelia is unlike very much I’ve ever come across before. Absolutely loving ‘I walk on gilded splinters’ in particular.

Not if a madcap concept and just seems to meander without going anywhere in particular. Even the more popular songs from are bit meh. Not a particular fan.

Have listen to both individually but didn’t know they’d collaborated. It’s good, I like the grooves they get into. Rather than get the most from both, I feel like they are both perhaps playing it a bit safe so neither necessarily take the limelight though? Definitely heard more virtuosic performances in some of their other music but enjoyed it from start to finish nonetheless.

Absolutely horrendous. The affectation in the singing to add the western drawl, singing about heartbreak in a major key, surprise fiddle in pretty much every song. The whole thing grated on me and I couldn’t wait for it to finish. Not sure if this is a milestone album in country and western but please, no more of it.

Saw a review that said this was a heterosexual’s Elton John which seems pretty on the nose. Seems to employ similar tropes in a lot of songs, lyrical or melodic hook, followed by quieter piano part, build up to uptempo rock part, changing tempo occasionally and repeat ad infinitum. It’s just a bit…much isn’t it? Very little finesse on a lot of it.

Hotel California is a strong opener but I don’t think the rest of the album lives up to that promise and it becomes a lot more formulaic afterwards. I’m not all that averse to it but (possibly due to overplay on ‘classic rock’ radio stations) it does descend into dad rock territory fairly quickly and doesn’t pique the same interest.

I feel like I’m listening to a spin̈al tap album only it’s not funny. Sounds like it wants to be hyper masculine but just comes across as cringey and has aged really poorly. Did not enjoy at all.

This had a contender for the best metaphor I’ve heard in a long while - “I’m a cement fixer, a churning urn of burning funk”. Actually quite enjoyed this. Guitar playing was good though restrained although I quite like that it wasn’t too showy here as I thought it fit the aesthetic.

About as close to a 5 as I can give but some of the later albums are just that bit better so have to hold a little something back. Despite that, it holds together really well, the bass in particular really drives a lot of the songs forward without being too showy. ‘A forest’ has always been a particular standout on their discography.

Nice enough but all seems a little safe. When think back to when I was listening to it yesterday I can barely remember any of the songs which segments none of it is good enough to stick. I can’t imagine it was all that groundbreaking at the time let alone looking back.

This clipped by at a pace and seems to be a trait of some of the songs/albums recorded in this genre at the time where very little time is wasted, leaving its mark and not overstaying its welcome. Another girl, another planet’s solo is great. I imagine some would find the lead singer’s voice grating but I don’t mind the lackadaisical delivery.

Hard to overstate the importance of Drake’s music to me. Something about it just ticks all the right boxes; the lyricism, guitar playing, orchestral arrangements supporting, his voice, and the general sense of melancholia I get listening to it. Cello song is up there with one of my all time favourites.

Not Hnuk favourite work by him but reasonable nonetheless. May have just been where and how I was listening to it, or a stylistic choice but the production was very washed out with only Cave’s voice really discernible in the mix which detracted from it.

Can definitely hear some of the virtuosic abilities coming through but overall found it to be unfocused and a bit…messy? Having the rest of the band around him presumably gave some more of the melodic hooks that this seems to be lacking some of.

This the kind of thing I think of when trying to conceptualise what dad rock sounds like which isn’t neccessarily a criticism but is very ‘safe’. Obviously ‘money for nothing’ is a bit of a standout, and there are some other decent tracks on the album but some of the other soft rock ballads on here are poor and quickly lose my interest.

Enjoyed this. Good amount of variety and the albums holds up until the end. Sounds more consonant than the previous two releases which isn’t necessarily a bad thing but there are enough flashes of their discordance in it which keep the tracks interesting.

Lift music for an aging corporate bank that’s seen better days. Uses a lot of sounds that have aged poorly and haven’t retained their nostalgia factor. I don’t suspect it was particularly innovative at the time either. I’m only happy I listened to this as I was able to finally identify ‘I.G.Y’ as the track used at the beginning of Wardown’s isolated mix 119 (would recommend!) which has been bugging me for ages.

I like that it wears its influences on its sleeve and isn’t apologetic about it (is that ‘Apache’?!). Found that I wanted to like it more than I did. For all I’d heard about ?uestlove and his links with the roots, a lot of the beats seemed a bit…lacking? Probably benefits from repeated listens as found some of the lyricism hard to make out or follow.

Does a good job of capturing the ‘lightning in a bottle’ that this performance had. Not generally a fan of this kind of music but I can see the relevance of the performance to the inmates there and the authenticity of which Cash seems to have performed it.

I expect this to be divisive. Turns out I was naive to Deep Purple because this live album showed another, more psychedelic and prog side to them than I realised. Although the solos descend into the worst form of prog wankery (that call and response bit was awful) and I found some of their more well known tracks to be weaker than the rest, underneath it, found some decent musicianship there - the vocals in particular were surprising solid.

Found it to be quite self absorbed and missing much of the more interesting musicianship and chord progressions of his work with the rest of the Beatles. Might have my judgement clouded by how he came across in ‘get back’ though. Never liked imagine as a song and found a lot of the rest of the album to be trite.

No frills which was probably a large departure from everything else going on at that time, so in a way it was probably quite a brave thing to do. That said, there wasn’t enough to keep my interest for the duration, where a bit more subtle percussion or layering might have helped. With the sparse instrumentation, I didn’t find her voice strong enough to carry the rest of the music.

Likely hugely biased as listened to this a lot when it was first released. Probably not his best album (Michigan or Carrie and Lowell are probably better standalone pieces of work, Seven Swans my personal favourite), but perhaps the best introduction. Could see why some people might find the shift from more symphonic pieces to more delicate arrangements jarring but I like the meandering styles that it dips into. There’s a lot of lovely sprinkles in the mix to make the music pop (the woodwind on ‘the predatory wasp..’, piano on ‘John Wayne Gacy, Jr’, horn section on ‘Jacksonville’, the shift from 5/4 to 4/4 in ‘come on! Feel the Illinois’). If there was a criticism, it would benefit from having some of those ideas refined a bit more but I enjoy the maximalist approach of just throwing everything into the pot by virtue of the concept and variety of stories attempted to be told.

I want a refund. This was neither crazy, sexy, nor cool. Not a genre I think I’ll ever really like, and this just came across as bland. It might have been culturally significant (was this a particular standout moment in all female, black pop groups?) but that cultural significance is probably lost on me.

Chaotic, but I like the raucous energy that it brought. The production of it seems fitting and give it that garage rock feel. Loses its way on some of the slower tracks where the vibe didn’t really match as well but then again, I’m not sure I could take a whole album of high intensity either. Probably works better in small doses.

Grabs you from the outset and shoves it in your face. Likely a game changer in hip hop at the time but is much more socially conscious than some of the other rap and hip hop listened to as part of this process so far and the better for it. Some of the beats sound a little dated now but I think it gives it that nostalgic ‘old school’ vibe which has been emulated by so many since.

Wanted to dislike this more than I did. Genuinely catchy songs, and there is an obvious talent for writing earworms, although some of the album tracks are a bit lacking. I do find that it is a bit relentlessly saccharine and upbeat though and there’s only so much that I can take.

Nice enough but not finding much in the way of standout moments in this particular album. I get a similar slacker vibe from this to that I get from pavement and others of that ilk but others may have done it better than this album. Potential to rate it higher than I have but in my opinion they later refined their sound more (‘rings around the world’) and put out a generally better album (‘mwng’) as they progressed - surprised this particular one was included on the list.

Am a bit of a sucker for some of the things Dave Sitek has produced. Seems to do a great job of capturing layers of sound whilst still having key instrumentation/vocals shine through. I’ve found that a number of TVOTR albums have the front half stacked but lose momentum in the latter half but this holds up better than their others to the end. Doesn’t have my favourite songs of theirs on it (‘staring at the sun’, ‘wolf like me’) but is a more consistent record.

Been a while since I’ve listened to this in its entirety but enjoyed revisiting it and it holds up well, probably because it’s sparse and not over-engineered so not very much to have dated. A lot of criticism is/was directed towards Meg’s drumming but it is absolutely fitting here and gives space for the guitar and vocals to shine. I see this as having been a catalyst for some of the indie/garage rock revival that we saw at the start of the century.

For a band that released this album at a time of great experimentation, this is surprisingly bland. It’s not awful (which to be fair, I was expecting it to be) but came away from it feeling very little.

Liked this a lot more than I expected to. Got shades of ‘closer’ from it and was surprised to see that it was released in the same year. No fuss, and the darker, plodding sound was probably a significant departure from other releases at the time. Would like to look into their back catalog more following this.

Funky, percussive, warrants repeated listens but some great nuggets to be found. Although not my favourite of theirs, where I think they peaked a few years after this, it shows the promise that they had and broke new ground in the musical structures and influences that it could manifest.

It’s a shame that this plays it so safe as I genuinely do like Chapman’s voice. The melodies and instrumentation are so MOR though, as if they are contrived to be middle class dinner party songs.

I find I have to tune in to Joni Mitchell as her cadence and delivery is so unique, almost part sung, part spoken word and isn’t something I can necessarily have on in the background as it demands some active listening. Sone wonderful melodies, songs that wax and wane keeping interest throughout the album and some beautiful lyrics.

Some songs find a good groove but it just doesn’t hit the same heights of some of their other work. Personally, I quite like the jazzy noodling that turns up every now and then but would have probably been better standalone as it just ends up detracting from the vibe it’s otherwise trying to give off.

Interesting listening to this after Lennon’s ‘Imagine’ a few weeks back. To me, this is just much more immediately appealing, shows better musicianship and songcraft, and just generally gives me a feeling of more authenticity in Harrison’s work. I do wonder if there was a sense of creative freedom that was afforded to him here after being increasingly sidelined immediately prior to this.

Cynically, it sounds like it’s an attempt at making the rock and grunge songs at the time radio friendly. I was expecting to dislike this more (her voice affectations can grate, and some of the lyrics are cringey) but thought that, as a pop record, it wasn’t awful mostly because of the supporting band.

Close to a 5 for me. Sometimes, albums that have a number of different influences become a bit too messy and unfocused but this becomes a brilliant collage of rock, blues, disco, house and even dub reggae amongst others. The singles are surprisingly joyous but the album doesn’t hinge on those alone.

After listening to this I felt surprisingly little, other than very white. Didn’t particularly move me or get my attention. It wasn’t bad per se, just kind of…there? Seems to lack the hooks and musicianship of some of his more well known songs.

I’m not completely averse to this album but it does just rehash The Ramones and other bands in that style of which there are 101 other equivalents. I’m not quite sure what makes this album a particular standout over others of that ilk. An odd inclusion.

Interesting to listen to this so soon after ‘catch a fire’. It’s better, but still not really feeling it unfortunately. I like the slightly more politicised messaging in it, like there is more to be said and the instrumentation just seems to come across better in this (the bass just sounds that much punchier). Can’t said I’m jammin’ to this though.

This kind of thing probably isn’t in my wheelhouse. I understand the legacy that a band like this has had on the scene, and it’s good to hear the clearer punk influences on thrash through an album like this this, but I found it repetitive after a while.

This is one of those rare gems that, despite having listened to this multiple times, I still find novel touches on each play through amongst the layers of sound. It’s probably hard to picture a time before this as well as it’s likely been so hugely influential on so much that came after. I also really like how it doesn’t disband their previous lyrical focus, much of which were accounts of the carefree nature of youth, but this shows a nuance to that youthful exuberance and an understanding that it isn’t going to last which to me, makes it that much more engaging compared to their releases prior.

As a complete aside, I went down a rabbit hole about ‘be my baby’ by the ronettes and how Brian Wilson tried for years to replicate that sound after listening to the first few drum beats of ‘just like honey’ because they are uncannily similar. Psychocandy is a brilliant wash of sound but I felt like the rest of the album just never hit the height of that first track. Huge influences on shoegaze and post punk to follow I’m sure though.

Lacks a bit of cohesion as it pilfers a lot of genres as its influences and sounds very dated but has a degree of nostalgia to the palette of sounds used, likely because of its influences through samples following its release. Has made for an interesting journey on ‘who sampled’ as you can see the significant influences it had on hip hop that followed. Was also interested in how it used samples itself which was probably still relatively novel at the time.

We get it Zach, you’re not happy. I had probably written Rage off a while ago as being a bit noisy and sanctimonious but listening with fresh ears was something worth doing. A tight band with the ability to draw out a good hook either musically or lyrically. Particularly like some of the weird sounds Morello gets from his guitar to accentuate the drums and bass rather than just drown them out.

Having a collection of proficient musicians and some grand ideas of what music should be does not necessarily a good album make. This has probably been a significant influence of the prog rock that followed but it was long, meandering, and I felt little emotional connection after listening to it. It probably benefits from repeated listens but I’m not sure when I would otherwise decide, “right, today I fancy listening to a bit of ‘yes’”.

I like the laid back vibe, strong jazz influences (particularly like the double bass I think was used for a lot of the beats), and relatively minimalist approach to the style. Lyrics were well delivered, the cadence and flow fit the music and both lyricists play off each other well.

There’s probably a bit of cultural familiarity that is lost on me, and seems to be something that might be a flaw in this list in that it seems quite americocentric; in the same way I’m sure that English folk songs might be culturally lost on some American listeners. I can hear the influences of Louisiana blues and country and western here but it’s a style I’m not sure I’ll ever really enjoy. Too little to keep the ear interested with the chord progressions as by this point they sound like they’ve been done to death despite, at the time, it likely sounding a lot more fresh.

I have a confession - I’m not the biggest Dylan fan. I appreciate the poetry behind it all but something about its delivery just doesn’t grab me. With that in mind, this was one of his better ones and although the tracklist ran a bit long for me, it did sustain interest. ‘Just like a woman’ in particular is a good song but I’m probably swayed by my love of the Jeff Buckley’s cover of it.

Wasn’t looking forward to this at all but came away from it feeling less than I expected. Broadly, the instrumentation and production is within my wheelhouse - Bryce Dessner and Justin Vernon’s influences are clear; but the subject matter and in particular the vocal stylings seem to continue to use a tried and tested method (vocal doubling, established harmonies) which just doesn’t seem to work well with the support behind it and just becomes bland after a while. It feels like you could remove the vocals, put it on a thumping pop track and it would still fit.

I’m sure this was hugely influential at the time but by modern standards it sounds very formulaic and lacks the variety and surprises of later albums. The chord progressions and rhyming couplets are predictable and quite boring by the end giving very little to pique any interest.

I really like the heavy blues influence on this, particularly some of the lesser known album tracks. Some overstay their welcome a little bit, and Plant can dial it down quite a bit but the drums and guitar in particular carry so much weight in the tracks it kind of fits and doesn’t sound as rubbish as it might otherwise.

Not what I was expecting somehow, kind of a gothier depeche mode. Some of the production techniques sound a little dated (that gated snare) but could see others liking it for the nostalgia. I generally liked the music but the vocals grated on me after a while, a bit like a bad Bowie parody.

What a glorious mess. Unparalleled virtuosity on show here but the music was so bloody discordant and any resolution is so hard to come by it left me a little bit on edge. This is the kind of music I feel like I should ‘get’ but am probably too intellectually changed to be able to.

Found this to be an album of two halves. Found it started off surprisingly strong, but after ‘black’ got far less interesting. Vedder’s voice isn’t particularly to my liking and think they could have dialled back on adding so much reverb to everything (vocals, guitar, snares) but I get it was probably a hallmark of the sound at the time.

I’m not convinced that if sabotage hadn’t such a great video that there wouldn’t be as much attention on them. Something about them grates on me a little - don’t like the pseudo shouting rapping, and although I appreciate the blend between rap and more punk/rock instrumentation, just isn’t my thing.

What a voice. Takes the reins from Kate Bush but also does her own thing. Due to the piano being so front and centre, the album loses momentum by the end and could have benefitted from branching out and being a bit less MOR but the front half has some really catchy songs. ‘Winter’ in particular is up there with my favourite ballads.

What an odd inclusion. I think the context that I listened to it in didn’t suit the mood it was trying to convey, whereas if I had headphones on walking through an urban centre at night, I could see this being much more fitting. To be honest, I found it quite forgettable though so am loathe to rate it higher.

What a wonderful journey this was. Space given to each musician to shine and the album moves by at such a pace (driven largely by the frenetic drumming) that it’s hard to keep up with, the shifting modes constantly creating this disorienting sound. The last track in particular is a great epilogue to what came before, tying it off nicely.

It’s funny how there still isn’t anything that quite sounds like sparks. This obviously starts off strongly, but the rest of the album is surprisingly solid, and much more ‘glam’ influenced than I expected but still likely had an influence on some of the art rock that followed. My criticism is that it followed a lot of the same musical approach in the songs, particularly with the keys following the vocal melody which I guess is part of the ‘sparks sound’ but once I noticed it, couldn’t ignore it!

Hated it. To me this was the worst kind of musak hold music played whilst waiting for a dental appointment. Bland, limited dynamism and just all so corny. One of the first that I’ve listened to that I couldn’t wait to finish which was blissfully relatively short.

I really dislike Queen. I can see how the theatricality and, to a cremation amount, tongue in cheek sleaze might appeal to some, but I absolutely hate the vocal harmonies used in it and doubling of vocals and guitars that is something of a hallmark of their sound. Although this particular album seems to have less of it, and is a bit more glam rock influenced, I’m still not keen on it at all.

This started off really promising, thought it was going to build into something dynamic but it just didn’t really go…anywhere? Found it to be be quite soporific by the end. Probably bears a repeated listen but this feels more like background music to a cocktail party rather than something to be listened to front and centre.

It’s so difficult to listen to this and not bear in mind its legacy and what followed directly as a result of this album. As a standalone piece of work though, I love the sparsity of it; that every instrument, every note has a clear purpose in conveying the mood they are trying to evoke. Obviously Trans Europe Express and the tracks that follow are the centre point of this, but the other songs, hall of mirrors in particular are also incredibly striking. Although it might come across as cold to some, I do also get a sense of hope and wonder at inter-European collaboration and culture from it that wouldn’t go amiss in the modern day.

I have no issue with blues as a genre but for it to really stand out you need to have superior musicianship, particular flair or charisma, or do something out of the ordinary. I didn’t find this album had any of that and it became a bit blues by numbers very quickly.

I don’t find myself returning to Leonard Cohen very often but I really should as I really enjoy him every time that I do. People often put him in the same bracket as Bob Dylan but I just find that his voice and delivery are just that much more appealing. I also really like that he doesn’t shy away from maudlin topics but does so with tact and beauty. This time, ‘the stranger song’ particularly stood out for me: “And leaning on your window sill, He’ll say one day you caused his will, To weaken with your love and warmth and shelter.”

There was a period I listened to quite a bit of the cafe del mar, after club morning sunrise type albums and this never came up so it’s a somewhat surprising inclusion. Although it isn’t particularly bad, it’s just a bit bland and sits much more in the background than anything worth actively listening to.

One of the trifecta of musicians that I listened to on repeat for far too long when growing up so this is through heavily rose tinted glasses. His voice is possibly the greatest I have ever heard and the songs have a lilting beauty to them, from the lyrics to the chord progressions. His chord voicings give it continued interest, and the album showcases the range of talent he had. His tragic death has given it an almost mythical quality which might not be the same had he released some duds afterwards but I think hints at what other brilliant music he had in him to later release. Could be criticised by others as being oversung and the songs at times being a bit MOR - I don’t really care.

Oddly, of the aforementioned trifecta, Elliott Smith is one of the others that was on repeat during my formative years so serendipitous that this should crop up so soon after. That said, this particular album never grabbed me in the way that XO, either/or or his self titled albums did, possibly due to the slightly more polished nature of this one which loses the rawness of earlier work which often sounded like it was just recorded on a four track in a bedroom. The songwriting and lyricism is almost as good, but I don’t get the same emotional connection to this particular album as I did to previous output.

More had been talked about regarding Fiona Apple’s legacy of late (particularly since the release of ‘fetch the bolt cutters’) but something about doesn’t connect with me as much as it might others. The songs are good enough but I don’t find her voice is powerful or agile enough to cut through some of the music and the lyricism is lost as a result.

Although I’d just tip closer for the better of their two albums, this is so atmospheric, and creates such a claustrophobic vibe that I’d rate it as good. The use of sparse electronics, heavy reverb, and double tracking of the vocals and guitar/bass gives it such a distinctive vibe it’s no wonder many bands have sought to emulate it since. I like the inclusion of the dud notes on ‘disorder’ almost as if trying to capture this lightning in a bottle. ‘She’s lost control’ is possibly the best song that they wrote and is a standout in the genre.

I really want to give this lower, but in order to try and have some form of balance where music that has possibly lessened the cultural heritage of the human race deserves a 1, I can’t quite do it to this album because it is just very boring and inoffensive, rather than being an active stain on the musical landscape. Rubbish lyrics, forgettable vocal delivery, odd choice of supporting instruments (is that an 808 on ‘we’re not right’?!) but overall just becomes a bland soup.

I thought we were in for a long slog with ‘walk on by’ to start as it plodded along and lost a lot of the little accents that make the original so good. The three tracks that followed were good though so I’m glad I stuck it out. When it found its groove it was a great mix of funk and soul which, interestingly, was often when Hayes took more of a step back and just let the band play.

Good but not groundbreaking by any stretch. Possibly the kind of thing that gets better with repeated listens but I don’t think it grabbed me enough to want to put it on again any time soon.

As punk goes this is one of the better albums I’ve heard. Quick and to the point, some interesting melodies and well produced. I’m just not sure as a genre even the best of the best will be that appealing to me as it seems to have quite a low ceiling. There is only so much space for virtuosity, interest, and interplay that it can deliver if sticking within the established boundaries of it.

Found this disappointing. Some of the covers are a poor choice as don’t translate well to Cash’s voice and the choice of instrumentation to accompany it - ‘first time I ever saw your face’ in particular. Hurt is quite obviously the standout here, with Reznor saying that the song “doesn’t belong to me any more” but one great song does not a good album make.

I’ve flip flopped as to how to rate this album. On the one hand, some of the tracks are a little overplayed (it shouldn’t necessarily be punished for it but hard to disregard hearing ‘one’ for the thousandth time), and I don’t think it is necessarily as transformative as others insist it was to their sound. On the other, it’s a really solid album and, from front to back, one of their best with very few weak tracks on it.

I really like a lot of Gabriel’s work but listening to this album suggests that he may be a much better singles artist than making really good deep cuts. Found the second half to drag a little although picked up again with the last track.

Sounds like reggae made for middle class white people who wear their the thifted tie-dyed harem pants and Birkenstock sandals just to prove how culturally diverse they are. Truth is, this just seemed to have sucked the soul out of the genre. Odd, because I suspect the enduring mass appeal of it was probably a shock to Quaye himself, but cannot see this as being deserving to be on this list whatsoever.

Hard to deny the enduring legacy as one of the great pop albums. There is a great run of tracks but there are some duds on here too (most of MJs ballads are so off putting…). The production on the album in particular likely helped shape the sound of the 80s to come and I’m surprised that this sounds so different to the style of off the wall despite both being produced by Quincy Jones. For all his faults, the vocals on this are great even if the ad libs are a bit cringe in isolation.