I’d heard of this record before. I knew it was considered a reference quality audiophile record. It sounds awesome.
Musically, I’m wasn’t sure it was my style, for I’ve tried to listen many times, but haven’t fully gotten into it. But this time, it really clicked. There are truly some great moments throughout this album.
Overall, pretty mellow, which I enjoy for decompressing and thinking. But, it’s bursting with interesting bass lines, pleasing progressions, unique sounds. The longer the record went on, the more I found myself vibing. I enjoyed it more than I expected. Every time I listened to this, the more it grew on me; I found myself gravitating to melodies that were beautifully different, yet pleasing and shockingly emotive. Right now, I’m feeling 8.5-9
Standouts:
The Golden Age
Lonesome Tears
Lost Cause
Little One
Very stereotypical “classic rock” record. But to be honest, doesn’t really grab my attention like other “classic” albums. Pretty middle of the road for 60s/70s rock. Short record and consistent sound throughout with nothing pushing too far out from the rest in creativity—so much so that I might even call the songs repetitive. Not sure if there is anything on this record that find the need to I’ll revisit.
The recording sounds nice. Like a lot of classic rock.
I give it a 5-5.5/10
Standout(s):
Green River
Bad Moon Rising
Pretty avant-rock. Structures are different, but overall a pleasant tone. Harmonies and progressions are pretty unique and cool throughout each track. But it takes a certain mood and attention to get the most from these tracks.
Thom Yorke is a surprise on “The Mess We’re In.”
This album does sound very much like a more guitar-and-acoustic-instrument-oriented Radiohead record. Maybe a little less experimental than that, but similar vibes.
Some weird choices in production where vocal peaks are staticky. Sounds like when a vinyl is cut too hot. Not for me and rather annoying to me.
I appreciate some of this record (especially on the front half or so), but overall, I’m not sure if it’s for me.
4.5-5/10
Standout(s):
An interesting concept album. Very classic rock in stereo. All about about a deaf, dumb, blind kid named Tommy. It’s a really long record—overstayed its welcome, in my opinion. But the musical ideas throughout are varied and interesting. Timbre and tone of the record doesn’t change or have big swings in variance throughout the really long runtime, which make the experience remarkably linear, but on the whole a little bland(?). There are exceptions towards the end of the record where it gets a little weird. But getting there was a slog.
I like the record but the “same-sy” sounds played with a bloated runtime keeps me from getting more from it.
5.5-6/10
Standout(s):
Overture
Pinball Wizard
Sally Simpson
I’m Free
Bluesy, folksy classic rock with just enough variance and changes in timber tone, and tempo to keep me engaged the whole record. The twangy guitars interspersed with clean electrics were a vibe. The vocal harmonies were a bit cheesy throughout but weren’t totally off-putting and sometimes actually did add some depth.
The middle of the record was its strength, I thought. It started off a little slow and ended on a downturn, but the middle was quite good. Overall, I liked it and might revisit some of the highlights.
7-7.5/10
Standout(s):
Pre-road Downs
Judy Blue Eyes
Part folk, part blues, part jazz, part atmospheric rock, part bluegrass, part singer-songwriter. Great Record.
Slapped from start to stop. Though the first half is stronger (after the opening track).
Standout(s):
Everydays (Live)
Expecting to Fly
Bluebird
Rock and Roll Woman
Interesting. I mean, “Pictures at an Exhibition” is a classic. But there’s so many versions. I went in thinking do I really want to listen to another version of something I’ve already heard?
“The Gnome” kicked that thought right out of my head. Oh man.
The tones, sounds, atmosphere, just so big and punchy. Kicks you in the face in the way you want. Not forward like sometimes metal can be. Super proggy but still grounded.
Just absolutely ripped the whole way through. I enjoyed this more than any other adaptation of “Pictures at an Exhibition.” Great idea, great execution.
Standout(s):
The Gnome
The whole thing
9.5/10
A lot of energy on this record. But other than energy, pretty lacking. There's something about this record that I can't put my finger on--something weird. Like a weird production sheen? Is it the British accents? Or is it just weird art-pop? Maybe all of the above. Either way, did not enjoy.
At various times, this record feels half-baked, grating, disjointed. Even the singles that I (maybe at some point) had heard before just wore me down. Just overall an unpleasant experience.
Some real earworms on this album. But between the hits I found a lot of filler. Inoffensive, but couldn’t find a lot to really get lost in.
Standout(s):
Hanging on the Telephone
Heart of Glass
Initial thought was of how much I enjoyed the sound of this record. The drums especially have a, kind of, nostalgic punch to them. Most of this records feels surprisingly open, despite the grungy, distorted tones in the guitars and vocals.
But this didn’t really scratch any musical itch for me. Not bad or irritating, just not anything I’ll reach for again. And I really do like the vibe of this record. But beyond the production being pretty cool, not much for me to grab a hold of. 5.5-6/10
Standout(s):
Zürich is Stained
Here
Jackals, False Grails: The Lonesome Era
I recognize how great this album is in the pantheon of music, but I can’t help but feel a little bit sad about how this record sounds. It sounds…old. Really holds back the listening experience, in my opinion. It’s like watching a black-and-white film. Some people love watching those movies, but it’s not for me. Hearing the microphone consistently clip with Aretha’s voice and the static drone in the background left me wanting more.
Pretty easy to listen to passively even if, overall, the songs were a little same-y. I don’t think I’ll find myself revisiting for active listening—pretty good, inoffensive background stuff. If the recording sounded better, maybe I could look past the mid songs to hear Aretha.
Also, I hate fade-out endings. Just end the song. 4.5/10
Standouts:
Respect
Dr. Feelgood (Love is Serious Business)
Production is clean, punchy. The tracks really stand out, basically each one has a distinct musical moment that just sticks. It’s not perfect and some of the songs are meandering and long. But I would like to revisit this one another time.
6.5-7/10
Standouts:
This is the Day
Uncertain Smile
So cool. Each track is rife with unique, exciting sounds. It’s a pretty long album with some challenging cuts, but it was interesting and ever-changing. It demanded my full attention, and it didn’t let go the whole way through.
I’m glad I heard this one today. Will definitely revisit. 7.5-8/10
Standouts:
Beetlebum
Song 2
Death of a Party
I’m not sure I get it. It did not hit today.
I liked the tidbits explaining what was going on throughout this album. But, I can say this is not for me.
Sitar drones and idiomatic plucking thoroughly wore me out with as long as it went. If I’m rating purely on how much I enjoyed this record: 1/10
My wife asked me multiple times to turn it off.
I can respect its influence on hip-hop, but it’s not my jam. I know some people find a lot of charm in this record, but it felt muddy, messy, and just not very enjoyable to me. Probably not something I’ll ever revisit.
This has some really cool moments that show off the band’s unique rock sound, with heavy grooves and riffs that stand out. At the same time, a chunk of the record feels pretty one-note, and a few tracks don’t leave much of an impression after the fact. Still, it’s a solid album with flashes that I will probably revisit.
Standouts:
Regular John
Avon
I’m am pretty much entirely unfamiliar with Bowie’s music and had zero expectations for this. Started off kinda meh, not offensive but unimpressive. There were a few moments of conventional songwriting that were pretty accessible. The shift halfway through to ambient, experimental sounds is where it really started to grow on me. The later tracks were did more for me than the first half. I appreciate how nothing on this album stayed past its welcome—every idea was direct and then it moved on. No chance for boredom.
I could see this growing more on me with repeat listens. 6/10
Standouts:
Be My Wife
Warszawa
Subterraneans
Of the records I’ve heard on this list, this is certainly one of them. Inoffensive for the most part. Unremarkable.
A very intense and raw record. Full of jagged edges, and rough, nasty punk chaos. However, I just don't feel the charm in this record. Very one-dimensional, and nothing really hooked me enough to justify its narrow scope. I am sure the sound and style of this record was pretty influential and ground-breaking at the time, but it sounds so thin and flat to me.
I was wanting more from this. 4/10
Weird. Kinda operatic. The “sparkly” production kinda lost its appeal on me after the first 20 minutes or so. The record has some cool moments and it’s very ambitious. But it didn’t connect fully with me. Maybe it would another time. It’s by no means bad, in fact, it’s quite good. It just didn’t really click.
Typically, I’m a pretty big prog rock fan. Sometimes, it takes time to grow on me. So I am open to a revisit in the future. For now 6/10
“Dad rock” before “dad rock.”
Just impeccable recording. Everything sounds so clean, clear, precise, punchy. I found myself wanting to push the volume up—just enrapturing production.
Musically, there’s a warmth to this record. Inviting, invigorating. Couldn’t stop listening and nodding my head. Something very nostalgic about it but not “old.” It’s been a while since a record just made my heart happy like this.
Blues, jazz, rock, pop, bop—varied and inspired, every idea hits and is executed expertly. 9/10
Standouts:
Night by Night
-immaculate reeds
Any Major Dude Will Tell You
East St. Louis Toodle-Oo
-just made me smile; Main Street, USA
With A Gun
Charlie Freak
-really cool melody
Really the whole record is a standout
Every time I hear Bowie I think the same thing: I’m not sure I like this. There’s nothing overtly offensive in this record, but it walks a thin line of being almost annoying. It’s pretty funky, but doesn’t really scratch the funk itch for me. The songs felt repetitive and stagnant—with no groove. In fact the longer it went on, the more I anticipated the end of each song.
For such a heralded artist, I’m disappointed. 3/10
Soulful and classy. The harmonic colors are pretty simple and straightforward, but the melodies shine.
Her voice is nuanced, intimate, and expressive—very impressive. Something about the record feels southern, maybe it’s because of the title. The arrangements of the songs got a little same-y for me; not many change-of-pace songs(the ones they had were the best of the album, imo).
Easy to listen to, but a little too much filler holds it back. The high points are high, but between the peaks, I found a lot of the tracks to be inconsequential. 5.5-6/10
P.S. — I hate when songs fade out. Just end the song.
Standouts:
Just a Little Lovin’
Son of a Preacher Man
The Windmills of Your Mind
The sound of this album was abrasive. It was shrill, overwhelming and intense. Springsteen sounded like he was shouting basically on every track. Combining a lack of nuance with overproduction, this record was noisy.
There were musical elements that I liked, like the saxophone, harmonica, piano. But every instrument was attacking my ears. The musical moments that I liked were overshadowed by dense mixes.
The back half of this album really saved it, in my opinion. There was more subtlety and musicality, and, frankly, the songs were more pleasing. I just wish the instruments weren’t muddy and harsh. 6/10
Standouts:
Born to Run
She’s the One
Meeting Across the River
Jungleland
Groovy, good vibes all around. A very fitting Friday record. I was surprised at the musical depth throughout the tracks. Noodling guitars, rich woodwinds, bright brass, growling bass over simple, happy-go-lucky grooves.
If “_ skank _ skank” upbeats is not your thing, this might be a long record. But, besides the repetitive reggae off-beat twang, there is so much to love. Hypnotic basslines throughout, atmospheric guitars on “The Heathen,” driving percussion and horn punctuations on “Exodus,” intimate stripped-down arrangement in “Turn Your Lights Down Low,” optimism in musical form on “Three Little Birds.”
And “Jamming” is a B.O.P. What a track. Fun, playful, celebratory. Interplay with Marley and the background vocals exudes happiness and energy.
What a response to an assassination attempt 8-8.5
Standouts: (Basically the whole thing)
Natural Mystic
Guiltiness
The Heathen
Jamming
Turn Your Lights Down Low
Three Little Birds
One Love/People Get Ready
No thanks. Cheesy and overproduced. The charm is lost on me. Musical theater melodies, which I don’t hate, but everything else just misses. Is it a satire? I can’t tell. Everything is so campy, and I can’t tell if it’s supposed to be intentionally sarcastic. So theatrical and melodramatic, with textures as thick as cold oatmeal. The tracks drag on and overstay—the longer it went on the more I hated it.
For 70s rock, it feels very shallow.
2.5-3/10
Could have done without the ASMR intro too.
Though there’s a simplicity on this album, character is in the songwriting, conviction in the composition. There’s a rawness. Musicians just making music. The vocals sound bleak, rugged, emotional—wry and bitter at times. It pulls me in and makes me feel indignant, like maybe there ought to be a chip on my shoulder.
Using unique sounds for atmosphere is very effective on this record. Organ on “Vampire Blues,” Wurlitzer piano on “On the Beach,” djembe, slide guitar, harmonica, fiddle create textures that feel intimate and stirring.
Guitar solos on “On the Beach” was the best moment on the album for me.
The record is kinda a downer, but I enjoyed it. There’s not really any hits, but the longer it went, the more I just felt it. Musicians just making music.
I’m torn on what to rate it. I’m not sure how often I’ll revisit it, but I am glad I heard it. 7/10
Standouts:
Walk-On
On the Beach
Ambulance Blues
I am not sure if have ever listened to this record straight through. It’s disjointed and eccentric. Textures, timbres, tones vacillate from track to track. The record never stagnates, though, as fresh ideas constantly emerge. I can appreciate how quickly they explore a musical idea and then move on. But, on the flip side, there’s some ideas that I wish were fleshed out and developed more. Not every idea hits—the sitar song “Love to You” is a big miss.
But the Beatles knew how to write songs. Some masterful gems sprinkled throughout the tracklist. “Eleanor Rigby,” “Here, There and Everywhere,” “Yellow Submarine” shine as high points showing the versatility of the Beatles’ excelling songwriting.
I am not a super fan of how often vocals only come from one channel. It felt like it happened way too often. Tonally, there’s a coldness and tightness to the voices, guitars and drums, like the sound is clenched—a product of the era I guess. Still leaves me wanting more from a production standpoint.
It’s a classic for a reason. Some bonafide bangers, creativity galore, meaningful moments help boost past an inconsistent tone, and often underdeveloped musical ideas.
8/10
P.S. I hate when songs fade out. Just end the song.
Standouts:
Eleanor Rigby
Here, There and Everywhere
Yellow Submarine
And Your Bird Can Sing
There’s something about the new wave sound profile that I just kinda like. The driving percussion and jangly guitars provide so much energy and almost irreverence. Dark, aggressive, pounding. Just from a timbre and tonality standpoint, I think I would like to revisit this record. I like sad music, I guess.
The production sounds a little thin for my taste, but that’s kind of everything in this style from this era. But I think it adds to the vibe of the record, so I don’t count it as a negative.
While nothing really wowed me on the first go around, I think this album could grow on me. 6-6.5/10
Standouts:
Frankly, Mr. Shankly
There Is a Light That Never Goes Out
This record had a glossiness/sheen to the production that was hard for me to overlook. Instrument choices and sound effects were cheesy and felt kinda silly. It was honestly hard for me to take this seriously. At its best, I view this as background music; at its worst, it was cringy and unmoving.
The vocalist sounded like he had a few cotton balls under his tongue. There was also an annoying sibilance on “sss” sounds that made it hard to listen to.
I will not revisit. 2-2.5/10
Ego, misogyny, and conflict. “I’ve got a lot of money and girls. Some people hate me, but it doesn’t matter cause I’m better than them.” The lyrical content is mostly un-relatable, unrepeatable, and unremarkable.
The production is very cool. There is a bounce and depth that coerces head nodding. That is definitely the highlight of this record.
The album was very cohesive; however, it felt to me like each track was not accomplishing anything new. The flows, the beats, the production from track to track rarely evolved or did something musically different from another. Therefore, songs began to feel too long, too repetitive, and monotonous. At over an hour, the runtime was bloated and filled with songs that were indistinct. 4.5-5/10
Standout:
Heart of the City (Ain’t No Love)
Renegade
The sound is kinda iconic. The problem is every song sounds the same. Very homogeneous, which gets stale after a while. The singles shine, but the deep cuts are bland and dated. So much toothless filler on this album really drags it down. I want albums to give me a reason to keep listening or come back. But as it kept playing, I found myself thinking, “Has this looped? Did the album restart?” Everything sounded so similar. I don’t see a reason to revisit. 4/10
Standout:
Sharp Dressed Man
I was expecting a boring ‘60s record with generic songs/vibes. But this was really unique. Harmonically varied and sonically interesting. I love a weird album that is executed well. Folksy and psychedelic. I quite enjoyed it. 7/10
I like the instrumentation on this record. Production is raw and gritty in a good way. Songwriting is wry and bleak. It’s definitely a pretty mellow sounding, slow-paced album. Probably not gonna get your blood pumping, but not everything has to. Linda’s voice is the heart of this record—very pleasant and classic.
The use of various instruments and vocal ranges to create varied and interesting textures is really the standout of this album. Makes it standout from just a standard folk-rock album.
There are lowlights; some songs are a little cheesy and some tracks just get lost with uninteresting melodies and rhythm.
I am glad I hear it 6.5-7/10
Standouts:
Down Where the Drunkards Roll
The Great Valerio
Some good songwriting throughout this record. The problem is having to wade through the plethora of shallow, uninspiring fluff. This record is too long—it’s unfocused and indulgent. Pacing was all over the place, making it difficult to digest, even after spitting it up into multiple listening sessions. There’s a reason movies aren’t 4 hours long (at least not very many good ones).
The production was puzzling on this one. Some songs sounded very nice, but others had a dated sound that was hard for me to get into. I want the production to pull me in, so I can just focus on the music; unfortunately, the production often got in the way.
Front-loaded record with moments of greatness, but it got lost in a mess of mediocre. 5.5-6/10
Standouts:
I’d Have You Anytime
Isn’t it a Pity
Groovy, funky, jazzy. Gorgeously nuanced and compelling vocals. Harmonically balanced with great diversity. There’s a coziness, like a sweater that fits just right. There is a loose, live-band feel that makes the record feel alive and intimate. Yet, it’s precise and masterfully crafted.
Loved the sound of this record. Some BASS, which is nice to hear on this list. Atmospheric keyboards, big drums. Late-night, immersive, enrapturing. So many cool percussion sounds that fit in so well to create unique textures and vibes.
It’s not a perfect record. Some of the songs feel bloated and some of the choices miss (like the stereo sweeps on A.D. 2000).
Nevertheless, this was a great record. Looking forward to listening to this one again. Glad I heard this 8-8.5/10
Standouts:
Cleva (feat. Roy Ayers)
Orange Moon
Green Eyes
She's a talented vocalist, there is no doubt. But this record felt like a showcase of virtuosic singing, and not a record that was focused on creating something meaningful. Aguilera felt cranked up to 100 the whole time; which is something that is not necessarily a bad thing, but felt overbearing over the entire runtime. Not a lot of nuance or subtlety. It's like any virtuosic instrument--sometimes it's awesome, but I don't want to listen to over an hour of riffing and over-singing.
On the bright side, there were some really catchy tunes on this record. On both halves of the double album, there were songs that really dug in with infectious melodies and pop-py production. At its worst, most songs were still inoffensive, even if most tracks were pretty forgettable.
Not enough on it to take it higher, and nothing to drag it down. 5/10
Standouts:
Hurt
What a slog. It drags on and on with stiff drums, plodding beats, and murky mixes. Definitely shows its age, in my opinion. Delivery is blunt and unvaried, songs blend together—total stagnation. Where’s the development? Strip away the mythology of Tupac Shakur, and you’re left with an empty relic that I had no need to listen to before I die.
A trudge through monotony. 2/10
I can definitely hear the influence this album/band had on 90s rock and grunge. I respect that they made some pretty bold choices within this record—definitely interesting sounds. However interesting it was, a lot of the choices missed.
There were moments on this record, especially towards the end, that I actually really enjoyed. There was a decent mix of challenging and accessible music on this record. 5-5.5/10
I am open to another listen on this one, and perhaps it would grow on me.
Standouts:
Hey
Gouge Away
This record is really cool sounding. The basslines, melodies, percussion, harmonic language, arrangements, motifs, are all very moving. Spoken word holds it back for me, imo.
I just wish that I didn’t know what it was about. Probably won’t come back to this, but I am glad I heard it once.
Awful taste, but great execution. 7-7.5/10
I went in to this record a little skeptical. I knew a little of its reputation, but I was completely unfamiliar with the music. This is one of the few records I’ve heard so far that completely lives up to the reputation.
Bursting with life—organic and rich. Blends so many different flavors of hip-hop, R&B, gospel, funk, etc. to create a masterfully diverse and refreshing experience. The tracklist exhibited tremendous versatility.
Love the sonic weight of this album. Basslines are so powerful and punchy. Drums are heavy and tight. The vocal harmonies create dense textures that are enthralling—awesome.
Some of the tracks are a little long, but groove so well I don’t think this is a negative.
So glad to hear this one. 9/10
Standouts:
To Zion
Forgive them Father
Everything is Everything
There was so much to enjoy, I imagine next listen will have different standouts.
Interesting art rock album. This is the second Emerson, Lake, and Palmer record that I've heard on this list. Prog rock really does something for me. I appreciate the constant introduction of new sounds and textures. But this album doesn't hit for me like their previous entry on this list.
Most of the songs on the back half were weak, and left me feeling pretty unsatisfied. The production felt a thin, and some of the sounds were grating. Also, their characteristic timbre wasn't as charming as the first time I heard it. Consequently, it got a little old this time around.
Probably won't revisit, and this didn't do anything for me that I couldn't get from their "Pictures at an Exhibition" album 5-5.5/10
Standouts:
The Only Way (Hymn)
Very atmospheric. Dreamy, meditative vibe. I enjoyed the restraint and haziness throughout this LP. The usage of rock instrumentation makes this very accessible for jazz, imo. Trumpet, saxophone, keyboard all interplay with refreshing restraint—I prefer this to the bombastic explosiveness of other Davis records. The texture always has something interesting going on.
I thought the cuts in the tracks were weird, and a little jarring. But I liked how the music kept evolving and taking me to new places. Miles and Co. exploring how far you can go musically without ever actually leaving the same chord—mesmerizing.
Glad to hear this one on an early fall morning today. 7.5-8/10
I can’t believe someone had enough conviction and confidence to record this and then put it out for the world to hear.
Utterly unlistenable. Like having a drill bit carve into my eardrum. I might have preferred the drill to sitting through this record. 1/10
Started out strong and didn't drop in quality the whole way through. No skips. 8.5-9/10
This album felt like going to Costco and trying to eat dinner from all the samples. You go cart to cart and get some good bites, but every once in a while you're eating some weird fiber bar that you end up tossing in the trash at the next stop.
I liked a lot of this record, but just too many fiber bars to really create a cohesive and fully pleasant experience. Also, 43 tracks is way too many. 5.5-6/10
Standouts:
Cohesion
I haven’t been impressed with Bowie in the past. Everything I've heard from is inoffensive but nothing extraordinary. Pair aggressive mediocrity with the hype surrounding him, I came into this record with some pessimism.
But, what a good rock record. Pure fun from the get-go, but it really found its groove and elevated around 3-4 tracks in. Phenomenal pacing on this record; it felt consistent and complete with great variety. There's grit and power while also boasting glam and drama.
Instrumentation is a strength of this record. Bright 12 string guitar, sparkling piano riffs, cools synthesizer sounds in tracks like "Suffragette City" and "Rock 'n' Roll Suicide," and love the stylophone(? at least I think its a stylophone). I love cool and unique textures and timbres.
Deserves its place on this list. Classic and unique rock 'n' roll record. 8/10
Standouts:
Starman
It Ain't Easy
Suffragette City
This sucks. Noise of the annoying variety. If they were going for a brash, annoying endurance test, they succeeded: "How long can you listen before the annoying sounds just get too much?"
It's almost worse that there is some accessible, and good moments on this record. The back half has some good things, but their choices to deliberately shuck conventions make so much of the music suck on this album. His voice is annoying--maybe that's the point. But that's like a chef making food that tastes bad, or a director making a film that looks bad. The bass is the most prominent instrument; they've made it the lead. Then why is it so repetitive and stagnant?
I regret the time I spent listening to this. Sounds like a bad joke. 1.5/10
I wanted to like it more. But it kept going way too long and just got annoying.
Appropriate title. Didn’t understand what was going on most of the time, but it sure was dramatic.
A little too glam for me. But some catchy sounds. Happy-go-lucky pretty much the whole way through. And as far as glam rock goes, fairly inoffensive and pretty listenable.
There’s a reason she’s the biggest artist of a generation. Accessible, catchy, fun. A great pop record in my opinion. Not many—if any—tracks whiff from this album. Breezed right through. Some true bonafide bangers that will be played for decades.
What a voice! And her melodies are so perfect for her voice. Unconventional, hauntingly beautiful and mesmerizing. Expressive and exposed, her voice soars. Maybe the best singer-songwriter album I’ve heard on this list so far.
Standouts:
Little Green
How much noise can we make and still get away with calling it music? Not for me. But not entirely unlistenable for avant-garde rock.
Has a very specific sound from a very specific era. I don’t particularly like that era. Maybe if I was alive for that time period I would appreciate this record more. Also, what is she doing with her voice? The vocals are borderline annoying for me.
Some good high points, but a lot of mid in between.
Tonal Whiplash—the album. Definitely interesting, but way too long and inconsistent.
Groovy. Good vibes. Would listen again.
