1001 Albums Journey

The songs are very short, which grabbed my attention. What interests me most is how raw and dirty the production is it feels very authentic. It’s pure aggression and hostile energy compacted into two minute songs. Punchy, fun, straight to the point. The musicianship isn’t technical at all, in fact the songs are built on simple chords and structures. That’s exactly what gives it its charm it doesn’t try to be too clever. I’m more used to the commercial side of punk, mostly 2000s punk and pop punk, but I can enjoy the raw power in this. It actually grew on me more and more from the first track to the last. Six Pack is the my favourite song from all that song would go crazy at a party. And of course I love beer. (CISK GĦAL DEJEM.)

I didn’t expect to enjoy this album. After hearing “Badlands,” I thought the whole album was going to be full of poppier almost 80s style songs but then “Adam Raised a Cain” hit and damn I loved that one. That gritty, bluesy aggression is much more my style. The organ work, the vocals delivery is raw and emotional, very soulful, it reminds me of certain ‘70s bands. This album is versatile it shifts from pop driven tracks to a majority of ballads that add that blues-rock dynamic. The harder bluesy rock songs are definitely my favourites. Even the ballads have weight though, his voice has a rasp and grunt that makes them feel powerful. “Candy’s Room” has an immense build up. It starts slow, almost teases you, then climaxes and explodes into something very intense. Really unique structure for a song. Lyrically most of it centers around blue collar struggle, heartbreak, and defiance, feels very human without pretentiousness. He constantly references cars, romance, and specific women which felt a bit repetitive at times but it still works because it’s relatable and easy to imagine, also because they are easy to understand without being too simple. Production wise, the organ, the piano flourishes, the subtle guitar tone, the saxophone, rich without being overproduced. Overall, this feels like a complete and well rounded album, soulful, gritty, and dynamic.

It starts out with a deeply atmospheric soundscape that immediately draws me in, and that feeling continues throughout the entire album. The synth and percussion layers create this gloomy, ghostly, lush, dreamy atmosphere, a very enticing arrangement. The lyrics feel like memories being narrated, like romantic metaphors, as if someone is retracing old thoughts. This would be what polished black chrome sounds like. Sonically this album is the sound of the end of a heartbreak, of melancholy, loneliness, and hopelessness, yet there’s a sense of hope, like the beginning of closure.

Classic 60s album, mellow and introspective. It captures the feeling of being an outsider, and finding yourself in situations that hurt you even as they feel comforting in the moment. Very strange and bittersweet space where you know you should move on and better yourself, but struggle to let go. Instrumentation has a very classical, restrained approach, nothing flashy, soft percussion, gentle bass, and delicate guitar strums. Gives the songs a fragile, intimate feeling. I like how the instrumentation is played harder or softer depending on the emotion being expressed in the lyrics, dynamics are used quite well. it’s subtle but it makes difference. Themes revolve around love, gender identity, drug addiction, and anxiety. Everything sound very tender, emotionally heavy and vulnerable. Candy Says is very powerful considering how progressive it was for its time, Pale Blue Eyes is a classic love song mentioning both guilt and repetition like stuck in the loop of an old affair and longing that person, or that feeling? After Hours is the one I relate to most in my personal life especially however.

Theatrical and very fantasy-driven. I really enjoyed the mythical themes, however the album still delivers surprisingly emotional songs too like Father to Son an The Loser in the End to me personally. I love how the album is split across different singers, Brian May handling the heavier sides and Freddie handling the full theatrical songs, then Roger Taylor a drummer himself having his own track as well, there’s something really cool about a band where every member steps up and sings. To me this is pure proto–prog heavy metal. The instrumental and arrangements are insanely intricate, and the layering constantly adds electricity and tension to the songs. The dynamics are impressive too one moment it’s full blown theatrical heaviness and the it goes into something tender, then a build up to ramp back up again. They have managed to solidify a style that combines a lot of different elements, some of the most technical songwriting I’ve heard from a commercially successful band. My favourite has to be The Fairy Feller's Master Stroke, Ogre Battle and The March of the Black Queen too!

This to me feels like a combination between classic 50s/60s rock and punk, I think it works well. They manage to take the attitude and grit of punk but mix it with classic rock, it creates something fun without being too aggressive like punk. The organ is a huge highlight throughout the album, sets them apart from other punk bands of the era. Some tracks could’ve used a bit more groove and catchy melody however. Songs that stand out to me are Princess of the Streets, the bass line is very 50s/60s inspired, the organ layers elevate it. Goodbye Toulouse is just a nice solid track and Hanging Around feels very fun.

15 minute album? 1 minute songs? I love the concept alone. No fillers just aggressive, hostile, loud, stupid, punch you in the face adrenaline fuelled punk. Back Against the Wall is my favourite, scrappy and fast but with a groove that stands out from the rest. I respect the energy and attitude but it’s not fully my thing overall, not a favourite.

Is this jazz? funk? soul? rock? psychedelic? stoner? I think its all of them combined together, jazz fusion is probably the safest label. This feels like a classic, one of those albums that is a benchmark and defines what experimental art music can be. I love the instrumentation i’m pretty sure i'm hearing flutes, clarinets, saxophone, violin, and the signature guitar tone, everything sounding intentionally weird, crazy, strange, slightly unhinged and uncanny, but technically brilliant and very fitting. It’s like being dragged through a parade by jazz musicians on acid. I love the journey this album takes you on, to me what stands out most is how playfully groovy and engaging it stays even though it’s almost entirely instrumental. Each track feels distinct, very diverse and has a lot of personality. Willie the Pimp caught me off guard with how heavy it is compared to the rest, while The Gumbo Variations leans heavily into funk, however Peaches En Regalia is definitely my favourite.

It's weird, it's quirky and in some ways pretentious. Sounds like soppy whisky sodden music for sitting on a porch or a couch reflecting on what went wrong. The songwriting is very witty, sad, the lyricism is poetic and wistful but not brooding. Everything about the instrumentation feels warm and melancholic throughout, somewhere between indie rock and country. David Berman's voice isn't conventionally good, he sounds real, raw and honest, which can get hard to get used to, and in fact the songs can sound tiresome and mundane at first, but it's the right voice for these songs. Overall this isn't an amazing album for me, but there's something about it that keeps me listening and I want to seek out more of their other songs, so I guess I like it in some way? I cant quite figure out why and how I feel about this yet, but I'm interested enough to explore more of their work so I am going to continue listening until I figure that out. A few tracks that stood were Horseleg Swastikas and Transylvania Blues. Let’s Not and Say We Did caught me off guard, a honky tonk song appearing out of nowhere, somehow still fitting within the album.

This album to me feels loose, intense, chaotic and all over the place. The instrumentation is very good and tight. I don't like the signing, I find it very whiny at times and very hard to get used to. I prefer the lower register singing as I feel it suits the music better than the high register. I enjoyed the blend of hardcore/punk with country/hillbilly... what an odd album. Nirvana covered three of their songs on MTV Unplugged live, Plateau, Oh Me and Lake of fire. I tend to very much prefer these covers rather than the original ones. Overall I ended up enjoying the instrumental tracks the most. My favourite songs are Aurora Borealis, We’re Here, Teenager(s).. but it’s not something I’d ever re-listen.

Reggae mixed with dub from Birmingham England! Of course I always enjoy the involvement of saxophones in any genre, especially in this one it made total sense, they fit perfectly. Its quite political lyrically, some songs can get a bit repetitive especially with a 13 song album, but I enjoy this laid back groove shit man. Favourites songs are King, Burden of Shame and Food for Thought.

I tend to prefer the early Foo Fighters albums they’re raw, scrappy, and grungy, with less of that commercial sound even though I enjoy their later commercial sound too. I already knew a few tracks from this album but hearing it all together opened my eyes to how solid their debut album was. Grohl here really shows how impactful he was to the ‘90s grunge and rock movement. He was the drummer of one of the most iconic bands in the genre, but this album also shows he’s a complete musician and a class act songwriter for Foo Fighters too. The whole album overall feels like a burst of emotion being let loose, a mainly a response to the wreckage of Nirvana and the loss of Kurt. Some of my favourites are I’ll Stick Around, Weenie Beenie, Oh George, For All the Cows, and Wattershed.

Powerful album. I've never listened to J5 before but I enjoyed most of the tracks on this album, I was quite surprised that I hadn’t heard of them before considering how much I’m into hip hop. I really enjoy conscious rap it’s my thing, intelligent, fluid, laid back hip hop. From the start I found myself bopping up and down to this. The enjoy the tight flows, scratch-heavy DJ work, and the overall old school style mixed with jazzy and reggae undertones create such a smooth sound. The samples on this are insane too! Overall I feel this album doesn’t get nearly as much credit as it deserves Favourite Tracks: Freedom, Break, A Day At The Races, What's Golden, Thin Line, After School Special, One Of Them, Hey, I Am Somebody

Dreamy, very similar to The Smiths. I wasn’t aware he was the frontman of that band, which makes total sense after hearing this. Really nice instrumentation, very melancholic, wistful, and mopey without any bitterness. It give out that misunderstood energy so many people can feel and relate to. Overall it feels introspective, like an album of reflection and acceptance. My favourite tracks are: Now my Heart is Full, Spring-Heeled Jim, Hold on to your Friends, Used to be a Sweet Boy

I’m mainly rating this based on the compilation that’s available, since the full album isn’t on streaming. I listened to the album on YouTube however, but even through bits and pieces. This feels like a legendary classic, timeless spirit of rock n roll in its early days. If Elvis and The Beatles were inspired by this guy then Fats Domino is truly one of the great legends. To me listening to this feels like listening to the foundations for most of the music we listen to now. The wave of piano fills and air instruments, the blend of blues, jazz and early rock that defined an era and shaped the sound of rock n roll and the R&B scene for decades. Fats seems to have an immense influence yet doesn’t get the credit he deserves compared to those who came after him and his successors. I can easily imagine this was the shit that got tongues wagging, toes tapping, and hips shaking in the 50s. Pure fun music. I also love that he based his whole brand on the fact that he’s fat, turning a flaw into a unique trait, to me that kind of confidence made him stand out even more. Favourite tracks: Blueberry Hill, Whats The Reason I'm Not Pleasing You, Blue Monday, You Done Me Wrong, Reelin' and Rocking, The Fat Man's Hop, Trust in me, Goin' Home

I had never heard of this album before. There are some nice tracks on this album but it’s more of a once in a great while kind of listen for me. The instrumentation is amazing, but I get tired of the “speak singing” delivery, it’s just not my thing for a whole album. It blends folk, country, and indie into a kind of desert psychedelia, which I can enjoy in small doses but the specific style starts to wear on me and gets a bit old after a while. There’s a melancholic emotional journey throughout the whole album, but it also feels unobtrusive and generic. Overall, there are a few songs that stood out but when you throw around 30 tracks into one album, something’s bound to stick. It feels like they focused more on quantity than quality here. Favourite tracks are Shiver, Astonished (In Memphis)

This is a classic, the peak of 70s jazz-funk fusion ! knew half of the songs already but 4 songs in an album is crazy, had no idea it was that short and concise. It is said that this was a commercial and artistic breakthrough for Hancock, one of the most accessible jazz albums of all time for audiences that more inclined towards rock and funk music. Overall whats not to love about 10 minute long jazzy instrumentals? Favourite songs are Watermelon man and Chameleon, but the whole album is top notch!

Feels very Broadway, sounds like a musical blended with country and folk. It’s not an easy listen the songs are dramatic and theatrical, but there’s definitely something to appreciate about the emotion behind it. You can tell the talent is there, but this style of music isn’t really for me. Favourite track: Love’s Enough

The Kinks were staples of the ‘60s and ‘70s. This album already had a commercially successful song (Picture Book), but I wasn’t familiar with the rest of it, I was familiar with The Kinks however, especially for their hits. Most of the songs aren't particularly memorable but there aren't any songs that I would say are bad either. This wasn’t my favourite on the first listen, but it grew on me the second time around, it’s one of those albums that grows on you slowly. To me this album and The Kinks in general sounds like 'Underground' The Beatles sometimes, especially in the way they do their harmonies, but a bit happier, quirkier, more whimsical, and sometimes a bit melancholic. The arrangements are layered nicely, the blend of folk, pop, and some touches of baroque psychedelia. Also I love the album cover on this one, the swirly neon colours and the warm orange and reddish shades are cool. Favourite tracks are The Village Green Preservation Society, Do You Remember Walter? and Picture Book.

I love this 70s disco groove sound mixed with prog rock and pop. Of course I already heard some of ELO’s songs before, including Mr. Blue Sky from this album, but hearing it as a whole gives the band a new context. I also love the cover art it perfectly captures the feeling and atmosphere of the album. I enjoy the overproduction here, the experimental mix of orchestral sounds, synths, strings, and harmonies felt very fitting. Everything about this album is colourful. The band here really does feel like disco Beatles, but in a way that still keeps ELO distinct. It’s definitely a long album I mean its over an hour which I usually don’t like, but this one justifies it, still feels like quality over quantity in my opinion. This feels homogenous, however each track still feels distinct from one another. Overall, I’ll definitely be exploring more of ELO after this. Favourite tracks: Turn to Stone, Sweet Talkin' Woman, Across the Border, Night in the City, Jungle, Standing in the Rain, Summer and Lightning, Mr. Blue Sky, The Whale, Birmingham Blues

A very theatrical album musically, very orchestral, with string arrangements, piano, and nice touches that make it feel cinematic. I appreciate the suspense, climax, and dynamics created through these arrangements. The songs balance humour and melancholy which present romance in unexpected ways. The album captures and conveys bittersweet, melancholic irony, almost like he's laughing through sadness, signing upbeat cheerful sounding songs paired against sad lyrics, which adds a level of contrast. It’s quite short around 30 minutes, which makes it easy to listen to without getting bored. The album cover evokes melancholy, longing, and emptiness, reflecting the sadder side of the songs. I can appreciate an album like this but it’s not entirely my cup of tea. My favourite track is Someone

Very funky and jammy with incredible rhythms. I didn’t even realize the songs were 12 minutes long! This is exactly why I’m doing this project to find albums like this that I’d never have discovered otherwise. It’s awesome from the start. I’m a drummer so this album was unfair to the rest of the albums that I had or have to rate. Usually I’d say there’s no way I’m listening through a long instrumental album but I’ve proven myself wrong because I just listened to a 15 minute drum solo and was completely captivated. It’s got everything that I enjoy from sax solos, drum solos to Fender Rhodes solos. According to Wikipedia Fela Kuti married 27 women in one ceremony, insane. Overall this album is great it’s got that raw fusion of African rhythms and Afrobeats, funk, and jazz, a showcase of musicianship and a lot of energy. The chemistry between Fela’s band and Ginger Baker is felt very clearly. The percussion is the heartbeat of the album here, felt very organic, funky, and groovy as hell. Felt like watching Whiplash by the end just pure, sweaty fun, funky, jazzy energetic music. I can only imagine how fun this Live album would actually be to see live!

I already knew this iconic album already mainly from Disorder and Shadowplay, its most well-known tracks. The whole record is filled with a sense of dread, gloom, and dissociation. Everything feels cold and detached, yet captivating in a strange way. Makes you feel that you want to die or fall in a depression, it so dark and moody that at times its almost too heavy emotionally, but that atmosphere is very well done. Sonically, it’s pure post punk. the groundwork, lead up, or even the peak of gothic music. I can really appreciate the production on this one, the warm, wide drum sound, the rumbling bass, the processed icy guitars, and those haunting cold synth textures filled with odd rhythms and strange noises, all drenched in reverb. Together, they build an eerie and sorrowful soundscape that captures the unique and distinct sound of Joy Division, something they achieved brilliantly. Favourite Tracks: Disorder, Day of the Lords, New Dawn Fades, Shadowplay, I Remember Nothing.

This was my first introduction to the genre of world music. The combination of Western styles with non-Western folk and Ethnic influences really make sense in this context. I enjoyed the mix of Middle Eastern, African, and Asian sounds combined with reggae, dub, and spiritual undertones throughout the album. That said I noticed there are many sound effects layered across the tracks that half of them start to feel a bit synthetic and cheap, even goofy at times like video game music. It’s an odd mix of styles that work well individually, but together as a full album it feels a little disjointed to me. Overall it’s not terrible and the talent is definitely there, but it’s not something I’d really go back to. Favourite tracks: Visions of You, Everyman’s an Island, Soledad.

Very funky and sensual album. This has a very strong flow and fun melodies throughout the whole album. TLC is said to be one of the best girl group albums of the ’90s, so I can definitely understand the influence. I wasn’t born yet to be the audience for it when it came out, so I don’t have any nostalgia attached to it but I really enjoyed it. I love the 90s R&B and hip-hop beats and grooves. The songs are smooth, soulful, and quite minimal, the blend of R&B, funk, hip hop, and a bit of soul is done very well. The production overall is very warm, silky, very groovy and punchy at the same time. Most songs revolve around sensuality, but the female rapping adds a nice touch to the album. There’s even a Prince cover and a feature from André 3000, which was a really cool. What stands out most to me though is their chemistry as a trio, every one of them bring a distinct voice and energy. Overall, I enjoyed this album, it’s laid back but not boring, fun yet emotional when it needs to be. If anything, the only downside for me is that it runs a bit long, 16 tracks is a lot for me. A few songs stood out. I already knew Waterfalls which is their main banger, apart from that I enjoyed Let's do it again, Creep, Kick your Game, Case of the Fake People, Red Light Special, If I was your Girlfriend and Sumthin' Wicked This Way Comes

A lot of people say this is the album that defined trip-hop, which makes it very influential, as inspiring for me. The album feels smooth, hypnotic, hazy, and laidback but also deeply reflective and introspective. It’s the kind of record that feels like nighttime music. The production is incredible as well very detailed. Aggressive bass lines throughout the album, immediately sets a very direct tone. It blends elements of hip hop with breakbeats, sampling, and rapping, along with soulful vocals, reggae, dub, soul, jazz and ambient textures. There’s a heavy atmospheric undertone, a very crisp snare and straight to the point drum beats. All of these elements come together to create a sound I really enjoyed. It’s good at being immersive background music or the full focus of your attention. That said some songs are a hit or miss for me, some songs I didn’t really like, while the majority however are definite standouts. Favourite tracks: Safe From Harm, Blue Lines, Thankful for What you've Got, Five Man Army, Unfinished Sympathy, Hymn of the Big Wheel

A landmark for a near perfect fusion blending Latin jazz, psychedelic, blues, and polyrhythmic rock seamlessly. I love how some songs slow down the energy bringing a smoother, ballad like atmospheric feel that contrasts beautifully with the energetic fiery instrumental sections. The polyrhythms give it a slight progressive feel, which I really love. The guitar work and overall instrumentation are wonderful, they showcase great use of dynamic range and precision throughout the album. I love how the Latin percussion like the congas, timbales, bongos add depth and culture to the sound, while Santana’s guitar flows freely through it all. The addition of the organ and piano tie everything together. As a whole creating a sound that feels spiritual and bursting with energy. Overall, the fact that I enjoyed a 40 minute of an almost fully instrumental album speaks for itself! This album has the perfect balance between groove and melody. The artwork fits the music perfectly too, abstract, vibrant, full of motion, pieces all over the place just like the songs themselves. I already knew Black Magic Women/Gypsy Queen, however I really enjoyed Singing Winds, Crying Beasts, Oye Como Va, Incident at Neshabur, Se a Cabo, Mother's Daughter and Hope you're Feeling Better.

Stone cold classic, the cornerstone of G-funk and West Coast hip hop. Some of the best beats ever created, some of the best features, just an immense album from start to finish. This is one of the most influential albums ever made, the heart and soul of West Coast and L.A. hip-hop the blueprint that plenty of others have followed. Dre completely reinvented hip-hop production with the way he layered the samples, added the iconic hip-hop drums, and clean mixing. The sampling work is done insanely well, and the combination of multiple high level performers from Dr. Dre himself, Snoop Dogg, Warren G, Nate Dogg, and others, on top of that production makes this legendary and an insanely good album. Snoop Dogg’s debut appearance here adds even more to its legacy. The skits can feel a little dated at times, but they fit the era and add personality to the record. Overall an undisputed classic and one of the greatest rap albums in history. My favourite tracks are: Fuck Wit Dre Day, Let Me Ride, The Day Niggaz Took Over, Nuthin' But A G Thang, Deeez Nuuuts, Lil' Ghetto Boy, A Nigga Witta Gun, Lyrical Gangbang, The Roach, Bitches Ain't Shit.

A classic and known as one of the most iconic concept albums ever made. I had no idea of Bowie’s Ziggy Stardust character (the alien androgynous bi-sexual rockstar persona) but hearing the whole album front to back really shows how complete this is. I feel Bowie is the weirdest artist in commercial music, especially at the time. To me that makes him one of a kind. Legendary artist and a legendary album. This is a glam rock opera that shows David Bowie's talent for lyricism, packing as much feeling and soul into each song. It sounds theatrical, glam and full of energy, however still encapsulates deep melancholy underneath all the glam and the glitter. The album captures the rise and fall of fame, alienation, and self destruction. I appreciate the combination of glam rock, art rock, and pop. The instrumentation is tight, the guitar work from Mick Ronson stands out and Bowie’s vocals are confident and emotional. The transitions between songs flow beautifully, making it feel like a full story rather than just a collection of tracks. Even decades later, it seems like it still sounds fresh and inspiring for many people. A defining album of the 70s and one that shaped the identity of glam rock. Overall, this is one of those albums that really grows on you, or to me at least. I had to listen to it a few times to fully grasp it and appreciate everything it’s doing. The more I focused on it, the more it opens up and makes sense. Of course I already knew of Starman which is the iconic track of the record, however apart from that I enjoyed, Five Years, Soul Love, Moonage Daydream, Lady Stardust, Star, Hang on to Yourself, Ziggy Stardust and Rock ’n’ Roll Suicide.

This is John Lennon’s debut solo album after the break up of The Beatles. It’s mainly performed in a three piece band format, featuring Lennon on guitar and vocals, Ringo Starr on drums, and Klaus Voormann on bass who, also interestingly drew the cover art for Revolver. Some songs features Phil Spector on piano, who also co produced the albums alongside John and Yoko. The album is raw, stark, and brutally honest. The production perfectly captures the emotional weight of the songs. It’s unreal how much emotion Lennon conveys with just his voice and stripped back instrumentation. This might be one of the most emotionally vulnerable albums ever made by an A list artist. It didn't necessarily hit me right away, its the kind of album that I needed to sit with and revisit a few times to really understand it, at least thats what happened to me. Musically it’s simple but it makes sense. No distractions or gloss, very raw. Overall I'd say I enjoyed this album, I already knew of Working Class Hero (RIP Ozzy), however I also enjoyed Mother, Hold On, I Found Out, Isolation, Love, Well Well Well, Look At Me, God.

I only knew Devil in Her Heart before this, so I had the chance to really go through their second album and discover more of their early songs. This is old school pop rock Beatles. This captures the band right before they exploded worldwide. Sometimes the songs from this era blend together and sound the same for me, which makes sense since their foundation was still rooted in early ’60s rock ’n’ roll and rhythm & blues influences. You can already hear them starting to grow as musicians and gain a uniqueness in their sound. The album features six covers of classic Motown and R&B songs, Till There Was You by Sue Raney, Please Mr. Postman by The Marvelettes, Roll Over Beethoven by Chuck Berry, You Really Got a Hold on Me by The Miracles, Devil in Her Heart by The Donays, and Money (That's What I Want) by Barrett Strong. It’s got a long track list but is only about 36 minutes long, so at least everything feels short and sweet. I also really love the album cover, it gives off a different mood than the music but is very artistic and iconic. Overall, many (including myself) think that its not quite as good as their first album or their later work, and some may also say that this is their weakest album. I do prefer their later songs but I can still appreciate how important it was to shaping their sound. It’s not my favourite Beatles era, however still a great one. Favourite tracks are All my Loving, Don't Bother Me, Till There Was You, Please Mister Postman, Roll Over Beethoven, You Really Got a Hold on Me, I Wanna Be Your Man, Devil in Her Heart.

I love this album from start to finish. This is known for popularising trip-hop on a commercial level. All the samples, sound effects, and record scratching come together and create an amazing sound for the trip-hop era, it manages to take me on a satisfying sonic journey. I really enjoy the mellow, atmospheric, and ambient side of their sound, it’s laid back but still full of tension. The jazzy addition in their instrumentation, from the saxophone, drum beats and deep bass lines, attracts me even more. Beth Gibbons vocals are very vulnerable and emotional, she embodies the mood of the music, very haunting and fragile. From the artists I know, there’s not much else out there that sounds like Portishead. They created something quite dinstinct here. Another classic that I had the pleasure to listen to and review from front to back. The album cover perfectly encapsulates their sound, the haunting, gloomy dark blue toned room contrasting with the harsh bright light and the woman at the centre, looking lonely and drained. It’s dark and vulnerable just like the music. Of course I already knew Glory Box their biggest hit from this album, but I really enjoyed most of the rest, Mysterons, Sour Times, Strangers, It Could Be Sweet, Wandering Star, It's a Fire, Numb, Roads, Pedestal and Biscuit too.

It feels like floating along a cold spring breeze. It’s dreamy, bright, hazy, and emotional. Her vocals feel more like another instrument here, very melodic, not really lyric-focused since it’s hard to understand the words. However even if you can’t always tell what’s being sung, I think the whole aim of this album is to feel everything rather than focus on the lyrics. The production is lush and ethereal. Everything blends together in the mix, all the reverb-soaked instruments melting into one haze. It’s one of those albums where you get lost in the atmosphere, and it leaves you with a sense of nostalgia. A timeless classic, and an essential dream pop album. It’s a very good dream-pop album, though at times it felt like one long song rather than ten different ones. That can be both good and bad, most of the songs sound similar, but honestly it’s one very good long song. :) Best tracks: Cherry-Coloured Funk, Pitch the Baby, Iceblink Luck, Heaven or Las Vegas, Fotzepolitic, Road, River & Rail, and Frou-frou Foxes in Midsummer Flies.

I love the album cover because to me it shows a usually powerful figure looking weak and defenseless under gloomy, dark blue cloudy skies, the silhouette of the rider on the horse, holding a spear but without the grit to continue, perfectly showcasing the “End of the Trail” sculpture and it couldn’t be more fitting. Using a defeated, weary rider on horseback creates a strong contrast and represents exhaustion, disillusionment, and the end of an era. It’s not the carefree surfer image I expected from The Beach Boys actually, it’s the complete opposite of their earlier songs, and it matches how mellow and depressing the album feels. This is one of the most interesting albums in The Beach Boys’ catalog because it comes from a time when the band was shifting away from their surf-rock identity and moving into something much more reflective, political, and emotionally complex. You can really feel that transition all over the album. Everything carries a sense of maturity and melancholy. Overall, this album is a heavy listen. Not everything hits for me, but some songs are really nice to listen to. It feels like the sound of a band trying to rebuild itself, sometimes falling apart in the process, but still managing to create something meaningful.

This is technically my first real electronic album, and it’s coming from a very familiar name Fatboy Slim. I’ve always known the name, but never actually listened to his music so this felt like the perfect chance to do so. This album is pure late 90s electronic chaos. Apparently the style is called Big Beat / Acid House? Interesting. Norman Cook basically took big beat and blew it up into something massive with breakbeats, basslines, goofy vocal samples, and huge festival sized hooks. The whole thing reminded me of an influence on Daft Punk and The Prodigy, that’s the closest artists I’ve heard that matches this style. It is repetitive, but it builds on that repetition in a catchy way, and it stays fun all the way through while still having plenty of standout songs. The sampling work is insanely creative: drum n bass touches, chopped up pieces of funk, soul, hip-hop, rock riffs, random spoken word bits and a lot of things that shouldn’t work together but somehow do here. The music is very drum focused and has a goofy, vibrant energy overall. The sound choices are quirky and playful, and I can imagine how much fun this would be live. Every track feels created to hype you up. I actually knew “Praise You” beforehand, but had no idea it was from this album, thats a banger. I don’t think I’d listen to the whole album daily, but I know I’ll enjoy it whenever I’m in the right mood. The album cover is crazy too honestly represents the artist name pretty well. Favourite tracks: Right Here Right Now, The Rockafeller Skank, Fucking in Heaven, Gangster Trippin, Kalifornia, Soul Surfing, Praise You.

Bowie had another persona for this album, The Thin White Duke, which was a stark contrast to the flamboyant, colorful Ziggy Stardust I learned about in the Ziggy Stardust and the Spiders from Mars Bowie album. The Duke is a much darker and more sinister character. Dressed in a minimalist sleek blazer, white shirt and black trousers, The Thin White Duke comes across as cold, detached, and obsessed with control and power. It’s still a theatrical album compared to the previous album, but it’s far more melancholic, heavy, cold, dark, and direct. It's much more my style, since it’s less flamboyant and extravagant. I’d say the sound leans toward a fusion of art rock, avant-garde and krautrock (which is experimental rock music that developed in West Germany in the early 60's and 70's. Even though it’s quite a short album it’s dense and sets a very specific mood. The album cover is actually very artistic, and I think it perfectly matches the elegant, dark sound of the album. I love the centered black and white image on a white background, with the red capitalised text spaced tightly together. My favourite tracks are Station to Station, Golden Years, and Stay.

Just remember that this was the time Radiohead were touring in Bologna, Italy, so the fact that you got this album feels pretty un-coincidental. This isn’t an album I fully grasped in one listen, but even after the first play through I could already sense the depth and the potential of how much I might like it after a few more plays. It took a few proper listens to get through the dark, inaccessible and clustered layers this album has, not only musically, but also lyrically as they seem very cynical and angry here. They say this album is a mixture of everything they had experimented with up to that point: mainly the paranoia and glitchy electronics of Kid A/Amnesiac, mixed with the tighter band driven songwriting of their earlier work. It’s messy on purpose, anxious, politically charged, and full of that early 2000s dread. Overall, I’m enjoying the album more with every listen, mostly because there’s so much to discover each time. I enjoy the infusion of electronics humming like static in the background, and Thom Yorke sounding half exhausted, half furious yet they still manage to balance atmosphere with melody. There are so many details that I notice with every new listen. There’s rarely any repetition from beginning to end, and even though the songs structures are based on repetition, the songwriting is very linear and the variety in the added layers is huge. The album cover is quite interesting too. It's a roadmap of Hollywood with words taken from roadside advertising in LA and from Yorke’s lyrics. It’s basically a chaotic map of meaningless corporate/political language, just noise, mirroring the album’s themes of confusion, manipulation, and media overload. Rating this album is hard because it feels like a five star album, but compared to the rest of their discography, it’s slightly less good than their other five star records. So I’m giving it four stars because of relativity, even though on a general level it’s basically a five. Realistically, I’d call it a 4.5, so maybe I will give it a five.

I immediately liked the first song. Such an epic way to open an album, this rarely happens to me but for an ‘80s song this managed to impress me a lot. It has tight production, a good amount of groove, and enough atmospheric layers for me to enjoy. To me this feels ahead of its time. The level of production is almost surreal for 1986. There’s a warmth to it even when Gabriel is diving into heavier emotional areas. In some ways it almost reminds me of an older version of Radiohead, especially in how the electronics are used to build that atmospheric, layered ambience. It also reminds me of Pink Floyd, Phil Collins, and Genesis, only for me to then find out that Phil Collins and Peter Gabriel were actually bandmates in Genesis. “Don’t Give Up” features Kate Bush, which is so cool too :) Most songs in the album are my favourites! Red Rain, Sledgehammer, Don't Give Up, That Voice Again, Mercy Street, Big Time, We Do What We're Told (Milgram's 37), This is the Picture (Excellent Birds), In Your Eyes

What I enjoy is the fact that a white group was blending rock and hip-hop/rap with a funny satire of frat culture and edgy, raw energy. It’s early hip-hop done well. The sampling, scratching, and “hyping” are amazing. They combine hip-hop and rock in a way that definitely helped define the early rap-rock and later nu-metal sound, surely inspired bands like Rage Against the Machine and Limp Bizkit. The Beastie Boys were also rooted in punk rock, they rapped, played instruments, and carried that loud, angry, rebellious, anti-establishment attitude. I love the rock samples. “Rhymin & Stealin” uses the intro drum beat of “When the Levee Breaks” by Led Zeppelin, the main riff of “Sweet Leaf” by Black Sabbath, and “I Fought the Law” by The Clash. “She’s Crafty” uses Led Zeppelin’s “The Ocean” guitar riff. “Slow Ride” samples the main groove of “Low Rider” by War and bits of “Take the Money and Run” by Steve Miller Band. “Fight for Your Right” and “No Sleep Till Brooklyn” both feature actual guitar parts performed by Slayer’s Kerry King. “Time to Get Ill” samples Led Zeppelin’s “Custard Pie” and CCR’s “Down on the Corner.” Overall, for that point in time they achieved the perfect mixture of rock and rap/hip-hop. Even after all these years, the album holds up not just as a nostalgic piece of ‘80s culture but as an influential record that helped shape mainstream hip-hop. My favourite songs are Rhymin & Stealin, She's Crafty, Slow Ride, Fight For Your Right, No Sleep Till Brooklyn, Paul Revere, Brass Monkey, and Time To Get III.

Of course the legendary Jimi Hendrix Experience. I already knew half of the songs from this album, but I never listened to this album from top to bottom so I knew that this was going to be a good one. This album is genre-fusion bending, energized and psychedelic. Incredible album from a powerful trio, drumming is fantastic as always very jazz influenced and wild, the bass lines are smooth and melodic, and Hendrix with that explosive guitar tone and expressive, creative and experimentative guitar style. The chemistry between Hendrix, Noel Redding, and Mitch Mitchell is insane. Not every song can be as contagious or definitive as "Purple Haze" or "Foxey Lady", but even today it's not all that hard to understand how revolutionary the whole album was. What surely stands out most is how ahead of its time this album and Hendrix was. Really is incredible this came out in 1967, on another level compared to the rock music of that time. It is said that there is rock music before and after Hendrix. He is the line that completely changed the way the guitar is played and used in rock music, playing and even tone wise. Hendrix sounded amazing when he arrived on the scene, unlike anything else. Eric Clapton walked off stage the first time he saw Hendrix play. He said “Is he really that fucking good?". Jimi Hendrix was so influential that Miles Davis started playing his trumpet through a wah pedal. The distortion, feedback, psychedelic effects, wah-wah, backwards guitar, everything that would become trademarks of psychedelic rock was basically invented or perfected here. The album cover is perfect for that 60's time representing psychedelia and bright vibrant colours. Fun fact they had another album cover for the UK edition, but Hendrix was unhappy with the cover artwork and therefor created another photo for the US release to create a more "psychedelic" cover. My favourite tracks are Purple Haze, Manic Depression, Hey Joe, Love or Confusion, May This Be Love, I Don't Live Today, The Wind Cries Mary, Fire, Third Stone From The Sun, Foxey Lady, Stone Free, Highway Chile, Remember, Red House

What an insanely powerful first track to open the album. It’s completely different from what I expected, especially judging by the album cover. The musicianship is great, really talented performances, lots of rich orchestration and organs, the gospel choir adds a huge presence and the addition of some progressive elements makes everything much more interesting. This style of music isn’t entirely my thing, and nothing stood out to me in a way that truly grabbed me, however I do prefer the style of the first disc compared to the second one. It’s also quite a long listen, and being a double album that makes sense. Not exactly for me, but the creativity and execution are undeniable. I would say my favourite tracks are Get Ready for Love, Cannibal's Hymn, Messiah Ward, There She Goes My Beautiful World, Let The Bells Ring, Fable of the Brown Ape, The Lyre of Orpheus, Easy Money, Supernaturally, Carr Me and O Children.

I loved practically everything about this. The old-timey recording quality of this live performance gives it such an intimate feel. Little moments like the man introducing Sarah Vaughan and joking that all the attendees are “Mercury recording artists,” or Sarah laughing about messing up a song and the crowd laughing with her, plus the small talk and the clinking glasses in the background make you feel like you’re actually there in the room. Jazz is one of those styles that just sounds so much better in a live format, and this was truly magical. An amazing live performance. Sarah Vaughan’s voice is on another level, silky, controlled, expressive, and effortless. The clarity and precision she has, even in a live setting, is unbelievable. I can appreciate how exceptional she is — she makes singing sound effortless, but what she’s doing is incredibly advanced. I usually prefer instrumental jazz, but her voice is so captivating that it held my attention for the entire album. The trio behind her is fantastic too. The piano, bass, and drums give her so much space, but they also push and respond to her in a really dynamic way. The whole performance feels intimate and warm like you’re sitting right there at Mister Kelly’s. My Favourite Songs: September In The Rain, Willow Weep For Me, Just One Of Those Things, Honeysuckle Rose, How High The Moon.

Let’s Get It On and Keep Gettin It On already put me in a great mood and instantly noticed that this album was going to be something special. A 30 minute album is perfect for my taste. The production is unbelievably refined for 1973: warm, funky, groovy, and filled with that soulful tenderness Marvin Gaye was unmatched at. You can hear every subtle detail in the instrumentation, that perfect mix of funk, soul, and slow R&B. Even after all these decades it still feels fresh, intimate, and alive to me. Overall just so smooth. Fantastic. So good. An incredibly easy and enjoyable listen, truly an iconic album. Smooth as butter. My favorite tracks are all of them — Let’s Get It On, Please Don’t Stay, If I Should Die Tonight, Keep Gettin’ It On, Come Get to This, Distant Lover, You Sure Love to Ball, and Just to Keep You Satisfied.

This album basically encapsulates everything about ’80s goth: the huge reverb soaked drums, the trash-container drum sounds, the chorused and flanged guitars, the synths, the MIDI-ballad, and those strange digital-synth percussion effects. Even the structure feels very ’80s, the verses are basically just quieter versions of the chorus. Album is very dark and gothic, but also has a massive sound. The production is huge and cinematic, especially considering it’s essentially Andrew Eldritch and a drum machine. The synths are cold, the basslines are powerful, and the vocals feel like someone reading scripture in a haunted cathedral. Some songs could have been a bit shorter though, multiple 6-9 minute songs in an album can get boring. I already knew this album from “Lucretia My Reflection” which is easily one of the catchiest goth rock songs ever written, and "Never land - A Fragment" as well. Everything on this album feels intense, dramatic, atmospheric, cold, and theatrical. My favourite songs are: Dominion / Mother Russia, Flood I, Lucretia my Reflection, The Corrosion, Flood II, Never Land - A Fragment,

The most iconic album and album cover of all time, them walking across a zebra crossing outside Abbey Road Studios has become one of the most famous and imitated image in the history of music. Most consider this record the greatest album of all time. Most of my Beatles knowledge came from various compilations and songs that i've covered over the years, so I never really knew which songs came from what albums. I should've guessed from the way people spoke on the album, but I was surprised by how so many of the Beatles bangers were on this one. It's probably my favourite Beatles album as well. Incorporates genres such as blues, pop, and progressive rock. I already knew pretty much most of the songs from this album, 11 songs out of 17, so it was good to listen to the rest of the songs that I haven't heard in a linear way all through out from beginning to end. Overall, in my opinion its almost a perfect record of it wasn’t for Maxwell’s Silver Hammer which breaks the pace and feel of the whole album, I enjoyed each and every other song.

This album is a huge warm, and spiritual burst of jazz. The wind instruments harmonizing through the whole album immediately caught my attention, and the solo in that opener song is incredible what an intro. The main instrument you hear is a flugelhorn actually, played by Masekela, it has a very bold and expressive tone that it feels like it’s speaking directly to you. The general vibe of the album is very warm, soft jazz. I can actually feel waves of calm washing over me while listening. It’s known for being very influential for its time, it shifted direction and did something new and important by fusing South African rhythms with American spiritual music, soul, and funk, creating a unique jazz-fusion sound. However, overall it’s a bit too long for my liking as a full front to back instrumental jazz listen. If I’m in the right mood, it feels immersive, slow, groove-heavy, emotional, and alive, but because it’s so calm and spacious, it also sometimes drifts into “background music” territor, perfect for relaxing, having dinner, or reading. My favourite songs are Part of a Whole, Minawa, The Big Apple, Maseru, Blues for Huey, and Maesha.

Come on man, I know this album inside out. One of my favourite Sabbath albums. It’s got Changes on it man, it’s a legendary album! This has to be one of the top, if not my most favourite Black Sabbath album covers. Maybe second best after Sabbath Bloody Sabbath. As an album this would definitely make my top 5 for sure. The whole albums feels like a bridge between classic heavy metal and more exploratory psychedelic metal. Sludgy doom riffs, piano ballads, drugged-out interludes. The album is heavy and intense, but at times it also has some really beautiful moments. Black Sabbath laid the groundwork for so many metal subgenres with the songs in their early catalog, cosmic psychedelia on one track, symphonic accompaniment on the next, and sludgy, downtuned riffing right after that. If the theory is that Sabbath predicted most of metal, then Vol. 4 represents the earliest ancestry of doom metal, as one of the band’s darkest and most confused early documents. The three albums before 1972’s Vol. 4 weren’t short on doom but their heavy blues-rock influence were kept from collapsing by relatively tighter production and a bit of pop accessibility. By the time of Vol. 4 the band were already rock stars, indulging in drugs and partying on an extreme level. Those excesses are reflected in the album’s sound, its themes of losing your grip on reality, and its weird stylistic songs from experimenting with delay, to a beautiful instrumental song built on Tony Iommi’s classical guitar with full orchestral backing. All the tracks are my favourite. I don’t need to list every single one. RIP Ozzy!