I am throwing my hat into the reviewing ring! This is obviously a classic album. Everyone and their mother and their grandmother knows and their father and their grandfather knows Whole Lotta Love, Heartbreaker, and Ramble On. I'm not sure if I've ever listened to this album in it's entirety, but I enjoyed this listen. I think that Robert Plant's voice is so one of a kind, I feel it's like if Brian Johnson was less of an assault on the senses. So many classic guitar riffs from this album alone, it's historical impact can't be overlooked. That being said, it's not a transformative album that makes me rethink what music is by any means. It's gonna be a solid 4 from me.

I apologize to the 13th Floor Elevators, I was not familiar with your game. Weed from today would kill 95% of people alive in 1966 but these fuckers are the 5%, who knows what they were on when they made this but that probably banged. I don't really have song by song thoughts because I thought the whole album blended together really beautifully, the theme throughout is dark yet jolly in a really gripping way that kept me thoroughly engaged. I don't know how the elevator became restricted to the 13th floor but that's where it belongs, this shit bangs and inspired the era of psychedelic rock that followed. A lot of people won't fuck with the electric jug that you'll hear throughout the album, which I understand. It's a distracting instrument, but I never found it too overwhelming to the rest of the sound. The things that keep this from being a 5 are that while I enjoyed how the album flowed and felt cohesive, the fact that no songs stood out and made me go "wow, THIS is the one" isn't great, and the electric jug could've been used a biiiit more sparingly, although to remove it completely would be to betray the spirit of this record.

This is something man, I can definitely acknowledge what they were trying to do here but I just don't think it's for me. Frankie Teardrop was one of the strangest listens I've had in a while. That mfer kept screaming in my damn ear. I didn't actively dislike the album, it just felt kind of empty. I guess that's part of the sound, but I found the whole album pretty boring until Frankie Teardrop and then I was like well this certainly isn't boring, but maybe I'd rather that it was. Felt like the 1977 equivalent of Dance With the Devil by Immortal Technique. Which isn't necessarily a bad thing, but you have to be in the right headspace to enjoy it. Or maybe you're not supposed to enjoy it maybe you're just supposed to be like damn that boy Frankie's fucked up, in which case mission accomplished. Then at the end they're like we're all Frankies we're all in hell and I'm like what he say fuck me for? I didn't shoot my 6 month old child and my wife don't put that man Frankie's evil on me. We are not the same. I feel bad because I was hoping I would like this one, but it just really didn't do much for me. I can respect that there's a level of artistry to it, but the guitar on every song felt hollow and repetitive and the vocals just felt like they were jumping in to break up empty space every once in a while. I think the fact that I have so much to say about it is at least something, it's definitely not a nothing burger of an album and it at least made me think. 2/5

My very first thought - I love the way that David Byrne sounds. He has such an engaging inflection in his tone. This is my first full-on exposure to Talking Heads and I'm loving it halfway into this first track. Obviously everyone's heard Psycho Killer, so it's not news, but the way he delivers his lyrics is really captivating. Loving the mix of funk, punk, and pop through the first three tracks. Really pushing a lot of different buttons and doing it in a way that doesn't feel forced and remains cohesive. Moving into Happy Day, it keeps an upbeat energy while slowing the tempo down in a really nice way. This album has a really consistent energy to it but each track still stands alone as great in their own right. I'm on the sixth track now and this album is smooth as butter, maintaining a consistent sound and theme without being repetitive. Songs are flowing into one another perfectly. This feels pretty polished for a debut album in that sonically nothing feels out of place, and while I'm not too familiar with the sounds of 1977 this feels really unique to me while still achieving a sound that's accessible and enjoyable to a wide audience. I'm absolutely loving the horns on First Week / Last Week, and we get some nice patented David Byrne AYAYAYAYAYAs. Really enjoyed this track. Highlights for me are New Feeling, No Compassion, The Book I Read, First Week/Last Week, and Psycho Killer (a necessary inclusion), but there are no skips on this album. I loved every song. If we're Talking Head then this must be the place, indeed. A really wonderful palette cleanser after Suicide by Suicide. If I had one huge takeaway, it'd be my first. David Byrne is a truly unique and talented artist, and his supporting cast knows how to compliment his sound perfectly. My first 5 and it was so, so easy to give.

Bout damn time we got a Timothee Chalamet album! Strong start to a classic album with Like A Rolling Stone, definitely the most popular song on the album. I'm familiar with some of ole Bobby's discography but have not listened to very much all the way through so I'm excited for this one, and the lead track certainly does not disappoint. Bluesy, conversational, and catchy. This is classic Dylan, and it's great no matter how many times you've heard it. Tombstone Blues has a great tempo to it, picks up the energy nicely. "The sun ain't yellow it's chicken" is a bar for sure. ITALTL, ITATTC didn't do a ton for me, but was an enjoyable enough sun. More or less the same for From a Buick 6. Love love love the gloominess of Ballad of a Thin Man. Love the delivery on "tax-deductible organizations." I felt like Mr. Jones this whole song because I knew something was happening here but I did not know what it is. Dylan's such a good storyteller that I don't have to know what the story's about, love hearing him talk about it anyway. I enjoyed Queen Jane Approximately, but something about the harmonica on this one felt more grating to the ears than in other songs, which I didn't love. The title track of the album is definitely a head nodder, found myself bouncing along with Bob. Love the way the guitar stings on this one, coming in to put an exclamation point on each bar. Desolation Row is a really nice, bluesy conclusion to the album. Bob does a really good job of having a lively energy to this album while maintaining the bluesy feel and somber storytelling that makes his music what it is. I really enjoyed this listen, but it didn't feel transformative or like the ceiling of what a Bob Dylan is capable of, and for that reason it gets a strong 4 from me. Next morning addendum: I decided to buy this album on vinyl from the record store next store and give it another listen that way (it was only $17 used so why not right) and I definitely think I enjoyed it more that second listen, maybe because it wasn't on headphones maybe just because it was my second listen. Regardless, this is a very good album IMO but at no point did it blow me away, and that still sounds like a 4 to me.

Really excited for this, I'll admit my Jimi knowledge is nearly non-existent so I'm hoping for this to be a strong introduction. EXP is a really interesting intro, jarring in many ways with the volume shifting up and down, sounds moving from left to right, and screeching sounds coming in and out. And now we're getting funky, Up From the Skies is a cool laid back jam sesh. Jimi sounds casual in the best way, like he was built for this. He sings in a way that feels like it comes as naturally to him as breathing. Strong start. Immediate strong energy shift into Spanish Castle Magic, hard guitars telling you that this as much rock as it is funk. Don't get too comfortable. Loving this track, the guitars are hypnotizing. The solo at the end of the song is just a display of mastery. And then fuck it let's get a lil funky again. The bass line on Wait Until Tomorrow is so crisp and satisfying to the ears. Ain't No Telling has a jumping energy to it, with the guitar guiding your head up down and side to side as the pace continually shifts in a really captivating way. A short but sweet transition into Little Wing. Which is of course a standout track. So smooth, relaxing, yet still engaging. The filter on Jimi's vocals is perfect for the the accompanying instrumental. If 6 Was 9 is probably my first potential skip - it's a good song, but I feel it goes on longer than is necessary, and the flute outro just felt a bit grating. You Got Me Floatin' is a good bounce back. Solid, catchy guitars and strong backing vocals. Castles Made of Sand is an absolute beauty, love the way the guitar slides on this one at various points, and the instrumental comes in and out in perfect timing. Gorgeous song. Really enjoy the Noel Redding vocals on She's So Fine. Breaks up the album very nicely heading into the last handful of tracks. Love the repeating guitar riff on One Rainy Wish, I'm trying to take notes on every song but it's hard to do that and work at the same time unfortunately. Little Miss Lover rocks. Deep, heavy guitars and another wonky filter on Jimi's voice that compliments it very well. Bold As Love ends on a really strong solo that closes the album out on a very, very high note. I really enjoyed this listen. I'm tempted to give it a 5, but I felt that I got less engaged as the album went on, and as unique as Jimi's sound is it started to feel a bit samey to me at some point. That being said, it's a really beautiful piece of art, and to give it anything less than a 4 would be criminal in my eyes. So that's what I'll be giving it.

Not sure what to expect from this one, not familiar with Petey's game so this will be a first introduction. I like the vibe of Something's Happening, it's an enjoyable listen but it doesn't feel like it's doing anything too out of the ordinary. A good song. I enjoyed the guitar solo. Doobie Wah is also a nice song, brings the energy up and down throughout different points in a way that keeps things interesting. If we ain't talkin box I don't wanna talk, Show Me The Way starts out with the instrument that defined Frampton's legacy. This song is an absolute classic, and the talk box is really fun. The performances throughout this have been pretty impressive considering it's a live album, and this song is one of the crowning jewels of Frampton's career. They shreddin that thang on It's A Plain Shame. However, "I wanna be molested, I don't care how old you are"??? Peter... I'll be keeping a close eye on you for the rest of the album... you didn't have to say all that. I'll stop with the song by song at this point unless something really stands out to me, but I am enjoying this album despite the questionable moral compass of Mr. Frampton. A couple of absolute classics on here wiht Show Me The Way and Baby, I l Love Your Way, and the whole thing is just a steady, relaxing listen so far. I've really enjoyed the guitar riffs and solos across this album, but I'll be honest and say that there's not as much talk box as I was hoping for. Thought that was his whole thing. On the whole I enjoyed this album quite a bit. I do think that the sound was pretty consistent throughout, but in more of a samey way than in a cohesive way. I wish there were a bit more to unpack here, it felt like a straightforward but good and enjoyable album, and for that it's getting a 3 from me, but I do feel like a 4 would be more than reasonable. There weren't really any obvious skips to me. Maybe if he didn't say all that shit on It's a Plain Shame it would be a 4. I definitely enjoyed it more than I expected to going in. I do appreciate the talk box solo to close out the album, I must say.

The album cover and the presence of 5 discs on this are not giving me great hope but let's take a look. Jim Kerr you sound strange. I can't quite put my finger on it. It's a bit uncanny. You don't sound strange like David Byrne, who's wacky voice is charming and endearing. You sound strange like you're a robot merely pretending to be the front man for Simple Minds. I'm keeping an eye on whether or not he's a reptilian, but in the meantime, Someone Somewhere is a pretty decent song, something about the way he's singing is just pissing me off a little bit. Colours Fly and Catherine Wheel is a bit better, it's got some funky groovy vibes, but the question I feel like I need to ask is... is anyone having fun? Everything feels just a bit too clean. Nobody feels like they're really playing with any passion or creativity, they feel like they're reading the sheet music in front of them as on beat and to the rhythm as they can muster. This feels like AI. The album's not bad. There's nothing about this music that's offensive, but halfway into the first track of the album I wanted to turn it off. My amygdala gland was firing and I went into full fight or flight mode, and I fought the urge to turn it off and take flight by fighting and calling Jim Kerr a reptile. I stand by what I said though - something about this is just not right. I hope somebody else feels this way or I might just have schizophrenia. I think this album just gave me psychosis. It's not supposed to sound like that. Somebody Up There Likes You is fucking me up even more now. No Jim Kerr, their reptilian leader has taken the backseat, but this feels like one of the most ominous tracks. Nothing about this song makes me feel like Somebody Up There Likes Me, I feel like I'm being stalked through an alleyway by cyberpunks in 2148. And not in a good way. Oh fuck he's back, he's back and he's as terrifying as I remember him, the "Low, low, low" he opens up New Gold Dream with almost stopped my fucking heart I just don't think he should sound like that guys I don't know. I don't even want this review to just be Jim Kerr slander but I just looked him up... and he looks like he might be a reptile... no shade Jim, but you and your band of misfits are sending me spiraling into a panic attack. Penultimate track is titled Hunter and the Hunted. It all makes sense now. This might be it for me, boys. It appears that I was the Simple Mind, all along. I was about to say all jokes aside to start my conclusion, but I'm not joking. This was my genuine reaction. This album is fine, it just felt soulless to me in a disturbing way. To me it was almost equally as unsettling as Suicide self-titled, just in a very unintentional way. This album genuinely isn't bad, it's completely fine, there are some points in it that I would actually say I kind of enjoyed. But, with all that being said, it's a 2 because there was nothing about it that was offensive per-se but it was all just so fucking boring. I had to entertain myself by creating a conspiracy theory about it. Jim Kerr I'm sorry if I offended you I just feel like you're up to no good. Suicide self-titled was a 2 because it was painful to listen to but it was at least trying to do something. This is a 2 because it's completely decent music but it feels incredibly uninspired and unambitious. I had an uncle (non-blood related, importantly) who was a Jehovah's Witness and a very strange fellow. He was also a very bad person who did very bad things that I genuinely should not reveal in this review. I feel like he would love this album. That should sum up my feelings on it.