1001 Albums Summary

*I lost all the notes I wrote for nearly half the album... I'm totally mad. System went: [Couple of sentences per track] [Favourite Tracks] [Overall impression] [Inspirations/Visuals/Reminds me of...] Skip the impression yo... Overall, it's a very fun album, blending genres like rock/metal/psychedelic/ rock and roll/ pop for their sound. Favourite track is Tooting Bec Wreck for it's chaotic mix of a little bit of everything. These guys are considered Glam Metal and apparently became one of the biggest inspirations for later bands in that genre like Guns and Roses, Skid Row and Poison (according to wikipedia.) They were also Finnish! Front man Michael Monroe's voice totally fooled me! Tooting Bec Wreck reminded me of Earthworm Jim with it's farm animals and grimey reverbed bass tone introducing the song. You can imagine the band's total lean into childish fun on stage while they performed this.

This is one of those rare albums that seems to tell a full story from first track to last, one that is deeply relatable to those who grew up the same way the character in the story did. Presumably, Dolly herself is the character, which would make sense, considering it conveys all the pain and joy of those moments through her cadence perfectly. While it's got the distinctive country twang to it's guitar pieces, the bass on some tracks like Early Morning Breeze have real character and I wonder if "Country Bass" is actually a thing. Perhaps it's more to do with the musical composition and not the lyrics, but the album brims with optimism on every track. It makes me think almost exclusively of that typical American Deep South visuals of small houses and big porches, stretches of dry dusty fields mixed with sand and the simple living people that reside there. "Here I am" easily my most favourite song on the album. It makes me think of my love, Sophie x

Listened to a lot of Fleetwood Mac, but noticed I don't recognise a single track on this album! Clearly not listened to a lot of Fleetwood Mac. Really somber opening with "Over & Over", straight into a lively lead bass track that has a fun energy to the delivery of the lyrics in The Ledge. Already, this feels like a departure from the typical Fleetwood Mac album of prominent lyrics back by light - but still serious - instrumental ensemble. "What makes you think I'm the One" sounds like it could have been a Queen song, with Lindsey Buckingham really sounding like Freddie in his delivery of the line that is the same as the song's title; that same punchy attitude that Freddie would have used to match the question being asked. "It's not that Funny" reminds me more of David Bowie, with the fuzzy guitar songs and the subtly angry lyrics. It's clear that, around this time, Fleetwood Mac were doing a lot to experiment with their sound, which is always encouraged. The tone of the album as a whole seems to flip backwards and forwards from being quite melodramatic to playfully aggressive; "That's all for Everyone" before this track dreamily delivered by Buckingham. "Sisters of the Moon" at the albums halfway line has near-Pink Floyd epicness with it's closing guitar solo; easily one of my favourite tracks so far. "Brown Eyes" brings everything down again with a steady bassline, dreamy lyrics and soft drums; another favourite. Appreciated how different this was to Rumors (1977) before it. Despite this, at 20 tracks long, this felt like a drag towards the end, which is a shame, considering it's most 'iconic track', "Tusk", is second from the end.

Never listened to The Beach Boys before, so have nothing to compare it to with this album. It's different from anything I've ever listened to before, with the opening track "Don't go near The Water" being an almost... Psychedelic... Country feel? Following up, "Long Promised Road" is more classic Rock n Roll, but still twists into something less conventional with the synth/keyboard sound around it's half way mark. Already, after only two tracks, I like this album for it's pure novelty factor, blending various sounds and genres to make for something that feels both experimental and grounded in conventions. An album like this wouldn't be complete without a Ballad like "Disney Girls", which has many of the conventions of a song like this: slow drums, rising and falling guitars and soft supporting bassline all dreamily pulled along by the lyrics. "Student Demonstration Time" is a huge change up straight after Disney Girls and I really liked it. [I read other reviews regarding this song and was shocked to find it was widely hated, understanding that the sirens and lyrics themselves is what has caused the hate. As for it's sound, I did enjoy it, but it's lyrics and the political view's of Mike Love are easy to condemn.] Another album that has a lot of twist and turns in it's tone, I really enjoyed this one still. A further reflection: It is more than possible that, even though I have listened to lots of different music across the modern era, I still do not know enough to pick out the bad from the good, whether that be individual tracks or whole albums. Still, I continue to listen with optimism with each new album.

According to the YouTube comments for "Gangsters" (the first track on this Deluxe version here on YouTube), this album and band is strictly Ska, which I generally have little knowledge of, but not enough previous experience to name another grou[. From the outset, it seemingly blends Jazz with Reggae. "A message to Rudy" is a classic track, heard many times of my life. It has a real comfortable and pure vibe, with the lyrics delivering a positive message to younger generations. "Do the Dog" has a punk feel to it, in it's playfully aggressive delivery and overall political tone. Speaking on this note, a strong political vein running through The Specials' music was the only real thing I knew about them before listening to this album. "Concrete Jungle" was the first track on this whole musical journey on the website that didn't hit my ear right on the first play, though the Chorus is a lot of fun. Still, the song's social commentary doesn't come off heavy-handed. "Too Hot" has a more relaxed, almost UB40, sort of vibe to it which is a big change against the rest of the tracks. Interesting to learn that "Monkey Man" is a cover track from Toots & The Maytals, who are themselves a Ska band from the '60s. "Too much too young" is one of those songs that burned itself upon the zeitgeist of 70s/80s and is recognised by everyone and for good reason. Overall, this album feels like a bit more of an acquired taste, but that may be because it feels distinctly as a product of it's time; I was a child of the 90s, but my Dad identified as a Mod growing up, so this album is not entirely misunderstood by me.

Before listening, I had no prior experience or knowledge of Lou Reed as an artist. Straight in with "Vicious", this has a classic rock and roll vibe, that distinct muffled twang of a guitar going back to the 50s. A strong start, I took to this song right away. Reed's near-conversational singing hits the mark in line with the vibe of the lyrics. "Andy's Chest" makes it crystal where Beck got his inspiration from, as the track sounds like he could have performed it himself. The thumping bass, droning guitar and absurdist lyrics make them indistinguishable. "Walk on the Wild Side" I instantly recognised the opening bassline, not knowing that this song belonged to Reed. The lyrics were so much more explicit than I realised for a song so popular. "Perfect Day" and "Satellite of Love" both had incredible feel good energy to them, especially Satellite with it's uplifting backing brass. "New York Telephone Conversation" absurdity has playful childish energy to it, backed by what I describe as a Primary Teacher's "Music Time" harmony on the Piano. Really fun. Overall, I really liked this album. It didn't take itself too seriously, both lyrically and musically. That's something that we could all do with right now as we get swept away in the constant need for looking rich and successful by any means necessary.

*Self-Note before listening*: Recently listened to Kwesiisbored on YouTube, who listens to albums for the first time and gives thoughts. One thing I noticed about Kwesi that I want to carry forward for my own reviews and thoughts is looking deeper into the lyric meanings and how implied meanings can change due to how each lyric is delivered. "Sat in your lap" is a hell of a way to start album, with it's erratic structure and lyrics and Kate's softly aggressive delivery of the refrain. The lyrics resonated deeply; someone who feels like they don't belong in the Rat-Raced western world. "There goes a Tenner" was a little more on the nose with what it was about, but also eased me into the relative 'weirdness' of Kate Bush; I feel as though Bjork could have been influenced by her with the jarring lyrics and disjointed harmonies, making for something that asks you to meet it half way in order to fully appreciate it; your efforts more than often rewarded. It's hard to find music that achieves the same in this day and age. "Pull out the Pin" quickly became my favourite with it's twangy bassline and urgent lyrics, you feel that 'I love life' line deeply as if it is it's own instrument. Like Tenner, "Dreaming" I loved just because Bush appears to be pushing her British accent to the max; love it, as a fellow Brit. The wind instruments and the overall medieval/historic feel to "Night of the Swallow" also made me fall in love. Possibly playing heavy bias now in my perception of this album, I learnt that this was Kate's first fully independently produced album, leading it to be her most experimental and expressive. I love encouraging this in anyone and everyone, so my rose shades might be on here. "All the Love" I also never want to forget. Overall, I really enjoyed this album. The idea of an artist cementing her style, producing under conditions that made her more comfortable and happy, elevates this one for me. Looking forward to hearing more from her.

I don't think this album deserves as much hate as its been getting in the reviews here, though I appreciate that music without lyrics can be looked down upon, especially in this genre with many considering it "not real music". Looking at the album cover felt like a big part of the experience with this one, as you can imagine a plethora of action/urban scenarios unfolding to this. Digging up the commentary from the 1001 Albums book for this, it states that the albums inclusion is largely because of it's attempt to create something new by bringing in various genres such as dub, acid jazz and disco beats; not everyone understands experimental music, regardless of whether traditional instruments or technology is used. Admittedly, the album shines brightest when lyrics are introduced. "Shellback" became an instant favourite, with lyrics delivered in a seductive voice and backed by heavy acid beats which feel very reminiscent of the early 2000s where this album was released. "The Rough and the Quick" is probably one of the better sexually explicit songs I've heard, with most being a rapper parading their self-inflated egos around for 4+ minutes. The scratchy vinyl sounds, repetitive bass and guitar really delivers the spy/heist visualization. "I stole your car" had great and playful energy and sits almost starkly amongst all other tracks on the album. "Belladonna" was simply gorgeous, with it's dreamy beats and xylophone. Overall, this is another album I enjoyed, but can understand where it's criticisms come from, as this genre is notorious for often repeating 1-2 fixed sounds throughout a track overlaid on a mix of harmonies that can come off simply as a garbled mess of noise.

"Plainsong" took my breath away immediately, what an incredible way to start an album. Simply gorgeous. "Pictures of You" continues to carry the melancholic vibe of the album, which matches what I've read about this album being popular among the goth community. "Closedown", much like the two songs before it, have these almost 'expositional startups' to really se the mood and let the visuals come to you before Smith begins to sing and I absolutely love it. The mood takes a huge upswing with "Lovesong". The lyrics are straight forward, expressing in simple terms how that perfect person makes you feel. The plucky strings of "Lullaby" are really unique, giving the song a cautiously mysterious feel, matching it's ominous 'spiderman'. "Fascination Streets" swaggering bass gives the whole track attitude; this album is full of twists and turns I didn't expect. Combined with the lyrics, the track takes on this air of 'conquering the night' and having a potentially life changing experience. Now with "Prayers for Rain", it seems the vibe of the album generally has shifted, potentially telling more of a story from track to track than I first realised. The strong basslines continue into "Disintegration", another track that just teems with mystery and emotion like the rest of the album. Possibly the best album I've heard so far on this music journey; need to look further into this band.

I've listened to this album many times before, but have never given thoughts to it and each of its track. This won't be the only album like it going forward. This is the album Nirvana is known for and holds some of the most iconic Grunge songs in all of history. "Smells like Teen Spirit" has all the attitude in its lyrics, guitars, thrashy drums and moody bass to meet the title of the song. It's a classic for a reason. "In Bloom" is a great follow, with a guitar riff that has always hit me like a truck ever since I first listened to it. The lyrics, although catchy and fun to an extent, are scathing in the most subtle way. "Come as you are" is my favourite track, with easily the most iconic guitar riffs on the entire album; they inspired a generation to pick up the guitar and try to replicate the opening riff the world over. The lyrics feel personal despite being commentary on society as a whole, with Kurt's voice feeling both friendly and hostile in the right places. As someone who often feels like they don't fit in, the track feels cathartic. "Breed" has big energy with it's opening drums and bass. It never feels to make me think of the Tony Hawk's Pro Skater games, with Kurt's voice even slaloming around the the chorus. Despite it's vibe intentionally targeting teens/young adults, it's another song that manages to deliver quite serious social commentary under the hood. "Lithium" has a guitar riff I've always found real soothing, juxtaposed then by it's heavy yet upbeat pre-chorus and sinister chorus. Another instant classic track, Lithium stands as another favourite. It was shocking to learn the truth about "Polly" and Gerald Friend, considering the relatively nonchalant delivery of the lyrics by Kurt and how the song is written through the eyes of the abuser. There is nothing flash this song, with a single guitar guiding the lyrics. Another juxtaposition with the severe cruelty in the subject matter met with the rather "ordinary" song. It does an incredible and subtle job of delivering how things of this nature happen without any bravado or emotion by such a monster. The energy is brought straight back to ripping around the street on a skateboard with "Territorial Pissings", especially in it's thrashy chorus and on-brand lyrics. Kurt's Tour de Force in commenting on society in a way that's angsty and fun that slips under the radar of it's target audience continues with "Drain You", commenting on being in a relationship with a narcissistic person. Kurt's voice is more 'sing-song' in this track, which (intentionally or not) really hints to how flippantly some people enter and leave relationships. "Lounge Act" hooks you in with it's moody bass right from the get go. Despite it's rather personal lyrics, it's subject is one that is deeply relatable to anyone of any age. Kurt's screams perfectly reflect the emotion and frustration. This continues into the following track "Stay Away". "On a Plain" has a great chorus that, taken at face value, has maybe the first really positive message of loving yourself more than someone else can, but it's quickly swallowed in shadow by "Something in the Way", it's absurdist lyrics and dark tone leading to many interpretations of depression and hitting rock bottom. The final hidden track (titled "Endless, Nameless" on YouTube) has some really distinctive sounds, like none I've heard made with a guitar before. Despite it possibly being nothing more than experimentation or "messing around", it was interesting to have an insight into their process. It was great to sit down with this album and listen with intention for the first time, unearthing some of the deeper meanings contained within the lyrics. Many people have called this album overrated and, honestly, anything of high praise will always draw these people to it. However, it's impact on music can truly be described as Avant Garde, written by someone who was both brilliant and troubled, like most of the world's most inspirational people.

Listened to this before, as part of a complete retrospective of Ozzy's work after his passing (from Sabbath to Solo work). It will be, like Nevermind before it, fun to formally give thoughts to something I already know. Right from the get go, the self-titled song on the self-titled album, "Black Sabbath" tells us everything we need to know about the band before embarking on the journey through their discography: Guitars tinged with evil (as I understand it, the first implementation of 'The Devils Chord'; a G7) and Ozzy's foreboding voice over these plodding guitar chords. Mentions of Satan and Dark figures, his screams and pleas to god create for a wicked visualisation. The harmonicas at the start of "The Wizard" are a unique, fun addition and grab your attention immediately, followed by more of Iommi's iconic heavy guitar chords. Said to be inspired by Gandalf from Lord of the Rings, the track is nothing more than a fun hat tip in musical form; other reviewers are way too serious. "Behind the Wall of Sleep" isn't particularly remarkable in terms of lyrics and delivers more of the same in Iommi's telltale guitar sound. Compared to "N.I.B", it feels like unnecessary filler. From the reverbed guitars, Ozzy's swaying sound and the tambourine make Nativity in Black a truly unique song. Combined with the lyrics, told from the perspective of Lucifer himself, it paints epic pictures in the minds eye. As a huge fan of the bass guitar, "Evil Woman" is instantly elevated to one of my favourites. I also love the juxtaposition of the lyric "Evil Woman, don't you play your games with me" delivered in a tone I can only describe as 'festive', as if sang like a Christmas classic. "Warning" feels like a compilation of experimentation or "best bits" of Iommi's messing around with the guitar, which has it's place for guitar enthusiasts who are players themselves or fans of artists like Steve Vai. It has it's place, but didn't land with me. Finally, with "Wicked World", the simple yet strong lyrics are delivered flavorfully by Ozzy in a fuzzy, almost megaphone like sound. Unfortunately, more of Toni's showing off doesn't allow it to reach the heights that it could have compared to how the track starts. Stated by many as the first ever Heavy Metal album, it is undeniable the impact the album has had, breaking new ground for music as a whole. For that alone, it deserves recognition.

Never heard of The Adverts prior to this album; having no expectations before listening has always made this project a hell of a lot more fun. This may be the first punk rock artist on the journey so far. Always struggled to grasp the lyrics with Punk Rock and, with the first song 'One Chord Wonders', it's no different. 'Bored Teenagers' is slightly better on that front, but I got lost in the bass too much to care. As the album progressed, I got further lost in the instruments and how contrasted and distinct the "punk sound" is from other genres of rock that it didn't matter if it's lead singer spoke English at all; I just didn't care about, what I assume to be, some anti-establishment/ disenfranchised youth crap. For it's sinister droning bassline alone, "On the Roof" became an instant favourite. Throughout the album, there are a number of tracks that have great basslines, which single handedly kept my attention through the album; tracks like "No time to be 21" and "Safety in Numbers". Despite this, the composition at the start of "We Who Wait" grabbed me immediately, then I was lost again as soon as the lead singer came in. Between a lack of musical vocabulary and being unable to understand the lead singer on my part, as well as a lack of distinction between songs, I felt there wasn't enough here to break down each individual track. Despite this, I did enjoy my time with this album and possibly just need to be exposed to more Punk Rock.

Apart from the title-track, I had no prior experience of Don McLean. Similarly, my experience with Folk Rock is limited at best. The title-track is uplifting, with lyrics and harmonies that have always got people singing together. Love it or hate it, anyone can appreciate the power of music that, more often than not, brings people closer together. The next two tracks "Till Tomorrow" and "Vincent" take on a much more somber tone, with McLean's voice and a guitar making up the lion's share of the song. After reading the review from May 2021 on here about "people kill themselves because they are in pain, not to make a point", I listened to "Vincent" painstakingly to hear what that reviewer must of. No, it wasn't there; McLean's tribute to Vincent Van Gogh was touching, how he recognised the artist's mental struggle and pointed out that all the love and recognition the artist deserved was given to him too late. Given the way the album starts, I was surprised that it took so long for the album to reach an upbeat vibe again with "Everybody Loves Me, Baby", which was a very fun little track with it's jingly pianos and cowbells. From here, it swung down into seriousness again. Despite this, "Sister Fatima" and "Babylon" were still beautiful tracks. Overall, this album had some really beautiful songs, McLean has a great voice which felt almost wasted on so many moody songs. I enjoyed it and would love to hear more from him.

I find myself incapable of breaking down each track today, which is a shame because this album is incredible. I was a fan of what little I had heard of Morissette's work for years, but to spend intentional time with this album has further solidified that. Sometimes cited as the "teen of queen angst", it's a notion I agree with. This album feels like it is indicative of the 90s zeitgeist, a generation of people breaking away from their traditional 'boomer' parents and rigid way of thinking to experience something better, something that represented more freedom. Although considered alternative rock, it feels like there are shades of grunge in here too, carried beautifully by her voice throughout each track. "Ironic" has been picking me up for years, but I give that same love now to "Forgiven" and "Right through You". Amazing album, I want to listen to more Alanis Morissette. ******************************************************************************* With this album and the reviews of it, I've also realised that people that review albums negatively on this site never have anything to constructive to say. It's just rude and sometimes even hateful. Confusing, to show real distain for someone 95% of us have or will never even meet and get to know as people.

Incredibly hype to see this album appear for me today. The first - hopefully of many - reggae albums on this journey. Straight away, my heart melts at the thump of that bass in "Lively up yourself", with uplifting lyrics delivered in Marley's passion but easy going voice. The lyrics themselves, though simple, speak purely to living positively and spreading that joy to others. "No Woman, no Cry" continues this message from the opposite side of things, encouraging others to not dwell on the past, remember things fondly and move forward, prepared for the future. The almost 'mysterious' sounding compilation at the beginning of "Them Belly Full" and "Rebel Music" was a real novel experience, especially with the use of the harmonicas; only reggae could be so relaxed and deliver such a serious message. The album arguably reaches it's political peak with the title-track, with references to 'babylon', a Rastafarian word used to describe places of oppression. The novelty continues again into "Bend Down Low", with it's croaky guitars and cowbells, leading into some of the smoothest basslines I've ever heard in "Talkin' Blues". To complete the album, a call to arms to protect the planet in the beautiful "Revolution". I enjoyed my time a lot with this album, although a lot of the songs to my untrained ear sound very similar. Hopefully with more time, I'll be able to distinguish each track from each other further, beyond just their lyrics.

Yo, this was sick! It constantly defied my expectations of what it could be from track to track. Virtually no swearing, heartfelt subject matters, novelty in sound with record scratching battling harmonicas, twangy basslines, multiple vocals all complimenting each other. It was the cleanest, most light-hearted and fun I've even experienced from Hip-Hop. Speech is a real cool guy.

Never heard of Joan Baez before this. This is what the project is all about! Similarly, I don't think I had had much exposure to 'Folk Music'. This was a pleasant surprise, with Baez's beautiful haunting voice and equally haunting acoustic guitar. I particularly loved "East Virginia" and Baez's cover of "House of the Rising Sun", both tracks somber and moody; these vibes, I realise, are near integral to my music taste. My only reservation with this album is the lack of variation, same were my thoughts on Don McLean's American Pie. Nearing to the albums close, tracks begin to blur together, though I appreciate that in 1960 American Folk was going through a revival period.

I've always been a fan of the whimsical British pop music of the 80s, at odds with being serious and light-hearted. Whilst this type of music hasn't aged well with everybody and is placed firmly in camp cliche, it should never be forgotten for it's ability to get people dancing in discos and living rooms for decades. "Poison Arrow" is a classic that I remember from childhood, with it's funky bass, synthesized keyboards and snappy percussion making for something really fun to dance and sing along to. "Tears are not enough", with it's lyrics and bassline, have a real swaggering feel; I enjoyed it. "The Look of Love (Part One)" will never not be fun, as something I have drunkenly danced to for many-a wedding and party. A common theme among my reviews is the use of the bass, which has been used to incredible effect throughout this album to give so many of these songs their true weight. "Date Stamp" really being a great example of a bassline carrying it's song. Regardless of it's criticisms (and maybe my musical ignorance), I enjoyed this album. It was a bigger part of childhood than first realised, which is a time when we experience the world with so much more acceptance and optimism and joy than we do as adults. All of us, I can easily imagine, have at least one thing in life we love dearly that is considered awful and unpalatable by so many others. We don't care. ******************************************************************************* I hate to admit that the reviews on this one are pulling at me, with the criticism for many being really quite scathing, even as far as to call it "utterly shit" or "unlistenable". It, once again, brings into question my ability to sift the good music from the bad, as I enjoyed listening to this regardless. From further digging, the reason for it's hate is the use of FM Synthesizers and other computer technology to sharpen sound and 'replace instruments and musicianship'. As someone born in the early 90s, the use of tech was already well established, but I can imagine that if I was someone who witnessed the rise of this type of music in real time it would be difficult not to feel a form of distain for it, as I feel this way with the rise of certain genres and systems within video games today for similar reasons: some synthetic, 'striving for perfection' of sound. It removes what we love about creative work in the first place: the emotion in it, only possible when created manually by humans.

Another day where I can't quite break down each song, and so have just been riding the vibes with this one today. Bias definitely here, as Grunge is one of my favourite genres, with it's angry fuzzy guitars, heavy bass and screeching lyrics. All the reasons for most to hate the genre, but I've always loved how raw the emotion has felt in Grunge. Whilst I am familiar with some of their songs (Black Hole Sun and Fell on Black Days ofc), I haven't ever listened to the entire album. The most standout tracks for me were "Let Me Down", "Mailman", "Head Down", "The Day I tried to Live" and "Flesh Tendrils".

Before listening to this, I wanted to preface this review with simply not discussing "Mr. Brightside" in any amount of depth. It's almost the 'ultimate' drunk-in-a-club-at-2am song, and has become almost nothing more than that for me. Honestly, "Somebody told me" is a very close second in this regard. It is a shame, because lyrically and musically they are both good songs, I've just listened to them both so much that it's very difficult to be even remotely objective about them. "Jenny was a friend of mine" with its hard hitting bass and Flowers' voice - which I've always thought had an air of 'matter of fact' to it - makes for an impressive opening track, telling the story of a man accused of murder; a fitting track for a band holding a name like this. Under the weight of Mr. Brightside before it, "Smile like you mean it", with it's unique whining guitar and punchy bass has always been a favourite of mine. The chorus too, delivered in a way that sounds like a plea, really sells the emotion in the track. The opening to "All these things that I've done" with its near-biblical pianos, megaphone vocals and slow building drums sound like the beginning of a Pink Floyd record. The biblical tone continues throughout the song, with choir backing vocals on the lyric "I've got soul but I'm not a soldier"; incredibly catchy and personal to Flowers' connection to LDS. Everything ties together exceptionally well here. With "Andy, You're a Star", I find myself saying - for the first time this journey - that I really wasn't a phone. The buzz of the guitar and Flowers' voice just create a mixed drone that I couldn't wait to hear the end of. "On Top" was enjoyable in places, such as the inflections in Flowers' voice when singing the chorus, though it felt a little chaotic with the synthesized bops, tambourines and orchestral strings in different places. Although it all sounds great, it lacks cohesion enough to be truly satisfying to listen to. As the album pulls closer to the end after "On Top", it feels as though it begins to run out of ideas, "Change your mind" being hugely unremarkable, "Believe me Natalie" starting with real uniquity then washing out with predictable sounding verses. "Midnight Show" was a surprise, and I did enjoy its more energetic beat and orchestral outro. "Everything will be alright" starts like a sexy spy thriller title sequence track, and whilst I wasn't entirely keen on Flowers' voice on this one, the instrumental was carrying the track until about the 2 minute mark, where near chip-tune beeps ruined the beauty of it all. I still enjoyed my time with this, but whether I listen to this again in it's entirety is up for debate.

Chapman's simple guitar chords, relatable lyrics and distinct voice make for one incredible album. I've heard one of two of these tracks on the off chance over the years (Fast Car ofc), but never have I sat with the whole album. "Across the Lines" stood out to me, it's electric twangs, backing the lead acoustic, were very reminiscent of Pink Floyd which will always sway me. "Behind the Wall" took me by surprise. Never before have I heard a song with no instruments, just pure singing. Chapman's voice haunting and beautiful, she pulls it off effortlessly. "Why" has real attitude, with matching lyrics that are unfortunately still relevant today and fit into a punchy 2min~ track that make it endlessly replayable. Overall, I loved this album. Chapman is a force of nature to be able to create tracks that stand apart, using mostly just her voice and guitar.

They're like a meeting of The Vaccines and TR/ST; the lead's voice reminds me alot of Robert Alfons of TR/ST. Songs felt very hit and miss for me, "Terrible Love" was great towards the end, "Sorrow" was fantastic and "Anyone's Ghost" fell flat for me, then back up again for "Little Faith"! Tracks started to bleed together towards the end and I began to wonder when the album would be over. Not a good sign. Overall, this is an album that I did somewhat enjoy and, from previous experience with music like this, it has the potential to grow on me until I love every track, much like Mount Kimbie's The Sunset Violent.

This is an album a have a lot of experience with, both voluntary and involuntary through my Dad playing it in the 90s on his shiny new HiFi system or on the car stereo ("What's the Story" getting a similar amount of love on both systems). It does have a place in my heart, regardless of my relationship with my Dad as it stands today, but I will try to be as objective as humanly possible here. I've always believed that the opening track of an album is meant to set the tone and vibe for the rest of the album and "Rock'n'Roll Star" pulls it off immensely. People complain about "Muddy guitars" and "Liam's nasal voice", but this is what Oasis came to be loved for by millions of people. "Live forever", though repetitive, has a pretty uplifting set of lyrics backed by an emotional melody. Though appealing to youth, it has more impact listening to it now as an adult. As the album progressed, and other familiar songs cropped up like "Supersonic" and "Cigarettes and Alcohol" (which both have iconic riffs ansd relatable lyrics, even if the latter knicked it from T-Rex) I realised that this album (and perhaps Oasis at large) are hugely hit and miss. I enjoyed "Columbia", but there was nothing memorable about it. The same can be said "Up in the Sky" and "Bring it on Down". It's either a bullseye or a blunder with each song, regardless of whether I ultimately liked it. About the only track that wowed me outside of the most popular tracks was "Slide Away", with a really catchy and emotional melody with lyrics to match. This is a new track to add to the playlist. This was another one I did enjoy, but putting my memories of it aside, it's undeniable the hit and miss nature, as previously stated, of this album. For a debut, it's pretty good going, considering that it paved the way for What's the Story, which is arguably there best album of the lot.

The instrumentals throughout are all great, but I struggled with his voice. It's almost cartoonish; a nasal American whine that cuts right through you. The second half of "Tell me Why" and all of "Southern Man" were incredible, which is interesting, because Young has backing singers at these points. That being said, "Don't let it bring you down" was good, the vocals were more tame against the moody guitar. Same can be said for "Birds", when Neil doesn't sing for volume, that whine doesn't rear it's head so much. I understand there are 8 more albums to come on this list. It will be interesting to see how Young may grow on me subtlety , or turn my currently cautious optimism to pure acid.

Prefacing this, "Private Life" has been one of my favourite tracks for years, especially after I started exploring their discography in the wake of seeing them perform at the Taylor Hawkins Tribute Concert. I forgot how different each track, in terms of it's harmonies and tone, are from each other. Immediately, I remember "Tattooed Love Boys", with it's guitar sound almost glockenspiel-like. Hynde's delivery of lyrics from track to track always keep it fun, even when more serious and emotional lyrics are in play. Overall, a really great debut album for The Pretenders, showcasing Hynde's unique voice and lyrics as well as the bands ability to pull in influences from Punk, Rock and New-Wave all into one. The moody bassline at the start of Space Invader instantly won my heart, and even more so with the final sounds being straight from the 1978 game itself. "Brass in Pocket", at this point, has become a deeply rooted classic in British music history and for good reason too. Everything from the instruments, lyrics and Hynde's voice lends itself to the swagger need to back up the title of the song.

Very excited about this one, given the huge reputation of Wu-Tang Clan across the 90's hip hop scene and housing one of all-time favourite tracks, "C.R.E.A.M". Leading with "Shame on a N*" demonstrates the attitude (and slight playfulness) on this group, with the signature bassline and record scratching supporting the vocals. I notice that the jarring pianos backing vocals from the various members is a staple of the group. At first, I didn't appreciate this vocals leading like an instrument with "Clan in da front", but by the time "Da Mystery of Chessboxin'" came around I began to understand. The various members also have really distinct voices, making the necessity to have anything more than the piano and the bassline defunct. Should have known this sooner, considering that's all "C.R.E.A.M" is. Something I have come to appreciate rather than dismiss in a lot of hip hop music (especially from black artists) is their sample use of historic songs from black artists, like when Ice Cube used the Isley Brothers' Footsteps in the Dark. It's more of a paying respect and a homage to those previous artists paving the way for music from black artists of the modern era. So similarly, the sample in "Tearz" of Wendy Rene's "After Laughter" was great to hear, and they really made it work. Overall, this album really grew on me after a couple of listens, as I came to appreciate the lyrical artistry of Rap and Hip Hop. Hoping to hear a lot more from this genre, and especially this decade too.

Always happy to see an album/band I've never heard of before appear on this journey. Was the entire reason for doing this in the first place. Loved "Elevate me Later", "Cut your hair", "Gold Soundz", "5-4=Unity" and "Range Life". For me, the album started to run out of steam after this point, droning into a mush of similar tracks. Overall, still enjoyed. Would be interested in listening to more of these guys.

"Oh Baby" was, for lack of any other words, electrifying. This may be in part to the music video too, but the electronic sounds provided the perfect emotional beats to match the ballad-like vocals. Really amazing way to begin an album, once you get past the tension of the first minute of the song. Unfortunately, so much of what is built in the first track falls flat with "Other Voices". The flat tone of the singer doesn't do enough to distract from the incredibly repetitive bass. Even the introduction of the second singer, Nancy, couldn't save this for me. Despite this, I cannot deny the track has the potential to grow on me, elements of what I like are there in some capacity. The almost The Cure like tone of "I Used To" and a more musical display of the lyrics (as opposed to the spoken delivery of the last track) elevates this one for me; makes me wonder if this will be an album of hits followed by misses. So far correct, with "change yr mind" largely forgettable and "How do you Sleep?" killing it with the sinister synth beats. Predictably, I "Tonite" didn't land with me. Murphy's talking delivery of lyrics just never works for me, he has a voice that's perfect for actual singing, so it feels like potential is always lost. The didactic delivery of the lyrics, mixed with the delivery creates for something that reminds me of something Morrissey would sneer about. Actually, I really didn't like this track. "Call the Police" sounds like a more traditional indie rock track, with Murphy taking a return to actual song. By this point, I am very aware of the pattern of like/dislike and trying to remain objective, just so that this narrative doesn't confirm itself for that reason only. The beginning of "American Dream" feels like it could have been lifted straight from the cutting room floor of The Cure's Disintegration; At this point, there is no denying the influence the band has had on LCD Soundsystem. Similarly, it holds a dreamy quality to the vocals and a fuzziness to the guitars. I loved "Black Screen" but, unfortunately, am powerless to properly explain why. The melancholic vibe, the use of keyboard and basic drum beats. It makes for an eery sort of beauty which doesn't mind taking it's time to unfold. Overall, I did enjoy this album, even if it was incredibly hit and miss in nature. There is enough here for me to want to look further into LCD Soundsystem, for sure.

Like previous albums, I feel like I lack the vocabulary to really break down what I am hearing with this one. I do know that I like it, with it's slow and soulful feel; like music made with real purpose and love. "Cry to Me" has signature swagger, which makes sense why it was chosen for a motion picture. Really enjoyed "You're good for me", there is something 'feel good' and empowering about it that I felt while listening.

It's funny how you can say something that seems defensive to some, but from you're standing, it's just a fact: this album is from a time when Coldplay was simply a better band. This, A Rush of Blood to the Head and X&Y are a reason to listen to Coldplay. The instrumental at the beginning of "Shiver" does exactly that. It has this dramatic weight to it's fuzzy guitars that match the somber tones of Martin. Just a really great track, I wish they lead Parachutes with this instead of "Don't Panic". The same raw emotion is conveyed across most other tracks in the album, most notably on "Spies", "Yellow" and "Trouble". Especially Trouble, with lyrics many people can probably relate to. Although the 'vibes' of each song feels very similar, the harmonies and tone of each feel very distinct. As a first album, it's killer, but as time goes on and evolution doesn't happen quite as much as it should have, this album becomes bittersweet for Coldplay fans, I feel. Overall, love this album. Reminds me of childhood and feels like it has soul and purpose at it's core still.

Listened to it many times; kick ass album, one that has given me many years of joy listening with friends. From the iconic Slash guitar licks and the distinctive voice of Rose, this is hard rock at it's most fun and I wouldn't be without it.

My experience with Metallica has been fleeting, listening to some of the biggest and best from them over the years, but never have I given an entire album the attention it possibly deserves. Beginning with that sinister and mysterious guitar riff, swiftly backed by drums and additional heavy guitar, "Enter Sandman" is one of those incredibly memorable tracks and a strong track to start an album with. "Sad but Trues" intro is really fun, with the power chords slamming in time with the cymbals. The epic chorus elevated this one for me, something that feels great to sing along to. What I find apparent with Metallic (at least in this album) is that they are very lyrical and the lyrics are easy to hear and follow, without sacrificing the anger in delivery so typical of this genre. "The Unforgiven" helped me to realise this. Other tracks I loved were "Don't Tread on Me", "Nothing Else Matters", "Of Wolf and Man" and "My Friend of Misery". Overall, this was a great album. Will definitely be listening to it again in future.

I'd only ever heard the name Saint Etienne before listening to this album, which made me quite excited for it. Although not tonally the same, the "vibe" of the music reminds me instantly of Bjork in it's first song "Only Love can Break Your Heart"; Lambert has a great voice that beautifully fits with backing keyboard. After the Neil Young cover, I was both surprised and not by the historic vocals sampled into electronic weirdness with "Wilson". These tracks must be fun to make, but not always fun to listen to. "Carnt Sleep", although it has nice vocals and bassline it lacks something for me, the track is rather flat whenever the instrumental takes the fore. "Girl VII" had the upbeat dance tempo I was looking for, a fun track for sure. The xylophones and bass at the beginning of "Spring" made me instantly fall in love, both working together beautifully. Combined with dreamy vocals and strings, this is one of my favourites. "Shes the One" was ok, but largely forgettable. I skipped through "Stoned to Say the Least". Whilst I do love a long electronic piece without lyrics, it has to be something that has more going on than this track did. The repetitive sections didn't scratch my brain, and the breaks were largely uninteresting. "Nothing Can Stop Us" brings the interest once again; this band seems to do better when it's doing something more traditional with real instruments. Even the vocal samples work better here, combined with Cracknell's vocals. "London Belongs to Me" was... Nice. Lovely vocals, gentle instruments. It's nothing more or less than that: Nice. I wasn't sure about "Like the Swallow" at first, but I've decided I do have a lot of time for this track, and other tracks like it such as "Black Screen" by LCD Soundsystem and "Travelling at the Speed of Light" by Joywave; these musically expositional tracks that amount to emotionally deep lyrics before leaving the listener to ponder them with an equally long outro. Overall, this album does have a few what I would consider dead tracks that prevent it from hitting a 4. For a debut album though, its no joke.

This entire genre feels wasted on me at the moment, as I really lack the experience to judge it fairly. It's easy to appreciate the musicianship on display here, with all instruments making the cleanest, tightest sounds they can make. Combining it all together makes for music that is very easy on the ears, but no track stands out from the rest and it all sounds like one large continuous track at times. That said, the strings on "Samba de Uma Nota So" did stand out to me and were gorgeous. Again, I have to chalk this up to my fault rather than that of Getz and Byrd. I am super open to listening to more Jazz and trying to understand more of what makes one Jazz track great compared to another.

As a British person, not even born of this time, there is something amazingly nostalgic about Bowie's voice that I couldn't imagine a more fitting voice to represent 70's Britain and the other music born from this time. Despite this, I can never quite get over the undertones of Bowie trying too hard to make 'Art' in the bougie sense. I suppose this is what someone means when they say the music is less accessible. For that reason, it will never reach the 5* for me. Maybe I just don't get it yet, but I'm always willing to try. Like Kate Bush, I'm always in an artists corner if they decide they want to take risks and make something different from the norm. I enjoyed "Moonage Daydream", "Starman", "It Ain't Easy", "Star", "Ziggy Stardust", "Suffragette City" and "Rock 'n' Roll Suicide". So over half the album! That's not bad going. Want to hear more from Bowie, as the tracks that I did like do shine above the rest.

I forgot this band and album even existed, as it released at a time when Indie Rock was having a huge upswing in popularity that caused them to become a dime a dozen. Wasn't hugely impressed with "Black Mirror", with the whole thing just feeling a bit flat from the delivery of the lyrics to the lack of anything distinct in it's instruments. "Keep the Car Running" does a much better job of both of these things from the get go however, making me wonder why this wasn't the opening track. Not another good track for me until "Blackwave/ Bad Vibrations", where the give and take of the male and female vocalists made for really great listening. The angry fuzzy guitars around the middle of the track give it a grungey edge which always goes down well with me. "Ocean of Noise" starts slow, with it's thumping bassline and clicky percussion, but builds into something incredible by it's end; a worthy payoff for the slow start. "The Well and the Lighthouse" was also another standout track, as the blend of the two vocalists once again made for deeply satisfying sounds. The same could be said for "Windowsill". Overall, the album definitely gets off to a slow start, but builds to something much greater by it's end, as if it's greatest tricks were being saved for the end of the show. Would be happy to hear more from Arcade Fire.

Never heard of Manu Chao before and, regardless of me being British or not, it's really nice to have something originating outside of the UK to listen to on this list. The difficulty with listening to music that is sung in a language you don't understand is that you don't feel fully connected to that music, even if you can appreciate the musicianship of the artist in question. Listening to "Clandestino" and "Desaparecido", the first two tracks on the album, this became immediately apparent. Whilst I loved his voice and the dreamy south American inspired vibes of this, it was difficult to fully appreciate the music. Despite this, the general vibe of "Luna Y Sol" was incredibly uplifting, proving that music can still have an emotional effect even without understanding it's lyrics. The whole album was pleasant to the ears; Chao has an incredibly soothing voice and his ability to sing in many different languages is nothing short of remarkable.

British Punk at it's peak with the opening track "London Calling". Then, "Brand New Cadillac" punches with some classic hard rock sounds, then switch down with "Jimmy Jazz" into soft rock straight after this. Neither thetransition wasn't jarring in any way, and the sounds all suited the band and Strummer's voice perfectly. A miniature musical odyssey in 3 tracks! One thing to be said is the technicality of the tracks themselves. There is nothing over 4m 5s, but a ton of them compared to other albums (19 tracks!) allowing for a huge amount of variety without nothing over staying its welcome. Probably the first album on my journey so far that I can confidently say this about. Overall, this album was a blast from start to finish and marked the first time I've given The Clash more of a chance beyond London Calling and Rock the Casbah. Can't wait to hear more.

Having never listened to Prince before, I was excited for this one. I immediately recognized the synth keyboards in "1999", an incredibly groovy song, with fun lyrics that hit hard now we are this far past the millennium. "Little Red Corvette" continues 1999's trend of being incredibly catchy in it's chorus, but also demonstrates how controlled and consistent Prince was with his voice. I had several listens of "Delirium" and whilst I can appreciate it's light-hearted and fun sound, it didn't do anything for me unlike the two previous tracks. "Let's Pretend We're Married" put me in the same place. However, "D.M.S.R" with it's super groovy bass and the group vocals had all the fun and sex appeal that I was looking for in a Prince track. I liked "Automatic", but it did feel about 3-4mins too long, it didn't hold that same groove appeal as D.M.S.R to warrant being over 7mins. "Something in the Water" with it's erratic drums, alien synth notes and Prince's ethereal voice made for something unique that I fell in love with. This juxtaposed with "Free", being more traditional and also serious in it's delivery and message, but was beautiful all the same. "Lady Cab Driver" had the same appeal as D.M.S.R did, making it a favourite for me, with a similarly funky bass and synth beats. "All the critics love U in New York" was described by someone in it's comments as 'Electro Funk' and that made so much sense, establishing this as a genre that, for me, has a lot to like. Overall, I did really enjoy this album, but there were places in which it dragged.

The first two tracks left me scrambling for something - anything - to say, so decided to listen to the album in it's entirety before leaving a review. I understand that the album is entirely made from samples of much older music on vinyl, mixed by a single person with relatively basic equipment compared to today's standards. Whilst I really can appreciate the talent on display here to find disparate samples that blend together really well - some of it scratches that right spot in the brain for me too - at the end of it all, it's still just a stack of samples. Most of the time, I both loved and hated the same track, due to some choices I personally found questionable half way through each track. The biggest culprits here were "Changeling" and "Stem/Long Stem". Ironically, one of the best tracks on the album was "Transmission 2", which stands purely as an interlude. If one track takes the trophy though, it's "Midnight in a Perfect World", being the most comprehensive and seemingly thoughtful track on the album. This was another hit and miss for me, just like Red Snapper's album on the list. Like that album though, I will take my favourites with me and leave the rest behind.

Straight away, in "La fille de la mort", I notice that the vocalist is like a French (I now understand he's actually Swiss!) Justin Young from The Vaccines, which really works. Treichler has one of those unique voices that has the power to stand alone with very little instrumental backup, and that's demonstrated wonderfully here. Treichler's voice warps into something more sinister in "Rus des tempetes" and "L'eau rouge", showing that he has more range than first realized. The industrial guitars have Silent Hill energy to them, making me wonder if the band inspired Akira when he created "Angel's Thanatos". The frenetic vibe of L'eau rouge kept in me in suspense throughout the track, making it an instant favourite. "Charlotte" did nothing for me, though I appreciate the lean into more traditional French music with the accoordian present as a homage. We are straight back to it with "Longue Route" though, with tight drum patterns and an interesting guitar effect with a clashing cymbal effect. All tracks from "Crier Les Chiens" down to the end with "Pas Mal" all follow a similar pattern of sinister lyrics and interesting guitar effects to break the instrumental silence, such as the deep reverberating guitars in "Ville Notre". Overall, I really enjoyed this album, the only thing that prevents the 5 is that it is sang in French, a fault of my own. Triechler's voice is incredible, but me not knowing French prevents that final piece of connection to the music. Everything else is here.

From the get go, I want to say how damn right blasphemous it is that this album (imo, their worst album and my least favourite) would make the list and Discovery wouldn't, the album that has a feature length music movie to accompany it it's so damn good. Sometimes I wonder if the author of this book had a screw loose. It's difficult to full pull these tracks apart when many of them don't have lyrics and those that do often repeat themselves. Homework, from when I first listened to it as a teenager, truly felt like a lesson in how finding a sound that "scratches that itch" in someone's brain and repeating it with only slight variation can -sometimes- make for something truly satisfying and just incredibly annoying at other times. "Revolution 909" and "Da Funk" for me have always scratched this itch, as do "Fresh", "Oh Yeah" and "Burnin'". Unfortunately "Phoenix", "Rollin' & Scratchin'", "High Fidelity", "Rock'n Roll" do not. "Indo Silver Club" and "Alive" both sit in a weird middle ground, with intros of both being slightly insufferable before boiling into something scratchy again. "Teachers" stands apart as something as catchy and funky as it is respectful to all of the artists that inspired Daft Punk; almost like a bibliography in song form. And like a Bib, it's a great trail of artists and music to follow yourself. "Around the world" although it's got that repetitive phrase to drive some mad, it has a more traditional lean with a bass guitar, drums, tambourine and synthesized keyboards that can be picked out. To put it simply, it has a lot more going on than most other tracks and does it well. Overall, whilst they are one of my favourite artists of all time due to literally every studio album after this one, I cannot comfortably give it anything more than this score.

This should be an interesting exercise in objectivity, separating the art from the artist in the wake of fresh suspicions of Warner having connections with Epstein. Before this album, my experience was limited, including the 'Tainted Love' cover, which I abhorred in comparison to Marc Almond's original with Softcell. I'd be a liar if I said I didn't like the opening track "Irresponsible Hate Anthem". It has all of the aggression and speed I love in this genre, so felt like a strong way to start the album, straight into "The Beautiful People" with it's iconic guitar and bass riffs and Warner's sinister vocals; I also enjoyed this. For similar reasons as stated for The Beautiful People, I enjoyed "Dried Up, Tied and Dead to The World", "Tourniquet", "Little Horn", "Angel with Scabbed Wings"* and "Antichrist Superstar". I appreciate the thematic break "Cryptochid" tried to create, but ultimately did nothing for me. It was such a departure from the increasingly heavy delivery of each track (especially coming straight from Little Horn, it was too jarring. For the reasons I didn't like Cryptochid, I enjoyed "Deformography"! Not really sure how to explain myself here, apart from the fuzzy guitar riffs scratching my brain itch, as well as Warner's echoed voice. *Interestingly, Angel with Scabbed Wings' Guitar riff had a remarkably similar vibe to N.E.R.Ds opening beats on "Lapdance"; I wonder if Williams and co were inspired by Manson? "Minute of Decay"s Bass - producing an almost wet slap sound - was really interesting to hear, with epic cymbal crashes, sharp guitar chords and Warner's screams juxtaposing with sections of creepy vocals made for something quite cool. "Man that you fear" was a departure from the norm that I wasn't expecting, with deep, social commentary in it's lyrics. Although the lyrics were great, the song was more drab than my usual liking. ******************************************************************************* This is possibly the weirdest review I've done so far, as there is guilt in liking the music I hear and relief when I don't like it as it feels as though that separates me further from Warner and supporting him in any way. Objectively, I did like a lot of the tracks from this album. The duality of being sad I missed enjoying it all and relief of not forming a connection with it before the accusations is a strange place to be. From the back of this thought, I immediately went to the all albums list on this site and was relieved to find not a single Lost Prophets album listed; it's not even a case of 'will not', but more 'cannot' ever bring myself to listen to that music again. I feel for all the people who connected with Marilyn Manson's music from when Portrait of an American Family released and onwards. Music is a powerful force for comfort, empowerment and general connection between people, as well as for making memories and pulling us through dark times. Having that tainted by actions of the the person responsible for it's creation must be incredibly tough.

Starting with an absolute classic in "Tutti Frutti", which is an incredibly fun rock n roll track, it's impossible not to feel good listening to this. "True, Fine Mama" was nice enough, but pales in comparison to the strength of Richard's vocal performance in "Can't Believe You Wanna Leave"; an incredible performance with incredible swagger in its saxophones. I loved it. "Ready Teddy" has a similar vibe to Tutti Frutti, which is fine, but doesn't live up to the power of that first opening track. For similar reasons as stated above, I really enjoyed "Baby", "Slippin' and Slidin'", "Miss Anne", "Rip it Up" and "She's got it". The lyrics for Jenny, Jenny drove me a little crazy by it's end, his voice when he said 'Jenny Jen' and 'Spinna spin' really grated my ears. Throughout, the bands performance is incredibly controlled, with real soul, though is quite similar from track to track. That saxophone player (I understand to be Grady Gaines) has a real set of lungs on him! His playing was consistent throughout the album. Great stuff. Knowing this is from 1957, this isn't just good music, it's important, pioneering music.

For a couple of years, I have been listening to "Pusherman" and absolutely love it; Mayfield's voice and that smooth bass make for one of the funkiest tracks to ever exist. This will be the first time listening to the album in full. Straight away with "Little Child Runnin' Wild" I fell in love. The synth keyboard and drums, the introduction of that funky bass, the strings whistling in and the smooth entrance of Mayfield's amazing vocals... just simply incredible. "Freddie's Dead" reverbed bass, clicks and brass bring the same funk with a different flavour; the album is consistent in it's quality the whole way through. There wasn't a single track I disliked. If that's not deserving of the full stars, I don't know what is.

I *think* I've heard of this band before, being only 8 when this released and hearing about them potentially from Dad. That said, I can't recall a single song they may have performed before listening to this. Straight off the bat, I dig the genre blending in "Charlie Big Potato", from Drum n Bass, industrial metal and Punk. Dyer's (skin's) vocals are killer tool; she has incredible range and control. If the rest of the album is like this, I feel as though I am in for a good time. "We don't need who you think you are" had all the angst and fuzzy guitar riffs I love in this type of music, contrasted straight after the chorus with soft vocals and equally soft drums and guitar chords. "The Skank Heads" had similar energy. "Lately" definitely had more of a 'commercial/accessible' vibe to it compared to all the tracks that came before it. It was an okay track, but that lack of risk taking seen in tracks like Charlie Big Potato takes the music down a notch for me. "Secretly" was the same, though I preferred it over Lately, but can't place my finger on why. Other songs I enjoyed, due to some more of that genre blending risk taking were: "Good Things Don't Always Come to You", "Cheap Honesty"... anything, outside of Charlie Big Potato, that doesn't have a music video it seems haha. I enjoyed my time with this and definitely want to dive into more of their discog.

This may be the first album I rate less than a 3... as the first 3 tracks have done nothing for me at all. Especially "Birdland", I've never understood this "raw vocal style"; it just sounds like tone-deaf ranting. The lyrics themselves are smart and relatable though. "Kimberley" was just as unenjoyable for the same reasons. Heck, the instruments are great, such as the smooth bass and the insane drum roll on "Free Money". The problem is Smith and her - damn I feel bad for saying this - "singing". It's hard to even appreciate the instrumentals when she grates the ears so badly over the top of it. Then... there's "Land: Horses / Land of a Thousand Dances / La Mer (De)". What is going on here? So she can sing!? So it can sound like something enjoyable? This track stands starkly against the rest as testament that there is more to Smith than the wailing, telling a story with peaks and troughs reflected perfectly in the monologue and song switching throughout. "Elegie" is similarly evidence of Smith actually having a singing voice and easily became my favourite song on the album, with almost Floyd-like guitars and Smith's voice being genuinely beautiful and haunting over the bassline. It will be interesting to hear more Smith to see if anything else exists like Land: Horses and Elegie.

There guys felt a little ahead of their time with this album... like a good 10-15 years ahead of their time with the gritty indie rock sound. Really enjoyed "The Concept", "What you do to me", "I don't know", "Metal Baby", "Pet Rock", "Alcholiday" and "Is this Music". All the other songs were great to be honest, but these stood out to me the most. I really enjoyed this album, it has the pure vibe of some young guys having fun and jamming in their garage; fun just runs through every note on this album and I love it. This kind of fuzzy, innocent creative fun feels missing in this day and age of music, so its refreshing to hear it now. It's an incredible cliché now, but being born the same year this album released makes me feel as though I missed out on a time that was more right for me as a teenager than the one I grew up in. Oh well, at least we can still listen to these and look back fondly on what we did have at least.

The extent of my experience with Eminem was, as a teenager, listening to 'The Eminem Show' and 'Encore' until the discs were knackered. It stands to reason that I -should- have already listened to this album, but here we are. Just from the few opening lines of "Kill You" I can't help but be hooked. The words themselves are, quite frankly, disgusting, but damn if they don't sound great in Em's voice. It's as quirky as it is offensive. with that fun little bassline and clap. I almost hate that I love it, considering that the lyrics have got that teenage boy brand of offensive; it really lacks maturity. "Stan" has always been a classic, with Em's voice fitting around that Dido sample perfectly. Like Kill You before it though, the lyrics are just awful, even if Em did go through getting mail from crazy fans after rising from his own struggles in poverty; the contrast from trailer park to superstar is one that many of us will never have to deal with. Even as I write this, I understand more why the lyrics are as grotesque as they are - moved from trailer park to trailer park, school to school, no father present, then the weight of expectation dumped on you; You're going to feel something, and anger is perfectly plausible in these circumstances, as well as the fact that most musicians write their songs from lived experience. That line in "Who Knew", 'I don't make white or black music, I make fight music for highschoolers.' shows that Em was pretty aware of what kind of reputation his music was catching, and some people are misinterpreting that. He does come across overly edgy, maybe even a little bit goofy with his rage, but I think that's entirely the point; provocateurs are often misunderstood. Regardless of whatever is said though "The Real Slim Shady" is still timelessly catchy and hilarious. There's a reason why, at the time of this review, it has 1.1 billion views on YouTube. In terms of the holistic sound of each track itself, beyond what has already been discussed, "I'm back" and "Amityville". "Under the Influence" and "Criminal" were probably better than I am about to give them credit for but, honestly, I was fatigued by the time Under the Influence started. There is something to be said for "Bitch Please II" though, as Nate and Snoop bring the classic 90s hip-hop sound in incredible fashion. The less that's said about "Kim", the better. I couldn't listen to it all, it was just so uncomfortable, even if being emotionally raw is supposed to be the whole point. ******************************************************************************* This is another album that has felt weird to review, like Antichrist Superstar (crazy I mention this as I didn't know Manson was on "The Way I Am"), because of the person behind the album. Marshall Mathers grew up in social-services-like circumstances, invisible in a terrible welfare, then was catapulted to fame through his time spent in the Hip Hop Shop and meeting Dre. One can't help but feel empathy for him when he made something of himself despite his start, but also anger at the impact that the anger in his lyrics has potentially had on the worst of fans and listeners. When I was growing up, I knew his misogynistic and violent lyrics were wrong, treating them essentially as 'just showing off or something', but others my age at the time may not have been able to make the same distinction. It's tough, speaking your truth and expressing your anger as an artist, but having to think about how your pain expressed on a publicly accessible piece of media could affect others too, all at the age of 27. Going forward, regardless of any lived experience, I will try to remain objective. Despite this, the people that make music are just like the people that listen. They are human.

My bias here feels off the chart. I love his voice, his guitar playing; this guy is just legendary and loveable. "Folsom Prison Blues" is fun in such a weird way, considering the lyrics. The hooting and hollering from the inmates makes it even more fun. I suspect their reactions are going to continue throughout this album and boost the feelings in each song through pure atmosphere. "Dark as the Dungeon" was a real 180 on the vibe, but the inmates react all the same; with total reverence for this guy. His little speech about the recording at the end tells me why I am going to love the rest of the album: Cash just oozes charisma from every cell in his body. Loved "Cocaine Blues", "25 Minutes to Go", "Long Black Veil", "The Wall", "Flushed from the Bathroom of your Heart", "I got Stripes", "Green, Green Grass Home" and "Greystone Chapel". This album was both emotional and fun; Cash makes me smile that stupid smile you get when you're just happy.

Extremely limited experience of Def Leppard before this, basically restricted to only their biggest hits. This album starts very fun, if a little poppy for Rock, with "Rock Rock till you drop", though I believe this was just the direction rock took during the 80s and, despite my grumbling, it did give the genre it's staying power for the majority of the decade. On second listen, I did really enjoy the romantic vibe of "Photograph", with the air grabbing choruses and guitar riffs that lead to air guitaring among friends, it's another really fun track. "Too late for love" had an incredibly catchy chorus and fantastic guitar chords; one of those tracks that made me feel good when listening to it. As the album creeps on, I notice (at least for me) that every track exists purely for fun and, emotionally, doesn't really offer anything else. Although I am enjoying every track, each one doesn't appear to have anything to say. I don't think I care... "Rock of Ages" is still great fun; Not everything has to say something. Too many times I think people don't understand that something can exist purely for fun and little else. ******************************************************************************* This album has, for one reason or another, reminded me again of my limited musical dialogue. This is now my 51st album and I still couldn't tell you what a harmony, an extension or what bright or transparent music is. I promised myself I'd fix this so that I had a more err... "Sonic" appreciation for the music as the journey unfolds. PPS - I notice this is another album with reviews that are, quite frankly, disgustingly hateful. If you're going to hate it, at least be constructive as to why it's as bad as you say it is. There are some real fucking arseholes on this website.

Bjork's "Debut" album is one of my favourite albums of all time, which makes it odd that, at this point, I haven't endeavored to listen to more of her work. This will be exciting. "Stonemilker" was simply gorgeous, with Bjork's near operatic performance backed by beautiful strings and otherworldly drums. This is what I have come to expect of her songs and performances, an instant favourite. "Lionsong" is similarly beautiful for the same reasons. I've looked across the net for the second singer on this track, but it only points back to her; if she is duetting with herself, that is remarkable. "History of Touches" has such a deep 'Alien' feel to it that it made my imagination run wild, and I think that is the crux of why I love Bjork's music, it asks you to meet it halfway, rather than rolling out something pre-chewed for your enjoyment. That sounds incredibly pretentious to most but - and I increasingly believe in this as the journey creeps on and I read the reviews of others - people seem to forget that variety really is the spice of life - more on this at the end. "Black Lake" was another beautiful track, with it's juxtaposed strings and heavy drum sections to punctuate the lyrics; I love these tracks that tell a full story with multiple emotions involved. "Family" was, however, something I struggled to follow. What Black Lake managed to do, Family didn't quite. The aggressive string section around the 3 minute mark I found far too jarring. The track didn't become enjoyable for me again until around 4:10, with the ethereal synth sounds backing the strings. "Notget" is kind of aptly named, in that I did 'not get it'. Her vocals are beautiful as always, but the musical arrangement was just so non-sensical and ever changing, making it hard to latch on to any point of it. This felt a a level of experimental beyond my palette, for sure. A good point of comparison is that this felt like the opposite of a song like 'Birdland' on Patti Smith's Horses album, where her vocals were the pain point rather than the music. It was slow to get going, only hitting the sweet spot for my ears around the 2:30 make with the strings and sea breeze-like effect being very complimentary of each other, but "Atom Dance" was enjoyable to some extent. Ahnohi's vocals are interesting, though difficult to assess the quality with the reverbed effect layered on top of it. Sometimes, I find that music is not so much enjoyable to sit and listen to, but it definitely has it's place, such as to accompany a scene in a movie to help capture the emotions and vibes the director is trying to convey. This is exactly the way I felt about "Mouth Mantra", with it's synthetic beats and scratching making me think of a battle of wits and flirtation between enemy spies at a ball, among billionaires and politicians discussing events that could affect the fate of a country. There is a lot going on within the composition that is interesting, but it was too erratic for my liking. And so finally, "Quicksand", which was torturous. Incredible tension built with the scratchy drums and tribal vocals, but never released in any satisfying way. In fact, the whole thing, for a final track, ended quite abruptly, which left me quick disappointed in the end. Despite Notget and Quicksand's ending, I did enjoy this album for what it was, but it still can't hold a candle to her Debut. ******************************************************************************* Let me join the others and start by saying "Bjork's music isn't for everyone", but then address my true feelings on the other side of that coin. I will never understand this standpoint that many seem to have of "I like what I like and that's it"; this rigid and monotonous adherence to one or two ideas of something 'good' at most and never exploring beyond it. The worst among us seem to wish, if they themselves don't like it, that it never existed at all. Unless a piece of media is actively (or even unknowingly) promoting hate, we should embrace all creation, and simply pass by that which doesn't click with us and leave it for someone else to find. It's funny, how many of those that do like the music leave reviews that are thoughtful and explain why, with many who don't like the music not having a single constructive or informative word to say. I really wish that would change.

Not my usual bag, but I took this journey with the intention of being as open minded as possible. Straight away, "Independent Women Part 1" is instantly recognizable and feels like an important song to that early 2000s zeitgeist. It's catchy, it rises and falls in the all the right places, has a solid beat and has lyrics that empower women. It was a great way to start the album and set the expectations for everything to follow. "Survivor" hits similar points, which makes me think that variation in this album is going to be minimal. The underlying guitar note on "Bootylicious" is surprisingly enjoyable with the drums and hats layered on top. I found the lyrics slightly embarrassing and their voices don't seem to have the same kind of punch as it did in the first two tracks. "Nasty Girl" I can't work out if they are imitating critical voices of women or if they are being the critical voices themselves. According to some more professional reviews, it is that they are being critical. This is strange, considering that they were building up women in the first track and beating them down in this one, essentially asking them to conform to a way of dressing and behaving. This, unfortunately, is the very ugly side of the early 2000s on display here (some 2-3 years later, America's Next Top Model would air, which pushed a similar narrative for over a decade). "Fancy" was solid, the guitar and beat was great throughout the song and the harmonies came together nicely throughout. As the album creeps on, it seems that almost every song is about men, women and the relationships between, by "Apple Pie À La Mode" is when this hit me. I understand the need for music to be relatable to be successful, but by this point, they could be singing about the weather and hit the same point. By "Sexy Daddy", I was deeply bored of this. Reading ahead on the lyric front, I see this doesn't break until "Happy Face"... that's 10 tracks of this. Musically, the beats and guitars are starting to feel gimmicky by Sexy Daddy too. With almost arcade-y like drums and synth beats, "Happy Face" was one of the more interesting tracks and did something to break the lyrical monotony. Despite lyrically being back to relationships with "Emotion", the acoustic guitar, slow beat and the vocal harmonizing of the 3 was incredible. Easily my favourite track on the whole album. "Dangerously in Love" was doing something similar, but not as well I feel. "Brown Eyes" had movie soundtrack cheesiness to it. "The Story of Beauty" interestingly told a story that was off-brand with the rest of the album's lyrics, but it felt buried in the goofy beats and sparkle sound effects. A real shame with that one. "Thank you" felt the same too. A strong 4 from the first 3 tracks slipped to a 3, but was saved from the 2 on the back's of "Emotion" and "Dangerously in Love", despite still being about relationships.