I really liked this! Think it started out great and the first 3 track run is amazing. For me personally it dipped a little with the following two tracks, however then picked back up after that. I think in terms of favourite songs I’d have to obviously go with Money For Nothing, and then I really loved The Man’s So Strong. So yeah really loved this, and to me there are points in this album that have the best sounding guitar ever.
Yeah this was a lovely album! The way they sing is very nice on the ear and makes for such an easy breezy listen. I would say after that listen my favourites are easily the title track and The Boxer, but there were no real duds. However I would say it’s an album where I like most of the songs, but don’t know if I’ll revisit it much as a whole, but otherwise very nice!
So this one didn’t click for me as much as Bridge Over Troubled Waters, and it’s a real shame because I appreciate the effort to increase the production value and the scope of the songs. But for me personally I feel the intimacy which was such a highlight on the previously mentioned album was lost. I should say I am aware this came before, but I am speaking from the perspective of listening to this after BOTW. There are still good moments with Homeward Bound and The Big Green Pleasure Machine being two fun songs. I don’t know, I feel I’m missing the big picture.
I liked this, but for me it’s not quite prime MJ. Like it’s definitely good, great even, but it’s not what I come for Michael Jackson for. I think with albums like Bad and Thriller there was an edge he had, that just isn’t present here. However this album is still a blast of a listen
So I had a very interesting experience with this. My first listen was probably the exact opposite way in which this album is intended to be listened to. I was busy with work, and kept getting interrupted and starting and picking it up later. So it felt rather monotonous and repetitive. However, I came back to it as I felt I hadn’t given it a fair shake, and the second time round totally eclipsed my opinion from my first listen. This is such a great album to just fall deep into and let it take your hand. It’s definitely not the album to come to if you’re looking for catchy hooks and specific songs, but as an experience as a whole I grew to love it. Also I made a similar point with Dire Straits, but guitars just sounded better back in this time.
Yeah I really liked this. Just has such an atmosphere to it that I can’t explain. It almost is eerie but there’s glimmers of hope in it. Definitely feels like hes trying to convey that he’s leaving the pop star David Bowie behind. I loved most if not all of the tracks, standouts being The Next Day, The Stars, Valentine’s Day, Dancing in Space and Set the World on Fire.
This did absolutely nothing for me. It passed through me and left no impact whatsoever and I have no idea why. I normally enjoy this style of scenic, gentle folk pop but something just didn’t click with me here. None of the tracks or the album for that matter had an impact. I may completely missing the picture but sadly this just wasn’t for me.
I surprisingly quite enjoyed this. On first listen I was hesitant as this style of harsh, repetitive, aggressive punk music has never really clicked with me, however on first listen this album felt pretty engrossing to me, and a lot less monotonous than I expected. The standout tracks for me were Rise Above and TV Party. Sonically it’s very harsh and grating, and sounds kind of how I imagine a mental break would feel. Although the lyrics at points could become rather repetitive and tedious, the focus on seemingly rebelling against every aspect of life was something I can’t say I’ve heard much. It felt like the band were breaking down every aspect of society and going against it. For the time I can definitely see why it was influential, although the influence may be lost on me, I understand the impact it probably had on the music space in the 80’s. I don’t really see myself returning to it, but I appreciate it.
This is the perfect album to have on in the background during Christmas Day. It is definitely some of the most soulful and passionate Christmas music out there and I really appreciate the layers of instruments that make each track feel grand. It’s definitely not my first pick for what I’d listen to around the holidays, maybe I’m looking for something a bit more poppy and upbeat, but with that being said I do think it captures the spirit of the holiday excellently.
I enjoyed this way more than I thought I would. For a long time I have acknowledged Snoop as a very skilled rapper but had never actually listened to any of his discography. This album to me felt so fun but had an ominous undertone to it that I appreciated a lot. The standout was definitely Murder Was the Case, but there were no real low points. On the production side, there’s really no notes, Dre really came through on this. I can really hear the influence that many other artists from Cali have taken from Snoop so I guess I have him to thank.
I loved this album. I think the concept was riveting and very well explored through most of the tracks. There were a couple of tracks where I feel the concept was looser and lost a little but still enjoyable. The standout tracks for me were Yes Sir No Sir, Some Mothers Son, Brainwashed, Mr Churchill Says, and the title track. It feels like something I would like to revisit every now and then.
I really enjoyed this album. The warm and gentle, yet at times cinematic ambience was lovely to just exist in. I struggle to think of highlights because this felt more like an immersive album to just sink into and let wash over you. It all feels very lush. Listening to this, I can hear its influence in style on other artists and albums I love.
Sadly another example of an album that did nothing for me. I don’t know whether this style of folk doesn’t connect with me, or whether it’s something else. I find this type of lyricism sometimes to be rather tedious, and I can’t explain why. The instrumentals were all nice enough, although I can’t say I was a massive fan of the vocals. Yeah this just kinda passed through me, nothing really drew me in.
I thought this was pretty okay, but overall pretty average. It definitely feels like music you’d hear whilst making your way through a club at like 2AM. Definitely not album where I have a lot of standouts but I don’t think that’s what the album was going for. Not much to say, just a cool little album that I don’t see myself coming back to a lot if ever.
For not having understood the hype behind Oasis for the longest time, I am glad to say this album really worked for me. I love how the instrumentals are massive and encompassing, with little space to breathe. This matches Liams aggressive and assertive vocals, which deliver on each track. Highlights were Rock n Roll Star, Up In the Sky, Columbia, SuperSonic, Bring It On Down, Cigarettes and Alcohol and Slide Away.
This was pretty great. I love the cold and minimal production, because although distinctively 80’s it felt surprisingly modern at times. My standout track is Jennifer, I loved the cold vocals with the looped synth. The production created this almost abstract and lonely atmosphere which I was a big fan of. It definitely is my type of music
This album started out pretty strong, but eventually for me lost steam. The instrumentals were very well made and the production for the first half kept me engaged, however towards the middle it began to lose me. It did however pick up a little towards the tail end The atmosphere of the album is probably my favourite aspect as it creates this very uneasy feeling, however this isn’t enough to sustain a 55 minute runtime. Somewhat enjoyable but will probably never return.
This albums is the perfect example for an album where I would say there is nothing distinctly bad or wrong about it, but nothing clicked with me at the same time. It’s completely inoffensive. To me it feels when you’ve heard one you’ve heard them all. This does not mean I think the album has no value, the instrumentals are all very tight and Dusty sounds amazing on all of the songs. I just think maybe this style of soul/ R&B maybe doesn’t always work for me.
I absolutely loved this. The themes of alienation and loneliness and the exploration of fear of differences is so interesting and is explored through instrumentals and lyrics that perfectly match the theme. While listening to the title track I genuinely had a moment where I audibly said “this may be the best song I have ever heard”. The only album so far that I have immediately started again after first listen. Definitely one of, if not my favourite album on this journey yet. Wow
I loved this. It’s kinda weird and trippy but also extremely catchy and each song really gets you stuck in a groove. I really like Jim Morrisons delivery, and matched with the dark psychedelic instrumentals, it’s quite transfixing. I loved hearing Alabama Song, which I recognised from The Worlds End but had no idea it was by The Doors. It’s a weirdly erotic album which creates this scene while you’re listening that really affected me. Loved it
This was pretty good. I loved the heavy baselines and dusty drums. These matched with Ghostface Killahs superb and energetic delivery made it a very enjoyable listen. As someone who normally sometimes doesn’t like skits in albums, these ones were actually really funny, and did a great job of planting us in his world. By the end I would say I was a little worn out as I didn’t find the last stretch as entertaining as the first. However I still enjoyed this, but I don’t see myself returning to it. Highlights were, Shakey Dog, Kilo, The Champ, R.A.G.U, and Be Easy.
This was really fun! I think it perfectly executed what it intended to do which was to be an album that just makes you want to dance. For the first leg I was absolutely in love but I would be lying if I didn’t say the second half fell off a little for me personally. It wasn’t bad by any means, I think it might have just began to get a little repetitive. I do however think all the songs are at least good, and it’s a very breezy album to get through. Really good stuff though, favourites are probably Chic Cheer, Le Freak, Savoir Faire, Happy Man and I Want Your Love.
As a documentation of Neil Youngs grief this is rather effective. The apparent intentional messiness and sloppy playing matched with the emotionally heavy lyrics really portrays a man struggling in real time. This all makes the album feel deeply human and honest. For this I really appreciated it, however I do not so myself returning to this much.
Yeah this completely fell flat for me. This for me felt like a diluted version of what Rock bands were doing at that time but a little more poppy and clean. I feel like someone with as big a personality as Robbie has, this album is pretty bland and by the books. This is one I for sure won’t be returning to.
This was good, but I want to like it more. I like the album most when Stevie commits fully to a certain mood or idea especially tracks like Heaven is 10 Zillion Light Years Away, and They Won’t Go When I Ho. A lot of the groove-based songs are nice but emotionally don’t move me much, which is why the album as a whole doesn’t stick, even though I respect it.
I get why Frampton Comes Alive! is liked by so many, but it never fully pulls me in. The performances are great and the crowd energy is warm, but I feel like I’m watching a great night happen rather than being emotionally involved in it. The talk box is cool, the songs are solid, but nothing really lingers once the applause fades. An album I respect more than I feel
I like this, but it’s an album I respect more than I actually love. It’s impossible to deny how locked-in it is. The guitar work really carries it for me, all clean textures and sharp timing, with everything feeling carefully put together. There’s a very controlled, almost mechanical confidence to the whole thing, like the band knows they’ve got this from the first second. When a groove settles in and just goes, it’s genuinely satisfying. Not perfect and not fully my thing, but you can absolutely feel why people like it.
This felt like a weird detour of what the White Stripes are good at, to something nowhere near as compelling. The switch from guitars to piano and marimba didn’t open the album up for me — it mostly flattened the energy. Jack White’s theatrical vocals feel more like a bit than a breakthrough here, and they rarely land with much weight. A couple songs stick, but most of it just drifts by without leaving much of an impression. Not bad, just oddly forgettable.
This feels warm and resigned, almost cathartic in how comfortable it is with itself. It sounds like a band that’s stopped fighting endings and instead decided to just do what they do best one last time. There’s a strange mix of nostalgia, peace, and bittersweet acceptance running through it, like an epilogue that doesn’t need to announce itself. The album feels smaller and quieter than I expected, but that restraint makes it hit harder, especially hearing it as my first full Smiths record. It didn’t overwhelm me in any special way, but still somehow gripped me from start to finish.
This album was such a breezy listen, but I also really respected the messaging the songs had in their writing. The sharper and angrier writing that tosh has while still making the songs have layers back vibes is very impressive. I respect it a lot as it was risk to leave the Wailers and approach a solo career being so outspoken. I appreciate it more than I love it, but still this was great.
As important as this album may have been for the history of hip hop in terms of shifting hip-hop towards social realism and commentary, I cannot say I enjoyed this album very much. To be fair I think this is just due to it being a product of its time. Although the production is stellar and I actually appreciate the minimalistic style, the performances from the rappers themselves in my opinion leave a lot to be desired. Awkward deliveries and stale lyricism is often carried by really nice chemistry of the group. I know for a fact without this we wouldn’t have people like Kendrick Lamar, but that doesn’t mean I have to like it.
As a massive listen this was incredibly daunting, but treating the discs like chapters kinda helped. The Nelson Riddle arrangements all sound great, but I would be lying if I didn’t admit that they did get rather repetitive by the end. However Ellas voice does not get old, and is incredible all the way through. I enjoyed the lyrics and thought they were actually very sharp and clever. This album did land with me however due to the sheer size of it, I can’t see myself returning.
I love this album. For the longest time I hadn’t listened to this and now
I have no idea why. Compared to Off The Wall, and Thriller, this has a much sharper and harder edge, obviously showing Michael Jackson wanting to move more towards a sound of his own, rather than following his families footsteps. Loved that he’s embracing his own style and that a lot of the lyrics reflect that. The increased guitar work and influence from rock is so good, and makes everything just that bit punchier. With this though, you still have moments of tenderness like Man in the Mirror, which really is the emotional centre of the album, discussing how he’s changed, hopefully for the better. For all the influence this has on some of my favourite artists such as The Weeknd, this albums legacy cannot be understated, and having finally listened to it, it loved up to that legacy.
This was great, I had heard this a while back but I appreciated it a lot more this time around. I like the idea of a fictional band where they feel they can experiment more. I liked the topics they covered lyrically, and I thought the themes of loneliness and escapism were explored really creatively. The emotional core hit surprisingly hard on this album with songs like She’s Leaving Home and A Day In The Life. Especially A Day In The Life, which is such an interesting song, with the way it pits John and Paul’s worldviews against each other. Beyond all that the music is just really fun and creative and is a great quick listen. Loved this.
I get that this is probably avant-garde and creative, but I’d be lying if I said any of it worked for me. I would say I like jazz but I’ve never been a massive fan, so with that in mind I was hesitant already, however finding out this was an almost reinvention of it, scared me more. This was abrasive in all the wrong ways, and although the tracks were all very short they all just blended together for me, as dismissive as that may sound. Put simply it was an experimentation that didn’t work for me.
This is such a fun and well produced pop album. It’s so grand and glossy that it gives it this cinematic sense which I always enjoy. The use of strings, vocoders, and layered vocals really amp up the energy and shows how committed the band was to making the album as big as be, they committed fully. Yeah this was great.
Yeahhhhhh this an amazing album to come back to after a short break. The way in which Prince evokes the mindset of although the world is crumbling around us let’s dance, is incredible. The blend of R&B, pop, rock and new wave is sensational and the playful sexy energy of the record is so enticing. The instrumentals are so textured and intensify the emotions that Prince is evoking. Although this is a dense album, at no time did I feel the runtime. It should also be said how funny Prince is, and I mean like chuckling during songs. Whether it’s his sharp wit or vocal choices, it has a surprising comedic effect. Looooooved this
This really did very little for me. I have two tracks which I semi liked and they were the opener Dangerous, and Replica. Other than that this style of music just doesn’t seem to be for me. The subtle and beats and baselines are fine, but the vocals to me just felt so bland and generic that it was hard to stay attached to each song. The singing really did absolutely nothing for me, and I was kinda counting the tracks until the end. Yeah just kinda boring.
This album is strange to me because it feels like something I should love but for some reason there is a disconnect. I think it’s a very creative album but for some reason it just doesn’t click with me the way I want. I will say the production is of course excellent and has so much personality and at this stage in his career he still is very charming. But not enough for me to ever return intentionally.
Yeah this album sadly wasn’t for me. I understand it’s a landmark for cross genre music, but the bled for me didn’t work too well. I felt the tracks had one idea at the start of them and then stuck with that for often too long. I actually preferred when it leaned more into the traditional Indian instruments rather than the rather bland drum and bass beats. Just find it all a little uneven.
This album was good but id be lying if i said i liked it as much as i wanted to. The loud and funky production is great, and the contrast between 3K and Big Boi is really fun, but maybe it was just me, but I felt it was lacking the bangers I wanted out of it. Maybe that’s my expectations getting the better of me but I still felt a little let down. I still liked it a fair bit, just wanted a little more.
This album walks such a fine line of being extremely braggadocios whilst also highlighting a very real fear of death, that comes of very genuine. The hooks on this album are pretty catchy and 50’s cold detached delivery on most of them is spot on. This paired with the Dre production is a pretty stellar combo. In Da Club is still probably one of the best and most fun rap songs ever. I like how blunt he is on this album, and his lack of flashy lyric flourishes makes him incredibly endearing. Solid album.
The fact that none of this was written in advance and that Keith Jarrett just made this up on the spot on stage is incredible alone, but the fact that along with that it’s very good is just astounding. The fact he was able to create such emotive motifs and compose them in thin air is incredible, and I found myself constantly impressed by the emotions the music would conjure. That first track really is something, and definitely the emotional core of this album, but that doesn’t mean the other ones are bad. So impressed by this.
I think I’m discovering I’m not a shoegaze guy. This to me was pretty boring and it never really gripped me. When it would get a little more psychedelic or experimental it had me, but it would then veer back to the indie sound which I found extremely bland. It’s all produced well and the instrumentals are nice enough, but never more than that. And these types of vocals are just not for, they don’t stir any type of emotion in me. Yeah won’t be coming back to this.
As someone who has not really engaged with house that much, I really enjoyed this. I liked that it blended house with other styles like funk and pop, maybe made it a little more accessible. I like that these feel like songs too rather than just continuous noise, the songs have structures. It is just a really fun album, don’t imagine myself coming back very often but I enjoyed my time with it.
This just feels really cozy in this low-key, quietly sad way, and for some reason it hit me as weirdly nostalgic even though I don’t have any real history with it. It’s super understated emotionally, like it never fully lets you in, but that kind of works in its favour. The short songs fly by and honestly make it easier to sink into rather than feeling rushed. Lyrically it’s simple and honest, with little lines that catch you off guard instead of trying to be deep. Sonically it’s pure early ’90s slacker-indie charm. By the end I wasn’t blown away, but it just sat with me and is quietly great and very easy to come back to.
This is one of those albums where I can understand why it’s considered great, but it didn’t really land for me yet. I liked the idea of it more than the actual listen, it’s loose, warm, and grimy in a way that feels very intentional, but also kind of exhausting. A lot of the songs blurred together for me, with Sweet Virginia being the one that actually stuck and felt genuinely charming. There’s a sleazy, lived-in vibe that I really liked and was almost comforting, but the messiness sometimes tipped into feeling unfocused rather than immersive. I didn’t hate it, I just wasn’t in the right headspace for a double album like this. Definitely one I’d come back to on a different day, because I feel like there’s more in there than I caught.
This album felt empty in a way that’s both bleak and strangely peaceful, like sitting alone with someone and them confessing the things they’ve done,?and not knowing what to say. It’s an album that doesn’t try to comfort you at all, it just lets these broken, unlucky characters talk, and that honesty is what makes it hit pretty well for me. The recording style feels essential, like you’re overhearing confessions that were never meant to leave the room. It plays more like a short story collection than an album, like every song is another life quietly falling apart. I didn’t “enjoy” it in a normal sense, but I respect it a lot for what it had to say about America at the time. I’m glad I listened, even if this feels like something I’ll only come back to when I’m in the right headspace.
This is extremely impressive in a way that doesn’t try to blow your mind, it just quietly earns its status. The songs still hits insanely hard, especially knowing it came out in 1969, but it’s Epitaph that had me the most engaged. The whole album has this mythic, almost medieval atmosphere that makes it feel like its own world rather than just an early prog album. “Moonchild” drags a little, but not enough to be overly annoying and it still fits the mood more than it hurts it. Compared to modern albums, it’s rougher around the edges, but that is exactly what makes it compelling as it helps build the atmosphere I previously mentioned. I’m now kicking myself for having put this off for so long.
This is smooth and undeniably well-made, but it didn’t fully grab me emotionally on first listen. The grooves are solid and super clean, even if I kept wanting a bit more bite or edge at times. It definitely feels like an album, though a few tracks stand out more than the rest rather than everything hitting equally hard. I really respected the rhythm section and the overall polish and how locked in and effortless it sounds, I just wasn’t totally pulled into its world yet. That said, it feels like a grower more than a miss, the kind of record that probably clicks harder once you live with it a bit. I get why it’s a classic, even if I’m not fully there with it yet.
This album feels fragile, messy, and extremely human in a way that’s both compelling and draining. It’s the kind of album that leaves you emotionally exhausted, not because of big dramatic moments, but because of how quietly it sits in its sadness. The raw production works in its favor most of the time, giving the melancholy this lived-in, bruised feeling, even if the strained vocals can be a bit much and some songs blur together tonally. Nothing immediately jumped out at me on first listen, but the overall mood is what lingers. By the end, I felt calm yet weirdly comforted, like the album had emptied itself out and left me in the quiet. It’s a pretty mess, one I respect more than I’m eager to return to.
This is one of those albums I can respect more than I can love. The instrumental work is genuinely solid, there’s texture, layering, and some really nice moments buried in the distortion, but the vocals just didn’t click for me, and that ended up holding the whole thing back. It feels sincere, and I can tell it meant everything to Billy Corgan, but I’d be lying if I said it fully engaged me. There’s ambition here and I get why people call it iconic, but it never quite pulled me into its world. For me, it lands more as respectable than essential. For now, in my opinion it’s a tad overrated, however this is one I’m going to give another go in the future
This is one of those albums that really pulls you in at first. The rock-leaning tracks had me straight away, but it does lose a bit of momentum in the middle. When it slows down, the songwriting doesn’t feel quite as sharp, and the length starts to show. That said, even when it’s a little messy, there’s a clear vision running through it especially on the more political or groove-driven songs which are easily the strongest moments. I didn’t feel like there was one huge statement screaming at me on first listen, but the atmosphere is strong enough that it feels like something that could open up over time. Weirdly, a couple of tracks even reminded me of Cave World by Viagra Boys with that slightly unhinged but purposeful energy. It’s not flawless, and it drags a touch, but I’d definitely revisit it.
Thus is kind of cute. Not in a dismissive way more in a “this is quietly charming and self-aware” way. It’s playful and thoughtful without ever trying to feel monumental, and I actually liked that it didn’t aim for some huge, cohesive statement. The stripped-back production makes everything feel human and lived-in, which works in its favour. It’s not an all-time, life-changing album for me, but it’s the kind of record you throw on and slowly warm up to more each time.
