Great work music, skillful jazz, beautiful sounds, are you edging or are you gooning Neiman?!
My favorite part of the album is his soothing voice. The titular song is the peak of the album for me, I believe there’s a reason it’s the most famous song from it and unfortunately it’s also the first song on the album so it was kind of downhill from there. I can appreciate this as great for its genre, and the instrumentals are impressive with some great bass lines and fun horn sections but overall not sure it’s my kind of music. I will say- my second favorite song was definitely What Is This Feeling.
I was worried that my review would be bolstered by nostalgia but after listening to this debut album from an 18 year old artist I couldn’t help but be amazed. The way that every song has its own unique sound but the album still feels cohesive will forever be impressive. Not a single miss. Easy 5/5.
I had never listened to Janelle Monae before but I will continue to now. Some of these songs are so much fun with so much energy, it was a great driving listen stuck in LA traffic to keep me energized. There were a couple of duds, like I was not a fan of Oh Maker. The intro song felt very theatrical, not something I'd listen to again. There was a lot of variety which I appreciated- I liked the horns in tightrope, the swing of come alive, the vocals on make the bus. I think if every song was one I would add to a playlist it'd be rated higher but because of many new bangers I found, it's earned it's rating.
Yoshimi Battles the Pink Robots has some genuinely beautiful moments and a great vibe, especially on songs like “Do You Realize??” and “Fight Test". The whole robot concept is fun, and the sound is warm and trippy, but a lot of the tracks blur together and don’t stick with you the way the highlights do, so it ends up being a solid, enjoyable listen without feeling quite legendary to me.
Lady Soul is Aretha Franklin at her most untouchable. Every single track on this album hits, from the unstoppable one-two punch of "Chain of Fools" and "(You Make Me Feel Like) A Natural Woman" to deep cuts that deserve just as much love. The grooves are tight, the horns are punching, and Aretha's voice sits right in that sweet spot where power meets pure feeling.
My personal favorite is "Money Won't Change You" — that song is an absolute banger. The rhythm section locks in and the energy never lets up. It's the kind of track that makes you wonder why it isn't talked about more, because it goes just as hard as anything else she's done.
What makes Lady Soul special is that there's no filler. Front to back, it's all heat.
The Yellowstone of albums- no depth, repetitive, but if you want to live an Americana fantasy, you probably eat it up.
Loose, confident, and completely in control, like he’s just having fun and reminding everyone where the blues really come from. The band rips, the guitars are dirty in the best way, and everything feels alive and current, not stuck in the past. It’s the kind of album you throw on and instantly get why he’s a legend. Easy five stars.
This album is a really solid piece of 60s psych rock that holds up incredibly well. Donovan nails the dreamy, experimental vibe throughout, and the title track is beautiful... that sitar-driven sound is just incredibly catchy and innovative. "Season of the Witch" is a classic re-listen for me, a song often on my top songs of the year lists, and shows that he's got serious songwriting chops beyond just the flower-power aesthetic. Some moments are very much of their era in ways that don't always translate for me today. But honestly, the highs are high enough that the weaker moments don't drag it down.
Don't get me wrong, the musicianship on this album is incredible. These guys are the real deal and you can hear it in every note. "Chan Chan" alone is worth the price of admission, and there are a handful of other tracks that really got me.
But as a full album listen, it kind of washes together. A lot of the songs hit a similar vibe and tempo, and by the halfway point I started zoning out. It's a great record to throw on in the background, but I doubt I'll have the urge to listen to it through again.
Respect the history, respect the talent, but didn't wow me.
This album is a raw, wild ride. Janis Joplin absolutely tears through every track with her gritty and soulful voice. The band's loose, psychedelic garage soundis rough in all the right ways. It feels alive. A couple of tracks drag a little, and the jammy bits aren't always for me, but when it hits, it hits with some electric solos. A classic piece of late-'60s San Francisco rock that still sounds great and energetic after all these years.
This album is just pure fun from start to finish. The Go-Go's came out swinging with their debut. It is energetic, catchy, and just a good time. The hits are obvious standouts. "Our Lips Are Sealed" and "We Got the Beat" are feel good anthems. Both tracks have a raw energy that makes them feel spontaneous and genuine. It is upbeat and feel-good, has aged remarkably well and honestly still sounds fresh.
Can really leans into the atmospheric, improvisational vibe here. The title track is the clear standout for me. "Future Days" has this dreamy, flowing quality that pulls you along without feeling repetitive. "Moonshake" also delivers with its groovy, laid-back vibe that shows the band's great rhythm section. For me it can feel a bit too aimless at times. Some tracks meander without really going anywhere compelling, and the lack of structure sometimes just feels unfocused. It rewards active listening but didn't always hold my attention. That said, if you're into ambient or experimental music, there's definitely something here. It's influential stuff that clearly paved the way for a lot of post-rock and electronic music that came later, just not really my vibe.
Solid but kinda overrated? The highs are high... "Helpless" is beautiful, "Our House" is a great song, and those harmonies never disappoint. But it feels more like four solo artists sharing a cover than a real band album. "Almost Cut My Hair" goes on forever, and some tracks just drift without landing. Good vibes, great talent, but not quite the masterpiece its reputation suggests.
The skill here is undeniable.It's the kind of thing you hear and think yeah, they're on another level.
But I'm a live jazz person. I want the loose energy and stuff that only happens in the moment. Every note feels placed exactly where they wanted it, and while that's cool, it takes away the thing I love most about jazz which is the spontaneity. Respect the craft and skill, just prefer to be able to watch the musicians figure it out together in person. That's on me, I get it, I just prefer my jazz live and messy.
Johnny Marr is doing absolutely everything on this record. The rhythm section is tight too. Musically, it's really well-crafted. The problem? Morrissey. His voice sits on top of these gorgeous arrangements just moaning. You can hear a great rock album underneath if you squint past the vocals. "There Is a Light That Never Goes Out" almost gets past it, and "Bigmouth Strikes Again" has enough energy to carry him along. But too often it's like watching a brilliant band get held hostage by their frontman.
This is one of those albums that’s pleasant to have on even if it never really blows me away. The Charlatans sound confident and comfortable here, with a few catchy moments that remind you why they mattered in the Britpop era. At the same time, a lot of the tracks kind of blend together, and nothing hits quite as hard as you keep hoping it will. It’s a solid, easy listen, but more background-music good than life-changing good.
This album rips. Bruce Dickinson shows up and immediately elevates the whole band, his voice is insane. "Hallowed Be Thy Name" and the title track are all-time metal bangers. A couple of filler-ish moments keep it from perfection but honestly you barely notice because the energy never lets up. Classic for a reason.
I enjoyed this album. Some of my favorites were "Rockin' Chair" and "King Harvest." In this genre, I personally tend to prefer higher highs with more energy mixed in, which I never quite got out of this one. That said, the vibes are good and consistent throughout, making it a calming and enjoyable listen.
This album has great energy and you can feel the electricity of the prison crowd reacting to every line. Johnny Cash clearly commands the room, and the rebellious spirit of the performance is fun to hear. But since I’m not a big country fan, a lot of the songs just don’t do much for me musically even though I can appreciate the moment and the atmosphere.
You ever driving and you hear a song and you’re like ‘I don’t love this but I’ll let it play out”? Well, imagine that song lasts your entire commute. 1 star. Would not listen again
It feels like Paul Simon in a quieter, more inward mood. The lyrics are super simple and almost childlike at times but there’s something really comforting about them. It’s not trying to be flashy or profoundn but it still sits with you. That said, when you stack it up against his bigger solo highs or the stuff he did with Garfunkel, it doesn’t hit the same emotional peak. Solid record, a few beautiful moments.
No skips. No notes.
This is a classic album. I grew up listening to the Beach Boys a lot because my mom is a huge fan. I love their sound, it’s just feel good music (sometimes to sad lyrics) but all in all they do what they do really well.
I love this album. Alex and Eddie keep the energy high throughout, turning swinging beats into a frenetic, kinetic ride. Every song feels like a burst of energy, the kind that immediately gets your foot tapping without you even realizing it. There is a looseness to the playing that still feels incredibly tight, like the band is just having the best time ripping through these songs. It is loud, playful, and full of momentum from start to finish, the kind of record that makes you want to turn the volume up and let it run.
Man, this album is such a vibe. Ray's voice is just effortlessly smooth whether he's doing the big band stuff or the slower string arrangements. "Let the Good Times Roll" and "It Had to Be You" are standouts for me. I knock off one star only because the two halves of the album feel a little disconnected, but honestly both sides are great on their own. Classic Ray through and through.
If I Should Fall from Grace with God has the rowdy energy and Irish folk-punk spirit that makes The Pogues fun, but it feels a bit uneven across the whole record. At its best the band sounds loose and lively, but some songs lose momentum. “The Worms” is the clearest miss. It leans into the band’s experimental side, but instead of charming it mostly just breaks the album’s flow. There are good moments here, but the inconsistency and my lack of love for the genre keeps it from being higher rated.
It has a great atmosphere and some beautiful moments, but it can feel a little loose and unfocused. The jams and wandering arrangements sometimes drag, and the album’s length makes it harder for the strongest songs to stand out. When it works it’s soulful and charming, but it doesn’t always hold the energy all the way through.
This rips from start to finish with incredible guitar work. The playing is sharp, fast, and constantly driving the songs forward, blending desert blues with a kind of scrappy rock energy that’s hard not to love. Not every track fully sticks with me, but the guitars alone make it an exciting, high-energy listen.
Jack White's solo debut is a masterclass in restless creativity. Blunderbuss tears through blues, country, and rock with generational guitar work and songwriting that's equal parts raw and refined. A bold, brilliant statement from one of rock's true originals.
