1001 Albums Summary

4/5 Incredible opening track, very much a front loaded album that runs out of gas towards the back half. I really enjoy the blend of genres on this album as well. With my complete lack of knowledge of Van Morrison & this album going in, I was searching for a way to label what sort of artist Morrison was. But it was a great surprise to work through the tracklist, and just sort of drop that idea and just let the album be. Favorite Track: And It Stoned Me

3.5/5 I grew up on the Beatles, with their records being regularly spun weekly by my father. A Hard Day's Night, to me, is the quintessential Brit-Pop era Beatles Album, which admittedly is my lesser favorite era of the Beatles. I think this album is enjoyable, and quickly digestible with a quick spin time. This is probably their best Brit-Pop album, with densely packed, well written & catchy tracks from top to bottom. While I do think the album suffers from being a rather predictable, classic Brit-Pop album— I do think it's the best execution of that style by the Beatles within the discography. This is definitely the album where the band starts to come into their own sound, and wrangle the star power of being pop stars & the demands of the record industry. Overall, I enjoyed the album, but definitely enjoy their later discography much more. Favorite Track: And I Love Her

4/5 I wasn't indoctrinated to Yes as a kid, despite the parallels in sound that they have to much of the collection my dad curated. Instead, I found them through their resurgence in pop-culture relevance with appearances in GTA, School of Rock, Jojo & plenty of memes as a result. My curiosity had been peaked, and I eventually gave the album a spin years later. While the rest of the album isn't nearly as strong as the opening track of "Roundabout", I do think there is a great compilation of tracks, with some other real standouts such as "South Side of the Sky" and "Heart of the Sunrise". These tracks in particular really feel like the entire band is firing on all cylinders, and have moments where each member & instrument feel like they truly shine in the mix. Squire's bass work in particular across these tracks are incredibly addicting & impressive. There are some tracks that fall a little flatter on the album though, and really just feel weaker, almost needless compared to the rest of the album. "Cans and Brahms" & "Five per Cent for Nothing" are both tracks that just ultimately feel like a waste of time, and depending on consumption medium would be something I would skip or cull. Meanwhile, "The Fish", "Mood for a Day" and "We Have Heaven" feel, while not as amazing as the longer tracks, a little more purposeful and are enjoyable listens. Overall I enjoy the listen front to back, will give it a spin on vinyl from time to time, but will probably stick to the stand out tracks when listening digitally. Favorite Track: "Roundabout", obviously.

3.5/5 I like the album, I think it's definitely a very tight, well produced album that displays an increased range of instruments and stronger vocal work, giving it almost a more theatrical feel compared to the prior album, The Queen Is Dead. But I think in that expansion of sound and refinement in production, something had been lost, making Strangeways, Here We Come feel like a weaker entry in the discography compared to the prior mentioned album (and, to thus point the only other reference point I have familiarity with.) Maybe it was a result of inter-band conflict coming to a head, maybe it's the polishedness of it all. I'm not sure. But again, it's not a bad album, I enjoyed a good handful of songs as, ultimately, it's still The Smiths. I'm in love that signature Marr jangle & haunting Morrissey vocal work across the album. But I would likely throw the handful of standout tracks into digital playlists, but likely would reach for The Queen Is Dead to spin over this one. Favorite Track: "Stop Me If You Think You've Heard This One Before"

Soundtrack to my come up. From the production & lyricism I just get a radiating positivity. The type of album you'd put on when you're cruising through town, windows down, sun is shinning on an early summer day. Front to back I find the album really consistent and strong, there really isn't track I could pick out that feels like it falls flat or detracts from the experience. The lyrical work is beautiful, conscious & uplifting— making me come out on the other side like I can take on the world. Matched with some of West's fantastic early era production, giving it that infectious, early 2000s hip-hop bounce that makes it impossible not to bounce me head to. In some ways, the production feels like it takes a front seat, where I'm listening more of a Kanye album then Common. But that just, once again, shows how incredible of a beatmaker West was. Common, and really the early 2000s hip-hop has long been an unexplored era for me. This album is a great reminder of what I'm missing in not digging into it all. I love it, this one will be slipping into the heavy rotation for sure. Ultimately, this album *feels* like it embodies the core essence of that Chi-Town Sound during this time, and once again I find it hooking and drawing me back in once more.

This album just isn't for me. There's definitely something to it, it's just not sticking for me. "Dancing Queen", "Money, Money, Money" & "Knowing Me, Knowing You" are all tracks that are so clearly foundational to Pop music as the genre traveled through the decades to today. Furthermore, while some aspects (such as the synth & piano work in particular) that feel very of the time, the tracks retain this timeless feel— undoubtedly in part because "Dancing Queen" remains to have a chokehold on humanity to this day, and continues to be regularly played. Vocal work is incredibly impressive across the album. It feels, in some way, that the vocal work here is sort of bridging the great vocal range that is found in opera and theater into a, then, modern context. I could be ignorant to other factors though in regards to that. Definitely think the back half of the album is weaker in comparison to the front half. Arrival is a culturally significant album in context of the times. But again, just not doing much for me personally.

Enjoyed the album, but I think it's a rather safe one. It appears to be a great bridge that helped usher rock 'n roll guitar tones into mainstream pop. The guitar work is composed of a quite a few bits of rather simple, repetitive chord structures with a handful of great solos thrown in between. Then, we got some nice synth elements that sit in the background of tracks, and permeates through the album in a nice accenting way that feels like a precursor to many synthpop tones you find in the 80s. Laired on with some great, pop style vocal work with some real infectious hooks. "Good Times Roll", "My Best Friend's Girl", "Just What I Needed" & "You're All I've Got Tonight" all have quick hooks that's lyrics feel deeply ingrained in Americana, fueled by their continued prevalent use. Bit of a shame that it's essentially "advertising music" nowadays— but I think that it's contemporary place in culture today highlights how great this album is for mass appeal. Like, I feel you would be hard pressed to find anyone mad you're throwing on this album, or tossing a few of these tracks into a group playlist. It's super safe, because again it feels like this bridge between rock 'n roll, synth & pop. There's, in a corny phrasing way, "a little something for everyone." I think Elliot Easton's tone & playing on this album are fantastic, and a huge attributer to making the album super approachable for many. It feels in many ways, like it's the perfect 70s rock tone, partnered with some more pruned back and easily digestible playing— but sprinkled with moments of style that shows he knows his chops. Album has an absolutely heater opening set of 3 songs that land in a fucking wet fart of a couple tracks, and then redeems itself on the rest of the side-B. Going from "Good Times Roll", "My Best Friend's Girl", "Just What I Needed" into "I'm in Touch With Your World" is like, getting cold water splash on you, and "Don't Cha Stop" doesn't bring back much confidence either. Thankfully, those two are undoubtedly the weakest entries on the album, and side-B was overall an enjoyable experience. I think this would be a great album to own, but I don't think I'd be spinning it a whole lot nor throwing in tracks into playlists. Again, I just think the work in a contemporary sense is just too heavily associated with advertising, and so the hooks, while infectious, just have this sort of tainted feel to them. Like I'm watching a fucking car commercial every time the hook from "Just What I Needed" start playing, it's kind of sad.

I found myself really caught off guard by this album. How could I have never heard this one before? *Sheet Music* sonically sits in this space, that's a little bit Zappa &a little bit Queen, and giving me strong Ween vibes with their writing. Perfectly sitting in this pool of sounds that my dad would play on the stereo in my youth. Regardless, *Sheet Music* was an incredibly fun listen, a little witty and frequently saturated in sarcasm and satire. It's a great anti-pop entry of the time that I think typically flies under the radar for many, mainly because it's not the *best* entry, just a strong one. I highly doubt someone is going to reach for this album, or recommend this as a starting spot to the genre and era over some Zappa, as his work is just a better execution all around of the themes you find in *Sheet Music*. But, if you know you like that sort of shit, this is a fantastic spin. Across the album, I would say that songs are all solid, period accurate pop pieces with some great playing & and amusing lyrics. Favorite Track: "Baron Samedi"

It's easy for me to fetch some of my top Hendrix tracks. *Axis: Bold as Love* is an album that gets frequent spins, and both *Electric Ladyland* and *Are You Experienced* I have great familiarity thanks to the indoctrination by my father, with the hits appearing frequently in my digital shuffles. Simply put, this album is perfect. This is an album full of musicians that are incredibly talented, gifted, and light years ahead of the rest putting every ounce of their being into crafting the best sonic experience one can possibly have. It's well known that Blues, Jazz and R&B are grandfathers to Rock n' Roll— and this album feels like the bridge. A few tracks I do think are weaker and forgettable. The album doesn't really feel like it "starts" until we hit "Crosstown Traffic", where the prior tracks really just feel like an introduction to the album. "Voodoo Chile" is absolutely peak, and is truly a great showcase of the trio's abilities as well firmly establishes that blues & rock n' roll relationship. "Little Miss Strange" feels like the most poppy entry, mainly due to the lyrical presentation, but still chalked full of great guitarwork. "Come On (Let the Good Times Roll)" has a great blues rock feel to it, that almost feels like it alone spawned artists that followed like ZZ Top. "Burning of the Midnight Lamp" has some fantastic, hypnotic guitar tone that shimmers and wobbles all around you in some peak psych-rock fashion. "Rainy Day, Dream Away" is a great jazz leaning entry, even if it wasn't the most impressive standalone track. "1983...(A Merman I Should Turn to Be)" feels like a track that is criminally underdiscussed in terms of Hendrix's discography. The second track on the album to crest over the 10 minute mark, but in contrast to "Voodoo Chile", this one feels much more like a psychedelic balled. The guitar & vocal work here truly takes me to another time, space, world & dimension as we journey through the highs and lows of this near 14 minute track. "Moon, Turn the Tides... Gently Gently Away" feels more like an outro to "1983...(A Merman I Should Turn to Be)" then a standalone track, partially due to it wrapping up side C. "Still Raining, Still Dreaming" has some great psychedelic guitar work as well, but lyrically is super weak for me. "House Burning Down" has a great bounce to it, and I love the squealing hit on the 1s. Lyrical work is much stronger compared to the prior track, and the solos are killer once more. Of course, "All Along the Watchtower" & "Voodoo Child (Slight Return)" are both all time classics, and are the tracks that get frequent replayment and are some of the tracks that you think of when you think about Hendrix's discography. I think what's so intoxicating about Hendrix's playing on this album, is that there are so many micro-moments— little quick licks & solos that last only a handful of bars that are so magical & other worldly. Like I could imagine entire hours, filled up with these brief moments on loop, or expanded into a full track all on their own. And he seemingly drops them as quick as they are introduced, and bringing the listener into the next one. His tone & the way he bends the guitar to his will is so beautiful— and to do it with such ease is mind boggling. The frequency and execution in which he does it gives off this feeling of effortlessness. It's easy, and seemingly nonchalant for him to execute playing to such a degree— meanwhile I, the listener am getting absolutely blown away and few have even come close to touching the excellence that is Jimi Hendrix.

My dad used to play some Allman Brothers, as well as I've come across some of these tracks in my work. "Statesboro Blues" is a great opening track, with some great blues-rock vocals & guitar tone. "Done Somebody Wrong" another solid blues rock entry. Clean playing, vocal delivery is solid. I like that they call out at the start of "Stormy Monday" that it's a T-Bone Walker song. I think it's really important to understand that Blues, and by extension Blues-Rock & Rock n' Roll are built upon the foundations of these African American artists. While maybe it didn't stick with the crowd at the live show, it's still great to see Artists acknowledge Artists, something that wasn't always done at this time. Fantastic original song, and this version does a great job to honor it. "You Don't Love Me" again, solid blues rock. Vocals are fine, guitar work is great. I like how up beat and bouncy this one while we get to hear those humbuckers rip. Certainly a lengthier track that really start's to further emphasize the jammyness of this album. I do think the track does ramble on quite a bit with it clocking in at a slightly over 19 minute listen time. In contrast to my prior listen of Jimi Hendrix's *Electric Ladyland* where I made note of the length of some tracks, but simultaneously how much Hendrix would seemingly introduce and remove different licks & solos within them— Duane Allman's playing here get's a little too samey for my taste. It's not to the degree where I feel like I'm just listening to a dude noodle on, there's quality & thought there. It's just some licks overstay their welcome, and last a little too long as the major theme with minimal change. Coming off "You Don't Love Me", "Hot 'Lanta" feels arguably almost too short. It feels like a step away from that blues-rock tone thusfar, and further into a more jazz-like track which I find super interesting. It's a breath of fresh air coming into side C— but in some ways it feels underdeveloped and unexplored when you consider the lengthy tracks that sandwhich it between side B, and the rest of side C & D. "In Memory of Elizabeth Reed" is a return to some more blues rock, and man does the guitar solo absolutely bang in this one. "Whipping Post" is quite the way to wrap up the album. Definitely more of the same, but in a saving-the-best-for-last kind of way. I think this was some of the best Jam-Band style playing & guitar work by Duane Allman across the album. Across the album, I really dig the extended, jam-band, almost jazzy kind of versions of songs. In many ways, the album feels like a precursor to not only many Southern Blues-Rock artists, but Jam Bands to follow. Favorite Track: "Whipping Post"

I was already familiar with *Heaven or Las Vegas* going into my listen of this album. I've been a pretty big indie head the past 15 years or so, and this is one of those albums that's hard to not stumble across when flipping through dreamy & shoegaze style albums from the 90s. *Heaven or Las Vegas* does a great job of taking some of that heavy, distorted, reverberated and dreamy or ethereal tone, and pairing it with these almost angelic, chorus like vocals with incredible hooks— taking a lot more of the "underground" sound of the time and creating a super approachable, innovative and digestible sound that resulted in the later development of the dream pop genre. Overall, front-to-back the album is incredibly solid as a whole. Obviously there are tracks that shine a little stronger then others, but I would not say that any one track falls flat, is needless, or is substantially & obviously weaker then the rest. I do think it's a little odd, for such a monumental, genre defining album to be so incredibly strong, yet only feel like it has two hits. Maybe that's just a result of the time the album released— but in a digital era I definitely would throw a good majority of these tracks into the regular rotation/across playlists. "Cherry-Coloured Funk" is undoubtedly their most well known track. I can recall this one getting continued play on my local alternative radio station in the 2010s, and was my introduction to the band. The chimey, repetitive guitar work gives a simple, but solid foundation for some incredible vocal work. It's hard not to sing the hooks on this one. If I had to describe the tone on "Pitch the Baby", it would be the equivalent of driving a mid-to-late 80s convertible with the top down on a late summer night, where the sky has this rich purple to deep red hue. It has this sort of mellow, hypnotic, rolling feel to it that I can just imagine a scene like that too on some sort of movie credits or some other visual medium. "Iceblink Luck" has this great coming-of-age sort of feel to it. The opening feels like it really has a great, optimistic and positive sort of feel to it. Baseline is giving me some *The Cure* vibes, which I'm digging. "Fifty-Fifty Clown" has some great, 80s style synth work paired with the continued great vocal work we've seen present already. "Heaven or Las Vegas" is another great, dream pop pioneering track. Again, has this sort of coming-of-age kind of vibe to the track. But I really like the stereo sweeping synth sound that sits in the background of the hooks. The guitar work on this one is particularly impressive, especially love the the whaling solo in the end. "I Wear Your Ring" has this slower, harrowing sort of feel to it. I like it, but I think this is the track I would be least likely to revisit in the album thus far. "Fotzepolitic" is more of the same. Really steady, droning guitar tone layered with rich base & angelic vocals. Dig it, but the hooks don't feel as catchy as some other tracks. Instead, this song feels like a spiraling of sorts, with the hook portions dropping in notes down & down & down. Guitar solo is awesome here though. "Wolf In The Breast" is probably one of the weaker tracks on this album. I just don't find too much interesting in the guitar, vocal or bass work on this track. Likewise, "Road, River and Rail" is also rather boring too. They're both good, but in a way that it's more of the same as we've heard prior. Also, they have probably the weakest hooks across the album— which I think is seemingly a pretty crucial aspect of the album. I wasn't super big on the harrowing intro to "Frou-Frou Foxes in Midsummer Fires" but really liked the switch up going into the 2 minute mark. Compared to the prior two tracks, the vocal hooks are much stronger once more, and the guitar & bass work feel solid as they have been. Definitely overall feels like a "darker" track, almost like a descent into madness, or a farewell left on bad terms. I think it's an interesting track to close the album out on, especially with it being the longest one we've heard yet. Favorite Track: "Cherry-Coloured Funk"

Admittedly, for as familiar with The Beatles as I am, much of the band member's solo work has long alluded me. Looking at the track list, "Imagine" is the only one that stood out as recognizable to me. Working through the album, nothing really stood out as strong as the opening track. I don't think any track was bad by any means, just a lot of okay. Dig the Blues-rocky vibes on "How Do You Sleep?" as that felt something a little more distinctly different from the rest of the body of his work. Overall, the album kind of just washed over me. The lyrics have some meat to them, and it's probably the best part about the album. The production is solid as well. But there really isn't anything that's blowing me away here. I guess I was just expecting more? Doubt I'll revisit this album, I'd rather just go listen to the full band. Favorite Track: "Imagine"

I'm not familiar with Willie Nelson's work despite his name being commonplace. He's just someone I never got around to personally, and fell outside of the genre pool my dad was largely playing during my youth. So I'm entering this album truly with a fresh set of eyes & ears, with a rather minimal understanding of Willie's discography and understanding of what to expect. With that being said, this is not what I was expecting. Typically, I associated Nelson with more classic country— and don't get me wrong, his country moments show in the album with the harmonica making frequent appearances. *Stardust*, front-to-back has a much more soulful, jazzy feel to it. Post-listen, finding out that this was an American Pop Standards, or classics album makes a lot of sense. I think it's a really cool approach to an album in both the context of it's release time and today. It's really an against-the-grain album, going back and paying homage to all the great American Classics. Even while this is a Classics album, I still feel like there's a level of raw, authenticity & realism to Nelson's delivery. Like, while in retrospect the album is a bunch of covers, at no moment did I think the delivery was anything but Willie Nelson. I'm not really a big country guy, nor a classics guy— but I think there is something special about this combination & presentation here by Willie Nelson. Might not be in a heavy rotation, or play it digitally all too much, but I do think this is a record I would want to pick up and spin from time to time. Favorite Song: "September Song"

No clue who these guys are, or what this album going to be like going in. "Rive Of Orchids" has a really interesting start. I'm not really sure to make of it, we've got these set of steady trumpets that sounds like from a GBA game sound scape. Then these sort of, rock opera stereo vocals. What is here is interesting... I'm not sure if I like it.... I don't hate it, but it's incredibly perplexing. Very stimulating, well engineered. "I'd Like That" is another interesting one. Again, the vocal work here feels very, classic rock in style. I'm getting this sort of oldies/60s brit-pop vibe, but if it was hyper engineered, and not bogged down by the technology of the 60s & 70s. "Easter Theatre" is another interesting entry, but it also feels like a little more of the same from what I've experienced so far. The horns & strings both have this oldie vibe as I described before, but it also simultaneously feels like video game music. The horns & strings feel very programmed, marching & like I could almost pluck them out of an RPG game from 90s. Again, I don't hate it, but I'm not in love with it. It's really perplexing, stimulating, and well produced. "Knights in Shaning Karma" is a slower song. The guitar is super clean, echoy and mystical. I think it works well with the vocals, but coming off the last three tracks this is a rather uninteresting track that struggles to hold my attention. It sort of just washed over me, it happened, and didn't really make me think or feel much. "Frivolous Tonight" also has the oldie, Beatles-pop sort of bounce to it with the piano. But again, it just feels like cleaner versions of things that have been done already. "Greenman" grabs my attention again right of the rip, and this one feels vastly distinct compared to what I've heard on the album thus far. Again, get drawn to comparing the sound scape largely to video games. It feels like I could totally picture this sound scape accompanying some sort of Donkey Kong jungle or dessert level. The drums, strings and flute all really do a great job in giving off a sort of vibe that feels distinctly unique and incredibly strong compared to what I've heard thus far. Vocal work is the same was what's come before, struggling to pick out lyrics and retain verbal meaning with how large everything else feels in the mix. "Your Dictionary" is sort of like "Knight in Shining Karma" where it's slower, a little more dialed back in terms of what's going on— and I think in doing so something is lost. I think, to me so far, the songs with these very video gamey style drums & strings are much stronger. The tracks without, which include "Your Dictionary" just feel a little flatter as it leans harder on vocals and lyrics, which I'm really struggling to get anything out of. "Fruit Nut" feels incredibly Sgt. Pepper coded, but even with this sort of whimsical, video gamey feel coming into this track here, the lyrical content feels super corny. Like this just feels like a weaker version of The Beatles or Ween. "I Can't Own Her" has that video game sound scape come in again in a more somber, or melancholic style. But the lyrical content is so fucking weird dude. Like, you got this almost cinematic, orchestral track that feels like it would come in at a sort of dramatic, magical moment. And the lyrics are sort of beautiful in the way that it's gushing over this gal. But the phrasing "I Can't Own Her" makes the rest of the lyrical content feel sort of uncomfortable. "Harvest Festival" is really weak. Again, I find myself feeling like the tracks where the vocal work is more forward, and the instruments are more pruned back, are the ones that I enjoy less. I don't think the vocal presentation, or from what I can pick out, the lyrical substance is all that good or interesting. By this point in the album, I'm rather done with these guys. "The Last Balloon" has an eery feel, dig the chimey piano and trumpet. But I'm sick of this dude's singing. Overall, I think at first I felt like the album was a little interesting, but as it chugged on it seemingly lost steam and seemed increasingly and incredibly derivative. Like, I don't think this album is doing anything new or unique, if anything it's redeveloping old sounds or mixing them with some more programming style instrumentation. Most of the time, I felt like the vocal work, and when I could parse it, the lyrical content was not that great. By the end of the album, I was pretty exhausted of this sound. Looking at some information after the fact, these dudes have been around for a minute by the point they dropped this album. So yeah, quite literally it's a super refined, studio album of some older sounds. I don't think it's bad, and if you liked these guys before you probably would like this album. But as someone with little to no exposure to the band or this album, and really no preconceived notion of what to expect— I certainly was not impressed. The album has it's moments, but largely it's an album that is not for me. Favorite Track: "Greenman"

Off the dome, Stephen Stills wasn't a name that rang any bells for me. I couldn't recall any of his tracks— although the first song right off the rip was something I was familiar with. "Love the One You're With" is probably about the only track I expect to sonically recognize. It's got this great, gospely but also folk-pop kind of feel to it. The "doot dooting" and hook are insanely catchy, and there's some great guitar work here to boot. "Do for the Others" is, while not a big hit like the starting track, still had this great acoustic-rock sort of playing. The vocals have this raspy, folk feel to them while also incorporating some humming to give it an instrumental feel. "Church (Part of Someone)" has this great, slow-dancing rock kind of feel to it until the chorus kicks in with the organ, culminating in this sort of slow rock gospel kind of track that, while not my cup of tea, was still an enjoyable listen. "Old Times Good Times" has a great rocker tone, although I don't feel like Stills' vocal delivery fits the track as well as the prior ones. It feels almost a little jarring, where it's seemingly too smooth and soft for what the track is. Killer guitar solo on the track, and I love the rock organ too. "Go Back Home" is another, more bluesy rock kind of track. Great guitar tone here, but compared to the prior track, I think Stills' vocal delivery is a lot more fitting here. There's a level of raspyness that I think maybe fits the bluesy rock tone a bit better, and with the mix being a little more minimal the soft delivery seems to sit better within the track. "Sit Yourself Down" brings back what feels like some more of those gospel influences, but keeps that great blues rock guitar tone— but really forces it into the background of the track. "To a Flame" has this slow, cinematic feel to it. Beautiful, but also it just sort of washes over you in a hazy, sort of sunny day kind of wave. It's like I'm really tired after a long day, the sky is a rich red hue as the sun goes down, and I'm trying to fight back the urge to fall asleep. "Black Queen" has this great, solo acoustic tone matched with some raspy humming & vocal delivery. While lyrically void, and sonically dialed back compared to the other tracks on the album, I did think there was something solid about this track. "Cherokee" feels like such a vibe shift coming off the track prior. I like the big band sort of feel to this track, and honestly that guitar tone is so much fun on this one. "We Are Not Helpless" is a solid way to cap off the album. It's a return to the more gospely style tracks earlier. An opening, slower part that hits a more gospely section that then picks up in pace. Overall, I felt like the album was good. I think it has an interesting mix of rock, folk & gospel paired with vocal delivery that hits the mark for the majority of the album. I don't think this is particularly an album I would seek out again, but it's also not one that I struggled to enjoy. Favorite Track: "Love the One You're With"

Not really going to list a favorite track, or note thoughts on a per track basis as it doesn't really seem to fit the body of this work— which seemingly is a series of 4 different live, solo improve session done only on the piano. There isn't really a "beginning" or "end" within each of these sessions (even though each session itself does start & end). Moreso, there these motifs and melodies that wax and wane across the sessions, and it feels like I'm much more baring witness to a narrative expressed purely sonically. There are sections within each session that are definitely different form one another, but they sort of bleed and mix into one another. Across the 4 sessions, there is some incredible solo piano work that has this sort of dreamy, other wordly feel to it. As I said before, I see them less as tracks and more as seemingly this sort of narrative device and I'm baring witness to a long, drawn out story. Insanely talented player, clearly, and while their is a "start" and "end" to some of these sessions, they individually are all rather lengthy and complex. They feel like they each have different micro-tracks nested within them, and that they each ebb and flow into one another as we move through the session. Now, while this is technically and artistically super impressive— it's incredibly lengthy for what it is and for me personally, grows to become rather exhausting. There's a lot of nuance and complexity here, but I'm not that big into jazz so it's just not really sticking with me. I can easily take a step back and appreciate what is technically impressive here, but that doesn't translate into personal enjoyment of the album for myself. Again, I think what is here is, artistically, very impressive despite my lack of interest in it sonically. Like, I would never seek this out on my own— but it's impossible to deny the quality & talent that is here. The amount of depth & texture that is here despite it being just one dude jamming away on a piano is incredible.