1001 Albums Summary

I've not listened to much of the early Beatles. I definitely prefer the later albums post 66. Instrumentally it's tight. Too many covers however, and far too twee for my tastes. Get on the drugs lads. 2* All my loving is a bop. Little child is cursed.

I'm the hokey tonk man! My oldest asked me why Barney from the Simpsons is singing. I dig how high in the mix the bass is. 1) ** 2)**** 3)** 4)* 5) The bass slaps ***** 6)* (Side A: 2.5/5) 7)* 8)*** 9)** 10)**** 11)* 12)*** (Side B: 2.3/5) 2.4 overall - 2*

1) Jazzy intro. *** 2) Funky beats. Nice bass tone that carries the rhythm section. Zappa's guitar wiggles through the spaces in time. ***** 3) Nice shifts of pace. Strong organ and piano segments. ***** 4) Interlude - tidy **** 5) Equal parts incoherent and sublime. The drums are fantastic and keep the frantic pace. I'm not a big sax man but can appreciate the licks. I'm a big sucker for an organ however, and those little short sharp tones that cut in from 8 minutes are a thing of beauty. Zappa is going off on one here... The drop at 10 minutes into drum and bass only is lovely. ***** 6)Not sure I needed this after the previous track. Still - nothing wrong with this one either. *** This one is probably going to be 4.5/5. It's everything I like and my first foray into Zappa. Only 133 albums to go!

Public Enemy were on the fringes of my consciousness growing up but it was their crossover with Anthrax I was most familiar with. "Bring the Noise" made it's way into a few pivotal pieces of media (most particularly need for speed underground). This is an absolute banger of a record. Chuck D is pure power, his vocal delivery is crisp and passionate. Terminator X work on the decks triggers happy memories of turntable led rock and metal that made up a huge chunk of my formative years. Flava Fav is hype "Yeah, boyeee!" and the production by the Bomb Squad is sublime. Several songs will make it into my rotation [Bring the Noise][Terminator X at the Edge of Panic][Night of the Living Baseheads][Rebel without a Pause][ and the seemingly proto-nu-metal [She Watch Channel Zero?!] which without a doubt was my favourite. On the negative side some samples are oppressive and can affect the overall flow of a listen. However taking into account the subject matter - that may be intentional. The social commentary as relevant today as the time of writing. My second hip hop album I've deliberately listened to (After Wu Tang Clan be but). I think I peaked too soon! *****

Pulp took the sex, drugs and rock and rolled it into an album. [Mis-shapes], [Disco 2000], [Common People] [Monday Morning] - Anthemic pop/rock heard nationwide at weddings, radio 2 and throwback discos. For good reason though. [Sorted for Es and Wizz] was a hidden classic for me. It has that otherworldly quality only the best substances provide. [Feeling called love][I spy] Are songs where I could do without the lyrics/vocals. The music itself is very enjoyable. Moody, synth heavy and satisfying tonal shifts. [Pencil Skirt], [Underwear] [Live Bed Show] - not sure what context you'd listen to these songs, the lyrical themes are creepy and the music is passable pop. [Something's changed][Bar Italia] Meh. Feel a bit like songs a drunk wedding singer would have in their repitoire. It lands ultimately at 2.5 for me.

I listened to the abridged "best of" album. Ella's voice is beautiful, no doubt about that. The band can play smooth, simple,big band style jazz. For me the music is not dynamic enough, with a similar tone that runs through each song. There is no challenge, no hidden layers in these tunes. Ponderous.

Sometimes funky, too often smooth. A surprising depth in some tracks with powerful social commentary. There are a few covers here, which the Temptations give their own spin. This version of [Papa was a rolling stone] is epic. There's a few songs on the Ballard/soul side I can appreciate but don't vibe with me personally. 3*

Pre listen: Frontier psychiatrist is a staple on the playlist - but I've never listened further. I remember first seeing the music video on morning TV - possibly the big breakfast? Post listen: What a journey. Seamless transitions, happy vibes. Like the best holiday you ever had encapsulated in an album. This is evolution in sound form. Building, iterating and growing. Made purely of samples this is a snapshot of humanity. There are a few songs I'll definitely return to - [Electricity][Radio][Stay Another Season] Downsides wise - personally the art of sampling means that at times the hook or beat I like may just drop out, some vocal samples repeat a little too much and it fades out towards the end a bit too much. Next long car journey this is definitely going on!

Massive blind spot for me - early 80s post punk. Crusty aesthetic smashing into 80s pop. The vocals are an acquired taste, but I like the authenticity. I prefer the tracks where they let off the shackles and are not afraid to go off the tracks. A key example of this is the first track [Dumb Waiters] which is messy and all the best kinds of wild. Other stand out tracks are [Into you like a train] [It Goes On] where the rhythm section really gets it together, some distortion creeps in and the tempo shifts add a nice texture. Between these tracks there is some serviceable radio friendly tracks like [Pretty in Pink] and [All of This and Nothing] that are easy to listen to but don't wow me. I wouldn't turn them off if they came on the radio however. The rest of the tracks are just kind of there for me and have drawbacks like poor lyrics [I Wanna Sleep With You] or just forgettable [She is Mine]. **

Pre: Now here is one from my early teens. I haven't picked this up since 03 or so. I used to listen to it on my portable cd player, doing that funny walk so the disk doesn't skip. Post: Eminem is an absolute master on the mic. His flow is undeniable. He has a wide variety in delivery that invokes strong emotions and his lyrics are little sound bites that I still repeat 26 years later. (And this album has resurrected some that were hiding in my subconscious- uh oh). I can see that the tone/theming is there to shock, provoke and question. For each piece of excellent (and still relevant) social commentary there's equal amounts of homophobia and misogyny that now I'm an adult is embarrassing. As a parent if my kids were listening to this I'd almost certainly throw it in the sea. Guess my parents were right. [Amityville] is the least popular song, but I prefer it over the bulk of the record. The radio classics continue to be earworms with [Stan] being the standout. The fact the title is now part of the general vocabulary and in the Oxford English Dictionary is testament to the strength of the story told here. Not sure I'll ever pick this up as an album again. It's the worst of 00s culture and I want to leave it back there. I'm rating this here and now a conflicted 2.5. **

1 ***** Well, we're in the 80s. I'm an absolute sucker for synth (black metal fan). Ethereal/sinister vibes. Yes! The choral keyboard sound! This is a keeper. 2.** Mellow vibes. Kinda spacey. 3. ** Chill... 4. *** Bass high in the mix, intro is atmospheric. 5. *** Sinister twinkles 6. *** Energy shift, pan pipes. 7. Sex noises. Nah. Skip. 8. *** Feels like a comedown. 9. **** Slow to get going, builds nicely. Synth organ? Let's go! 10. ***** Sinister piano. Final fantasy boss music. I really, really like the dark aesthetic the gothic cathedral gloominess of it all. I definitely listen to bands inspired by this sound. I will likely return to this album again. 3/5.

It's absolutely roasting in the UK right now. This definitely has about as much energy as me. "I am tired, I am weary, I could sleep, for thousand years!" I've seen this album lots of places over the years, I am aware of it's status and the scenes it's reported to have influenced and created. I am reviewing this based on the album not the legacy. 1) *** [Sunday Morning] - Dreamy, hazy start. 2) ** [I'm waiting for the man] - Jazzy. Feels a bit one tone. Piano is rhythm instrument here. Bassline is tidy. 3) * [Femme Fatale] - No. These vocals ain't it - not sure if it's the recording quality or the voice cracking. Beach boys style backing vocals. 4) ***** [Venus in Furs] - Folky, tribal, drone, hypnotic - best so far. 5) ** [Run, Run, Run] - Bluesy rock, sounds of it's era. The guitar solo is - something?! The drums sound really hollow. The bassline carries this. 6) * [All Tomorrows Parties] - Fun piano lick, I can't get on with Nico at all. The lead guitar jangles about discordantly. Too monotone to be this long. 7) *** [Heroin] - The drums that slowly build like a racing heart is fantastic. Feels a bit like a drugged up U2. 8) *** [There she goes again] - This sounds a lot like Dylan. It's an inoffensive 60s rock track. A coherent guitar solo spotted in the wild. The tempo shift towards the end is fun. 9) * [I’ll Be Your Mirror] - Nothing going on here apart from Nico. I am sorry Nico. I won't let you be my eyes. I'd rather risk the bad luck and break this mirror. 10) *** [The Black Angel’s Death Song] - Yes! The discordant strings are back. Feels like a cowboy fighting a demon? 11) [European Son] Energetic bassline. They literally threw the kitchen sink at this. Guitar is rancid. It's all over the place. It's a trainwreck. Overall - 2.2 without Nico it would hit a 3. I can see how it was an influence for many, but I won't return again most likely. On the car playlist : [Venus in Furs] [The Black Angel's Death Song]

First ever disco album - obviously know the classics from various school discos, weddings and the radio. 1) *** [Chic Cheer] Lovely bassline, definitely makes me want to move. Nice album opener settling the tone. 2) ***** [Le Freak] Speaking of radio classics - that guitar lick is iconic. Smooth vocals and funky rhythm. Strings add a lot of depth. Even though I have heard it a thousand times it still absolutely slaps. 3) *** [Savoir Faire] Feels like I'm sat on the floral sofa on the cover listening to this jazzy ensemble. The guitar is the vocal with a tasteful meandering lead - technically fantastic. As always the bass is the backbone. Very chill vibe - not what I was expecting on a disco album. 4) **** [Happy Man] I absolutely love this bassist. Positive, uplifting vibes - like the title. A BASS SOLO! lets go 5) ***** [I want your love] Oh, I didn't realise it was this song. The bells are epic. The strings are sublime. Absolute classic. 6) * [At last I'm free] Ah man, pick the tempo back up. This has wedding singer vibes. Is just kind of there - feels very sparse. I imagine this is a slow dance number. Too long. 7) *** [Sometimes you win] Bopping bassline. THANK YOU FOR THE HORNS/SAX?! saves the song. 8) **** [(funny)Bone] A strings led instrumental. Not sure about the canned laughter. Overall 3.5ish ***(*) The bass on this album is so damn funky. The scratchy guitar tone iconic. The vocals smooth. The embellishments like strings and piano are very well done. Second half quality does fade off after I want your love. I think it's very close to a 4, but I cant see myself putting the full album on again. Definitely have placed half of the tracks in playlists though. I guess Disco/funk/Soul is now on my radar.

Smashing pumpkins always sounded like something Nigel Thornberry would say. Never listened to them as far as I'm aware. 1) Gentle piano opener. Technically competent. 2) **** [Tonight] Oh, pretty sure I have actually heard this one. The music is great, nice soaring strings. Those vocals are definitely an acquired taste. 3) ** [Jellybelly] Thrashy instrumentation. Can I swap the vocalist out? This would be way better with some gutteral growls. Or someone with pipes. Feel bad for the band this song is excellent otherwise. 4) **** [Zero] Heavy. Really like the drums. Fuzzy. The vocals are a bit more hidden in the mix. I like the bridge riff. 5) *** [Here is no why] Kinda dreamy vibes. Reminds me of something that might have come out around mid 2000s. 6) ***** [Bullet With Butterfly Wings] - Southern rock? Lars ulric drumming. Almost nu-metal. Has good energy. Vocals waay better when he's yelling rather than "singing". 7) ** [To Forgive] Organ led Ballard. It's a nice change of pace. Nothing inherently wrong with it. 8) **** [An Ode to No One] Tempo shift. More punk-y. The riff is kind of anxiety inducing. A crescendo song. 9) *** [Love] Space rock. 10) ** [Cupid de Locke] - Art rock. Tells a story. Harp? is a nice tone/riff. 11) * [Galapogos] - Does sound like I'm on an island. Shame Billy's singing. 12) *** [Muzzle] Alternative rock track. Perfectly listenable. 13) ***** [Porcelina of the Vast Oceans] Pink floyd worship? Dreamy fantasy vibes. Can see this being one of my favourites. It's very dynamic. 14 ** [Take Me Down] Oh. They found a different singer? An acoustic closer. ------------------------------------------------------------------ Side A Experimental, varied, prefer the heavier tracks. The vocals are difficult when they are put to the fore on the calmer songs. Need a break. Overall: 3/5 ---------------------------------------------------------------------------- 15) *** [Where Boys Fear to Tread] - Aww I thought it was going to be an instrumental only piece. Would make a nice grungy/post rock ditty. do-do-do-do! 16) *** [Bodies] Proto KoRn energy. I like the drumming on this one. 17) *** [Thirty-Three] Acoustic, dreamy pop returns. A great contrast to bodies. 18) ** [In the Arms of Sleep] - Floaty rock. 19) ** [1979] - Appears to be one of their more popular tracks, for me this is quite sparse feeling. 20) ***** [Tales of a Scorched Earth] Opening riff captured my attention and brought me back awake after the last two tracks. Appeals to my metal sensibilities. 21) *** [Thru the Eyes of Ruby] - Dreamy Grunge. Enjoy the crescendo's pre chorus. Quite a lot of the tracks on this album have a soothing, wistful quality. This contrasts well with the heaviness. 22) * [Stumbleine] Acoustic track. Feels a bit like something the guy with a guitar would sing at a party. Probably more soothingly than Billy. 23) ****** [X.Y.U.] Desert rock/stoner! Lets go. Yeeeeeeeeeeeeeeeees. Save me from the ballards! The section from 4:20 is SUBLIME. 24) **** [We Only Come Out at Night] I am a vampire and I've lost my fangs. Finally a new song for the Halloween playlist. Feels like a 60s/70s ditty. Beatles-esque - the vocals are very good (a rarity). 25) ***** [Beautiful] Cute song, nice duet with D'arcy. Can't she sing more often? Feels like it belongs in a coming of age movie. 26 *** [Lily (My One and Only)] Wait - when did we enter the Beatles zone? Track 24? Not too much going on here. Some nice piano twinkliness. 27 * [By Starlight] Ok, we are winding right down now. Feels like a radiohead or coldplay song. Very passive. DEAD EYES - nearing the end now. 28 **** [Farewell and good night] - The end. D'arcy is back. Nice duet by them again. The piano adds a element. Hypnotic/drone-y rhythms soothe. Feels like when the boys used to fall asleep on me. The fading to just piano at the end is beautiful. Part 2: 3.5/5 (rounding up) Vocals are better on the calmer songs. Or Billy is growing on me. ------------------------------------------------------------------ Overview: Inject [X.Y.U.] into my veins. That's the jam on this album. Now, this was a mission to complete. Breaking it in two definitely helped. There are a few songs that did nothing for me, a few that were really good and then a proportion that I'd happily listen to, but not choose to. This is a hard one to give an overall rating to. I don't think I'd put the full album on again so by my own rules it maxes at a 3. ....Yet, I think I just might one day. Who knows, maybe Billy's vocals will grow on me.

I was there for this one. This will bring back memories of house parties, school exams and being on the cusp of adulthood. 1) [Intro] - Ethereal/sinister. Leads into words nicely. 2) **** [Words] - Radio classic early indie/00s rock. Easy to listen to, soothing melodies. The vocals seem low in the mix. 3) **** [There goes the fear] - I'm heading out of my exams, into that long, long summer break. I am free. This is another radio friendly track. I like how it fades out at times in reflective chill then the drums pound back in. Little thought: These songs are layered. I didn't notice it back in the day but there's a lot going on, samples, little cameo's by instruments, fusion of styles. 4) *** [M62 Song] - The M62 is a barren, often foggy and windswept drive over the hills. It's wild and devoid of civilisation. This captures it perfectly. Apparently an adaption of a king crimson track (I am 100% sure they will be in this project). They synth at the end is haunting... 5) ** [Where we're calling from] I'm assuming we are leaving the M62 and heading into Manchester or Hull. Ambient track - leads nicely into... 6) ***[N.Y.] Oh we are going to New York? Funny M62 this - must have just kept going after Manc! Synth organ is always a winner for me. I really enjoy the drumming here. Feels almost prog adjacent. With the King Crimson influences on track 4 it makes sense. 7) **** [Satellites] The "ping" sound is awesome. I do feel like I am in space orbiting the earth. The choir add more etherealness. Little thought: Carrying on from earlier - they started as dance trio [Sub Sub] - now the song structures, layering, repetition makes sense. 8) ** [Friday's Dust] Multi-Instrumental menagerie. Not my favourite. 9) ***** [Pounding] An uplifting pop-rock anthem. Aptly named. 10) *** [The last broadcast] Space/dream pop. Should be the last track on naming alone. -1* ;) 11)** [Sulphur Man] Dramatic introduction but then kinda floats flatly into the main track. Downbeat yet soothing. 12) ***** [Caught by the river] Acoustic powered, folky. Soars. A great album closer. Rounding up to a strong 3/5. I'll definitely add this into my rotation and look for a physical copy.

1) intro - beach vibes. 2) Groovy 70s funk. 3) There's that iconic disco guitar tone. Well constructed beats. Brass samples? are nice. Man my French sucks. 4) Downtempo funky disco. Nice flow. Definitely losing a big element not understanding the lyrical themes. Sex noises and cities? He bragging. 5) Bit more fire in this track. Tempo shift. My favourite track thus far. Got my body boppin. Funky bassline. 6) Cool soulfulness. 7) Oh yes. Oh hell yes. Tempo shift! Strong rhythm section. 8) Jazz bar interlude. 9) Funky bass. Bouncy. 10) Moby-like floaty synths. Scratching on the turntables. Pretty chill. 11) Some fun percussion in this one. Some more traditional singing on this - prince esqe. Guitar solo. Lets go! 12) Jet set radio vibe. Some classic call and response. 13) Continuation from 12. Feels a bit more stream of consciousness. 14) This is so 90s. That synth blast is fun. He's showing his versatility and speed of delivery. Weakest track for me though. 15) Oh hell yeah. This is a classic 90s sound. Strong album. I'm a sucker for turntables too! 16) It's an outro. Thoughts: I'm music orientated - lyrics/vocals are another instrument to me. MC Solaar knows how to use his voice to compliment the varied beats that cover jazz, soul, funk, rock and reggae. An easy 4. Especially as this is exactly why I picked up this project - to get out my metal centric groove I'd carved over the last 25 years. I'd definitely put this on whilst walking through town. It's got a good rhythm for a decent pace and uplifting mood. Apparently I am a 90s hip-hop fan going off my experiences thus far?

It's a shame this is on the list. It's just 90s rock with lethargic vocals. Nothing at all is standout. It doesn't make me feel anything. There's no dynamism, no variety, just bleh. It's listenable but has zero edge, a backing track to a lazy summers day.

A live album. Uh oh. It feels like I'm stood outside the bar listening through an open window. I absolutely hate the patronising crowd interaction. I hate it at any gig I go to. Reminds me of bad school memories. I think I need an actual studio recording to appreciate this.

The black album is on this list? Now this is a sound of my teenage years. It's entry level metal, more hard rock with a slight edge. Which is why as an adult 25 years later I can see this for what it is. It's Metallica cleaning up their sound and seeking mass appeal. I'm thinking - when was the last time I listened to this album? I was probably 17. In the last 22 years I haven't put it on. I've listened to the odd song from time to time. Since then I've gone through the archives of metal. I probably sit as a black metal man at the minute, but had phases of power/symphonic, doom/sludge, and death being the dominant forces. Can this appeal with my developed tastes? I'm apprehensive. ----------------- Reflection It's easy listening hard rock/metal. It achieved it's goals and Metallica became icons. The production is very clean. The pace slower. The bass actually audible. The songs have simple hooks that make for radio friendly hard rock. The guitar is prominent and technically proficient. The drums are there and the vocals bark and croon as the songs dictate. As an album it feels very polished. It doesn't challenge or deviate from it's formula. And yet that formula provides toe tapping rhythms, memorable hooks and undeniable success. There are at least 5 songs that are Metallica classics but honestly there is quality throughout. An iconic album in the trajectory of hard rock and metal, no doubt.

Folky, country twanged rock with those classic vocal harmonies. It starts so slow. The recording also seems to push the vocals to the top of the mix, meaning I can barely hear some of the instruments. Nothing really sticks with me until the second half. Luckily from Woodstock onwards the album becomes a bit more experimental, with the proggy [deja-vu] being the standout. The Beatles-esque [our house] appears to be the real hit for many. It's every flavour of cosy and twee - not to my personal taste but I can respect the feelings. [4+20] is dark, folky ditty. It thankfully has one vocalist which makes it one of the best tracks in my book. [Country girl] returns to those proggy sensibilities - but for me the vocals are too busy and detract from some pleasing rhythm and melody. Final track [Everybody I love you!] Returns to the earlier album tendancies of vocals first and everything else is in the back. This is difficult for me to rate because I don't mind the bands sound. I struggle with the grating harmonies and their prominence in the mix. It's between a 2 and 3. I'm not seeking to put it on but probably listen to some songs again.

I'm listening to the OG recording as I'm struggling to find the 1990 version on YouTube music (and I'm a free user of Spotify so listening is difficult to an album unless I'm on the web player at my pc.) I'm listening to this on a sunny summer's day riding home in the car from a family holiday. [Skin Deep] is a drumming masterclass. Textured, varied and expressive - the drummer has super chops. The rest? Kinda faded to the background. I think the issue with me and jazz is - I don't feel it. I don't know good or bad jazz, I don't know what I like or don't like. I don't have the experience or the context. Or maybe I never will? I know however that black metal started off like this for me - and is now my favourite genre - so maybe there's hope? I do know for sure - I dislike live albums and this record made me feel irritated and frustrated. Maybe in 1000 albums time I'd change my tune, but for now, this isn't for me.

Look. I liked my other Zappa album (hot rats) a hell of a lot. So much so I gave it 5 stars. Listening to this in 2026, I can't help but feel it's not possible to rate it out of its context. I'm sure, at the time this mockumentary of an album was hilarious to some. Genre wise: 60s psych, do-wop, noise, drone, jazz, rock and pop smash together on this record. It takes numerous shots at contemporary artists and America/popular culture in general. The tracks I like are "Trouble Every Day" "The Brain Police" and "Hungry Freaks Daddy". These are smart, satirical and experimental. Help I'm a rock was also a fun journey despite it's mad premise. The comedy/mockery/do-wop tracks outnumber the ones that land with me however making it an album I can't see me revisiting. I might chop out the nine or so tracks I actively dislike and make my own mini album. I'm sure Zappa would approve. I'm going to give it a 1 because there's no chance I'd willingly listen to this album again.

I thought Elvis Costello was a crooner from the 60s. Feels: This is some tasteful pop music with depth in sound and inspiration. It's definitely got Beatles (Sgt Pepper) vibes which makes sense because it's produced by the same person. Rich orchestration, some lovely piano/organ, an absolutely sick bassist (Shabby Doll being the highlight). The drums are fantastic in places too. Elvis certainly has his own take on singing, it's got charm for me but I can see others recoil at it. It's a busy-patterned patchwork blanket of a record. Weird, whimsical -one I'll definitely return to.

Cyber future fever dream constructed from the sound memories of the masses drained by the mega corps. --------- The soundscapes are disjointed, glitchy and erratic. Like the classic tabletop RPG - cyberpunk transposed into a hip hop record. After watching interstellar last night this hit the mood. Mike's vocals are ok, although I really dislike the "singing" at times. His lyrics flow, and for me they are nothing compared to the atmospheric aspect of the album. I'm a big sci-fi guy, a genre often wild, sometimes prophetic. This certainly captures that vibe. [To the moon's contractor] was my personal favourite track, a jazzy sprawling bass driven ambient journey inter shot with machine like percussion that felt like walking across the wasteland in a massive Mech. It takes a while to get going, like a rocket countdown. One it's blasts off the album hits velocity and cruises into experimental spaces. 4* - so good I played it twice.

The most 5* record there could be for me personally. A sacred relic of metal and the progenitors of one of my favourite genres: doom metal. The guitar tone is iconic, Ozzy's vocals equally so and the drums are funky yet powerful. This is blues taken to hell and back.

Ah Bon Jovi. I'm too young to have been there, but the bands music (or at least 3 songs) is part of almost every wedding and school disco across the land. The first track *** [Let it Rock] starts with an epic keys/organ/synth piece that leads into anthemic arena rock. This is heavier than I expected and I never really appreciated the lead guitar in the past. [You give love a bad name] is one of those social consciousness singles. The chuggy guitar in the verse bursts into a powerful chorus and a technical solo. [Livin on a prayer] is a song I don't need to hear again. It has the Bon Jovi hallmarks. Their choruses are catchy, easy to sing. Set up for live audience participation or drunk people at a social event. [Social disease] has the seemingly obligatory sex noise song (at least 1/4 albums so far have had one!) Auto skip. [Wanted dead or alive] had strong "western" vibes and I understand it was on Red Dead Redemption so that makes total sense. After this - the album fades completely into soppy no energy love songs, pretty formulaic rock (although it might be fatigue from the album) and few memorable sections. By the end of the album I needed it to be over. Overall 1.5 probably - will likely round down to a 1. It's mostly songs I've heard too much or songs that do nothing for me. Fair play to the lead guitar however - definitely the biggest surprise from this album.

I owned this as a teen. I occasionally do go back to the hits, and his music reminds me of drinking in the park at the skatepark and the characters that I grew up with. At the time - I didn't notice it was a concept album. I was there for the hooks. --------- Brian's vocals are fantastic -creepy, furious and sneering. The production is raw, experimental and has a constant feeling of dread about it. This album is the definition of atmospheric - and that is one of dirt, grime and scum. Possibly as an album it's overlong, but definitely a keeper. So many deep cuts I'd recommend - from the haunting [Cryptorchid] to the pounding [Angel with the scabbed wings]. Listening as an adult: the concept lands. -------- Also - hilarious juxtaposition by the generator giving me this after Bon Jovi! Spicy.

Another band that I know of through the radio only, their music is a Radio Two mainstay. ------ Soft rock is not a genre that inspires me. Impressions of this album can be summed up in a few bullet points: - Guitar noodling with an overwrought reputation. - Basic rhythm section. - Spoken vocals a la Dylan mumble over breathy backing vocals. - Basic synths. - Whitewashed American blues (What Englishman says Gee-tar for fucks sake), badly. Apparently this was made for the mainstream - it shows. Hopefully their earlier album(s) that may pop up in here are more honest. This album asks very little of the listener. It's like it begs not to be noticed; to be left in the corner. I'll gladly provide that service.

Oh no. I hated this guy as a preteen and his stupid hats. There was something just off about him and his presence across radio and television. Wait a minute? His mum was in the black and white minstrel show? And his music, band name and fashion were all cultural appropriation. Guess it's genetic.... I feel wrong even giving this the time of day. ------------------- I didn't even realise that Jamiroquai were a band. That's how much JK (yuck) dominated their presence in media. The real standout for me in this album is the bassist - Stuart Zender. He's got a real funky style that stands out. The rest of the tracks musically blend into each-other. I've said on previous reviews that I don't have a reference point for Jazz and that reviewing it is very difficult due to lack of exposure. This however feels like it's a jam band playing 70's funk/soul with random instruments thrown in for fun. Can we just delete the vocal tracks? I'd possibly listen to this band without him. His faux American trying to be Stevie Wonder warbling just irritates me beyond belief. I can see why young me instantly and irrationally hated him. Turns out he was a nob all along. Best track [Music of the Mind] : because it's instrumental.

Is that WWE's Shaemus on the cover? The only thing I know about van Morrison is that they are big, yellow and green and carry food and fluids. -------------------------------------------------------------------------------- 1) *** Easy listening acoustic folk. I need to get on my horse and ride. Piano melody is lovely. Bendy guitar solo - sick. Wait, he's from Norn Iron? Why so American? 2) ** Bassline - lets go. Hey where did Buble come from? Oh I know this. Wedding music. Love the flute - who let Jethro* in the wedding ;). OBLIGATORY SAX SOLO. 3) * Breathy, soppy attempt at soul singing. Nah. There's infinite original soul artists that made songs like this. 4) **** Now we back in the wilderness. I'm glad the piano is back. I can get behind these more folky arrangements. The yellow Tellytubby must be his favourite. The rest is nice. 5) ** Please go back on the caravan. Meh. Nothing wrong with this. 6) ** More white boy soul. Dig the bongos! 7) ** YEEEEEEEEEEEEEEEEEEEEEEEEE HAAAAAAAAAAAWWWWW. Sax solo to save the track. I can't shake the feeling he's impersonating/rehashing the artists of his youth. Organ lifts it too. Bloody love an organ. 8. I forgot. 9. Was that a harpsichord? Actual 5* just for inclusion of the most whimsy instrument (bar maybe the hurdy hurdy). 10. * What came first, this or brown eyed girl? It slips into the same guitar lick and has the La's. Verdict: Easy listening, fine in the background. A couple of tracks I liked, several I couldn't care for and a couple I'd avoid. I really don't like his white boy soul tracks. The folky/piano driven numbers have a good energy for the most part and some fun instrumentals including flute, organ and possibly a harpsichord? Probably won't return. ** -------------- * I know Jethro Tull isn't a person. Don't worry.

After watching Harry Kane and his lions crash out the World Cup - this was a welcome album. Calm, folky, indie rock that evokes a warm British summertime. Brass band in the bandstand, playing in the river and getting sunburnt in the park. Nothing particularly stand out, but a nice variety of sounds. Gets a little long and drawn out as it goes on. This was super hyped back in the day, and I deliberately avoided it. Reminds me of the stuff my housemates at uni listened to in the mid 00s - Sufjan Stevens et al. 3*

I know stupid girl and I do not like it. -- Post Grunge, 90s electronica, ambient, simple rock and some interesting production clash to produce a quintessentially 90s soundscape. It even has the 'tude. Despite this it is generally an easy listen - but nothing stays with me. It lacks hooks and edges. Refined, over polished pop music with a grungy facade.

Crazy taxi. That's what comes to mind with the offspring. They were on the periphery of my teenage years: often in soundtracks to video games I played to death... ---- Post Ah man. I should like this. I was a 00s skater kid and now a grown mosher. Buuut it's so one note and insincere. It's pop punk without the appeal. I can imagine it being important as an angry teen, but I am old and cynical. They certainly nailed their sound early on that's for sure - the vocals are recognisably distinctive. For me it sounds like Ozzy sped up with a throat infection. Why does it sound like the drums were recorded through a door? At least the guitar/bass is competent. I don't think this is essential.

Conservative grifter and foghorn. Occasionally came on kerrang as a teen, but he wasn't anywhere near as big in the UK as he was in the states. Didn't like him then, but I still dabble in nu metal in 2026. ------ Ahhhh shiiit. I'm white trash I guess. Bawidaba slaps. The band/rock aspects are occasionally neat, with some catchy riffs. Frequently dipping into funk, blues and metal give the album a nice variety of sounds. The tracks where the band feature are definitely the stronger tracks of the album. The more sincere country tracks really don't appeal. Kid Rock's lyrics sound pretty juvenile from what I can make out. But his voice as an instrument fits the music style. The album is over-long however and some tracks (welcome 2 the party) are absolute trash. The country element doesn't appeal either. Overall it's quite disjointed and awkward but has a couple of catchy elements that begrudgingly I enjoy. I'm never going to put it on. (Well maybe track 1 when I'm driving alone)

I actually only know the name this time and the genre. They totally passed me by as a child. ---------- Energetic, punky britpop that reminds me of proto-arctic monkey's (although they are southerners). The first two tracks have a manic energy that I love. As we head into Alright I realise I know this song. A piano driven classic which got major radio playtime (and still does). There's also an underlying surf rock vibe to the guitar playing so far. From here the album becomes quite varied, for example the down tempo rock track [Time] feels like a lost track from the 70s with folky leanings and a bluesy beat. This is followed by the dreamy [Sofa] that evokes 60/70s psychedelia in it's soothing vocals and soaring guitar. Underlying all this experimentation is a raw, punk energy that gives them a unique sound. I am astounded these lads never really hit the heights they deserved. This is an unreal debut album.

5*. I love this album, ever since I was introduced to them by Jim at uni. Back then I was a metal only guy, and thought anything that wasn't heavy wasn't worth my time. The ignorance of youth I guess. We used to listen to this album late into the night, chilling on our salvaged sofa, drinking cheap spirits and eating budget frozen pizzas. Happy times. There's not much else I can add to the reviews here. Every track is an all time classic. Great gig in the sky is my favourite, with the session vocalist Clare Torry nailing an iconic vocal performance in 2.5 takes and £30. (Luckily she was compensated in court later on in life)

Wow. What a surprise. I wasn't expecting the music based on the cover. Experimental, rhythmic and dark. The vocals (spoken word?) are distinctive and add to the otherness of the album. It's starts with energy and descends into a contemplative trance state by the end. I found it hard to recall much of the back half - even after two listens. The first four tracks are pure fire though. 3*

Jeff's dad I'm assuming? ------- This was totally forgettable man with a guitar. His vocals are particularly grating, the medieval inspired sounds add some variation at least. The musical equivalent of being partially sedated and the ventilator alarms going off constantly. Knight errand is one of the worst songs I've heard yet.

I know of Nina through a few tracks we have on one of those supermarket special themed CDs and the odd feature in television adverts. I am aware of her impact and her distinctive voice. -------- The first track kinda passed me by, but then [Four Women] came on. Wow. Moody, atmospheric social commentary, that builds to a passionate crescendo. It tells a story of a people; a narrative that I imagine at the time wasn't being spoken of. Nina's vocal delivery builds in intensity with the music fantastically. A powerful song indeed. This is her own song, and you can tell. This is in stark contrast to several tracks that just feel like filler. Going from acute social commentary to a song like I love your loving ways is jarring. This makes sense as it is a leftovers album - but doesn't make it a coherent listen. For the most part it is that slow piano powered jazz/soul that fades into the background for me. Nina's got pipes no doubt, but I prefer her more high energy tracks I've heard. 2*

I have never consciously listened to Janis Joplin. Holy shit. What a voice. Turns out I was familiar with [A Piece Of My Heart] a display of her range and power. She's soulful, playful and furious in equal measures. It's easy to focus on the vocals but the band themselves can play. Emotive guitar [Ball and Chain] with periods of fuzzy heaviness and blues that epitomises the psych rock era. Fantastic rhythm section, most evident on [Oh Sweet Mary] - the drums in particular are dynamic throughout the album bringing fire when required. 4* almost 5.. Might change it as I'll definitely throw this on again.

I'm English - so my only interaction with country music is the occasional line dance. ----------------- I can't tell if this is good or bad for the genre - it sounds exactly like you'd expect. Rhyming baby-baby lyrics, slide guitar that sounds like it's drowning, basic as all hell rhythm section - at least Buck has a decent voice. If it was playing in the background on Fallout 3 I'd probably not complain, but in any other setting it just does nothing for me - well apart from [Streets of Loretto] - that told a cool story. Sorry Buck. 1.5/5 1*

Not a stones man - paint it black is about my experience of their work. ----- Country blues/rock and roll seems to be the vibe, and it's one that persists throughout the majority of the album, making it a bit one note. The vocals don't really suit the music at all. In fact there's a few occasions the backing vocals outshine whiny Mick. It's kind of ugly hearing him try to come across as a soulful All American and coming across as a poor mimic performing white boy blues. The drums are probably one of my favourite parts of the record. They are tastefully done. There's also some great piano parts that provide some nice depth of sound in an otherwise flat mix. Hopefully you like sax solos because they are everywhere. [Rolling dice] is a decent number, mainly because the powerful backing vocals, funky bass and piano chops. [Ventilator Blues] is also a rare occasion of where it comes together. Mick sounds angry, the music is gritty, the horns and piano add a good tension and atmosphere. This is pretty heavy compared to the rest of the album. The album otherwise feels very derivative and doesn't offer much of note. Go listen to real blues, the artists that made this music originally and saw a fraction of the success these imitators had.

I know the title track and that's about it... --- I was not expecting the comedown after the title track. Anthemic folk rock energy crashes into to eight tracks of competent acoustic folk. The only outlier is "Everybody loves me baby" which tries to recapture the title track with a swinging 60s rock number that is a welcome relief from the medium. "The Grave" is the pick of the other tracks, with some more interesting elements and a dark tone that I can get behind. The guitar playing is technically proficient, Don has an emotional voice but most of these tracks are not anything I'd return to. There's nothing wrong with it - another review used the word nice. That's the sum of it for me.

I Don't know this artist at all. Rap is something I really struggle with. I'm not fussed about lyrics generally, and rap delivery can be so flat that it kills the music for me. ------ Oh no. This does literally nothing for me at all. Lounge jazz instrument samples mixed with aggressive lyrics/themes that are littered with dated cultural attitudes. I'm going to give it the full album... ------- Verdict : I liked Pops track the best. It's the classic old guy giving life lessons with a nice jazzy accompaniment. "Who am I to judge one's perspective? / Though some of that shit y'all pop to it, I ain't relating / If I don't like it, I don't like it, that don't mean that I'm hating" 6th Sense sums it up.