Reviews by abrisskull

I hadn’t heard of the Jungle Brothers before. From what I gather, they were the first hip hop group to work with a house music producer, establishing the progressive rap sound that would be identified with the likes of De La Soul and A Tribe Called Quest. In fact, members of those groups showed up on the penultimate track of this album “Doin’ Our Own Thang” alongside a young Queen Latifah, since they all knew each other from high school.

The rest of Done by the Forces of Nature is a collection of funky hip hop tunes with solid production, eclectic sample choices and Afrocentric lyrics that are largely about having a good time but also meant to empower black people and spread that positivity to those marginalized.

I’d say my only complaint with this album is the runtime. Clocking in at just over an hour, it does run long enough where halfway through songs start to blend into one another with little distinction, save for one or two songs with samples I recognized.

Overall, I did have a fun time with Done by the Forces of Nature, and can appreciate how far intellectual rap has come from roots like this. In that regard, it is getting a solid recommendation.

I will not include the "North Star (Jewels)" bonus track in my review of Raekwon's debut solo album. That still leaves an album that is 69 minutes long, albeit one filled to the brim with excellent wordplay from Raekwon and his Wu-Tang Clan brother Ghostface Killah. The two have amazing chemistry throughout these tracks, trading bars about their rough upbringing in Staten Island. Along with them, other Wu-Tang members old and new hop in on a few tracks to good results, and even Nas as a non-affiliated guest dropped a dope verse on "Verbal Intercourse".

Aside from the long runtime, my only complaint is the album's dated feel. That sentiment includes the early Wu-Tang Clan production style courtesy of RZA, and some lyrical choices that haven't aged well such as Ghostface Killah's verse on "Verbal Intercourse" with the line "Flashbacks of the day room, mop wringer style/Your f----- ass got bashed trying to turn the dial". It's an unfortunate byproduct of what was considered acceptable language decades ago.

Still, I had fun with Only Built 4 Cuban Linx as my first exposure to anything related to the Wu. It's worth a listen.

I had the unfortunate introduction to Frank Ocean when he self-sabotaged his headlining performance at Coachella last year. Thankfully it wasn't streamed at home, but hearing about what happened made me feel bad for the people who paid to see and support him. I understand that the man is reclusive, and has a history of this behavior, but there was an opportunity to be there for his fans.

With that anecdote out of the way, I went into Frank's debut album channel ORANGE with an open mind. What I found was that I genuinely appreciated the sprawling, eclectic alternative R&B sound that he played with. The man was influenced by the likes of Stevie Wonder and Prince in his tenor delivery that can hit those falsettos, lyrics that deal with unrequited love in a rather descriptive and metaphorical manner, and the mixture of jazz, funk, and psychedelia in the instrumentation and production. Frank knows how to command a narrative and make the experience engaging, most notably in the 10-minute "Pyramids" with its extended metaphor of Cleopatra and the pyramids of Egypt to describe a pimp falling in love with a sex worker, over multiple movements that build into a sensual club beat ending with spacious guitar soloing from John Mayer. Frank also made the most of his guest features with Earl Sweatshirt's excellent bars on "Super Rich Kids", Tyler, the Creator's production and John Mayer's continued guitar noodling on "White", and André 3000's verse on "Pink Matter".

Yet as much as I enjoyed this album's sprawling nature, it goes on longer than it should. At the very least, I would have cut out the interludes in the first half since "White" is the only one that genuinely contributed to the overall tone.

That said, I'm glad to have tuned in to channel ORANGE and come to appreciate Frank Ocean, after that unfortunate first impression. Give this album a chance.

Like many people, I first heard of Kate Bush when her single "Running Up That Hill (A Deal With God)" saw a resurgence in popularity after being used in the soundtrack for the show Stranger Things. I genuinely enjoyed that track and was amazed to hear it on modern-day pop radio, what with its percussive gallop, the accompanying synthesizer made to sound like a cello, and Kate's profound lyrics about having man and woman "swap places" to understand one another better and bridge the gender divide. It was extraordinary to experience, and after listening to Hounds of Love, I can say that specialness extends to the rest of this album.

Starting on side one, Hounds of Love is front-loaded with the pop bangers Kate crafted and self-produced. Each of these tracks is accompanied by pounding drum beats, light synthesizer motifs, Kate's soprano vocal delivery that's as comforting as a pillow, and some commanding distinct elements. Whether it's Kate's crooning dog barks on the title track, the full band accompaniment on "The Big Sky", the somber piano and theremin on "Mother Stands for Comfort", or the string arrangement on "Cloudbusting", these songs offer a unique perspective into the eloquent soundscape created. If this album were just side one, it would have been a standout in my book. But, the addition of side two takes it to the next level.

Kate has spoken about how side two, The Ninth Wave, is comparable to a film, wherein the tracks tell a larger narrative about a person lost in the water and the arduous journey of getting back to land. Without giving the full story away, this is some of the most ambitious work I've heard in a pop record, as Kate took full command of this narrative in evoking her nightmares and invigorated spirit in the lyrical imagery. Accenting the story are various musical elements that help paint the scene, including the tense string accompaniment to signify the coldness of the water in "Under Ice", the vocal effects to represent the character's subconscious in "Waking the Witch", and the Irish folk swell of "Jig of Life" for the character's increased adrenaline. It is a narrative that captures the sense of one's survival in a turbulent situation and what goes on in their mind, executed rather beautifully.

Hounds of Love is an outstanding album, and I'm glad Kate Bush has seen renewed popularity in recent years. This record stands among the greatest of them all.

I know earlier in my journey, I praised Deep Purple's In Rock as setting the blueprint for the group's later output. Now we got the arguable best of those albums.

There's not much here I can say about Machine Head that hasn't already been talked about over the years. Every track is an absolute banger, including the deep cuts like the swaggerous "Maybe I'm a Leo" and Jon Lord's fuzzed-out Hammond organ introduction into the titan instrumental showcase "Lazy". Every one in the band shared the spotlight and exemplified their musical strengths, from Ian Gillan's high vocals from the get-go on "Highway Star" to the rapid-fire percussion of Ian Paice on closer "Space Truckin'" and of course Ritchie Blackmore's iconic riffs and soloing all throughout.

Deep Purple would continue as a group through various lineups and some excellent songs to be sure. But it can't be denied that Machine Head is their magnum opus, and absolutely earned its place on this list.

It was a matter of time before I checked out an album from Public Enemy. I have a soft spot for them, as they're one of the first and most prominent hip-hop groups to put the lyrical focus on racism and media scrutiny in America. I already enjoyed "Fight the Power" and "Welcome to the Terrordome" off this album Fear of a Black Planet. How does the rest stack up?

I can walk away with the acknowledgment that this is one of the definitive Public Enemy albums that can't be ignored, and that starts from the lyrics. Chuck D's flow is strong on this one, where the words coming out his mouth are at a rapid-fire pace on beat while still able to be clearly understood, which is important when getting his point across about the societal issues facing African Americans and the group's perceived image at the time. Though thankfully Chuck doesn't take all the spotlight, as Flavor Flav owns with his funky delivery on "911 is a Joke", and Big Daddy Kane and Ice Cube join them for "Burn Hollywood Burn" who brought a lot of lyrical fire to the table.

As for the background sounds accompanying these words, The Bomb Squad employed a variety of samples over a drum machine to give each track its distinct and danceable composition. Whether it's the "Get down" refrain from Kool & the Gang's "Jungle Boogie" on "Welcome to the Terrordome", or the refresh given to Edwin Starr's "War" on the spiritual sequel "War at 33 1/3", this is an eclectic mix of funk and audio samples to make each song feel unique.

However, the amount of sampling they got away with is a double-edged sword. For as much as these audio excerpts getting recontextualized can make a song unique, there are instances where it can be too much that it becomes distracting. From the broken-down ending of "Power to the People" to the instrumental "Leave This Off Your Fu*kin Charts" leading into the chopped vocals of "B Side Wins Again" and the radio archive interlude "Incident at 66.6 FM", it can be sensory overload at times. Not helping matters is that this album goes for over an hour, and its length can be felt in places.

Still, I had a good time with Fear of a Black Planet despite how crazy its sound got for its time. It is worth a listen.

This is the second album from PJ Harvey I got on my journey, after listening to Rid of Me last month. Since each album in her discography has its unique musical identity, I will judge this album on its merit rather than in comparison to her followup.

In the case of her debut album, Dry is a blues-adjacent alternative rock affair with pummeling drum beats and clean production courtesy of Rob Ellis. The song compositions are straight and hit between the eyes, with the fury of a young and hungry PJ who put everything on the table from the get-go in her songwriting. There is some genuine transgressive angst in her delivery as she belts out her words that tackle relationship norms of the time, coupled with excellent work on the guitar and violin.

I'm not quite over the moon yet for this album, as not every song is memorable except those with good hooks like "Dress" and "Victory". But there's no denying that PJ Harvey put an insane amount of effort into her debut and it showed in spades. Give it a listen.

All right, this is the last album from The White Stripes and Jack White, in general, on my journey. I have heard "Blue Orchid" on the Guitar Hero 5 soundtrack and still consider it a bop. How does the rest of Get Behind Me Satan stack up?

Well, it's rather interesting in contrast to the opening track because this album is a largely piano-driven affair. Songs like "My Doorbell", "The Denial Twist", and "White Moon" were written around simple but effective piano lines from Jack alongside Meg's pounding beats, leaning more into their blues-rock roots. In that regard, this album has a more nostalgic feel than previous efforts, and I respect that.

There are still a few deviations that led to an uneven experience. Some are fun like the raucous buzzing guitar riffs of "Instinct Blues" and "Red Rain", or the folk adjacent adventures of "Little Ghost" and "As Ugly As I Seem". The one off-putting track for me just happened to be the second track "The Nurse" with its use of marimbas in the hook and spare off-kilter bursting guitar and drumwork.

Overall, I had a good time with Get Behind Me Satan. One thing I can take away from this journey is that Jack White is consistent in his work, and much like his other works here, this album is getting a solid recommendation from me.

Well, this is a long time coming. Of the "greatest rappers" out there, I hadn't listened to Nas until now. I've heard of him before as an East Coast rapper, and the reputation of his debut album Illmatic eclipses the rest of his discography. I just never sought it out until this journey, and after listening I can see the hype.

What Nas accomplished early on with his lyrical flow and storytelling on this record established the standard to which we hold rappers today. He employed a lot of intricate wordplay and rhyming schemes that utilized some vivid imagery to paint his upbringing in the streets of New York, where drugs and violence were rampant at the time, as well as his understanding of hip hop's history to push the narrative forward. I can point to lines from the get-go "Musician, inflictin' composition of pain/I'm like Scarface sniffin' cocaine/Holdin' an M16, see, with the pen I'm extreme" ("N.Y. State of Mind") or "King poetic, too much flavor, I'm major/Atlanta ain't Brave-r, I pull a number like a pager/‘Cause I'mma ace when I face the bass/40-side is the place that is givin' me grace" ("Halftime") and recognize the degree to which Nas articulates in a manner that I can follow along as if we're in a conversation while still trying to up his own game.

The various people involved in the production, such as Pete Rock, DJ Premier, Large Professor, and Q-Tip, helped accentuate Nas's lyrics. They each brought an eclectic mix of samples and thumping beats to keep pace and bring out the vibes with elements from jazz, funk, and soul. Some personal highlights include the Hammond organ prominent throughout "Memory Lane (Sittin' in da Park)", the swirling mix of horns on "It Ain't Hard to Tell", and the eerie electric piano sample for "Represent".

That said, as much as I recognize this is a landmark album in hip-hop music, I still found the album dated in some of the language Nas used. There are lines such as "I'm out for dead presidents to represent me" ("The World is Yours") and "Versatile, my style switches like a f-----" ("Halftime") which were probably notable for the time but haven't aged well as the years went on. Especially where I can see how Illmatic influenced later albums that I've already listened to on this journey such as Kendrick Lamar's good kid, m.A.A.d city, and Common's Be which have a more refined sense of wordplay and more polished production.

I respect Illmatic for what it brought to the rap game. This is one of those albums that walked for others to run, while still being enjoyable. As such, I can recommend it to those curious about what came before.

It's weird—I got Electric Warrior ten days ago, and now I have the following album from T. Rex. After listening to it, I can comfortably say that The Slider treads the same ground as Electric Warrior.

It's pretty evident in the overall sound and compositional style that Marc Bolan found a formula that worked and stuck with it. For sure, there are some bonafide rockers like "Metal Guru" and "Buick MacKane" alongside a few genuinely good ballads like "Ballrooms of Mars" and "Mystic Lady". But there ain't much here that is innovative in relation to the previous album.

If you enjoyed Electric Warrior or glam rock in general then you'll enjoy The Slider. That is about as reasonable of a recommendation as I can make.

I've heard of Dr. John as a New Orleans R&B singer, songwriter, and artist. He grew up listening to jazz musicians like Louis Armstrong and King Oliver while also taking an interest in the practice of voodoo hence the stage name and concept around his debut album Gris-Gris.

I will say this is an album I respect more than I like. I appreciate the boldness of mixing the swampy R&B grooves with psychedelia to create a distinct sound and Dr. John knew how to write and sell his gimmick. There are even a few songs in the middle such as "Mama Roux" and "Danse Fambeaux" that are genuine bops in their swagger. But, I can't deny the hurdle with settling into this album's oddball groove, as the first two tracks "Gris-Gris Gumbo Ya Ya" and "Danse Kalinda Ba Doom" come off as more concerned about the outlandish presentation than the execution. Thankfully, this album does not overstay its welcome at 33 minutes, and the session musicians played well enough to make the voodoo pastiche palatable.

Gris-Gris was certainly an experience, and I could see why it made the list because there ain't much else sounding like it. I'd give it a listen once through and cherry-pick your favorites.

For this review, I will not factor in the second disc of remixes with the 20th-anniversary edition.

I have heard of The Avalanches before as an electronic group. I remember listening to their third album, We Will Always Love You, and liking that release. However, it was only today that I learned the subgenre they belong to, called "plunderphonics". The compositions are entirely composed of samples merged and twisted together, such that fragments barely resemble the original piece and create a new whole. It's a similar type of song construction that DJ Shadow implemented for Entroducing, which was my second album on this journey. In that sense, I enjoyed The Avalanches' debut album, Since I Love You, as much as I did Endtroducing.

Drawing back to that subgenre definition, I enjoyed how the samples were used to create these new danceable sounds and atmospheres, and how the tracks interweave from one into the next. Some personal highlights include the string samples and youthful vocal snippets on the opening title track, the swaying beats, wind instruments, and electronic loops that move to a 3/4 time signature in "Two Hearts in 3/4 Time", the drums from Vaughan Mason and Crew's "Bounce, Rock, Skate, Roll" paired with the filtered female soprano vocals and synthesizers on "Electricity", and the horns and driving percussion paired with the twisted sample of a comedy sketch on "Frontier Psychiatrist".

However, as much as I enjoyed the creativity on display and the interconnected nature of the songs, the album does drag in places, particularly between "Flight Tonight" and "Electricity," where the disco styling can feel one-note in its direction. The songs in this lull may not be bad, but they are not as ambitious as those I previously highlighted.

Still, I recognize why Since I Left You is a pioneering album in its niche. In that regard, it comes with a solid recommendation.

Update 5/13/2025: I decided to revisit Since I Left You upon nearing 300 albums into my journey, and I realized what didn't work for me with this record. It's the overall length of the album that I feel is a problem, running at a little over an hour. Contrary to the perceived lull in my initial review, there isn't a bad track on this album per se, and I do appreciate how each track in its intriguing sample manipulation neatly flows into one another. But after a while, it does start to drag a bit from my perspective.

Again, I still enjoyed this album despite the length. It is a pioneering album for plunderphonics, one that certainly demands attention from the listener but is rewarding for all the little details and nuances that can be picked up in the construction.

Ahh, yes, the one album we got from Derek & the Dominos. This was the short-lived blues-rock side project of Eric Clapton and the people he played with in the ensemble version of Delaney & Bonnie. Of course, most people knew this group for Clapton alone after his time spent in Cream and Blind Faith, and based on the marketing and title of this album those same people largely knew the one song "Layla."

To be fair, "Layla" is an iconic song. Its straightforward rocker movement segues into the lamenting piano-driven second movement, with Clapton's lyrics of unrequited love aimed toward George Harrison's then-wife, Patty Boyd, even if it was later found that he just wanted her because he wanted what George had. As for the rest of the album marketed as the "Other Assorted Love Songs", it's a pretty decent blues-rock affair, with a mix of original songs that continue the narrative of Clapton's profession of love towards Patty alongside covers of various blues standards. The group played well throughout, as each song works on its merits except for the cover of "Little Wing" which can't quite hold a candle to the serene nature of the original Hendrix version.

My main problem with the album is that it is too long for its sake, clocking in at over 76 minutes. When I got to "Layla" on my listen, I was like "FINALLY!" because I knew the end was near. At that point, I didn't care about Bobby Whitlock's solo piece "Thorn Tree in the Garden" because the album was practically over for me. Suffice it to say that some songs should have been cut from the final product.

Layla and Other Assorted Love Songs proved to be a decent album for me, even if it was largely known for the song and that Eric Clapton was a bit of an asshole back then. It is certainly worth a listen.

Given that I've already received an album from The Notorious B.I.G. on this journey, it only stands to reason that I should also receive one from 2Pac. Two sides of the same coin - up-and-coming gangsta rappers taken far too soon. The only question would be which album represented Tupac Shakur on this list. Given the enduring popularity of All Eyez on Me's title track, "How Do U Want It" and "California Love", I figured that album would have been here. Instead, we get the arguably next best one.

Me Against the World was released while Tupac was incarcerated for various assaults he was involved in. There is no denying the man was far from a saint. Rather than ignoring his troubles, Tupac faced them head-on in this album. From opening on his contemplation of death to street violence in "If I Die 2Nite" and the title track, to the struggle with his inner demons on "So Many Tears", to the sensitivity and appreciation towards his mother on "Dear Mama", 2Pac tries to reconcile with himself given his rough upbringing and the injustice he bore witness at the time not just for himself but for other black Americans growing up in a gang-influenced world. In that sense, your mileage with this album will depend on how much you are willing to accept his self-reconciliation. I can accept it, acknowledging the man's flaws without being quick to dismiss him.

Helping to get the messaging along is 2Pac's impeccable flow alongside the smooth production, eclectic samples, and guest appearances. The only time the music felt weak was on the flat hook of the closer "Outlaw". Otherwise, the rest of the album carried the G-funk styling of the mid-90s. Certainly a product of its time, but still well-produced in that regard.

Overall, I had a reasonably good time with Me Against the World, and as such give it a solid recommendation.

I hadn't heard of Robert Wyatt before this year. He started as the drummer and singer for the bands Soft Machine and Matching Mole before he broke his spine from an accidental fall. That drastic event led to him embarking on a solo career for the next 40 years, a decision that I absolutely respect him for. As for how much I like his music, that's hard to discern because Shleep being my first album to listen to from him doesn't exactly enthrall me.

Shleep is a progressive, experimental, art rock affair in that the compositions are mostly improvisational, there's an influence of jazz rock and psychedelia, and the lyrics are abstract. Needless to say, this is a challenging listen. The second track "Duchess" might as well be a litmus test for the listener's enjoyment. I didn't hate this album for what it is, and there are some excellent songs towards the end such as "A Sunday in Madrid" and "Blues in Bob Minor" where there were melodic hooks, driving beats and guitar flourishes to provide some distinctiveness. But aside from those tracks and the neat guitar solo on "Alien", the rest of the album tended to go in one ear and out the other for me.

Again, I don't think Shleep is a bad album, and I'm sure someone more into art rock will find pathos in it. As for me, Robert Wyatt seems like a gentleman I respect, even if I can't connect well with his music.

I've listened to R.E.M. before as an influential band on the alternative rock scene. I've heard the singles off this album, Document, and I consider them to be the highlights. The rest of the album is good, but I'm not quite over the moon about it as I would have liked.

On a technical level, everyone in the band played well. In particular, Bill Berry's kept a driving rhythm on percussion, Pete Buck's guitar hooks were catchy, and Michael Stipe's off-kilter baritone vocals were complemented at times by the harmonized background vocals on songs like "It's the End of the World As We Know It (I Feel Fine)."

My hang-up with this album comes from the lyrical content. I can tell from songs like "Exhuming McCarthy" and "Welcome to the Occupation" that the band tried to provide political commentary concerning the Reagan administration at the time. The problem is the imagery of the words is just opaque enough that the messaging doesn't work effectively. There might have been an attempt at balancing out the silly and serious tones with these songs, and as a result, it only felt serious to me with "Finest Worksong" and "The One I Love".

I still enjoyed Document even if the songs didn't coalesce into a more meaningful impact. Regardless, the band still played well on this album, and as such it gets a solid recommendation from me.

Full disclosure - I've already listened to Radiohead's entire discography before this journey. When I checked the list of Albums to Listen to Before You Die, I was not surprised that over half of their albums were included across all editions, starting with their second album.

Building on the success of Pablo Honey, the band further collaborated and refined their alternative rock sound with a greater emphasis on songwriting. The result of those sessions was The Bends, an amazing album.

The Bends eases in from the get-go with "Planet Telex" with the whoosh of the processed drum loop into the layered guitars, accented percussion, and Thom Yorke's expressive delivery. That sense of vivid experimentation carries throughout the rest of The Bends, where Ed O'Brien's various effects compliment Jonny Greenwood's lead guitarwork, and the rhythm section of Colin Greenwood and Philip Selway provide the necessary grounding and driving force. All the while, the words coming out of Thom's mouth tend to use striking imagery to illicit certain emotions, whether it's the dread of plastic products and what consumerism does to people on "Fake Plastic Trees", the angst of the remarks at someone else while doubting oneself on "Just", or the quiet worry of being left behind on "High and Dry." It may not be the most profound songwriting out there but it gets the job done and carries the mood through to the solemn closer that is "Street Spirit (Fade Out)".

I genuinely enjoyed The Bends front to back and highly recommend it. I know that Radiohead will continue to experiment with OK Computer onward, but this album is where the band found their sound.

I've listened to T. Rex before as a pioneering group for glam rock, punk, post-punk, and alternative rock. In fact, "Bang a Gong (Get It On)" from this album Electric Warrior is one of a few songs that still gets radio airplay. My enjoyment of the album as a whole is about the same as my enjoyment of that track.

There's no denying that Marc Bolan was a fun guitarist, whose riffs were simple yet effective. I can point to the likes of "Bang a Gong (Get It On)", "Jeepster", and "Rip Off" as rocking tunes that were well-played. Not only that but the rest of the album varies in composition, including ballads such as "Cosmic Dancer" and "Girl", and slow-burners such as "Planet Queen" and "Monolith". The rest of the band complemented Marc's guitar playing, particularly Bill Legend's pulsating drums.

Yet for as much as I enjoyed the album, I can't help but shake the feeling that there are some drawbacks to the overall experience. As much as I can compliment Marc as a guitarist, his softer singing amidst the louder instrumentation does not sit well in the mix. Not helping matters is the general slow to mid-tempo rhythm of these songs, making the experience feel longer than it is save for the rocking tunes mentioned above.

Still, I enjoyed Electric Warrior for what it is as a blueprint for the glam rock movement and other such subgenres to come. It has its place on this list while still being fun in its own right.

I remember first listening to What's Going On three years ago for the album's 40th anniversary. I can tell you from my experience then and now is that this album, even if it came from a time long before I was born, still resonates.

There were protest songs here and there before Marvin Gaye and the Funk Brothers wrote and recorded in 1971 - you had the likes of Creedence Clearwater Revival's "Fortunate Son", Buffalo Springfield "For What It's Worth", and the various acts of the Woodstock festival that protested the Vietnam war. What's Going On was also written as music in protest of that war, with the narrator as a veteran coming home to find is country in turmoil. But much like those great protest songs that have long endured, the language that Marvin and his songwriter collaborators conveyed are more universal and can be applied far beyond their time. Whether it is the pause and reflection of their surroundings on the title track, the despair at the destruction of the environment on "Mercy Mercy Me (The Ecology)", or the plead for compassion during hard times on "Right On", the narrator encourages people to be aware of the issues that are impacting the world they live in.

Helping the message get across is Marvin's smooth vocal delivery that gets the word out in a manner that never felt overbearing. Pairing him with the Motown soul instrumentation that has aged like a fine wine resulted in an experience that feels timeless yet poignant.

All this to say What's Going On deserves its place on this list, and I for one am glad to have revisited it. This album can be comforting during trying times, and I hope people continue to learn and spark conversation to better themselves and the people around them as music like this can inspire to.

I hadn't heard of The Divine Comedy before. From what I can gather, they are a chamber pop group from Northern Ireland, whose sole constant member is frontman Neil Hannon.

What I will say about A Short Album About Love is that I can accept it for what it is—a farce. Think about it—Neil was able to pen seven songs with various jokes themed around the pursuit of love, with Joby Talbot's orchestral compositions ebbing and flowing in the background. I couldn't help but laugh at some of these lines like addressing the obliviousness of the partner on "Everybody Knows (Except You)" with "I told all of my friends again and again and again/I drove them 'round the bend, so now you're my only friend", or how one of the various allusions the narrator could make to show their affection on "If..." was "If you were a horse/
I'd clean the crap out of your stable/And never once complain." He's taking the piss and I can accept that as the intent.

I wouldn't say this album is all that mind-blowing in its execution, given how prevalent comedy music acts have become since. Plus, I can accept that humor like music is subjective, and not every line will land well. Regardless, I had fun with this album, and it is indeed short as it does not overstay its welcome past half an hour. Give it a shot.