Reviews by archiax-joe

A noticeable step up from the chaotic arrangements of To Pimp a Butterfly and the grittiness of Cuban Linx, Method Man’s debut succeeds on the back of sharp, clever wordplay and clear, intentional rhyme schemes. Producer RZA delivers a dark, atmospheric, and cohesive sonic backdrop that gives the record a distinct identity without devolving into noise. While the heavy focus on drug-centric lyricism prevents it from becoming a personal favorite, the technical precision and confident vocal delivery make Tical a solid, well-constructed hip-hop project.

Rating: 3 / 5 Stars
Re-listen: No.
Recommendation: Yes (over TPAB for anyone seeking structured lyricism)

To be fair, I do like some of the musical infusions on some tracks. But the basic lyrics, lazy rhyming, and the insane amount of profanity threw me away from liking this album. Not my kind of thing.

Favorite Song: King Kunta

Tutti Frutti – Alright! We're starting off dancing on our feet. Amazing vocals—his falsetto howl is a gold standard. Very clean, very pleasant. (Now I know where James Brown, MJ, and Prince got that from!) And let's not even mention the saxophone solo by Lee Allen—it is a chef's kiss. This is how an opening track should be. Amazing opener.

True, Fine Mama – Nice driving, boogie-woogie piano playing at the start. Very impressive vocals here. Not crazy about the backing vocal harmonies, though.

Can't Believe You Wanna Leave – We go slower this time. Still great vocals, but it gets a bit too loud/hot in the mix, especially on his high notes. Great horn solo.

Ready Teddy – What can I say? High-quality vocal performance here.

Baby – Nothing more to say here. Just listen to it.

Slippin' and Slidin' – Very danceable track here. We can hear that signature vocal cue / percussive shout ("AWW!") right before the solos.

Long Tall Sally – Similar sounding to the previous track, but it's not a problem—his performance here still has that same raw energy and driving groove.

Miss Ann – The vocal runs (melismas) here are strong, but the melody still sounds a bit repetitive.

Oh Why? – Not as similar sounding as the previous tracks. A nice change of pace. Great job.

Rip It Up – Similar in structure to Tutti Frutti. Still very danceable.

Jenny, Jenny – His most playful and theatrical vocal performance here. However, the vocals are mixed too loud on this track, and the instruments get drowned out a bit.

She's Got It – Still very similar melodically, just at a higher tempo.

OVERALL THOUGHTS

This is the oldest album in this project so far. I thought I would hate it, but it's the exact opposite—I'm actually very impressed.

Let's start with the strong points: it's obviously Little Richard's vocal performance. The soul, the vocal runs, the falsettos, and the gospel-style ad-libs are incredible. He's up there with the best, and he is clearly the blueprint for why James Brown, Michael Jackson, and Prince sing the way they do. It's thanks to this guy right here.

Now for the things I didn't care for as much: melodically, the tracks are fairly repetitive and predictable. But that's okay—it's still very enjoyable to hear.

Based on vocals alone, I'd give it a 5. But as an overall complete album, I'll give it a 4. It's just not something I'll constantly replay. I had fun listening to it, but it's not the style of music I listen to on a regular basis.

Favorite Song: Tutti Frutti

Will I listen to this album again? I don't think so.

Will I recommend this album? Yes. If somebody ask me for a classic music I'll recommend this album.

COMMENTARY:

Alsatian Cousin – All right, we're starting out strong here. Love the guitar riffs and the distortion on this track. Not bad!

Little Man, What Now? – The drums in the background can go. A bit underwhelming coming off Track 1, but it's okay.

Everyday Is Like Sunday – Nice beats, but a very mid song.

Bengali in Platforms – Same as the previous track: nice instrumentation, but everything else is boring.

Angel, Angel, Down We Go Together – Nice, very dramatic instrumentation here. But the vocals are lacking.

Last Night, Maudlin Street – Puts me to sleep. Sorry about that!

Suedehead – Okay, we're picking up! It's a great, danceable track, but his vocal delivery is just so dull and low-energy. What a waste of what could've been a "let's get up and dance" song.

Break Up the Family – Nice vibe and nice sound, but the vocals are just not doing it. It needs way more energy.

Treat Me Like a Human Being – Still the same great instrumentation, but the vocals are a letdown—void of any emotion. I'm sorry.

I Don't Mind If You Forget Me – Best instrumentation so far! The vocal delivery improves a bit here, but it's still lacking. Give me more punch, more dynamics! Just have fun, man, c'mon!

Dial-a-Cliché – Same as the previous tracks. So monotonous.

Margaret on the Guillotine – Nice guitars, but the vocal delivery still leaves a lot to be desired. Wait, this is the closing? What? This doesn't feel like a closing track at all. Gosh.

FINAL THOUGHTS

I've already listened to 30 albums for this project, and I feel like this is the most disappointed I've been by an album yet. This could have been an easy 5-star record! The sound was absolutely gorgeous, the instrumentation was impressive, and there's no problem with the mixing here. But my god, the vocal delivery was as dull as it could possibly be, and that completely killed the songs. I actually love the songs—if another artist covered them, I'd probably appreciate them so much more.

I'm not asking for the singer to perform like Prince or Freddie Mercury, but I need energy! I need dynamics!

So, in terms of the sound? 5 stars. Vocals? 2 stars. Overall, I'm giving this a disappointed 4 stars.

Rating: 4 stars

Favorite Song: Suedehead (I'm going to search for covers of these songs to see if I like those versions better)

Will I listen to this album again? I'll give it another chance down the line. The songs are nice, but no promises.

Will I recommend this album? Yes—maybe other people will enjoy his voice more than I did.

This is my second Bob Dylan album on this list—the first was Blood on the Tracks, which earned a perfect 5 stars from me. It was such a great record. Now we're listening to Highway 61 Revisited, an album made earlier in his career. Will it top Blood on the Tracks? Let's find out!

TRACK-BY-TRACK COMMENTARY:

Like a Rolling Stone – Great opening track. What a concept—a "riches to rags" story? Sign me up.

Tombstone Blues – The energy picks up here. Very sharp, vivid lyrics. It’s not as singable as the opener and loaded with information, so it requires a few re-listens. I’m not complaining, but some listeners might get bogged down by all the exposition.

It Takes a Lot to Laugh, It Takes a Train to Cry – Very long title—he could’ve shortened it, just sayin'. Things slow down here. I adored the harmonica solo, especially toward the end.

From a Buick 6 – Lots of hidden symbolism packed in here. Another track that definitely needs a re-listen.

Ballad of a Thin Man – Difficult to digest on a first listen without knowing the context. I’ll definitely have to look up the interpretations for this one. A sword swallower? What?

Queen Jane Approximately – Dull and repetitive. I don't care for this one, I'm sorry.

Highway 61 Revisited – A much more interesting song than the last few tracks. A welcome change of pace.

Just Like Tom Thumb's Blues – A nice, laid-back groove after the faster tracks. It feels like a weary road trip journal—sluggish, blue, and atmospheric.

Desolation Row – This is a good one. Great storytelling without being overly cryptic. A stellar closer.

FINAL THOUGHTS

Dylan, I love you, but this record was definitely difficult. For an initial listen, the album felt like a bit of a drag compared to The Freewheelin' Bob Dylan and Blood on the Tracks, which I fell in love with right away. These songs are dense and complex, both melodically and lyrically, with heavy symbolism to unpack. Still, I can't deny how impressive the genius of his storytelling, wordplay, and vision are here. Even if I don't enjoy it quite as much as Blood on the Tracks, it's a phenomenal work of art.

Favorite Song: Like a Rolling Stone (The most singable track on the album)

Will I listen to this album again? It’s a requirement for me.

Will I recommend this album? Yes, but with a caveat: the lyrics are extremely dense.

First time listening to an electronic album—let's see what we can find.

"Magical Dream" — Vocals were pretty bad on this one. Is it just me, or are they completely off-beat? Pretty rough start to the album.

"Ancodia" — Nice transition right out of the opening track. Night and day compared to the mess on track one—the fast, computer-generated beats and repeating keyboard patterns bring way better energy.

"Cobra Bora" — All right, now we're picking up. Oh, that change in the middle was awesome! It almost sounds like a chopped-up intro to Michael Jackson’s "Bad." That was genuinely fun.

"Pacific 202" — Great job. Not as explosive as the previous track, but the smooth, floating background sounds and hypnotic beat make it my favorite so far.

"Donkey Doctor" — All right, I'm really enjoying this one. Welcome to Techno City! Loving the heavy, thumping low end and crisp machine drum rhythm here.

"808080808" — Really interesting use of that deep, punching bass drum sound! The whole rhythm pattern carries serious energy.

"Sunrise" — Not as great as the previous two tracks. It gets way too repetitive, and there aren't enough big changes happening to keep it interesting.

"The Fat Shadow" — Nope, not a good way to end the album. Easily their worst track here—just feels like a cluttered, noisy mess at the end.

Nothing much to say about this overall—it’s totally new territory for me. Coming off the masterpiece that was Pacific Ocean Blue by Dennis Wilson yesterday, this was a bit of a disappointment. But I'm not complaining since it's randomly generated, and I did enjoy a few solid tracks!

First-Listen Verdict
There are some good tracks here, but this particular album isn't going to make me start listening to a ton of electronic music. Still, I'm hopeful that there are better electronic albums out there to discover!

Rating: I'll give it 3 stars. ⭐⭐⭐

Favorite Songs: "808080808" and "Pacific 202"

Will I listen to the album again? No, not as a whole album. But a couple of those tracks definitely earned a save in my library just in case I'm building a playlist for party jams.

Will I recommend this album? Yes. If someone asks me for an electronic album recommendation, I’d still suggest this one.

Not familiar with the singer, so this is my first time listening to the album. Here’s my live commentary:

River Song — Starts the album with a bang. I like it. The vocal production is just marvelous with those huge background choir vocals. Great opening!

What's Wrong — I dig this. Love the use of instruments here—you’ve got this bouncy piano, deep harmonica, and punchy horns playing together. Very nostalgic.

Moonshine — Started a bit rough but got interesting in the middle to the end. I like the repeated "Gone, Gone away"—very good outro with those moody synth waves underneath.

Friday Night — All right, loving the long intro—very eerie with that heavy, chugging guitar and bass drive. Love his vocals here. Great job. Wish it could be longer though. This feels like an interlude of some sort, it's too short.

Dreamer — Great starting, love the sound effects. But it got really interesting when that funky keyboard and deep saxophone come in. Ohh... it changed pace in the bridge, that was a surprise! Yes, love that brass section part.

Thoughts of You — Love the simplicity here on the first half with just the quiet piano. Loving the transitions on the second part, but it gets so loud when the big strings and drums swell, and then it returns to the basic piano on the third part. This one deserves to be longer. I want more.

Time — We're getting the same moody, eerie vibe here. Oh! Another surprise change here with those jazzy horns kicking in!

You and I — Love it. Love the subtle percussion, light acoustic guitar, and soft bass. Just chill all throughout. My favorite track so far.

Pacific Ocean Blue — I'm enjoying this. The background vocals were just heavenly over that steady beat and floating synth sound.

Farewell My Friend — Another short track. Why? I want it longer. Where are the extended outros when you need one? (Though that warm organ sound in the back is gorgeous).

Rainbows — Great song, but not as impactful as the previous one. Love that faint country-style folk picking on the stringed instruments in the background.

End of the Show — Another short song? Why? This is the ending track. Should have been an explosive closing, but this feels like a letdown for an ending.

Not gonna review the other additional tracks. This right here is enough. I'm sure the bonus tracks are great.

First-Listen Verdict:

Oh, I'm speechless after having to experience all that. This deserves a couple of re-listens. Just so many things happening in a song. Man, the transitions were so unexpected!

Despite the many short tracks (why does he have to be such a tease?), this clearly is a 5-star album on first listen. What a great bunch of carefully crafted songs!

Favorite Song: It's hard to choose. I don't want to think about it. So I'm choosing the simplest song on the album, and that's saying something: "You and I."

Will I listen to the album again? Definitely! I'm excited to discover details that I've missed.

Will I recommend this album? Undoubtedly, yes.

As somebody who doesn't normally listen to full albums, you're probably wondering why I decided to take on this project in the first place. Albums like this right here are the exact reason. I would have never stumbled upon this gem without doing this project.

Here are my thoughts after my very first listen (though it might change on repeat listens):

World In My Eyes: A great starting track and a complete breath of fresh air compared to all the dull opening tracks I’ve heard on the previously generated albums.

Sweetest Perfection: What a ride! I found myself singing along even though it was my first time hearing it. The unexpected shift in instrumentation in the later part of the song was incredible.

Personal Jesus: An intriguing title. It has an explosive start, though it kind of dragged near the end (we get it, stop repeating "reach out and touch faith"!). Still, I definitely liked it.

Halo: A standout track. Definitely single-worthy.

Waiting for the Night: The vocals felt a bit too buried in the mix here—it would be perfect if the instrumentals weren't so overpowering. However, the ending section was the best part; it could have gone on for a few more minutes and I wouldn't have complained.

Enjoy the Silence: The most popular track on the album based on the number of listens, but honestly way too overrated in my opinion—the previous tracks were better. Unlike the track before it, this one goes on for way too long, and the extended ending felt unnecessary.

Policy of Truth: A great, danceable track. I'm hoping this was a huge hit when it came out!

Blue Dress: Not as exciting as the earlier tracks, but still top-notch. What is with all the extra instrumental minutes tagged onto the end, though? I probably would have cut the ending off.

Clean: Oh my! Another long instrumental finish, but this track easily had the best ending out of the bunch.

Would I listen to this album again? Definitely. This is the first time in this whole project where I've been this excited to listen to an album again.

Would I recommend this album? Of course. Every single track here is top-notch. Just be warned that a few songs drag out their endings a bit too long, but you absolutely need to give this a try.

This album is the easiest 5 stars I've given so far. That's it. Period.

Just like the previous albums generated, I had never heard of this band or this album before going in. So this was a total blind listen for me.

The first track, "Blister in the Sun," was actually a total bore to me, and I was pretty surprised to learn it’s the most popular song on the record. It felt like a bad start, but things finally picked up by the third track, "Please Do Not Go." That one was fun, energetic, and playful, and it is definitely my favorite song on the album.

What really kept me from hitting the stop button was the lead singer. He’s definitely not the greatest vocalist, but he is just fun to listen to. He isn't monotonous like so many other folk singers I've heard—he treats every single track differently and brings a lot of personality to the song.

Would I listen to the album again? Probably not. I have a lot of other artists in my library, and I’m honestly not sure what kind of mood I’d ever need to be in to put this on again.

Would I recommend this album? Yes. If you're into indie, folk, or punk music, I think you'll like it.

All in all, it’s a pretty great album and an enjoyable ride. The lead singer was an absolute blast to listen to—fun, expressive, and captivating from track to track. I’m giving it 4 out of 5 stars because while I really appreciated the experience, it’s just not something I see myself returning to on repeat.

I tried it listening to it twice. It's uninteresting. First track sounds like a bad Dylan cover.

Honestly, I really didn't know what to expect from this album. I had never heard of the artist or this record before, and this is a completely different kind of music than what I normally listen to. It wasn't totally bad at all—it was surprisingly interesting. I actually enjoyed the Irish folk-punk style, and I even caught myself dancing along at first.

The lyrics are actually brilliant, and I think for me that is the absolute best part of the record. The downside is that as much as the songs are fun, listening to the album straight through gets pretty tiring. There isn't much variety when it comes to the melody and instrumentation, so by halfway through the album it becomes predictable. It doesn't help that the runtime feels longer than normal—it starts to feel like one hour-long song that you just want to finish when you're only halfway through. And in addition to that the singer sounds like a drunk; tolerable at first, but gets annoying as it goes on. All in all, it feels like a marathon runner running out of breath before even reaching the halfway mark.

This would be amazing music for a room full of people getting slammed drunk, dancing together, having fun, and clapping their hands in the air. But if you're listening to it alone, it's probably better not to take it all at once, but rather in a few smaller doses.

Would I listen to the album again? Yes, definitely. I would probably play a couple of tracks at a time rather than sitting through the whole thing in one session.

Would I recommend this album? Of course. I think it's a great, fun album that everyone can enjoy once in a while.

So despite its shortcomings, it's still an incredible work of art! 5 out of 5 stars.

Favorite Songs:
The Old Main Drag
Dirty Old Town
Jesse James
The Band Played Waltzing Matilda

Jimi Hendrix - Electric Ladyland

This is my second randomly generated Jimi Hendrix album in a span of just a few days. The first one was Axis: Bold as Love, and I really didn't like it—so imagine my disappointment when this popped up next on my screen. My expectations were low.

The first two tracks didn't do much to change my mind; they were pretty "meh". But then "Voodoo Chile" came on, and I was absolutely blown away by the guitar playing. It's a long track, but it turned out to be such a pleasant, captivating, and enjoyable experience. While the songs that followed weren't all up to that same level, I have to admit there were some genuinely great parts scattered throughout. A few tracks really stood out—"Gypsy Eyes" and "Burning of the Midnight Lamp," and of course his iconic take on "All Along the Watchtower".

Is this a perfect album? Not a chance. Is it a no-skip record? Definitely not. So why am I giving it five stars? Well, I think the sheer, immense level of guitar skill on display here deserves that kind of recognition on its own. It feels a lot like listening to Prince: Hendrix is the exact type of transcendent artist where you just know seeing him perform live would take the whole experience to an entirely different level.

On first listen, this feels like a totally deserved five stars. Who knows—maybe that rating will drop down a bit once I gain more clarity on repeat listens, but honestly, I doubt it will.

Everything But the Girl – Idlewild (1988)

I've never heard of this band before. I only recognized the first song, "I Don't Want To Talk About It," purely because it's been oversung at karaoke to the point of exhaustion, and that's pretty much it.

Here's the good part: as much as I don't want to admit it, I actually enjoyed it a little bit. It’s got a really nice, relaxing vibe that makes it pleasant to listen to, and I finished the whole thing without having to pray to God to end it ASAP.

But now for the bad part. There are simply no standout tracks on this record. The lyrics are about as subpar as it gets, and there are zero real highlights to hang your hat on. I liked the concept behind a few of the songs, but the execution just didn't deliver. I kept waiting for them to take me somewhere interesting, but it never happened.

If I walk into a coffee shop or a store and this album is playing, I won't immediately leave—but that's the only circumstance where I'll ever hear this album again.

Progressive rock aren't typically in my heavy rotation, making Aqualung an album that I just stumbled over. That said, there is plenty to admire here. The album's central concept—tackling themes of religion, society, and marginalized figures—gives the lyrics real substance, and Ian Anderson's character-driven storytelling brings those narrative threads to life effectively.

Musically, this album delivers some standout guitar solos that cut through the arrangements with great grit and energy, balancing out the intricate acoustic passages and flute work. However, despite the strong craftsmanship, the style just doesn't hit my personal sweet spot. It works well as a cohesive, theatrical piece, but the overall sound lacks the casual replay value to make me want to put it on repeat. It's a solid, impressive effort for what it is, just not something I’ll be returning to often.

As a Bob Dylan fan, my benchmark for songwriting and lyricism is set really high. Because of that, I found On the Beach difficult to appreciate. Where Dylan’s writing feels sharp, vivid, and poetic, Neil Young’s approach here feels far below that bar—the lyricism leaves a lot to be desired, feeling far too stripped-back and loose to leave an impression.

Musically, the album falls into a similar trap. Rather than delivering memorable melodies or engaging arrangements, the tracks feel somewhat sluggish and forgettable, making it hard to stay hooked throughout the listen. It’s clearly a dark, raw, and downbeat record, but it just didn't connect for me on first listen. That said, I'm open to giving it another chance down the road to see if it eventually clicks.

Songs are not bad. But it's not something I'll constantly repeat.

Despised hip-hop.
But I will listen to this again.

Didn't expect to enjoy it. But great album!

fave tracks: I Could Have Lied

Enjoyed it.

Great lyrics