Reviews by henry-winchester

Every album needs a rap about the band's favourite food.

That sound is such a blast, like being drenched by a Super Soaker on a hot day — which is exactly what I was doing when this came out. It goes on a bit too long, but it's nice to hear happy, joyful hip-hop.

Really liked this. Less lo-fi than The White Stripes, and hugely Led Zep in places, but still definitely a Jack White project.

Aways found B&S a bit limp-wristed and watery at the time, but it's such a perfectly evocative sound of the mid-90s, but somehow it has a Nick Drake-esque timelessness.

Occasionally very puerile and stupid; occasionally very good, never boring despite its length.

This poor man seems to have had his heart broken more times than Taylor Swift.

Passed me by at the time, but I was surprised by how much I enjoyed this. It's indulgent and vain, but it works in a Todd Rundgren lite kinda way.

Good, solid, consistent, driving rock.
But the funniest thing is Brian Young trying to recreate the album cover's sneer now; he just looks like an old guy who's suffering from hemmerhoid pain.

That sound, designed for 80s hi-fis, her voice. It never rocks the boat, but it never needs to.

This sounded more like it was recorded in the 80s or 90s than the 60s. Unusual to find a folk album of that era that isn't cloying or cheesy.

This is a stupid, goofball album and the scat singing is hilarious. I know it was meant to be menacing and scary when it came out, but it's as cute as a button now 🥰

Listened to most of this on a stroll through London on a Saturday morning.
This album is like a dream or a journey where everything shifts around and new views come into perspective, but it's musically watery and the majority of the lyrics are predictable rhyming couplets. Wish I Liked It.

Hey, who gave Bruce Springsteen all the heroin?

Good, but it would be super cool if this guy teamed up with some other musicians.

Never really got it, and now I can see why. It's self-congratulatory, indulgent, and overly impressed with itself in a humble-brag kind of way, and "Fit but You Know It" sounds like an incel's cry for help now. "Blinded by the Lights" is admittedly pretty good.
BUT, I do like the skag-addled Britrap that The Streets inspired: Sleaford Mods and Benefits, which are much more socially switched-on and authentically grimy.

This is so fucking weird and I love it so much.

I specifically remember listening to this on a Saturday morning in 2003, and the girl living beneath me at the time asked me to turn it down but also said, "it sounds nice."
While Radiohead's work has usually been pretty nebulous and rooted in a vague dissatisfaction with (then) modern life, this is a much more pointed attack on Bush and Blair's war on terror. It veers even further away from their rock beginnings and down the experimental path of Kid A and Amnesiac, leaning into Johnny Greenwood's soundtrack work at times.
Great to start with, but it soon becomes boring and cloying. About a third of the way into this album is exactly when Radiohead ran out of ideas.

Forgot about Christina! This album is great, especially "Fighter" and "Dirrrty," which have charisma and attitude. There's a really cheesy ballad here and a Sugababes rip-off, but it's all good otherwise. Surprised by the brief moments where it sounded like Oneohtrix Point Never.

If "Never Mind The Bollocks" was an intense close-up, this is a wide-shot, expanding the scope of Lydon's snarling lyrics into something more interesting and diverse.

Weirdly brilliant in places, very cringe in others. But it's undone by the way this is a rich white English bloke adopting hip-hop, rapping, and scratching, which feels cynical and disingenuous.