Reviews by kitch82

The Doors have such a distinctive sound, so I was really looking forward to listening to their self titled debut album today. The big question going into it was whether I would prefer it to L.A. Woman, which I have always thought was a superb record.

From the opening moments it is clear why this album is so highly regarded. Every track carries that unmistakable Doors atmosphere. Ray Manzarek’s keyboard work, Robbie Krieger’s guitar and Jim Morrison’s voice combine to create something dark, hypnotic and completely unique. Even decades later it still sounds fresh and powerful.

What really stands out is how strong the songwriting is for a debut. There is not a weak track here, and several songs have gone on to become absolute classics. Break On Through and Light My Fire are iconic for a reason, and the album flows brilliantly from start to finish.

Trying to decide whether this or L.A. Woman is better is genuinely difficult. Both albums capture the band at their best in slightly different ways, and it is probably impossible to separate them. What is clear is that this is an exceptional debut.

Favourite song: Break On Through and Light My Fire
Least favourite song: None. Every track earns its place
Album artwork: Iconic cover that perfectly represents the band’s image

McCartney is Paul’s first solo album after The Beatles, so it naturally has a lot to live up to.

One of the first things that stands out is just how personal it feels. The album has a relaxed, home made quality to it, and you can really sense how important Linda was to him at this time. It feels like a very intimate record, far removed from the scale and polish of the later Beatles albums.

There are some lovely pop moments throughout. The overall tone is quite gentle and melancholic, and it makes for an easy and warm listen. At the same time, it does lack a few standout tracks beyond the obvious highlights. Considering the pressure of moving from the biggest band in the world to working largely on his own, though, it is an understandable transition.

Maybe I’m Amazed is easily the centrepiece of the album. It is a beautiful song and one of McCartney’s best vocal performances. Oo You is another enjoyable track with a nice groove.

Favourite song: Maybe I’m Amazed
Least favourite song: Singalong Junk
Album artwork: I love the cover. Simple but very memorable

When I Was Born for the 7th Time definitely has its moments. Brimful of Asha alone captures the sound of the late 90s perfectly and remains a brilliant song. It is catchy, warm and full of character, and it easily stands out as the highlight of the album.

One thing I do appreciate is the variety across the record. It moves between indie rock, Indian influenced sounds and spoken word style pieces, showing that the band were not afraid to experiment with different ideas and textures.

The downside of that approach is that the album can feel a little unfocused. There are a lot of instrumental passages and more experimental tracks that do not really add much for me. Instead of building momentum, they slow the album down and make it feel longer than it needs to be.

In the end it feels like an album with a couple of genuinely great songs surrounded by quite a bit of filler.

Favourite song: Brimful of Asha and Good to Be on the Road Back Home
Least favourite song: Chocolat and Butter the Soul
Album artwork: Cool cover that fits the era well

Most double albums can feel like a bit of a slog, and Something/Anything? unfortunately falls into that category for me.

There is no doubt that Todd Rundgren is incredibly talented, and you can hear the ambition all over this record. With 25 tracks there is a huge amount going on, shifting between pop, rock and more experimental moments. The harmonies are strong, particularly early on, and there are some interesting musical changes that show just how capable he is as a songwriter and producer.

The problem is simply the length. At over two dozen songs it feels far longer than it needs to be. For me the album would be much stronger if it had been cut down significantly. After the opening stretch the songs start to blur together and it becomes repetitive rather than engaging.

In My Eyes is a fantastic opener and sets the album off brilliantly, but from there it gradually loses momentum. The intro sections and some of the instrumental pieces feel unnecessary and add to the sense that the record could have been edited down into a far tighter and more impactful album.

Favourite song: I Saw the Light
Least favourite song: The introductory segments and instrumental passages that slow the album down
Album artwork: I love the cover. Bright, memorable and very much of its era

I reviewed Green last June and really enjoyed it, so I was looking forward to listening to Document today.

Before starting this challenge I had tried a few times to get into R.E.M. but never fully got into them. These albums have really helped change that. Document sits in that interesting period before they became huge mainstream stars, and you can hear a band that is confident in its own sound.

It feels rawer and a little more direct than some of their later records. The jangling guitars, slightly mysterious lyrics and driving rhythms all come together really well. There is a real energy running through the album that makes it an engaging listen from start to finish.

I have always enjoyed their bigger albums like Out of Time and Automatic for the People, and I am sure those will still come up later in this challenge. Hearing the earlier records like this is giving me a much better appreciation of how the band developed and found their sound.

Favourite song: The One I Love
Least favourite song: None. Every track works well within the album
Album artwork: A cool and distinctive cover that fits the late 80s alternative feel

I enjoyed Psychocandy when I listened to it last October, so I was looking forward to listening to Darklands today. For me, this is an even better album.

Where Psychocandy was built around noise and attitude, Darklands feels more refined and melodic. The songwriting is stronger and more confident, with softer and more reflective lyrics sitting against that dark, slightly brooding guitar sound. It creates an interesting contrast. The tone feels tough and atmospheric, but the songs themselves are often sensitive and thoughtful.

Happy When It Rains and Darklands are brilliant tracks, but the standout for me is April Skies. It has a fantastic melody and perfectly captures the mood of the album.

If I had one criticism, it would be that musically some of the songs lean on very similar guitar sounds, so there are moments where they blur together slightly. Even so, the quality of the songwriting keeps it engaging throughout.

Favourite song: April Skies
Least favourite song: None. Every track deserves its place
Album artwork: Cool cover that matches the moody feel of the record

I have always found the Happy Mondays fairly average, and Bummed did not really change that opinion.

I can completely understand why Pills 'n' Thrills and Bellyaches made the list. That album has the big, undeniable hits like Step On and Kinky Afro. Bummed, on the other hand, feels like a much less focused version of the band and lacks those standout moments.

There are flashes of the groove and attitude that would define the Madchester sound, but across the album it feels inconsistent. At times it drifts into fairly ordinary pop rock territory, and the occasional country twang in the arrangements feels strange rather than interesting. Instead of sounding experimental, it often just feels unfocused and a bit dull.

Ironically, some of the tracks I enjoyed most were on the later collector’s edition rather than the original album itself.

Favourite songs: Mad Cyril and Fat Lady Wrestlers
Least favourite song: Country Song
Album artwork: A cool cover that captures the late 80s Madchester aesthetic

The Number of the Beast was far more enjoyable than I expected it to be. I went in bracing myself for relentless noise and walls of heavy guitar. Instead, I found well crafted songs, sharp melodies and genuinely catchy hooks.

This challenge really has shifted my perception of metal. There is far more thought and musicianship involved than I used to give it credit for. The twin guitar work is precise, the rhythms are tight and Bruce Dickinson’s vocals add drama rather than just volume. It feels theatrical and controlled rather than chaotic.

Invaders is a strong opener and sets the tone immediately. The Prisoner has great momentum, The Number of the Beast itself is iconic for a reason, and Run to the Hills is simply a brilliant song. These are not just heavy tracks, they are properly constructed pieces of music with clear structure and memorable choruses.

Every track feels like it earns its place. It is powerful without being exhausting and melodic without losing its edge. I would definitely listen to this again.

Favourite song: Run to the Hills
Least favourite song: None. Every track works
Album artwork: A crazy, instantly recognisable cover that perfectly matches the theatrical intensity of the music

I’ve loved The Kinks for nearly 30 years now even if my one meeting with Ray Davies wasn’t exactly a pleasant one. Odd and distant would be putting it kindly. Still, whatever I think of the man, there’s no denying the brilliance of the music. I was genuinely pleased to see Something Else by The Kinks come up in this challenge.

David Watts is a superb opener, a sharp, melodic, and instantly engaging. It’s one I’ve always loved. Death of a Clown has a wonderfully haunting quality to it, full of melancholy and character. And then there’s Waterloo Sunset. Its quite simply one of the greatest songs ever written. The melody, the imagery, the emotion, its perfect.

What makes this album stand out is its intimacy. It feels smaller and more observational than some of their later concept records, but that’s part of its charm. The songwriting is warm, distinctly British, and packed with subtle wit and quiet sadness. It may not shout, but it resonates.

Favourite track: Waterloo Sunset — a flawless, beautiful song that never loses its impact.

Least favourite track: None. I genuinely enjoyed everything on this album.

Album artwork: A classic cover. Simple, colourful, and perfectly in keeping with the era instantly recognisable and full of character.

My unpopular music opinion? I’ve always found Lou Reed to be hugely overrated. I do enjoy Transformer, but much of his solo catalogue leaves me bored and wanting it to end. Maybe Berlin might change my mind.

It didn’t.

This is clearly meant to be a dark, theatrical concept album but I found it relentlessly bleak and, at times, bordering on self-indulgent. The storytelling feels heavy-handed rather than profound, and the atmosphere, while intentionally oppressive, becomes monotonous.

There are moments that work. “Caroline Says I” and “Caroline Says II” are easily the strongest tracks here, stripped back, direct, and genuinely affecting. They hint at the sharp songwriting Reed was capable of. Unfortunately, much of the rest of the album drags. The title track “Berlin” did little for me, and “Sad Song” lives up to its name in the least compelling way possible.

Favourite tracks: Caroline Says I & II
Least favourite tracks: Berlin, Sad Song
Album artwork: A cool, striking cover arguably more engaging than parts of the record itself.

oday’s listen was Destroy Rock & Roll by Mylo, and I enjoyed this a lot more than I expected to.

It opens in a very chilled, almost too-relaxed way to the point where I wondered if it might drift into the background completely. But as the album progresses, it finds its groove and really settles into what it does best. There isn’t a huge amount of variety, and after a while the tracks do start to blend into one another. That said, it works brilliantly as laid-back, feel-good background music.

This isn’t an album packed with big shifts or dramatic moments it’s more about atmosphere and vibe. When you lean into that, it becomes a really enjoyable listen.

Favourite tracks: “Drop the Pressure”, “In My Arms” and “Destroy Rock & Roll” are great fun and full of energy. I also really enjoyed “Sunworshipper”.

Least favourite tracks: Beyond the standout singles, some of the other tracks feel a bit samey and repetitive.

Album artwork: A cool cover. I really like the colours. Simple but effective.

I’ve always struggled a bit with Led Zeppelin. I respect their influence, but they’ve never really did it for me. That said, when I listened to Led Zeppelin II last August as part of this challenge, it completely changed my perspective. I loved it.

After listening to Led Zeppelin III today, I’d go even further: this might be their best album.

What really stands out is the variety. Yes, you still get the heavy blues-rock swagger you expect, but this album stretches much further — into metal, acoustic, and folk territory. The band aren’t just proving how heavy they can be; they’re showing depth and texture.

Favourite tracks: Immigrant Song – one of their absolute best. That riff is relentless and iconic. Friends – I really enjoyed the music on this one; it has a hypnotic, almost Eastern-influenced feel that adds something different to the album.

Least favourite track: Hats Off to (Roy) Harper – this one didn’t quite land for me. It feels more like an experiment than a fully formed song.

Album artwork: Really cool cover.

Four days ago, as part of this challenge, I listened to Sweetheart of the Rodeo. I thought it was terrible. So when Fifth Dimension came up next, I wasn’t exactly excited.

Thankfully, this is a completely different listen.

Gone is the heavy country and overt Christian folk feel. Instead, this album leans into psychedelic rock and jangly pop and it’s far more interesting for it. It feels adventurous, colourful, and much more in line with the mid-60s experimentation that makes that era so compelling.

There’s a real sense of lift to the record. The melodies are strong sometimes dreamy, sometimes slightly trippy and you can almost feel that “being on a trip” atmosphere running through it. Lyrically, it’s often soppy and lovey-dovey, but in a way that suits the shimmering, spacey sound.

Favourite tracks: “What’s Happening?!?!” is a great song, full of energy and hooks. “Fifth Dimension” captures that psychedelic edge perfectly, and “Wild Mountain Thyme” (listed here as “Wild Mountain Theme”) adds a softer, folk-tinged moment that actually works far better in this context.

Least favourite tracks: None really, every song is worth a listen.

Album artwork: Pure psychedelia. Bold, strange, and very much of its time

Overall: A pleasant surprise. Inventive, melodic, and far more enjoyable than I expected. This is The Byrds leaning into psych rock rather than country / folk and it suits them.

I needed a great album today after a couple of underwhelming listens and Armed Forces delivered exactly that.

I’ve always loved this record, and I’ve always loved Elvis Costello at his sharpest. The melodies are immediate, almost deceptively catchy, but underneath there’s bite. The production is slick without losing its edge, and there’s a confidence running through the whole thing. It sounds tight, focused, and purposeful.

What really stands out is the balance: pop hooks on the surface, but pointed, intelligent lyrics underneath. There’s real weight behind the words, political tension, emotional frustration, social commentary yet it never feels heavy-handed. The variety across the album keeps it moving, shifting from punchy new wave energy to more intricate, layered moments.

Favourite tracks: “Oliver’s Army” is an absolute classic, catchy enough to get stuck in your head for days, but far smarter than your average pop single. “Accidents Will Happen” is brilliant, “Green Shirt” has that cool, slightly sinister groove, and “Party Girl” is just a great tune. There are genuinely no weak spots.

Least favourite tracks: None. Everything is worth a listen.

Album artwork: I love the cover bold, colourful, chaotic.

It’s almost a shame that Live at the Star Club, Hamburg is barely over half an hour long because purely as a live document, it’s explosive. Jerry Lee Lewis was many things, and most of them deeply problematic, but on stage he was undeniable.

But here’s the problem: separating the art from the artist isn’t easy and in this case, it’s almost impossible. Lewis’s personal history casts a very long shadow, and for me it overshadows whatever brilliance is captured on this recording. Yes, he could perform. Yes, this is raw rock ’n’ roll at full throttle. But knowing who he was makes it hard to enjoy without discomfort.

So while I can recognise the musical impact, it’s not something I’ll return to.

t makes me feel properly old realising that …Baby One More Time came out in 1999. Twenty-seven years ago. That’s slightly terrifying.

Taken at face value, this isn’t a bad pop album at all. It’s just not really my thing. Listening back now, I didn’t hate it, far from it but I also can’t imagine ever choosing to put it on again. It’s very much late-90s teen pop: polished, tightly produced and built around massive hooks.

The big singles are undeniably strong. “...Baby One More Time” is a genuine pop classic. “Sometimes” and “Born to Make You Happy” are solid, glossy ballads that did exactly what they were meant to do at the time. And I have to admit, I quite enjoyed “The Beat Goes On” it has a bit more groove and personality than some of the surrounding tracks.

That said, once you move beyond the hits, the album does dip into formulaic territory. Tracks like “Soda Pop,” “I Will Be There,” and “Email My Heart” feel very much of their era, over-sweet, slightly disposable.

Favourite tracks:“...Baby One More Time” — still a bona fide pop anthem.

Least favourite tracks:“Soda Pop” “I Will Be There” and “Email My Heart”

Album artwork: A snapshot of peak late-90s pop innocence. Long before everything in her personal life unravelled.

Sweetheart of the Rodeo is often hailed as a pioneering country-rock record, but for me it was a real tough listen. The blend of rock, pop and traditional country just doesn’t do anything for me. I found it surprisingly flat and one-dimensional, and listening to the extended version only amplified that feeling.

There’s a strong late-’60s Nashville influence throughout, pedal steel, harmonies, and more than a hint of religious sentiment — but rather than sounding groundbreaking, it comes across as dated and uninspiring. I

Favourite track: One Hundred Years from Now was passable and at least had a bit of energy.

Least favourite tracks: Hickory Wind and The Christian Life did very little for me. In truth, I struggled to find many real highlights across the album.

Album artwork: Lots going on and nothing very good.

I’ve never considered myself a Frank Zappa fan, but Hot Rats was a genuinely enjoyable surprise. I went in expecting something far more guitar-heavy, yet what stood out wasn’t quantity, it was quality. When the guitar does arrive, it’s sharp, expressive and superbly played.

This is jazz fusion I can really get behind. The musicianship is exceptional throughout, and the largely instrumental format allows the arrangements to breathe. There’s space, groove and a real sense of experimentation without it feeling self-indulgent.

“Son of Mr. Green Genes” instantly caught my ear and I can’t help thinking the opening has a similar feel to the intro of Toast of London, which made me smile. “Peaches en Regalia” is another standout: bright, melodic and brilliantly composed.

Favourite tracks: Son of Mr. Green Genes; Peaches en Regalia
Least favourite track: “Willie the Pimp” The vocal delivery and drawn-out feel make it less enjoyable than the instrumental highlights it leans more into chaos than cohesion.
Album artwork: A striking and colourful cover

Black Monk Time is exactly why I’ve loved taking on this 1001 albums challenge. I’ve stumbled across an absolute belter here, the kind of record that makes you stop and wonder how it ever slipped under your radar. This is one I’ll keep coming back to.

It’s genuinely hard to believe this came out in 1966. It sounds startlingly modern even now. The Monks were clearly miles ahead of their time, abrasive, stripped-back and confrontational in a way that feels more punk than mid-60s rock. The rhythms are relentless and the lyrics are minimal yet punchy and direct. There’s nothing polished about it, and that’s exactly the point.

It’s fun, fast-paced and raw, but also clever. Beneath the repetition and simplicity there’s a sharpness and intent that makes it powerful rather than primitive.

Favourite track: Monk Time, urgent, hypnotic and brilliantly weird.
Least favourite tracks: Everything here earns its place.
Album artwork: Wonderfully simple and distinctive. The stark, almost DIY aesthetic fits the music perfectly.

I had to listen to Meat Puppets II two or three times to properly form an opinion. On first listen, I thought it was fairly underwhelming and slightly scrappy, and a bit directionless. But with a second and third listen, it began to open up. What initially felt rough started to sound better.

There’s a surprising amount of variety across the record. It shifts from ragged punk to hazy country-tinged ballads and even the odd instrumental detour. There’s always something happening, yet it never feels cluttered. The album flows easily, and despite its rough edges, it’s an easy listen. Nothing jumps out as a huge, “wow” moment, but taken as a whole it’s a consistently solid, slightly offbeat experience.

It’s not an album packed with standout anthems, but it has personality and atmosphere in spades. The more time you give it, the more it rewards you.

Favourite tracks: What to Do has a gentle, almost twee charm to it, and the instrumental 100% of Nothing is a standout moment of space and mood.

Least favourite tracks: There’s nothing here that feels like filler, every track adds something to the overall feel of the album.

Album artwork: A cool, distinctive cover that suits the album’s slightly psychedelic, left-of-centre vibe perfectly.