Reviews by kitch82

I’ve always loved The Rolling Stones, especially their early blues sound and raw R&B roots, so going back to their debut album feels like revisiting the very foundations of the band.

It’s an important record historically, you can hear a group still in their formative years but already brimming with attitude and confidence.

The album is largely made up of blues and R&B covers, which was typical of the time, with the exception of the first Jagger–Richards original, “Tell Me (You’re Coming Back)”. But this doesn’t feel like a limitation. Instead, it showcases the band’s ability to reinterpret American blues with a distinctly British edge.

Mick Jagger’s vocals are already full of swagger and bite, and the guitar work has that loose, rolling groove that would become their signature. There’s a youthful energy throughout — slightly rough around the edges, but that rawness is part of the charm.

Favourite tracks: “Route 66,” “Mona (I Need You Baby),” and “I Just Want to Make Love to You” are standouts. Each one captures the band’s early fire and their deep love of blues music.

Least favourite tracks: There isn’t a bad track here.

Album artwork: An iconic first image of the Stones on record. Moody, serious, and already projecting that rebellious mystique.

I went into Songs the Lord Taught Us expecting something raw and exciting, but what I got ws very average.It’s undeniably stripped-back and primitive, but for me it crosses the line from minimalist to monotonous. The sound is basic garage punk.

I can appreciate what they were trying to do. There’s a deliberate trashy aesthetic here, a B-movie horror vibe running through the lyrics and delivery. But while that cult energy might have been groundbreaking at the time, it doesn’t translate into an engaging listen for me now. Track after track blends into the next, and nothing really stood out or demanded a second spin.

Favourite tracks: I genuinely struggled to pick one

Least favourite tracks: The issue isn’t one specific song; it’s the overall sameness. The album feels one-paced and very basic throughout.

Album artwork: A fairly standard cover

Miriam Makeba isn’t really my thing. I can absolutely appreciate that she has a beautiful, distinctive voice that is rich, controlled and full of character but this was, at times, a real struggle to get through.

You do have to place the album in its historical context. Recorded in 1960, it’s very much of its era, with arrangements and production that feel rooted in that time. However, even allowing for that, much of the album feels quite repetitive. The pacing rarely shifts, and there’s limited variation across the tracks, which makes the listening experience feel longer than it needs to be.

There are moments that stand out. “Where Does It Lead” has an almost medieval, folk-like quality that I found intriguing, and her version of “House of the Rising Sun” is genuinely haunting — restrained, atmospheric, and beautifully delivered.

Overall though, I found too many of the songs drifting into the same mid-tempo, understated space. While technically accomplished and historically important, it’s not an album I can see myself returning to.

Favourite tracks: “Where Does It Lead”, “House of the Rising Sun”
Least favourite tracks: One More Dance is awful!!
Album artwork: A fairly standard cover for the era its simple and understated.

Ace of Spades by Motörhead is pure, unfiltered rock and roll, its loud, fast, and unapologetic. Lyrically it’s largely about sex, excess, and life on the road, and it doesn’t pretend to be anything more profound than that.

This album isn’t designed to make you think. It’s there to hit you hard and keep going. The riffs are relentless, the pace rarely lets up, and Lemmy’s snarling delivery gives everything that raw, gritty edge. It’s heavy, high-energy and undeniably fun.

Favourite tracks: “Ace of Spades” is superb — an absolute monster of a track and easily the standout. “(We Are) The Road Crew” is also strong, capturing that chaotic touring lifestyle perfectly. The rest of the album is ok, though nothing quite reaches the level of the title track.

Least favourite tracks: Nothing was terrible, it’s consistently good and much more enjoable than I thought, but much of it blends into one high-speed blur behind the iconic opener.

Album artwork: I love the album cover, angry and full of leather.

There’s nothing particularly witty or redeeming here for me. Sheet Music is certainly experimental, but not in a way I found enjoyable. The band famously declared they weren’t the worst band in the world. Listening to this, I genuinely struggled to think of many contenders who might challenge them for that title.

I appreciate that the album leans heavily into eccentricity, satire and studio trickery, but too often it feels chaotic rather than clever. What might have been sharp and subversive instead comes across as grating and self-indulgent.

Favourite tracks: I genuinely couldn’t pick one, nothing stood out in a positive way.

Least favourite tracks:“Old Wild Men,” with its “Baa Baa Black Sheep” motif, was particularly irritating, and when it rolled into “Clockwork Creep” things only got worse. By that point, I had completely checked out. I don’t think I could have disliked this album more.

Album artwork: Ironically, the best thing about the record. The cover is striking and memorable — far more enjoyable than the music inside.

I’ve never really cared much for the Eagles. My exposure has mostly been the big, overplayed hits, and they’ve never quite resonated with me in the way some of my favourite American bands do. So going into their debut, I wasn’t expecting much — more polished, radio-friendly country rock that would wash over me and leave little impression.

But this surprised me. Eagles is far more enjoyable than I anticipated. It’s laid-back and full of melody. The harmonies are the real star of the show, rich, warm, and effortlessly tight. There’s a natural, sun-soaked feel to the record that makes it an easy, comforting listen.

“Take It Easy” is the obvious standout. Its breezy, confident, and instantly memorable. “Witchy Woman” adds a darker edge, while “Nightingale” showcases just how strong those vocal arrangements are. It’s not groundbreaking, but it doesn’t need to be. It knows exactly what it is.

If I’m being critical, “Earlybird” feels slightly odd musically, and the banjo doesn’t quite work for me — it tips the balance a little too far into lightweight country territory. But that’s a minor blemish on what is otherwise a cohesive debut.

Favourite track: Take It Easy — effortlessly cool and the blueprint for their early sound.
Least favourite track: Earlybird — musically a bit bizarre, and I really don’t enjoy the banjo here.
Album artwork: Simple and effective. The desert imagery fits the laid-back, sun-drenched tone of the music perfectly.

I found Maxwell’s Urban Hang Suite a surprisingly difficult listen. It took me the best part of a day to get through, and that’s never a great sign.

While I can appreciate the silky production and the polished neo-soul aesthetic, the record never really goes anywhere. The tempos rarely shift, the mood barely changes, and track after track blends into the same slow, sensual groove.

I found the album dull and repetitive. An entire album of songs that sound almost identical isn’t something I’m likely to revisit.

Favourite tracks: I genuinely struggled to pick a standout moment. Nothing really grabbed me.

Least favourite tracks: Much of it merges into one long, indistinct stretch. “Lonely’s the Only Company” in particular felt overlong and lifeless.

Album artwork: The cover is probably the highlight

I was never much of a Jamiroquai fan first time around, and Emergency on Planet Earth is one I’d somehow managed to avoid. After Travelling Without Moving left me bored back in the day, I’d quietly assumed the debut wouldn’t be for me either.

This album is far better than I expected. It’s loose, vibrant and full of groove, a heady mix of funk, acid jazz, soul and disco that feels both playful and purposeful. The musicianship is brilliant particularly the bass lines, which bounce and glide through the tracks with confidence. There’s an infectious energy running through the record that makes it an easy, enjoyable listen from start to finish.

It might not have converted me into a lifelong devotee, but it’s certainly earned another play in the future.

Favourite tracks: Too Young to Die and the title track Emergency on Planet Earth are properly funky, full of swagger and groove.
Least favourite tracks: Every track justifies its place.
Album artwork: Fantastic yet simple. Bold, striking, and very much of its era without feeling dated.

I used to love Come Find Yourself by Fun Lovin' Criminals when I was a kid, so revisiting it all these years later felt like it should’ve been a 5/5.

Sadly… it really isn’t. Strip away the hits they are known for and there’s a surprising amount of filler here, with some painfully weak lyrics and tracks that just drift by without doing very much at all. What once felt cool and laid-back now comes across as a slightly cringey attempt at hip-hop, blues rock, and indie swagger that doesn’t quite land. Listening to it 25 years on, the charm has worn thin and I can’t see myself listening to it again.

Favourite tracks: Scooby Snacks is still a classic and perfectly captures its moment. I also enjoyed Fun Lovin’ Criminal and King of New York, which at least have some energy and attitude.
Least favourite tracks: A lot of the album just feels very “meh.” Tracks like Smoke ’Em and Passive Aggressive are dull, undercooked, and go absolutely nowhere.
Album artwork: Pure nostalgia. The artwork is straight out of my youth and, to be fair, it still suits the album.

I absolutely love Technique by New Order Technique. This is one of those records I can happily stick on repeat all day and never get bored of.

By the time you get to their fifth album, New Order have completely nailed who they are. The songwriting is confident, the grooves are locked in, and everything just works. It still sounds like New Order, but there’s a noticeable shift here — you can really hear the Spanish influence creeping in. There’s Balearic beat and acid house woven into their already polished electronic dance-pop sound, and it gives the album a sun-soaked, late-night feel that sets it apart from what came before.

As ever, Peter Hook’s basslines are ridiculous. Tracks like Round & Round are driven by that unmistakable melodic low end, and it never gets old. Honestly, there’s just so much to enjoy on this record — it’s upbeat, smart, and effortlessly cool without trying too hard.

Favourite tracks: Loveless, Mr Disco and Round & Round are probably my standouts, but you could make a strong case for almost any track on here.
Least favourite tracks: None. Every song earns its place.
Album artwork: Amazing. The pink and purple colour palette is bold, stylish, and fits the album perfectly.

Hearts and Bones took a couple of listens today, mainly because I wanted to be sure I wasn’t missing something. I love plenty of Paul Simon’s work, but this one just wouldn’t click. For an album that’s clearly personal and carefully put together, it feels oddly flat — like it never really gets going or arrives anywhere meaningful.

In the end, it comes across as pretty unremarkable, especially when you set it against the colour, energy and stylistic leaps of Graceland. Tracks like Cars Are Cars and Allergies feel limp and uninspired, lacking the melodic spark or rhythmic interest that Simon is usually so good at delivering.

Favourite track: None really stand out. There are a few pleasant moments, but nothing that makes you stop and think “that’s special.”
Least favourite track: Allergies – wet, dull and instantly forgettable.
Album artwork: A cool, understated cover — arguably more interesting than the music inside.

Lost in the Dream by The War on Drugs is long, intense, dark and, at times, a little dull.

There’s no denying the atmosphere they create, but the problem is how rarely they stray from it. The band clearly has a formula, and across this album they stick to it almost rigidly. The same chord progressions, production style and overall mood repeat themselves, which means the record never really evolves or goes anywhere. What starts as immersive gradually becomes monotonous, and the running time only amplifies that feeling.

That said, the album does finish strongly. When they tighten things up and add a sense of momentum, it finally clicks, reminding you why this band is so highly regarded.

Favourite tracks: Burning and Lost in the Dream, the closing stretch is easily the album’s best part.
Least favourite tracks: An Ocean in Between the Waves drags on and offers very little to justify its length.
Album artwork: Moody and understated, much like the music.

All Mod Cons is a superb record. Raw, urgent and packed with songs that genuinely say something.

For me, this is The Jam at their absolute peak, which is saying a lot given how strong the rest of their catalogue is. The songwriting is sharp and observational, full of wit and social commentary, but it never loses its punch or melody. There is urgency throughout, but it is controlled. Political without preaching. Intelligent without losing that driving energy.

It feels like a band growing up without losing their edge. The hooks are everywhere, the lyrics cut deep, and the whole album flows brilliantly from start to finish.

Favourite tracks: Down in the Tube Station at Midnight, English Rose and A Bomb in Wardour Street are all outstanding. The cover of David Watts is pure joy, confident and cheeky and perfectly placed on the record.
Least favourite tracks: None. Every song earns its place.
Album artwork: Brilliant. Iconic, stylish and instantly recognisable

Fear and Whiskey is a genuinely fun record and an easy, rewarding listen. I love the way spoken-word passages sit over scrappy punk rhythms and that wonderfully wild violin—it gives the album a character all of its own. The subject matter is quirky and unexpected, but the storytelling is sharp and engaging throughout, carried by music that never feels lazy or predictable. This is the kind of album you finish and immediately think, yeah, I’ll happily come back to that.

Favourite tracks: Psycho Cupid really stands out its odd, inventive and brilliantly, with spoken words that pull you straight into its world. Filcraft and Chivalry are also highlights, especially for that brilliant violin-driven punk sound.
Least favourite tracks: None. Every track earns its place.
Album artwork: Love the cover it perfectly suits the album’s off-kilter spirit.

#1 Record is a wonderful album and very much my kind of record. It’s packed with jangly, melodic guitars, Beatles-esque vocal harmonies, and songwriting that feels raw, emotional, and often quietly melancholic.

It’s easy to understand why this album was commercially overlooked at the time, but it’s just as easy to see why it has since become so revered. Its influence is everywhere, and the quality of the songs more than justifies the love it gets from so many artists and fans today.

Favourite tracks: Thirteen, Watch the Sunrise and Try Again are all fantastic, though there are honestly so many highlights to choose from.

Least favourite tracks: None – everything here earns its place and is well worth your time.

Album artwork: A classic album cover – simple, iconic, and perfectly fitting.

Unknown Pleasures is a brilliant album: dark, moody, angry, melancholic and quietly aggressive. It’s one of those records I don’t put on often enough, but when I do, I end up binging it for days. It completely pulls you into its world.

The basslines are immense, the lyrics feel tortured but full of meaning, and the songs are packed with atmosphere and melody. Tracks like Disorder, She’s Lost Control and Day of the Lords show just how much depth and tension Joy Division could create with such restraint. There’s an incredible balance here between bleakness and beauty.

Favourite track: She’s Lost Control – absolutely superb.
Least favourite tracks: None. Everything here is worth your time.
Album artwork: A true classic – simple, stark, and instantly iconic.

I’ve listened to plenty of The Beach Boys over the years, but somehow never got around to Smile by Brian Wilson. Going in, I was expecting harmonies, clever songwriting and some sunshine soaked pop.

Instead this just didn’t land for me at all. I know I’m firmly in the minority here looking at the reviews but to my ears it feels overworked, self-indulgent and baffling. There’s no flow, no killer song apart from good vibrations, and far too many moments where I’m left wondering what the point actually is.

I get it’s ambitious, different and experimental. But ambition alone doesn’t make something enjoyable, and for me this was a frustrating listen rather than a rewarding one.

Favourite track: Good Vibrations is an absolutely brilliant pop song and, honestly, the album’s saving grace.
Least favourite tracks: I clearly don’t “get” this record, but tracks like I’m in Great Shape and Vega-Tables just left me scratching my head.
Album artwork: Bright, colourful and genuinely lovely – the most instantly appealing thing about the album.

I’ve always liked Steve McQueen, and a proper listen just confirms why. It’s an immaculate record, there isn’t a weak track anywhere. Every song feels distinct, yet it all hangs together beautifully.

The songwriting is the real star: sharp, thoughtful lyrics that tell proper stories, wrapped in sophisticated 80s synth-pop that constantly shifts and evolves. It’s polished without being bland, clever without being smug, and endlessly replayable.

Favourite track: Faron Young a gorgeous song.
Least favourite track: None. Every song earns its place.
Album artwork: Cool, understated, and a perfect fit for the music.

I remember Maverick A Strike by Finley Quaye being absolutely everywhere when it came out. It felt huge at the time, one of those records you couldn’t avoid.

Listening back now, I honestly struggle to see why it blew up quite so much. There are a couple of genuinely lovely songs here Sunday Shining and Your Love Gets Sweeter but beyond those highlights, there isn’t a great deal going on. The album settles into a very safe, chilled, mainstream reggae groove and never really pushes beyond that.

It’s pleasant enough, but that’s about it. There’s far stronger, more interesting reggae out there that never made the 1001 Albums list, which makes this inclusion feel a bit generous. It also drags towards the end a tighter tracklist would have helped a lot.

Favourite track: Sunday Shining – easily the standout and still a great song.
Least favourite tracks: The final stretch (tracks 10–13) adds nothing and could have been cut without loss.
Album artwork: Fine, but completely unremarkable.

Mama Said Knock You Out by LL Cool J is up for today, and after a pretty poor week of albums, I wasn’t optimistic going in. Unfortunately, this didn’t turn things around.

My overriding feeling is that this album is far too long and now sounds seriously dated. Some of the lyrics are uncomfortable at best and frankly awful at worst lines like “I sure wouldn’t rape you” being used as a pickup line are bad enough for the time, and completely indefensible now.

That said, there are some strong beats here. The production is often sharp and hard-hitting, but it’s constantly let down by rapping that feels clumsy, boastful and irritating rather than clever or charismatic.

Favourite track: Mama Said Knock You Out easily the standout and the only moment where everything actually comes together.
Least favourite tracks: Milky Cereal is genuinely awful, and 6 Minutes of Pleasure somehow manages to outstay its welcome despite lasting barely four.
Album artwork: Standard, generic rap album cover does the job