Reviews by kitch82

I went into this review determined to be fair and not let my long-standing dislike of Sting colour my judgement. That resolve didn’t last long. Synchronicity gets off to a painfully bad start: Synchronicity I and Walking in Your Footsteps are awful, setting an immediately sour tone.

There’s a brief lift midway through. O My God and Miss Gradenko inject a bit of energy and character, and Synchronicity II finally delivers some genuine bite. Every Breath You Take is the obvious high point.

Beyond those moments, the album quickly sinks back into pretentious, joyless territory. Tracks like Mother are borderline unlistenable, and the overall experience feels far weaker than the band’s reputation suggests.

Favourite track: Every Breath You Take — a genuinely great pop song and the album’s sole saving grace.
Least favourite tracks: Synchronicity I, Mother, and Walking in Your Footsteps — all genuinely horrid and I had so many poor songs to choose from.
Album artwork: A decent cover, though it feels overly obsessed with Sting’s image.

Guitar Town really is not my thing.

I am not a big country fan to begin with, and this leans heavily into that sound. At times it almost feels like a caricature of the genre, which makes it even harder for me to connect with. The twang, the themes, the delivery. It just does not land for me.

A few tracks feel like second hand Bruce Springsteen, but without the emotional punch or drama that makes that style work so well. There is very little here that grabbed me or made me want to revisit it. The only positive in that sense is that it is a fairly short album.

Favourite track: Someday. If I have to choose one, this is the most listenable. Decent lyrics and a solid rhythm, even if it still does not fully win me over.
Least favourite track: My Old Friend the Blues. Relentlessly dull and the moment where the album really drags.
Album artwork: A genuinely cool cover. Arguably the best thing about the record

Better Living Through Chemistry by Fatboy Slim starts off as a lot of fun, but the enjoyment fades as the album wears on. The early tracks are clever, energetic and packed with smart samples, yet there’s very little variation across the running time. What begins as a punchy big-beat statement gradually blurs into one long groove, making the album feel far longer than it needs to be.

While I can appreciate its place in the rise of big beat and late-90s club culture, I’m still surprised this made the 1001 Albums list. It’s enjoyable in short bursts, but as a full album listen it struggles to hold attention. I can only really imagine returning to it as background music—perhaps on a run—rather than something to sit down and properly revisit.

Favourite tracks: First Down, Santa Cruz, and Going Out of My Head stand out as genuinely cool tracks. I particularly like the use of the “Can’t Explain” riff, and the fact that it earns a writing credit for Pete Townshend is a nice touch.

Least favourite tracks: Much of the album blends into one after a while. It feels overlong, and several of the later tracks don’t add anything new. Listening to it now, it also sounds quite dated nearly 30 years on.

Album artwork: A cool, eye-catching sleeve that suits the era and the music well.

Groovin' is a genuinely cool record. On first listen I assumed it was little more than a Beatles-inspired record that didn’t offer much that was new. I couldn’t have been more wrong.

After playing it three or four times across the day, the album really clicked. Tracks like You Better Run, I Don’t Love You Anymore and the title track Groovin’ are immediate highlights, but the truth is that most of the record is strong. It’s one of those albums that quietly grows on you until you realise how consistently good it is.

At its core, this is pure 60s music: simple three-chord songwriting, pop and soul seamlessly blended, tasteful musical flourishes and straightforward, heartfelt lyrics. There’s nothing overcomplicated here, just great songs played with confidence and feel. Side two in particular is superb and really elevates the album as a whole.

This is a record I’ll happily return to again and again.

Favourite tracks: A Girl Like You and I’m So Happy Now — perfect examples of joyful, effortless 60s pop.
Least favourite tracks: None — everything earns its place and contributes to the album.
Album artwork: A very cool cover that suits the music perfectly.

Music From Big Pink is a remarkably assured debut from The Band, and one that immediately stands out for its breadth and confidence. The album blends country, rock, folk, blues, R&B and soul with an ease that feels completely natural rather than showy. There’s a sense that this band already knew exactly who they were from the outset.

Reading up on the background only deepens the appreciation. I hadn’t realised quite how closely connected they were to Bob Dylan before this record, touring as his backing band and co-writing three of the songs here. His influence is unmistakable throughout, not just in the songwriting but in the album’s loose, rootsy feel and understated confidence.

What really works for me is the variety. Music From Big Pink is an enjoyable, rewarding listen with several standout tracks, and it’s an album I can see myself returning to. It’s also made me keen to dig further into the band’s back catalogue, which feels like a strong endorsement for any debut.

Favourite tracks: There are many excellent tracks. This Wheel’s on Fire is a standout, though I can’t help wondering if I slightly prefer the Absolutely Fabulous cover. To Kingdom Come, Long Black Veil and We Can Talk were also real highlights.

Least favourite tracks: The album does start on a slightly dull note for me. Tears of Rage is a slog, and some of the slower songs elsewhere struggle to hold my attention.

Album artwork: A beautiful cover, painted by Bob Dylan himself. It perfectly suits the feel of the record and adds to its timeless, rustic charm.

A Rush of Blood to the Head feels like the last truly great Coldplay album — and at its best, it’s genuinely brilliant. It’s packed with strong songs and era-defining hits, and it captures the band at a point where ambition, emotion, and melody were perfectly aligned.

I’ve never been shy about giving Coldplay a hard time. I’ve often found them a bit middle-class, music-school polished, and occasionally bland. But tastes evolve. After seeing them live recently — and perhaps mellowing a little myself — I’ve come to appreciate what they do well far more than I used to.

Yes, they can veer into cheesy territory, but on this album it mostly works. The production is superb, the songwriting confident, and the run of singles is excellent. It’s full of big, catchy pop songs that still feel emotionally grounded rather than overblown.

That said, the album does drag in places. The back half isn’t as strong, and tracks like Whisper and the title track feel flat and overly earnest. Trimmed slightly, this could have been a tighter and even more impactful record.

Favourite tracks: Politik, In My Place, The Scientist, and Clocks — all outstanding pop songs.
Least favourite tracks: Whisper and A Rush of Blood to the Head feel dull and expendable.
Album artwork: A cool, understated cover that suits the mood of the record perfectly.

I’ve never really spent time listening to ZZ Top, always writing them off as “dad rock” and the kind of heavy rock that should probably have stayed in the 1980s. With that preconception firmly in place, I went into Eliminator curious to see whether I’d been unfair.

The big hits are undeniably strong. Sharp Dressed Man, Legs, and Gimme All Your Lovin’ are excellent pop-rock singles: slick, hooky, and perfectly engineered for MTV-era success. They’re fun, instantly recognisable, and still work well in isolation.

Beyond those highlights, though, the album quickly loses momentum. The slower tracks feel flat and uninspired, and much of the remaining material blends into a fairly forgettable stretch of generic 80s rock. There’s little here that compels a full-album revisit.

Lyrically, too, parts of Eliminator feel dated, with some moments tipping into tired and mildly misogynistic clichés that haven’t aged especially well.

Overall, Eliminator is a record defined by its singles: a handful of brilliant tracks surrounded by a lot of filler.

Favourite track: Gimme All Your Lovin is a great tune
Least favourite track: TV dinners is an example of how boring this album can be
Album artwork: Cool album cover

Vespertine feels very much in line with most Björk albums for me: dense, noisy, and deliberately strange, often tipping into something I find difficult to engage with. It sometimes feels weird for the sake of being weird, and much of it is close to unlistenable from my perspective.

That said, there are moments where the album shows a softer, more accessible side. A few tracks hint at melody and atmosphere that briefly cut through the layers of experimentation, but these moments tend to get lost in what feels like a lot of unnecessary nonsense. I’ve never really connected with Björk’s music, and Vespertine ultimately reinforces that feeling rather than changing it.

Favourite track: Undo – a genuinely nice moment on the album
Least favourite track: Most of the album
Album artwork: A cool, striking cover that suits the icy, insular mood of the record

I listened to Rio on New Year’s Day while driving back from Birmingham — my hometown and also the birthplace of Duran Duran. Fittingly, I chose the Collector’s Edition, which clocks in at two hours and twenty-seven minutes… exactly the same length as the drive. It felt like the perfect soundtrack to start 2026.

I absolutely loved this album. What a way to kick off the year. Rio is unapologetically 80s: glossy synth-pop, tight rhythms, and a sound that is completely unmistakable. You instantly know when a Duran Duran song comes on, and that distinctive identity runs right through the album. I honestly didn’t expect to enjoy it as much as I did, but it’s a brilliant listen from start to finish.

Favourite tracks: “Rio,” “Hungry Like the Wolf,” and “Save a Prayer” are superb pop songs and Duran Duran at their absolute best. I was also pleasantly surprised by “Hold Back the Rain,” which I hadn’t heard before and really enjoyed.

Least favourite track: There are a couple of weaker moments — “The Chauffeur” and “Last Chance on the Stairway” felt like filler compared to the album’s highs.

Album artwork: A very cool album cover. The colour scheme and artwork are instantly recognisable and perfectly match the slick, stylish feel of the music.

Hounds of Love is a genuinely unique and innovative pop record, and still sounds unlike anything else from its era. It’s a thrilling listen from start to finish, balancing accessibility with ambition in a way very few artists manage.

Every song feels purposeful and fully realised. The music is rich and inventive, while the lyrics are vivid, story-led and deeply imaginative. Bush comes across not just as a pop star, but as a poet and conceptual artist, weaving emotion, drama and experimentation into songs that remain instantly engaging.

Favourite tracks: Running Up That Hill and Hounds of Love – iconic, timeless pop songs that fully deserve their iconic status.
Least favourite track: Waking the Witch was very odd.
Album artwork: A cool, distinctive cover that perfectly matches the album

American Pie turned out to be a far more enjoyable listen than I expected. I went in with fairly low expectations, largely because I’ve always associated Don McLean with the title track, a song I’ve long found overplayed, overly long, and frankly a bit dull. Thankfully, the rest of the album paints a much richer and more engaging picture.

Away from American Pie itself, this is an upbeat, melodic, and surprisingly fun record. There’s a warmth and lightness to the songwriting, with strong melodies, lively arrangements, and lyrics that feel playful rather than slow. I was genuinely surprised by how much I enjoyed large parts of the album, and it’s definitely better than its most famous song suggests.

Favourite tracks: Winterwood, Crossroads, Everybody Loves Me, Baby, and Till Tomorrow — all lovely songs that showcase McLean at his best.
Least favourite track: American Pie remains a slog for me — too long, too familiar, and still not to my taste. Empty Chairs also drags and feels particularly dull.
Album artwork: A standard, unremarkable cover that doesn’t add much personality, but does the job.

Overall, a good album that deserves to be judged on more than just its iconic (and overplayed) title track.

This challenge might genuinely have turned me into a Sonic Youth fan. I really enjoyed EVOL.

I love how dark and brooding this record feels. The atmosphere is heavy, uneasy, and unmistakably gritty, with a grungy edge that pulls you in rather than pushes you away. The guitar work is the real star—distinctive, dissonant, and unmistakably Sonic Youth. I

Not everything lands perfectly, but the mood, tone, and guitar textures make this a compelling and rewarding listen from start to finish.

Favourite track:
Least favourite track: Secret Girl – a bit much for me and doesn’t really add anything to the album
Album artwork: Dark, minimal, and very cool—perfectly matches the mood of the music

We Are Family is funk, pop, and disco at their absolute best—and it also showcases Nile Rodgers at the peak of his powers. His signature guitar sound is everywhere, and you can clearly hear the DNA of Chic running through the record.

This album moves. It’s funky, it swings, and it’s impossible not to want to sing and dance along. The vocals are outstanding—full of joy, confidence, and warmth—while the musicianship is tight, elegant, and effortlessly cool. Sister Sledge sound completely in control, delivering iconic disco-pop that still feels timeless.

There are a couple of slower moments that slightly blunt the momentum, but they don’t take away from just how strong and influential this album is. At its best, We Are Family is pure celebration.

Favourite tracks: He’s the Greatest Dancer, Lost in Music, We Are Family – all absolute classics
Least favourite track: Somebody Loves Me and You’re a Friend to Me are a bit slow and dull, stopping this from being a full 5/5
Album artwork: A cool, stylish cover that perfectly matches the music inside

I went into Bad Company having never listened to Bad Company before, fully expecting classic dad rock fronted by a huge Paul Rodgers vocal. Unfortunately, that’s exactly what I got and not in a good way.

The album is competent but painfully safe: bland, predictable, and largely unremarkable. There are a few decent moments—Ready for Love, Don’t Let Me Down, and Can’t Get Enough all hint at what the band could do—but they’re islands in a sea of mediocrity. The most positive thing I can say is that the album is short; any longer and it would have been a real slog.

Even the stronger tracks tend to overstay their welcome, stretching simple ideas further than they deserve. While there are flashes of quality throughout, they never overcome the overwhelming sense of boredom.

Favourite track: Don’t Let Me Down – a good song, but it really could have been a minute shorter
Least favourite track: Much of the album blends into dull, forgettable rock
Album artwork: A genuinely cool cover, and arguably the album’s strongest feature

Stankonia just isn’t really for me. While there are undeniably some strong beats and moments of energy, the album leans heavily into familiar crime and gangster tropes that I find tiring rather than interesting. At 24 tracks and well over an hour long, it’s an exhausting listen that often feels like it’s dragging its feet.

There’s a good album buried in here somewhere. Trim away a lot of the filler and Stankonia could easily be a sharp, punchy 10-track record. As it stands, though, it feels bloated and unfocused, with too much dross getting in the way of the highlights.

That said, when OutKast get it right, they really do get it right. Tracks like B.O.B, Xplosion, and especially Ms. Jackson show just how strong they can be when the songwriting tightens up.

Favourite tracks: Ms. Jackson (a genuinely superb song), B.O.B, Xplosion
Least favourite track: Beyond the standouts, much of the album blends into overlong, forgettable filler
Album artwork: A fairly standard hip-hop cover—functional, but nothing memorable

The Freewheelin' Bob Dylan is a genuinely brilliant record and one of the most important albums in popular music.

As Bob Dylan’s second album, it feels looser, more human, and more grounded than his debut—leaning further into blues influences while stripping back some of the overtly biblical imagery. What really stands out is the storytelling. The songs are simple in structure but immense in meaning: poetry delivered with minimal accompaniment, where every lyric matters.

This is a groundbreaking album precisely because of its restraint. There’s no excess here—just voice, guitar, harmonica, and words that changed what songwriting could be. It feels timeless, intimate, and quietly revolutionary. This album is more than just music; it’s a statement of intent and a masterclass in lyrical expression.

Favourite tracks: Blowin’ in the Wind – one of my all-time favourite Dylan songs. Don’t Think Twice, It’s All Right and I Shall Be Free are also right up there. Honestly, it’s hard to single anything out.
Least favourite track: None. Every song earns its place.
Album artwork: An iconic Dylan cover—effortlessly cool and perfectly matched to the album’s spirit.

I went into Hunting High and Low curious to see whether a-ha were more than just one iconic song. I’m happy to say this album proved they absolutely are.

Hunting High and Low is pure 80s pop—undeniably of its time and occasionally a little dated—but it’s packed with strong, well-crafted songs. Tracks like Here I Stand and Face the Rain and The Sun Always Shines on TV show real depth beyond the hits, while Take On Me remains an all-time classic for good reason. If someone asked what the 1980s sounded like, this album would be a perfect answer.

It’s catchy, confident, and far more consistent than I expected. I’ll definitely be coming back to this one.

Favourite track: Take On Me – an absolute pop classic
Least favourite track: Nothing truly bad here; some songs may start to feel a bit samey over time
Album artwork: A very cool, unmistakably 80s cover that fits the sound perfectly

Millions Now Living Will Never Die by Tortoise was completely new to me and unfortunately, not in a good way. I went in open-minded, but the album quickly became a slog.

What’s often praised as experimental and forward-thinking landed here as pointless. Rather than drawing me in, the album felt like a test of endurance, with tracks that just did nothing for me at all. There’s no moment that stood out enough to redeem the listen, and by the end I was relieved it was over.

Favourite track: None – I struggled to find anything enjoyable.
Least favourite track: Every track felt equally tedious.
Album artwork: Ironically, the highlight. A genuinely cool and appealing cover

Even more Neil Young, he really does feature a lot on this challenge.

I went into Tonight’s the Night expecting something similar to the other Neil Young albums I’ve heard, but this turned out to be very different.

This album feels raw, bruised, and emotionally exposed in a way that Harvest or After the Gold Rush never quite are. There’s an unpolished, almost uncomfortable honesty running through it, and that’s what makes it so compelling. It sounds like an album made out of grief and exhaustion rather than craft.

Borrowed Tune, Lookout Joe, and Tonight’s the Night really stood out for me. There are genuinely great tracks here, but more importantly, the album works as a complete statement. Every song feels necessary, adding to the atmosphere and emotional weight rather than padding out the runtime.

This might actually be my favourite Neil Young album so far, its messy, imperfect, and deeply human.

Favourite track: Borrowed Tune
Least favourite track: None, everything earns its place
Album artwork: Effortlessly cool and perfectly matches the mood of the record

Before today, I’d never heard of The Pretty Things, so S.F. Sorrow was a complete discovery and a very enjoyable one.

This is a seriously cool album. It has strong echoes of the late psychedelic era of The Beatles, but with a rougher, noisier edge. It’s an easy and fun listen, full of fuzz, experimentation, and swirling ideas. You can tell how ahead of its time this must have sounded when it was released.

What really stands out is how creative and cohesive it feels. The songs flow naturally, and the band fully lean into the strange and experimental without losing the thread. It’s the kind of album that rewards repeat listens, and one I’ll definitely come back to.

Favourite tracks: Bracelets of Fingers and She Says Good Morning, both capture the album’s psychedelic charm perfectly
Least favourite tracks: None, everything here feels worth listening to
Album artwork: A very cool cover that fits the trippy late 60s vibe perfectly

Overall, S.F. Sorrow was a genuine surprise, creative, psychedelic, and far more enjoyable than I expected