Reviews by kitch82

Water From An Ancient Well by Abdullah Ibrahim leans fully into jazz territory—perhaps more so than anything else I’ve listened to recently. I’ll be honest: I’m not qualified enough to judge whether this is good jazz or bad jazz in any technical sense. I can only judge it on how it made me feel, and unfortunately, it didn’t connect with me at all.

Like most jazz I’ve tried, I found it difficult to engage with. The album felt slow, meandering, and oddly impersonal—more like background music than something I actively wanted to listen to. At times it even reminded me of a cartoon soundtrack, pleasant enough in places but never gripping or memorable. Overall, it reinforced my long-held feeling that jazz often sounds like music designed to fill space rather than demand attention—something you’d hear in a lift rather than seek out at home.

Favourite track: If I absolutely had to choose, The Wedding. It was quite nice, I suppose, and more approachable than the rest.
Least favourite track: The rest of the album—it all blended together for me without leaving much of an impression.

In short, while I can appreciate that Water From An Ancient Well is likely respected within jazz circles, it simply isn’t for me, and I won’t be returning to it.
Album artwork: Its quite a nice album cover

This is my second Sonic Youth album of the week, and today it’s Goo. If I’m not into Sonic Youth by the end of the week, I probably never will be.

Thankfully, Goo makes a very strong case. It’s a brilliant indie/grunge album: dark, abrasive, and strangely melodic, with a cohesion that makes it flow effortlessly from track to track. The sound feels deliberate and confident—no filler, just a band fully in control of its noise.

Dirty Boots is a standout: jagged, grimy guitar work that genuinely feels dirty in the best possible way. The Kim Gordon–led tracks are consistently superb, adding an edge and attitude that balances Thurston Moore’s vocals perfectly. Tunic (Song for Karen) is a highlight—haunting, emotional, and quietly powerful.

Favourite tracks: Tunic (Song for Karen), Kool Thing
Least favourite track: Mildred Pierce — the screaming didn’t quite work for me.
Album artwork: Iconic. One of those covers you instantly picture when you think of Sonic Youth—simple, striking, and unforgettable.

Overall, Goo feels like a defining statement: abrasive yet accessible, experimental but grounded, and absolutely worthy of its reputation.

Rain Dogs is, by some distance, the best Tom Waits album I’ve listened to so far.

That’s not to say it’s without its problems. There are some genuinely horrible moments, most notably Anywhere I Lay My Head, which really highlights everything I dislike about his voice. The remastered version’s take on Downtown Train is also particularly unpleasant and does the album no favours.

That said, unlike other Tom Waits albums I’ve tried, Rain Dogs does at least show a much wider sense of variety. There’s more going on here musically, and for the first time I actually found myself enjoying a handful of tracks. Clap Hands, Diamonds and Gold, and Hang Down Your Head all stood out as songs I could appreciate in isolation.

Even so, those highlights aren’t quite strong enough to pull me back for repeat listens. While this is clearly his most listenable album for me, it still doesn’t fully convert me.

Favourite tracks: Diamonds and Gold, Clap Hands
Least favourite tracks: Anywhere I Lay My Head; I also didn’t enjoy the title track Rain Dogs
Album artwork: A cool and distinctive album cover

I’d never heard of Hüsker Dü before and went into Warehouse: Songs and Stories with no real expectations.

My first reaction was simply: this album is far too long. At 20 tracks and over 70 minutes, it feels wildly overstuffed, with very little justification for its runtime. My second thought was less charitable — much of it sounds like a bargain-bin, Temu version of R.E.M.

Taken individually, a handful of tracks are perfectly serviceable indie songs, but as a complete album it becomes a slog. The sheer length drains any momentum, and what might have worked in smaller doses turns into something repetitive and ultimately dull. By the halfway point, I was genuinely desperate for it to end. This is not an album I’ll be returning to.

Favourite tracks: Could You Be the One and Too Much Spice were decent enough indie tunes. I also enjoyed the Rockabiliy vibe of Actual condition.
Least favourite track: Fried — which sounds like the Foo Fighters before the Foo Fighters existed, and I hate the Foo Fighters. More broadly, a lot of the album feels generic and uninspired.
Album artwork: At least the cover is quite cute.

Music by Madonna is an OK album, but it’s far from her strongest work, which makes its inclusion on the 1001 Albums list a bit surprising. The shift towards a more overtly dance-focused sound is interesting, and there are moments where the production and beats really work. However, despite its slickness, the album never quite feels like it goes anywhere meaningful, lacking the spark and songwriting depth of her best records.

There are some genuinely enjoyable pop moments. The title track Music is a great tune and still sounds infectious, while Runaway Lover and What It Feels Like for a Girl are well-crafted, memorable pop songs. Elsewhere, though, the album struggles to maintain momentum.

American Pie, in any of its forms, remains a miss for me flat and unnecessary and Paradise (Not for Me) fails to leave much of an impression.

Favourite tracks: Music; Runaway Lover; What It Feels Like for a Girl
Least favourite tracks: American Pie; Paradise (Not for Me)
Album artwork: A classic Madonna album cover

The Band is often held up as a classic, but for me it lands firmly in the “perfectly OK” category. There are moments of quality throughout, but they’re offset by stretches that feel dull and unremarkable. Nothing here really grabbed me or made me want to return for another listen.

The musicianship is good but the album never truly lifts itself beyond competent Americana. It’s pleasant enough while it’s on, yet it fades quickly once it’s finished, leaving little behind that lingers or demands revisiting.

Favourite tracks: The Night They Drove Old Dixie Down is a genuinely nice song, and Jawbone was another highlight.
Least favourite track: When You Awake was dull, to say the least.
Album artwork: A standard, no-frills band album cover.

I’ve never really managed to get into Sonic Youth before. I’ve tried on a few occasions, but Daydream Nation was my first proper listen — and now I finally get it.

Daydream Nation is a genuinely great album. It grabs you immediately with the brilliance of “Teenage Riot” and never really lets go, carrying that momentum all the way through to the closing trilogy of tracks, which are absolutely superb and a perfect way to end the record.

Musically, the album sounds fantastic. The drumming, bass, and guitars are all outstanding, but it’s the guitar work that really stands out — noisy, inventive, and endlessly engaging. The lyrics are dark yet strangely catchy, giving the album an edge without ever feeling inaccessible. I’m not usually a fan of grunge, but if this sits anywhere near that genre, it’s easily the best version of it I’ve heard.

Favourite tracks: The closing trilogy — an incredible and immersive finale.
Least favourite track: None. Every track deserves your time.
Album artwork: Simple, understated, and very effective.

Kilimanjaro is a slice of early ’80s British pop/new wave that sits comfortably alongside many of its contemporaries. While it’s a solid listen, there’s nothing here that truly stands out or feels especially unique—this is very much a product of its time, sounding similar to a host of other bands from the era.

That said, the band’s clear overlap with Echo & The Bunnymen—one of my all-time favourites—means this album naturally plays to my tastes. Because of that, I did enjoy it and it’s enough to make me want to explore more of The Teardrop Explodes’ catalogue.

Favourite tracks: Second Head, Sleeping Gas, and Treason were all strong and memorable songs.
Least favourite track: Nothing here is bad, and every track is worth a listen if you’re an indie fan. That said, if this isn’t your genre, I can see the album being a bit of a struggle.
Album artwork: A standard band cover from the era—perfectly fine, but nothing particularly eye-catching.

I’ve always struggled with Cee-Lo Green’s voice—its high, whiny tone has never clicked with me, so I came into this album hoping it might change my mind. Unfortunately, Cee-Lo Green… Is The Soul Machine didn’t win me over.

I found the record long and ultimately boring. The production rarely landed, the lyrics felt pointless, and I couldn’t understand how this ended up on the 1001 list. It was a slog to get through, and it’s not something I’ll return to.

Favourite track: The art of noise was an OK track.
Least favourite track: Several tracks were weak, but Childz Play stands out as a low point grating vocals paired with clumsy production. I Am Selling Soul also felt completely out of place, adding to the album’s lack of cohesion.
Album artwork: Standard rap/hip-hop cover, nothing special.

I’d been meaning to give TV on the Radio a proper listen for years, and I’m so glad I finally did. Dear Science is a fantastic album—full of energy, invention, and genuinely brilliant tunes. There’s so much going on here: layers of sound, huge variety, and constant shifts in mood and texture that make it a really exciting listen.

The album opens strongly with three excellent tracks. Halfway Home immediately grabbed me; I couldn’t shake how much the intro reminded me of The Velvet Underground’s All Tomorrow’s Parties, before it swelled into something completely its own. That’s one of the album’s real strengths—these songs build so well, evolving as they go and keeping you hooked. By the time you reach Crying, it’s a perfect, powerful way to close things out.

I loved this album, and I’ll definitely be returning to it.

Favourite track: Crying and Halfway Home—though honestly, I could have picked several more.
Least favourite track: None. Everything landed.
Album artwork: Simple but effective.

This is the first time I have ever listened to I Do Not Want What I Haven't Got by Sinead O'Connor, I have always wanted to give this a listen. This album is beautiful. There is so much variety on it, powerful songs and lyrics of great meaning. I really enjoyed the listen and will be playing this again.

Favourite track: Nothing comapres to you is a classic song and so emotional when watched with the video. Feel so different was also a great song. There are a good 5 on the album you could pick as a favourite.
Least favourite track: Everything on the album is great.
Album artwork: Classic album cover, raw with emotion.

Suzanne Vega has a lovely voice, I am looking forward to listening to her self titled debut album.

I enjoyed it, the songs are catchy and pleasant to listen to. There is some lovely guitat work throughout the album and it flows really well with variety throughout. This is a great album. She has a great NYC sound and is very similar to the Caves and Cohen type of music.

Favourite track: Everything was a pleasant listen but I particularly enjoyed Freeze Tag
Least favourite track: Everything on the album is worth a listen.
Album artwork: Standard album cover

The Scream by Siouxsie and the Banshees is a striking and thrilling debut that I genuinely enjoyed. It’s an album that still feels sharp-edged and alive, full of jagged guitars, icy atmospheres, and Siouxsie Sioux’s commanding presence. There’s an intensity running through the whole record that pulls you in straight away dark, dramatic, and completely self-assured.

What stands out most is how fresh it still sounds. For a late-70s release, it feels wildly forward-thinking, carving out a bold space between punk, post-punk, and something uniquely theirs. The basslines are hypnotic, the guitars angular, and the rhythms relentless, creating a kind of controlled chaos that is utterly compelling. It’s easy to see why this album is considered such an influential cornerstone.

Even with its raw edges, the album is cohesive and atmospheric, and I found myself really immersed in its world. It’s intense but never alienating, experimental but still accessible a balance few debuts manage so well.

Favourite track: I really like the cover of Helter Skelter and Nicotine Stain is also an excellent song
Least favourite track: Everything on the album was worth a listen
Album artwork: Dark album cover

Gasoline Alley by Rod Stewart left me wondering how it made this list. Yes, Stewart’s voice is unmistakably great, but the album itself leans heavily on fairly standard covers and a handful of original songs that don’t land at all.

Overall, it’s a boring, pedestrian and just very dull. Musically, it just never gets out of first gear, and I won’t be revisiting it any time soon.

Favourite track: The cover of It’s All Over Now is genuinely enjoyable.
Least favourite track: Most of the album—so much of it just drifts by without impact.
Album artwork: At least the cover is nice.

The Poet by Bobby Womack is a genuinely fun and satisfying listen.

The album blends R&B, funk, and jazz with effortless confidence, all carried by Womack’s soulful delivery and some truly brilliant backing vocals. The pacing is tight, the mood romantic, and the whole record flows beautifully from track to track. It’s one of those albums that feels both polished and deeply heartfelt.

Favourite track: Just My Imagination and If You Think You’re Lonely Now are the standouts — both rich, emotional, and superbly crafted.
Least favourite track: Honestly, every track has its charm; nothing feels out of place.
Album artwork: A fairly standard cover, but it fits the era and the tone.

Tom Tom Club’s self-titled debut is good fun and an easy, breezy listen. For an album now over 40 years old, it still feels surprisingly modern. It’s also fascinating to revisit just how fresh this sound was at the time, especially as a Talking Heads offshoot and a creative project from husband-and-wife duo Tina Weymouth and Chris Frantz.

The record is packed with great grooves and playful production, and you can hear how ahead of its time it was. That said, while the style was groundbreaking in the early ’80s, some of it now feels a little dated. As the album progresses, the tracks start to blend into one another, and beyond track five it begins to lose momentum.

Favourite track: Wordy Rappinghood is a lot of fun even if it does go on a bit and overall everything is enjoyable with nothing actively bad.
Least favourite track: Not one specific track, but the issue is how samey the back half of the album becomes, which makes it drag.
Album artwork: A brilliant cover itscolourful, quirky, and instantly iconic.

Movies by Holger Czukay is certainly a unique experience. The album is packed with layers of sound, unexpected samples, and surprisingly strong lyrics for something so experimental. It’s one of those records where you’re never entirely sure what you’re listening to—or why it exists—but somehow it works, and I found myself enjoying the ride. Whether I’d return to it again, I’m honestly not sure.

Favourite track: Oh Lord, Give Us More Money is superb. What an absolute trip that song takes you on.
Least favourite track: Persian Love sounded like background music in an Indian restaurant.
Album artwork: A very cool cover with plenty happening—fits the album perfectly.

Dub Housing by Pere Ubu was such a fun surprise. I’d never heard the album before, and it’s completely different from anything I usually listen to. The mix of strange sounds, off-kilter rhythms, and experimental beats made the whole thing a really enjoyable experience. There’s so much variety packed into it that it never gets dull.

Favourite track: Every track had something interesting going on, but I especially enjoyed the ones with strong vocal parts.
Least favourite track: Honestly, nothing here felt weak—everything was worth a listen.
Album artwork: A very cool, intriguing cover that fits the album’s odd, experimental vibe.

There are so many Neil Young albums in this challenge, but Harvest really stands out as one of the best.

The album is packed with great songs, and Heart of Gold feels like Young’s finest moment, a perfect blend of warmth, melody, and timeless songwriting. Harvest is undoubtedly one of his strongest folk records, full of charm and beautifully crafted tracks.

Favourite track: Heart of Gold: A genuinely perfect song.
Least favourite track: A Man Needs a Maid didn’t land for me at all; it felt overly sentimental and almost like a slightly off Christmas tune with the heavy use of strings.
Album artwork: A classic cover that suits the album perfectly.

Savane by Ali Farka Touré is a beautifully crafted album, but I have to admit I found it quite boring.

There’s no denying the musical quality here, it's rich, warm, and full of gorgeous interplay between guitar lines and traditional instruments. The sound is unique and undeniably atmospheric. But that atmosphere drifts into the background far too easily. Before long, the album becomes something you forget is even playing, and despite the beauty, it just never held my attention. I found myself waiting for it to end, and I can’t see myself returning to it.

Favourite track: Soya is a lovely, gentle highlight.
Least favourite track: The title track Savane felt particularly dull.
Album artwork: A fitting cover that sets the tone for the music inside.