Reviews by kitch82

U2 does pop. I never liked All That You Can’t Leave Behind when it came out 25 years ago (how quickly time flies), and revisiting it today hasn’t really changed my mind.

I get that for many U2 fans, this isn’t their finest hour. It’s a pop record — polished, people-pleasing, and a bit tired, as if the band were running low on fresh ideas. It offers a few catchy tunes but little of the innovation or emotional punch that made The Joshua Tree or Achtung Baby so special.

That said, there are still some solid moments here. Stuck in a Moment You Can’t Get Out Of, Walk On, and Elevation all hold up well. But from track five onwards, the quality really drops off. Overall, it’s a very average album, and I’m honestly baffled that it made this list.

Favourite track: Elevation
Least favourite track: Beautiful Day – I’ve always hated it. Completely overplayed.
Album artwork: A cool band shot — simple but effective.

I’d never heard of Dion or the album Born To Be With You before today, so I was looking forward to giving it a spin this morning.

I found it to be a really easy and enjoyable listen — the kind of album you can put on, sit back, and let wash over you. I even ended up listening to Streetheart straight after, as it’s bundled with this album on Apple Music.

While Born To Be With You doesn’t have any major standout tracks, it flows beautifully from start to finish. It’s produced by the vile Phil Spector — an unfortunate fact — but his signature “Wall of Sound” production style definitely adds to the record’s lush atmosphere. Dion’s voice really impressed me: soulful, reflective, and full of warmth. I’ll definitely be revisiting this one.

Favourite track: Born To Be With You – a lovely, heartfelt song.
Least favourite track: Make the Woman Love Me – a bit dated and slightly creepy.
Album artwork: A fairly standard cover, nothing remarkable.

After a run of disappointing 1 and 2 out of 5 albums this week, I really needed something good — and Floodland by The Sisters of Mercy absolutely delivered.

I loved this album. It’s dark, gothic, and unmistakably 80s, with moody lyrics and powerful, synth-driven tracks that feel perfectly atmospheric. It’s very much my kind of sound, and I know I’ll be coming back to it again and again.

Favourite track: Dominion / Mother Russia — it’s epic and feels like a full journey in itself.
Least favourite track: Honestly, there isn’t a weak song on the album.
Album artwork: A perfect slice of 80s gothic style — I love it.

I went into this album knowing very little about Mudhoney, but judging by the cover I was expecting some grungy, indie chaos—and Superfuzz Bigmuff certainly brings the grunge.

My first impression was how much they sound like a rough mix between Nirvana and The Stooges. They’re not on the same level musically, but it’s easy to hear how they influenced the grunge scene that came after, especially Nirvana.

That said, grunge really isn’t for me. There’s a lot of noise, shouting, and distortion, but not much melody or storytelling to hold onto. I can see why fans of heavier rock would enjoy it, but I found it one-dimensional and, honestly, a bit dull. I won’t be listening to this one again.

Favourite track: I honestly couldn’t pick one.
Least favourite track: Pretty much the whole album.
Album artwork: A cool, gritty cover that fits the sound perfectly.

It’s hard to believe Nick Cave and the Bad Seeds evolved from The Birthday Party, the two sound worlds apart. As much as I like Nick Cave, I just can’t warm to The Birthday Party. Their music feels chaotic, abrasive, and for me almost impossible to connect with.

I’m a big fan of Nick Cave and the Bad Seeds, but Junkyard feels more like noise than music. It’s messy, jarring, and sounds quite dated. I can appreciate the influence it had on what came later, but it’s not something I’d go back to.

Favourite track: Junkyard, if I had to choose one
Least favourite tracks: It could be any of them, nothing really stands out
Album artwork: Fantastic cover, wild and chaotic, and more enjoyable than the music itself

I’d never heard of Dagmar Krause or this album before today—and it turned out to be quite a challenge to even track down! After all that effort, I was really hoping it would be worth the hunt.

The best way to sum up Tank Battles is “unique.” There aren’t any traditional songs here that you’d sing along to or even tap your foot with. Instead, it’s a strange, theatrical, and often jarring collection of performances. At times, it sounds more like a dark cabaret soundtrack or a set of eccentric sketches than a conventional album—some tracks even reminded me of parody songs from The Simpsons.

That said, Krause’s vocals are powerful and utterly distinctive—like a German PJ Harvey performing a wartime opera. The instrumentals are intricate and well crafted, but overall, this isn’t an album I enjoyed or would listen to again. Still, I’m glad I gave it a go—it’s unlike anything else I’ve encountered on this list, and I learned a lot about Krause and the influences behind her work.

Favourite track: “Ballad of the Slackersingers.” I might even suggest my daughter’s school add it to their harvest festival playlist next year.
Least favourite track: “Mother Beimlein” — short, creepy, and genuinely unsettling (like a few other songs on this album).
Album artwork: I actually really like the cover—it’s striking and perfectly fits the album’s eccentric tone.

My first album by Tom Waits as part of this challenge, and it’s not a great start.

No matter what he’s doing musically, I just can’t get past his voice. It completely takes me out of the album. I know it’s distinctive and part of his appeal, but for me it’s really grating, which made this a tough listen from start to finish.

There may be good songwriting in here, but it’s hard to appreciate it when the vocal style just doesn’t land at all.

Favourite tracks: None that stood out
Least favourite tracks: The whole album didn’t click for me
Album artwork: The cover pretty much sums up the mood of the album

1950s samba and jazz fused together—what could go wrong? Kenya by Machito is at least upbeat, but beyond that, it didn’t do much for me. I listened to this album two or three times today and honestly couldn’t tell when one track ended and another began—it all just blended into the same sound.

This isn’t your stereotypical jazz album; it’s more energetic and packed with horns and percussion, but in the end, it just feels chaotic. There’s a lot happening, yet somehow nothing really stands out.

Favourite track: Holiday was quite pleasant, I guess—it sounded like something that could play during a slapstick comedy scene.
Least favourite track: Everything else just blurred into nothingness.
Album artwork: Cool cover.

In summary, this one’s not for me—I won’t be listening to it again.

I’d never heard of G. Love and Special Sauce before, and to be honest, I probably won’t be revisiting them—or this album—again. I really struggled to find anything I liked here and genuinely don’t understand how it made the 1001 Albums You Must Hear Before You Die list. It just didn’t click with me at all.

Favourite track: Couldn’t pick one.
Least favourite track: Pretty much every song.
Album artwork: At least the cover is decent.

Music for the Jilted Generation by The Prodigy is a brilliant dance record that makes you want to get up and move. It’s full of energy and attitude, capturing the sound of a generation discovering rave culture.

There are some fantastic samples throughout, especially on No Good and Poison — pure nostalgia and the soundtrack to my clubbing youth.

The only downside is that it can get a bit repetitive. The pounding drums and similar structures across tracks mean it lacks the variety of later Prodigy albums like The Fat of the Land or Invaders Must Die. Still, it’s an important and exciting record that helped define 90s dance music.

Favourite track: Break and Enter — I love the sound of the glass smashing!
Least favourite track: None really, but the album’s sameness can get a bit tiring by the end.
Album artwork: A classic cover that perfectly matches the raw energy of the music.

Histoire De Melody Nelson is, quite frankly, an unsettling listen. Serge Gainsbourg’s whispery, sleazy vocals and the disturbing subject matter make for a deeply uncomfortable experience. The only redeeming features are the occasional flashes of great guitar work and the fact that the whole thing is mercifully short—over in under half an hour.

Favourite track: I couldn’t pick one if I tried.
Least favourite track: Take your pick from any of tracks 1–7.
Album artwork: A cool cover, even if what’s inside doesn’t live up to it.

Going into Psychocandy, I hadn’t listened to much of The Jesus and Mary Chain before, so their debut album felt like the perfect place to start.

I was expecting a much heavier, harder sound than what I actually got. The album is drenched in feedback and distortion—sometimes to the point where it becomes overwhelming and difficult to get through. You often find yourself turning it down just to give your ears a break. But underneath all that noise, there’s the foundation of early indie rock, and on certain tracks you can hear genuinely good songwriting trying to break through.

I went on a bit of a journey with this album. The opening few tracks are full of promise, and I really enjoyed them. But around the midpoint, the distortion starts to dominate, and by the end I just wanted it to be over. That said, you can clearly hear how Psychocandy influenced bands like Primal Scream and The Charlatans—the DNA of that sound is right here.

Favourite track: Just Like Honey and The Living End – both great songs and a strong start to the album.
Least favourite track: Later songs like My Little Underground and You Trip Me Up are swamped by distortion and feedback, which really take away from the music.
Album artwork: A cool and iconic cover.

Another Frank Sinatra album! I can appreciate his importance and his wonderful voice, but I still struggle to really enjoy listening to him. Still, I gave Songs for Swingin’ Lovers! a go.

The whole album just reminds me of Christmas, somehow. I’m not a swing fan, but I do love a good love song—so I should love Songs for Swingin’ Lovers! I just don’t.

On the plus side, Frank sounds at his very best here. What a voice—though I’m hardly saying anything new. The problem is that I simply don’t enjoy swing, and after a while all the songs start to sound the same. It becomes a bit repetitive and, honestly, a little boring.

Favourite track: “I’ve Got You Under My Skin” is a lovely song, although I actually prefer the Frankie Valli version. “You Make Me Feel So Young” is also great.
Least favourite track: The rest of the album feels too samey. You can’t deny the songs are beautiful and sung perfectly, but after three or four tracks, it all starts to blend together. This album isn’t really for me, although I can appreciate its quality.
Album artwork: A standard album cover for the time—simple and classic.

Live! by Fela Kuti is an album I’ve always wanted to listen to, so I was looking forward to giving it a try today.

Fela Kuti is certainly an interesting listen — there’s so much happening musically, with incredible musicianship throughout. That said, I’m not a huge fan of long, largely instrumental tracks, and that’s exactly what this album offers. There’s a lot of repetition and some seriously extended drum and guitar solos. I can fully appreciate the talent on display, but for me, this works best as enjoyable background music rather than something I’d sit down and focus on.

Favourite track: All of the tracks are worth a listen, aside from the lengthy drum solo.
Least favourite track: The extended drum solo — it goes on far too long for my taste.
Album artwork: Cool album cover — simple but effective.

I’ve always liked Funeral by Arcade Fire, but I’ve never been fully convinced it’s as groundbreaking or important as many make it out to be. So, I decided to give it another listen today to see if my view has changed.

After today’s listen, I’d say Funeral is a good indie album with some excellent moments, though it’s not quite the masterpiece it’s often described as. Tracks like “Crown of Love,” “Wake Up,” and “Rebellion (Lies)” really stand out — Rebellion in particular has been a favourite of mine for years. However, the songs surrounding them feel fairly standard, even a little basic by comparison. Overall, it’s a solid album but not a game-changer — a steady 3/5 for me.

Favourite track: “Rebellion (Lies)” – a fantastic song.
Least favourite track: “In the Backseat” – not terrible, but the album ends with a bit of a whimper.
Album artwork: A cool, distinctive cover that fits the tone of the record.

I’ve spent years trying to get into The Fall and have always struggled — but maybe This Nation’s Saving Grace is the album that finally does the trick.

It’s a really strong, catchy punk record. The opening side is brilliant — Mansion, Bombast, Barmy, and What You Need are fantastic tracks that set the tone perfectly for what’s to come. Vixen and Couldn’t Get Ahead are also standouts, and the addition of Brix Smith’s vocals gives the songs real texture and energy.

The Fall’s sound is stripped back, simple, and raw, yet incredibly powerful, with sharp lyrics and strong themes. This album captures exactly what I imagine mid-80s Manchester must have felt like — gritty, restless, and alive.

I really enjoyed this one and will definitely be giving it another listen. I think I’ve finally found my way into The Fall’s world.

Favourite track: Barmy
Least favourite track: The album does drag a little toward the end. At 16 songs and just over an hour long, it’s a hefty punk record. If it were trimmed down — dropping a track or two like I Am Damo Suzuki — it could easily have been a 5/5.
Album artwork: I really like the cover — it’s busy, chaotic, and perfectly suits the album’s character.

More jazz — and more Miles Davis! I really don’t have much to say about this one, other than it’s bloody long and I really struggled to get through it. I just don’t enjoy jazz, especially the more experimental kind, and this album didn’t change my mind.

Favourite track: I couldn’t pick one.
Least favourite track: Honestly, they all blend into background music for me — I can barely tell the difference between them.
Album artwork: A really cool cover, and definitely the best thing about this album.

I was excited to see Abattoir Blues / The Lyre of Orpheus on the list today. As a huge Nick Cave fan, I realized it’s been a long time since I last gave this one a proper listen.

Going in, my view was that there are far stronger Bad Seeds albums—The Boatman’s Call and Let Love In are particularly brilliant. I never really connected with this record when it came out, apart from the standout tracks Get Ready for Love and Breathless. Still, I was curious to revisit it and see if my opinion had shifted.

As a double album, Abattoir Blues / The Lyre of Orpheus has room to stretch out, offering a wide range of styles—rock, ballads, and slower bluesy numbers. The variety really works, and Nick’s vocals sound fantastic throughout. The Bad Seeds are in top form too, delivering a full, powerful rock and roll sound. The whole record is bigger, louder, and ultimately better than I remembered.

I also enjoyed rediscovering songs I’d forgotten about, like Cannibal’s Hymn, Hiding All Away, and Messiah Ward. Side one in particular feels especially strong. Add to that the gems O Children and There She Goes, My Beautiful World, which are just gorgeous songs. And of course, there’s Breathless—a moment of pure joy and one of my absolute favourite Bad Seeds tracks.

Favourite track: Breathless
Least favourite track: None that truly fall flat
Album artwork: A really classy cover

I’ll admit, I’ve never been a huge Johnny Cash fan, but I’ve always had a soft spot for live albums—and At San Quentin is one of his most famous. I went into this with curiosity, and I’m glad I did.

Cash’s catalogue can feel overwhelming, with plenty of hits and misses scattered across it, but this record cuts straight to the good stuff. The energy of the crowd, the rawness of the performance, and the banter between Cash and the audience make it feel more like an experience than just an album. You can almost sense the tension and excitement in the prison setting, which adds so much weight to the songs.

The setlist is packed with powerful performances, all delivered with that unmistakable Cash presence. For me, this has become the definitive Johnny Cash album—the one I’ll come back to.

Favourite track: Wanted Man and, of course, the timeless I Walk the Line.
Least favourite track: None—every song feels essential to the flow of the performance.
Album artwork: A striking and iconic cover that perfectly matches the grit of the music.

I’ve always loved The Bees—they have such a distinctive sound—so I was really looking forward to giving Sunshine Hit Me another listen today.

As their debut album, it’s a real burst of joy. The music instantly brings to mind summer and festivals, with a style that feels both nostalgic and fresh. What makes it stand out is how eclectic it is: a mix of psychedelia, Jamaican dub, reggae, indie, 1960s rock, and even a touch of modern Mod. It’s playful, inventive, and brilliantly put together.

I’ve seen The Bees live many times, and this album captures the spirit that makes them so good. That said, I’d actually recommend exploring their next two albums—Free the Bees and Octopus—which, in my opinion, take things up another notch.

Favourite track: Still undecided—there are plenty of highlights.
Least favourite track: None that I’d skip, though the more instrumental tracks like Zia can drag a little.
Album artwork: A cool, very 60s-inspired cover with definite Yellow Submarine vibes.