Reviews by kitch82

I had never heard of Frank Black or his album Teenager of the Year before today, and honestly, I could have happily kept it that way.

The album is long, meandering, and often dull. There are a couple of moments worth noting—“Freedom Rock” stands out as a genuinely strong track, and “Headache” is well-titled, as that’s exactly what I was left with after sitting through the rest.

I can’t quite understand how this record made the list, and it’s not one I’ll be revisiting anytime soon.

Favourite track: Freedom Rock
Least favourite track: Pretty much the rest of the album
Album artwork: A terrible cover that does nothing to improve things.

When I hear the phrase “nominated for the Mercury Prize” I usually brace myself for something a bit pretentious—but Two Dancers by Wild Beasts turned out to be far better than that.

I had never listened to Wild Beasts before today, but their sound immediately felt familiar—somewhere between MGMT and Arcade Fire, with a distinctive twist of their own. The songs are catchy, the vocals really stand out, and the whole record feels like a strong, well-crafted indie album that I’d happily return to.

Favourite track: Through the Iron Gate and Hooting and Howling really stood out.
Least favourite track: A few songs blended together a bit, but there wasn’t anything I didn’t enjoy.
Album artwork: A cool and fitting cover that matches the album’s vibe.

I had never heard of Red Snapper before, so Our Aim Is To Satisfy was a completely fresh listen. At first it felt a little outside my comfort zone, but it quickly won me over as an engaging, inventive, and surprisingly entertaining record.

What makes this album stand out is the way it fuses electronic music with influences from metal, hip-hop, rock, and jazz. That blend keeps things fresh and unpredictable, and when the vocals do appear, they give the tracks an extra edge. It’s an album full of inventive sounds and textures, constantly shifting without losing its flow.

Favourite track: Don’t Go Nowhere and Shellback were excellent, but The Rake with MC Det’s vocals was the real highlight.
Least favourite track: Nothing felt skippable, though Alaska Street and They’re Hanging Me Tonight didn’t leave much of a mark.
Album artwork: The cover is fantastic—bold and perfectly suited to the adventurous sound inside.

I had never heard of Drive-By Truckers or their album Southern Rock Opera before today. Judging by the cover, I suspected this one might not be for me—and the fact it’s a double album (90 minutes, 20 tracks) made it feel like an uphill battle from the start. It takes something truly special to hold attention for that long.

Unfortunately, this wasn’t it. Musically, the album is very one-paced and doesn’t really shift gears. Across so many songs, I struggled to find any real standouts or moments that grabbed me. The lyrics are clearly politically charged, but without much background on the US context of the time, they didn’t resonate with me.

Favourite track: Birmingham (a small connection, as much of my family comes from there). The Southern Thing wasn’t bad either.
Least favourite track: Hard to choose when so many felt flat, but The Three Great Alabama Icons stood out for all the wrong reasons—I now feel like I know far more about Alabama than I ever wanted.
Album artwork: The cover immediately gave me the ick, and honestly, it set the tone for the listen.

Django Django’s self-titled debut is pure fun. I remember loving it when it first came out and even rushing off to see them live at Wolverhampton Civic Hall. Strangely though, I never followed up on anything they released after this.

Revisiting it now, I’m glad to say it still holds up brilliantly. Tracks like Default, Zumm Zumm, and Hail Bop sound as fresh and different as they did on release—even if I’ve never had a clue what the lyrics actually mean. The whole record feels inventive, playful, and consistently enjoyable.

Favourite track: Hail Bop
Least favourite track: Honestly, every track earns its place.
Album artwork: A striking and stylish cover that fits the music perfectly.

I’d heard of this album before but never felt compelled to listen, mainly because it’s Soft Machine’s take on prog rock with a jazz twist—which already sounded like a bad idea.

True to prog form, the record stretches to 75 minutes across just four songs, one per side. It was a slog to get through, and honestly, even giving it a 1 feels generous. This was not for me and I won’t be revisiting it.

Favourite track: None worth picking out.
Least favourite track: All four of them.
Album artwork: Simple but effective.

Fire of Love by The Gun Club has always been a favourite of mine, so I was glad to give it another spin today.

At just 40 minutes, it’s short, sharp, and packed with energy – pure punk joy from start to finish. The album feels raw and dangerous, yet surprisingly melodic, with echoes of Iggy Pop but enough originality to stand firmly on its own. It has that rare quality of sounding both familiar and entirely fresh.

Favourite track: Sex Beat and She’s Like Heroin to Me are standout songs, the kind I can’t help but recommend to anyone who hasn’t yet discovered The Gun Club.
Least favourite track: Every track earns its place here – nothing feels wasted.
Album artwork: Striking and eye-catching, perfectly in tune with the music inside.

I’ve always liked The Chemical Brothers, though their greatest hits have usually been enough for me, and I’ve never fully explored their albums. Today’s challenge gave me the chance to dive into Dig Your Own Hole.

The positives: the album kicks off in style with Block Rockin’ Beats and the title track, both huge club anthems. Setting Sun is another standout, with Noel Gallagher’s vocals giving it real punch. In fact, the tracks with vocals generally bring much more to the table.

The negatives: after Setting Sun, the album starts to feel repetitive, drifting into long stretches of synth-heavy noise. Tracks like Don’t Stop the Rock and It Doesn’t Matter don’t add much, and songs such as Piku and It Doesn’t Matter drag on far too long.

In summary, this confirms my view that The Chemical Brothers shine brightest on their singles. For me, their greatest hits compilation is more than enough.

Favourite track: Block Rockin’ Beats is an undeniable tune, and Setting Sun features some of Noel Gallagher’s finest vocals — both are 90s club classics.
Least favourite track: Not bad as such, but Piku and It Doesn’t Matter felt overlong and added little.
Album artwork: A cool and striking cover.

I hadn’t heard of Gene Clark or his album No Other before today, but it turns out I’m a big fan.

This is a stunning record—very Neil Young–esque in places, but with its own unique character. Every track has something to offer, and the whole album feels beautifully crafted, with powerful lyrics, gorgeous harmonies, and vocals that blend perfectly with the music. It’s rich, emotional, and timeless—a must-hear for anyone who loves classic songwriting.

Favourite track: “Strength of Strings” is a brilliant song.
Least favourite track: Honestly, none. Every track adds to the experience, and I’ve found myself listening to this album multiple times today.
Album artwork: A really cool, detailed cover—there’s so much to take in.

Going into this, I hadn’t heard of Wild Gift or the band X, and based solely on the album cover I wasn’t expecting much. I was pleasantly surprised by just how cool this record sounds.

At its core, Wild Gift is punk rock, but X mix in country, blues, R&B, and even touches of rockabilly to create something distinctive. The alternating male and female vocals work brilliantly and give the album a fresh, dynamic edge.

The opener, “The Once Over Twice,” sets the pace perfectly — fast, energetic, and full of sharp riffs and memorable lyrics. From there the album stays varied and engaging, full of strong melodies and attitude. I ended up spinning it two or three times in a row today, which says it all: this is a thoroughly enjoyable, easy-to-love record.

Favourite track: “The White Girl” and “The Once Over Twice.”
Least favourite track: Honestly, every song earns its place here.
Album artwork: I really like the cover, though it doesn’t exactly scream punk..

I had never listened to Pavement before today, but I really enjoyed Slanted and Enchanted.

It’s full of fun yet meaningful lyrics, paired with a scrappy blend of punk and early indie that makes the whole record feel fresh and exciting. The lo-fi energy adds to its charm, and it’s easy to hear why this album became so influential.

Favourite track: Hard to choose, but In the Mouth a Desert, Trigger Cut, and Here all stood out as brilliant tracks.
Least favourite track: Honestly, every song was enjoyable and added to the experience.
Album artwork: A very cool cover that suits the music’s raw edge.

I’ve never really been a fan of Van Halen, and I didn’t expect this album to change that. I went into it with an open mind, but I was bracing myself for generic ’80s American rock.

After listening, my opinion is mostly the same, though I did find moments that I genuinely enjoyed. As a whole, Van Halen’s sound feels a bit one-dimensional to me, with not much variation between tracks. That said, this album does have some standout moments: the iconic Jump is still an outstanding track, I’ll Wait is another highlight, and the instrumental opener 1984 is a clever touch. There’s also some undeniably impressive guitar work scattered throughout.

On the flip side, much of the record sounds dated, leaning heavily into its ’80s sheen. Songs like Drop Dead Legs just drag and add nothing for me. Overall, it’s not enough to change my mind about Van Halen, but I can at least appreciate why this album struck a chord with so many.

Favourite track: Jump – it’s the clear peak of the album.
Least favourite track: Drop Dead Legs – dull and forgettable.
Album artwork: Not for me – a bit creepy, to be honest.

Going into this, I had never heard of the album or the group, but as a hip hop fan I was curious to see what it had to offer.

This is a really strong record. The lyrics are sharp, funny, and surprisingly timeless—over 30 years later they still feel relevant. The rhymes flow effortlessly over beats that are catchy and well-produced, making this an easy and enjoyable listen. It’s definitely one I’ll come back to again.

Favourite track: Who’s Gonna Take the Weight – brilliant lyrics matched with a killer beat.
Least favourite track: Honestly, everything on here was worth a listen.
Album artwork: A fairly standard hip hop cover, nothing groundbreaking but it fits.

I was surprised to realise I hadn’t already reviewed Tea for the Tillerman by Cat Stevens. I return to this album so often that I must have mistaken a casual listen for having written about it before.

This is one of the easiest 5/5 ratings I’ll ever give. It’s a masterclass in the art of the three-minute pop song—catchy, concise, and deeply meaningful. The songwriting and storytelling are exceptional, and the recording and production capture it perfectly. It’s no wonder this album is regarded as an all-time classic.

Favourite track: Father and Son—as close to perfection as a song can get.
Least favourite track: None—every song earns its place here.
Album artwork: A charmingly twee cover that fits the album’s gentle spirit.

Pacific Ocean Blue is the first and only solo album by Dennis Wilson, and one I’ve often heard mentioned but never actually sat down with—until now. The version on iTunes runs close to two hours, so I braced myself for a long listen. Thankfully, it was time very well spent.

This is exactly why I’m doing this challenge: to uncover hidden gems I might have otherwise missed. To my surprise, I enjoyed this album far more than most of the Beach Boys’ catalogue. It has a warmth and depth that feels more personal and soulful.

The two singles, “River Song” and “You and I”, somehow failed to chart on release, which baffles me—they’re superb. The use of brass and instrumental flourishes throughout the record is a real highlight, adding richness and character to the sound. Overall, it’s a beautiful and rewarding listen that deserves far more recognition.

Favourite track: River Song and You and I
Least favourite track: Honestly, every song here feels worth the time.
Album artwork: A great cover—simple but striking. Wilson even looks a little like an American George Harrison.

This album was an hour of my life I’ll never get back. Beyond Olomide’s reputation as, by all accounts, a deeply unpleasant individual, the music itself is a real struggle to endure. While there are fleeting moments that hint at something better, the overall sound feels like a dated, dubbed-out soundtrack that quickly wears thin. I found no reason to return to it and no track worth revisiting.

Favourite track: None.
Least favourite track: Honestly, every track on the album.
Album artwork: Awful.

I’ve tried many times over the last decade to get into The National, but I always struggle. High Violet hasn’t changed that.

For me, around 80% of this album feels dull and dreary, with only the occasional highlight breaking through. When the band does lift the tone, the music comes alive—“Conversation 16” being a perfect example. It makes me think that The National are at their best when they allow a little more energy into their sound.

Overall, though, High Violet comes across as monotonous and forgettable.

Favourite track: “Conversation 16” is brilliant, and “England” is also a strong moment. Beyond that, most of the album doesn’t leave much of an impression.
Least favourite track: The opening two songs, “Terrible Love” and “Sorrow,” are such slow, uninspired ways to start an album—I won’t be revisiting them.
Album artwork: Very cool cover—possibly the best thing about this record..

Going into this, I had never heard of The Replacements or their album Let It Be. I was, however, excited for a punk album today, so I gave it a listen.

I’ll get the obvious joke out of the way first: I think I might actually prefer this Let It Be to The Beatles’!

This record was a lot better than I expected. I gave it 2–3 listens today, and it’s already downloaded to revisit again and again. It’s much more than just loud, rowdy punk—there’s real maturity here. The band blends punk energy with thoughtful lyrics and strong melodies, almost leaning toward power-pop at times. It feels like a group evolving beyond their raw beginnings into something richer and more meaningful. I’ll definitely be checking out their earlier albums to see how they got to this point.

Favourite track: I Will Dare and Favourite Thing are standouts.
Least favourite track: Honestly, every song is worth a listen, but by the time it reached Answering Machine it felt like the album had run out of steam just a little.
Album artwork: Simple yet effective.

I love David Bowie, and while Aladdin Sane has never struck me as one of his absolute finest records, I wanted to revisit it today and see if that opinion changes. It was always going to be a tough task: following up The Rise and Fall of Ziggy Stardust and the Spiders from Mars is no easy feat.

That said, this is one of Bowie’s more playful albums — almost like Ziggy goes to America and discovers something new. There’s an energy here that’s fresh and adventurous, with standout tracks such as Watch That Man, Panic in Detroit, Cracked Actor, Drive-In Saturday, and of course, The Jean Genie. I also really enjoy his cover of Let’s Spend the Night Together — a bold choice that fits right into the album’s spirit.

The piano work throughout is fantastic, adding another layer to the record’s character. Musically, the album feels rich and dynamic, and there are so many songs worth returning to.

Favourite track: Cracked Actor — it’s always been one of my favourite Bowie songs, raw and theatrical, with Drive-In Saturday a very close second.

Least favourite track: Honestly, there isn’t a bad one here. If I had to choose, I’d say Aladdin Sane itself feels slightly weaker compared to the others.

Album artwork: Simply iconic. One of the most recognisable and influential album covers of all time.

In short, while Aladdin Sane may not eclipse Ziggy Stardust, it stands tall in Bowie’s catalogue — bold, fun, and packed with great moments.

Listen Without Prejudice Vol. 1 feels like a real coming-of-age moment for George Michael, marking a deliberate shift away from the glossy pop of Faith. Personally, I think I still prefer Faith, but the two records are so different it almost feels unfair to compare them.

Where Faith was vibrant, upbeat, and made for the dancefloor, Listen Without Prejudice Vol. 1 is slower, more acoustic, and more focused on melody and introspective lyrics. It’s a more mature, reflective piece of work.

Michael’s voice is, as always, stunning — rich and powerful, yet perfectly suited to these more restrained ballads. The songwriting is equally impressive, moving seamlessly between touches of rock ’n’ roll, gospel, and funk. It’s a thoughtful, beautifully crafted album that rewards multiple listens, and I found myself coming back to it several times throughout the day.

Favourite track: Freedom! ’90 is an absolute belter.
Least favourite track: Mother’s Pride dragged a little for me — overly long and a bit dull in comparison to the rest.
Album artwork: A very cool and striking cover.