Reviews by kitch82

Going into this album, I had never heard of The Last of the True Believers or Nanci Griffith, so I approached it with an open mind and no expectations. Unfortunately, it didn’t resonate with me.

The album leans heavily into whimsical, folk-inspired melodies, paired with a generally upbeat tone and optimistic lyrics. While I can appreciate the craftsmanship and charm that others might enjoy, it simply wasn’t to my taste.

Favourite track: I couldn’t single one out.
Least favourite: The entire album didn’t connect with me personally.
Album artwork: The cover is nicely done—pleasant and fitting for the genre.

In the end, while this album clearly has a warm spirit and strong folk roots, it's just not my style.

Henry’s Dream is a solid album—perhaps not among the very best in the Bad Seeds’ discography, but it still contains some truly great tracks. The opening run of four songs is as strong as anything they’ve done, and closing the album with “Jack the Ripper” is a masterstroke. While the middle of the record has a bit of filler, overall it's a compelling listen—just shy of a 5/5.

Personally, I prefer Murder Ballads, The Boatman’s Call, and Skeleton Tree, but writing this makes me appreciate just how incredible the Bad Seeds’ back catalogue really is.

Nick Cave is one of the finest lyricists around, and the early Bad Seeds sound is phenomenal. They transition effortlessly between heavy, intense tracks and more delicate ballads, all while maintaining a distinct and cohesive style. Truly brilliant music.

Favourite Songs: There are so many standouts—“Papa Won’t Leave You, Henry,” “I Had a Dream, Joe,” “Straight to You,” “Brother, My Cup Is Empty,” “John Finn’s Wife,” and “Jack the Ripper” are all excellent. You could pick any of these as a highlight.

Least Favourite: “Christina the Astonishing” feels like a weak spot on an otherwise strong album.

Album Artwork: One of my favourite covers—visually striking and perfectly suited to the music.

Sea Change is a pleasant listen, but ultimately left me underwhelmed. Given Beck's impressive discography, I expected more from this album than what it delivered.

One of the major shortcomings is the lack of a standout hit or a more energetic track. The album leans heavily into a slow, melancholic vibe and misses the spark of earlier Beck classics like "Devils Haircut" or "Loser." While the mood is consistent, it sometimes feels too one-note and meandering, lacking the dynamism that usually defines his work.

Favourite track: "Lost Cause" – a beautifully written and performed song that stands out as a highlight.
Least favourite: "Round the Bend" – unfortunately, it lived up to its name; slow, uneventful, and difficult to sit through.
Album artwork: Fairly typical for Beck – nothing particularly striking, but fits the tone of the album.

Overall, Sea Change is a mellow detour in Beck’s career, but for me, it felt a bit too subdued and lacked the engaging edge I was hoping for.

Elvis Costello is undeniably brilliant, and I was excited to revisit Blood and Chocolate today after not hearing it for quite some time.

While this album has its moments, I wouldn’t rank it among Costello & The Attractions' strongest work. Albums like This Year’s Model and Armed Forces are far more impactful in terms of songwriting and overall energy. Blood and Chocolate feels a bit uneven in comparison.

That said, there are some standout tracks—“I Want You” is darkly mesmerizing, and “Blue Chair” is a real highlight with its melodic flair. However, the album lacks a few truly unforgettable songs that would elevate it from good to great.

Favourite songs: “I Want You” and “Blue Chair”
Least favourite: “Home Is Where You Hang Your Head” felt somewhat forgettable.
Album artwork: The cover is striking and intriguing, though I’m not entirely sure what’s going on. Still, it has a cool, chaotic charm that suits the album’s tone.

Overall, Blood and Chocolate is a solid listen, but it doesn't quite reach the heights of Costello's best work.

Norah Jones undeniably has a beautiful, soothing voice, but Come Away With Me left me underwhelmed. Despite its critical acclaim, I found much of the album to be monotonous and lacking energy, which made it a surprisingly difficult listen.

Favourite Tracks: “Don’t Know Why” and “Come Away With Me” were pleasant and stood out slightly from the rest.
Least Favourite: Many of the other tracks blurred together and felt overly mellow, making the album feel repetitive.
Album Artwork: The cover is iconic and suits the understated style of the music.

I'm genuinely excited to dive into Close to the Edge by Yes. This album holds a unique and influential place in music history — it's not only a cornerstone of progressive rock but also one of the genre’s finest achievements. As pioneers of prog, Yes crafted something truly special here.

The album consists of just three expansive, beautifully composed tracks, each filled with intricate movements and shifting dynamics. Despite their length, the songs never drag. Instead, they feel like musical journeys — adventurous, immersive, and emotionally rich. The variety and complexity are stunning, yet everything flows naturally. I absolutely loved it.

In summary, Close to the Edge is a brilliant experience. I’m honestly surprised by how much I enjoyed it. Listening to it feels like embarking on a sonic adventure — unpredictable, vivid, and full of atmosphere. The soundscapes are lush, the ambience is striking, and the musicianship is off the charts.

Favourite Song: With only three tracks, it’s hard to choose — especially since each one evolves so much throughout. But if I had to pick, the title track Close to the Edge stands out as a true masterpiece.

Least Favourite: Honestly, everything on this album is fantastic. There are no weak points.

Album Artwork: I love the minimalist cover. It's simple, elegant, and fits the music perfectly.

While The New Tango is undeniably impressive in its ambition and the fact that it's a live performance, I found the overall listening experience deeply underwhelming. Despite the skill of the musicians involved, the music came across as meandering and lacked the emotional resonance I was hoping for. To me, it felt like an hour-long stretch of uninspired background music.

Unfortunately, I struggled to find anything redeeming in the album. None of the tracks stood out in a positive way, and I couldn't select a favourite song. In fact, every track left me disappointed, and I don't plan on revisiting this album.

Even the album artwork failed to leave a good impression—it felt as uninspired as the music itself.

I’ve seen Heaven 17 live before, supporting Squeeze at the Royal Albert Hall, but I’d never actually listened to one of their albums in full—until now. I decided to give their debut Penthouse and Pavement a try.

Given my love for 80s music and synths, I thought this would be right up my alley. Unfortunately, I was wrong. I found the album surprisingly dull and directionless. I’m honestly baffled as to how it earned its place on any “must-listen” lists. It didn’t chart particularly well upon release, and the critical reception at the time wasn’t glowing either. In my opinion, it hasn’t aged gracefully and is a really poor album.

Favourite track: Penthouse and Pavement — probably the most listenable song on the album.
Least favourite: Soul Warfare — an absolute low point; it just didn’t work for me at all.
Album artwork: A very corporate, business-like cover that matches the aesthetic but doesn’t excite.

Headquarters by The Monkees feels like a very average Beatles album—it’s pleasant and easy to listen to, but nothing truly stands out or leaves a lasting impression.

Released in 1967, it came at a time when The Beatles had already moved beyond this style of pop and were entering their more experimental Sgt. Pepper era. As a result, Headquarters sounds somewhat dated, almost like a parody or throwback to an earlier Beatles sound, rather than something fresh or forward-thinking.

Favourite Track: You Just May Be the One – a catchy, well-crafted song that rises slightly above the rest of the tracklist.

Least Favourite Track: None stood out as particularly bad, but many blended together without much distinction.

Album Artwork: Classic '60s—simple, light-hearted, and very much of its time.

All Hope Is Gone marks my second encounter with Slipknot as part of this music challenge. Unfortunately, much like my first experience with the band, this album didn’t resonate with me. It’s clear that this style just isn’t my genre—I find it difficult to connect with on any meaningful level.

The album feels overly long and, at times, repetitive. I found the listening experience challenging, with relentlessly aggressive drums, a heavy reliance on power chords, and little in the way of melody. The vocals—mostly harsh shouting—struck me as more chaotic than expressive. I had to break the album into three or four sessions just to get through it.

Favourite Tracks: Sulfur and Snuff stood out as relative highlights. Their more melodic and melancholic tones offered a welcome contrast to the otherwise abrasive soundscape. These tracks felt more structured and emotionally resonant.

Least Favourite Track: Gematria was particularly tough to get through—dense, loud, and exhausting.

Album Artwork: The cover came across as unintentionally comical. I’m not sure that was the intended effect, but it felt somewhat at odds with the album’s dark and aggressive tone.

Sunshine Superman by Donovan shines in parts, especially with standout tracks like the title track “Sunshine Superman” and the hauntingly groovy “Season of the Witch.” These songs capture the best of ‘60s psychedelic pop, complete with memorable guitar riffs and an effortlessly cool vibe.

However, the album struggles with consistency. At 19 tracks, it's a long listen, and unfortunately, not all the material holds up. Several folk-inspired songs, such as “Three Kingfishers,” fall flat and lack the spark found in the album’s stronger moments. The filler dilutes the impact of the hits, making the album feel a lot more average than it could sound.

Sunshine Superman has flashes of brilliance, but those highs are surrounded by too many forgettable tracks. A tighter tracklist would’ve made for a more compelling listening experience.

Favourite Track: “Sunshine Superman” – effortlessly cool and catchy but Celeste runs it a very close second.

Least Favourite: “Three Kingfishers” – meandering and underwhelming.

Album Artwork: A vibrant, very '60s cover – bold, colorful, and totally of its time.

This was my first time listening to Justified all the way through. While I was already familiar with the big hits, I’d never given the full album a proper spin—and I was curious to see how it holds up.

I’ve always had a soft spot for tracks like “Rock Your Body” and “Cry Me a River.” They’re undeniably catchy, still sounding fresh today, and serve as prime examples of early-2000s pop done right. Other highlights include “Señorita” and “Like I Love You,” which showcase Timberlake’s early promise as a solo artist breaking away from *NSYNC.

Vocally, the Michael Jackson influence is unmistakable—especially in Timberlake’s falsetto and phrasing. The production, courtesy of The Neptunes and Timbaland, is a major asset, delivering tight, danceable beats with a slick, futuristic edge that defined the era.

That said, the album loses steam after “Rock Your Body.” The second half is weighed down by forgettable ballads and filler that lack the energy and charisma of the first half. Tracks like “Still on My Brain” and “Right for Me” fall flat, and “Never Again” makes for a surprisingly dull closer to an album that starts off so strong.

Overall, Justified is a solid pop debut with a stellar front half and some truly iconic singles. It just doesn’t quite sustain its momentum all the way through.

Favourite track: “Rock Your Body”
Least favourite: “Still on My Brain,” “Right for Me,” and “Never Again”
Summary: Tracks 1–6 are great; the rest, unfortunately, feel like filler.
Album artwork: A clean, iconic cover—perfectly suited to Timberlake’s solo breakout.

I found Ys by Joanna Newsom to be a difficult and ultimately unpleasant listen. Her childlike vocal style didn’t resonate with me at all, and the songs—long, winding, and seemingly directionless—failed to hold my attention. The album felt more like a test of patience than a musical journey. I won’t be revisiting it.

Favourite Song: None stood out.
Least Favourite: Honestly, the entire album.
Album Artwork: It has a quirky, Tudor-inspired charm. I wouldn’t hang it on my wall, but it’s an amusing and memorable cover.

Hejira is my favourite Joni Mitchell album, and it continues to grow on me with every listen. The blend of jazzy and bluesy tones creates a rich, introspective soundscape that perfectly complements her poetic, deeply reflective lyrics.

Standout tracks like “Black Crow” and “Blue Motel Room” showcase Joni’s ability to merge storytelling with musical sophistication. “Black Crow” in particular is a brilliant, restless journey — both lyrically and musically — and stands out as my favourite song on the album.

Honestly, there isn’t a single weak track here; each song offers something unique and meaningful. The album flows with a quiet intensity that rewards repeated listens.

The artwork also deserves a mention — cool, mysterious, and perfectly aligned with the album’s moody, traveling spirit.

Devotional Songs by Nusrat Fateh Ali Khan took me far outside my musical comfort zone. I found it challenging to locate the album, and even more difficult to engage with the music itself. While I recognize that the purpose of this challenge is to broaden horizons through exposure to different languages, cultures, and musical styles, this particular genre didn’t resonate with me. That said, I appreciate the opportunity to explore something so deeply rooted in tradition and spirituality, even if it wasn’t to my taste.

To Pimp a Butterfly is an impressively produced and engineered album, showcasing a rich tapestry of sounds, beats, and musical experimentation. The instrumentation is layered and creative, blending elements of jazz, funk, and soul in a way that clearly demonstrates artistic ambition and technical skill.

However, I personally struggled to connect with the lyrics and the narrative themes explored throughout the album. The stories and messages, while clearly meaningful to many, didn’t resonate with me—perhaps hip-hop simply isn’t a genre that clicks for me.

Despite giving it a full 24 hours, I found the listening experience quite difficult, and ultimately, I didn’t enjoy the album as a whole.

Favourite track: Wesley’s Theory was a strong opener, and For Free? stood out for its energy and originality.
Least favourite: Most of the remaining tracks didn’t land with me.
Album artwork: A fairly standard hip-hop cover—bold and in-your-face, fitting for the genre but not particularly distinctive to my eye.

I've always had a soft spot for Coles Corner by Richard Hawley. I remember buying it when it was first released and being immediately drawn into its warmth and sincerity. Hawley's sound echoes the emotional depth of artists like Rufus Wainwright and Leonard Cohen, but with a distinctly English, working-class poeticism that makes his music feel both grounded and romantic. I'm a big fan.

Interestingly, I only recently discovered that Hawley was once a member of Pulp. Knowing that now, it somehow fits—the richness of his arrangements and his understanding of mood make perfect sense in that context.

The album's sound is calm and melodic, with a quietly cathartic atmosphere. Each song resonates with themes of heartbreak, yearning, and nostalgia. It speaks deeply to the emotions I was navigating 20 years ago—listening to it now is like revisiting a long-forgotten part of myself.

Favourite tracks: “The Ocean,” “Hotel Room,” and, of course, the title track, “Coles Corner.” Honestly, it’s hard to pick a favourite—nearly every song on this album has something special.

Least favourite track: None. There isn't a single weak song here.

Album artwork: A really striking and evocative cover—cool in the best sense.

I've spent the past 20 years trying to get into R.E.M. I’ve always felt like I should be a fan—I love their hits—but I’ve struggled to find a full album that really connects with me. Could Green be the one?

Surprisingly, yes. I really enjoyed this album. It’s an easy, fun listen, and before I knew it, I’d played it three times in a row without even realizing.

Michael Stipe’s voice is truly unique—haunting, expressive, and perfectly suited to his lyrics, which often balance the strange, the magical, and the delightfully nonsensical. His delivery draws you in, even when you’re not entirely sure what the song is about.

The guitar work on this album is fantastic—varied, textured, and always interesting. It keeps things fresh from track to track and showcases the band’s versatility. Brilliant stuff.

Favourite song: Orange Crush stands out as an absolute highlight—urgent, catchy, and powerful. I also love Get Up and Stand. The faster, more upbeat R.E.M. tracks are definitely the ones that resonate with me most.

Least favourite: Honestly, there isn’t a weak song on the album. Each track brings something to the table.

Album artwork: Very cool—distinctive and eye-catching without being overdesigned.

Through this challenge, I discovered that I really enjoy Rufus Wainwright’s music—and Want Two is a fantastic album.

He’s an incredibly talented artist from a famously gifted family, and it shows in this record. The music throughout the album is beautifully composed, with melodies that are both tight and catchy.

Favourite song: The One You Love stands out as a brilliant track. It’s got a great blend of music and lyrics—memorable, emotional, and easy to keep playing on repeat.

Least favourite: Some of the slower songs in the middle didn’t quite resonate with me—Memphis Skyline, for example, felt a bit too subdued. But overall, the album was a very enjoyable listen.

Album artwork: Edgy and cool—perfectly suited to the tone of the music.

Quiet Life showcases a forward-thinking and remarkably polished sound—Japan were pioneering what would soon be known as New Wave, even before the term had entered the musical lexicon. Released in the late '70s, the album serves as a stylistic bridge between glam rock, the emerging New Romantic movement, and the sleek, synth-driven textures that would define much of '80s pop.

It’s easy to see why this record is considered so influential. The lush synthesizer arrangements and punchy, melodic basslines feel ahead of their time, laying the groundwork for artists like Duran Duran, who clearly drew inspiration from Japan’s sonic blueprint.

Favourite tracks: “Quiet Life” stands out as a synth-pop anthem bursting with style and sophistication, while “Fall in Love with Me” delivers a romantic, moody elegance that adds emotional depth to the album.

Least favourite track: While the core of the album is strong, it does begin to feel repetitive at times. The cover of “All Tomorrow’s Parties,” in particular, feels like an unnecessary detour. Additionally, the bonus remixes included on the version I listened to didn’t add much and slightly diluted the overall impact.

Album artwork: The cover is striking—stylish, enigmatic, and perfectly matched to the cool, modern aesthetic of the music. It captures the band’s distinctive visual identity and the forward-looking spirit of the album.