Reviews by kitch82

Last year on my birthday I unwrapped Killing Joke by Killing Joke, which was not exactly the most uplifting soundtrack for the day. This year I struck gold with one of my all time favourite albums, Darkness on the Edge of Town by my hero Bruce Springsteen.

Before even getting into it, this is an easy five out of five. It is a towering follow up to Born to Run, and you can hear the weight of those three years in every note. The sound is leaner, tougher and more focused. The romance is still there, but now it is hardened by reality.

There is not a single weak moment. From the opening punch of Badlands to the stark emotion of the title track, every song feels essential. Prove It All Night and The Promised Land have always meant so much to me. They are two of his greatest songs and they never lose their power.

This album is incredibly important to me. It feels honest, resilient and defiant. It is the sound of someone refusing to back down.

Favourite song: Badlands. Not just because it is brilliant on the record, but because of what it represents live. When it kicks in during the final stretch of a show, you know you are in for something special.
Least favourite: None. Every song belongs.
Album artwork: Classic. The cover perfectly captures the gritty, introspective tone of the music within

I gave Selected Ambient Works 85–92 by Aphex Twin a couple of listens, but honestly, most of it went in one ear and straight out the other.

The album feels like it's caught in an endless loop, never really building toward anything or resolving. There’s a drifting, meandering quality to it that, for me, fails to engage. It comes across more as ambient background music than something to actively listen to—and not in a particularly memorable way. At best, it sets a mood. At worst, it's electronic music at its most forgettable.

Favourite track: Xtal – largely because it's the first track, and at that point, you’re still interested and hopeful for what’s to come.

Least favourite: Pretty much the rest of the album. It blends into a single, indistinct soundscape that left no lasting impression.

Album artwork: I actually love the cover—minimalist, iconic, and a perfect fit for the album’s aesthetic.

The Fat of the Land is a defining example of '90s rave culture—a chaotic, high-energy record that captured the rebellious spirit of its time. I absolutely loved it when it first came out.

Revisiting it over 25 years later, though, I have to admit the album doesn't hold up quite as well as I remembered. While Firestarter and Breathe remain absolute anthems—tracks that instantly transport me back to my youth—the rest of the album tends to blur together. Much of it feels repetitive, leaning too heavily on looping beats and aggressive energy without enough variation or depth.

Favourite tracks:
Firestarter and Breathe – timeless classics that still hit hard and bring back powerful memories.

Least favourite tracks:
Fuel My Fire and Narayan stand out as weaker moments. They feel more like filler—tracks where The Prodigy latch onto a groove and ride it a little too long without much payoff.

Album artwork:
Absolutely iconic. The crab on the beach is striking, weird, and unforgettable. It's one of the most memorable covers of the era—hard to beat.

Following The Joshua Tree was no easy feat—an almost impossible task, in fact. But U2 rose to the challenge not by repeating themselves, but by reinventing their sound. Achtung Baby marks a bold and brilliant departure from their earlier work.

With this album, U2 leaned into experimentation, embracing new sonic textures and a more modern, edgy feel. The lyrics carry deeper emotional weight—often more reflective and positive—and the melodies are vibrant and fresh. The result is a confident, innovative record that stands tall in their discography.

Highlights include the hauntingly beautiful “So Cruel”, the emotionally charged “Who’s Gonna Ride Your Wild Horses”, and, of course, the iconic “One”—a song that has become one of U2’s most enduring anthems. Honestly, every track holds its own, making this a cohesive and thoroughly enjoyable listen from start to finish.

Favourite song: One
Least favourite: None – every track shines in its own way.
Album artwork: Easily U2’s best cover. It's vibrant, chaotic, and full of energy—just like the music. There's so much to look at; it perfectly captures the spirit of the album.

Among the Living by Anthrax surprised me — I didn’t hate it! It's full of intense headbanging energy and a lot of shouting, which isn't usually my thing, but I found it more listenable than expected.

Thrash metal isn’t a genre I typically explore, so I appreciated that this challenge pushed me out of my comfort zone. While the album overall wasn’t exactly to my taste, I did notice some tracks had a punkish edge and occasional melody that made them more engaging.

That said, many of the songs started to blend together for me. The album tends to stick to a single tempo and sound, with little variation in riffs or rhythm, making it hard to distinguish one track from another.

Favourite tracks: “I Am the Law” and “Caught in the Mosh” were decent — not instant favorites, but they stood out a bit.
Least favourite: By the time I reached track 9, Imitation of Life, I felt like I’d heard enough.

Album artwork: Odd, but in a good way — I actually really like it.

In the end, it’s not an album I’d revisit, but I’m glad I gave it a try.

Weather Report is a band I’ve generally steered clear of over the years. I'd loosely file their sound under modern jazz—a genre I've never quite clicked with.

Still, I figured it was time to give Heavy Weather a fair shot. Most of the jazz I've explored so far for this challenge has been from the late ’50s, and truth be told, it hasn’t really resonated with me. So how does ’70s jazz stack up in comparison? Let’s find out.

The opening track, “Birdland,” was an enjoyable listen—upbeat, polished, and packed with vibrant wind instrumentation. I found myself liking it, along with a couple of other tracks. That said, the album as a whole strikes me as a rather bland attempt at modernizing jazz. Technically impressive, yes—but emotionally, it left me cold.

Favourite track: “Rumba Mama” stood out as a fun, energetic detour from the rest of the album. It’s very short, but memorable. “Birdland” was also a highlight.
Least favourite track: “Palladium” is the kind of jazz that really puts me off—disjointed and hard to engage with.
Album artwork: I genuinely love the cover. It’s bold, vivid, and perfectly captures the experimental vibe of the music within.

Raising Hell by Run-D.M.C. is a landmark hip-hop album that delivers brilliance from start to finish. It cemented the group's status as pioneers of the genre, blending raw energy with sharp lyricism and hard-hitting beats.

Every track offers something special, from the iconic cover of Walk This Way, which charted even higher than Aerosmith’s original, to the legendary It’s Tricky. The album also boasts some underrated gems like You Be Illin', Is It Live, and Perfection, each showcasing the group's dynamic flow and genre-defining sound. Simply put, Raising Hell is hip-hop perfection.

I’ll be playing this album again without hesitation.

Favourite track: You Be Illin'
Least favourite: There isn’t a single bad song here.
Album artwork: An effortlessly cool cover that matches the album’s attitude.

21 is an album made for the masses—and it works. Adele’s voice is undeniably powerful, and this album is where it truly shines. In my opinion, 21 is her best work, packed with some of her biggest and most iconic hits.

The production is polished to perfection—maybe even too polished at times, teetering on the edge of being overproduced. Still, it serves the songs well and showcases Adele's emotional range. You can really feel what she’s thinking and going through with every track. The heartbreak is raw, the delivery honest.

Favorite Song: Of course, the big hits like Rolling in the Deep and Rumour Has It are classics, even if they’ve been played to death. But a personal standout for me was I’ll Be Waiting—it’s musically brilliant and has a great Northern Soul vibe that adds something fresh to the album.
Least Favorite: This might be an unpopular opinion, but Someone Like You just doesn’t do it for me—it’s slow, and I find it quite boring.
Album Artwork: A classic Adele cover—simple, emotive, and instantly recognizable.

Going into this, I’d never heard of Bad Brains or their album I Against I, but I was intrigued by the talk of their punk roots mixed with funk, soul, and reggae. On paper, that sounds like a bold and exciting combination.

In reality, I didn’t hear much of that fusion come through. I gave the album a couple of listens, it’s short and sharp, but I just couldn’t connect with it. The tracks felt quite forgettable, and the sound jumps around in a way that makes it hard to settle into anything. At no point did a song really grab me.

Secret 77 was probably the only track that stood out slightly, with a bit of a cinematic, almost James Bond feel to it. Aside from that, nothing really landed.

Favourite track: Secret 77
Least favourite tracks: Most of the rest didn’t leave much of an impression
Album artwork: Very 80s, not bad, not amazing, just very of its time

I’m honestly not sure how this made the 1001 Albums You Must Hear Before You Die list

A two-hour double hip-hop album—Speakerboxxx/The Love Below was always going to be a love-it-or-hate-it experience for me. I went in curious and open-minded, but I knew this would be a serious time commitment.

This is truly an album of two halves. The Speakerboxxx side delivers a lively, confident set of energetic hip-hop tracks. While some lyrics feel a bit dated, the overall production is vibrant and punchy. The clear standout is "I Love the Way You Move"—an absolute banger that still hits hard. It's a perfect reminder of why OutKast made such a mark in their prime.

Then comes The Love Below. Honestly, the first eight tracks were a struggle—slow, dated, and lacking anything catchy or engaging. But just as I was ready to write it off, it pivots into two phenomenal tracks: "Hey Ya!" and "Roses". These songs completely change the momentum and show André 3000's flair for genre-bending brilliance. Side two is saved—barely—but it took a long detour to get there.

In conclusion, I loved moments of this album. There’s greatness here, but it’s buried under too much filler. Trim about ten tracks, and this could easily be a 5/5. As it stands, it’s a fascinating but flawed listen.

Favorite Tracks: I Love the Way You Move, Hey Ya!, Roses
Least Favorite: Love Hater was a low point, the interludes were unnecessary, and most of the first nine tracks on The Love Below could have been cut.
Album Artwork: Not exactly wall-worthy, but it reflects the bold, dual-natured concept of the album.

This has been the hardest album to track down on the list so far—and I’ve gone through over 500 of them. So naturally, my expectations were high.

I’d never heard of American Music Club or their album California before, even though I’m a huge indie fan. It’s always exciting to discover hidden corners of American indie, so I was curious to see what this one had to offer.

In some respects, California feels ahead of its time for a late ’80s release. There are some genuinely strong moments—tracks like "Somewhere" and "Lonely" stand out with their haunting melodies and thoughtful lyrics. That said, the album as a whole leans heavily into a slow, somber tone. At times, it feels like it drags—not in a meditative or emotionally deep way, but in a way that risks losing the listener’s attention. Perhaps the pace is intentional, aiming to evoke a certain mood, but for me, it didn't always land.

There’s a definite hint of Morrissey in the vocals—an interesting touch—but it’s not enough to carry the album through its more lackluster stretches.

Favorite Tracks: Somewhere, Lonely, I also enjoyed Bad liquor. It was heavier and different than anything else on the album
Least Favorite: Pale Skinny Girls is one of the duller moments, though it’s not alone. A few tracks share that same uninspired feel.
Album Artwork: I really like the cover. It has a quiet, evocative quality that suits the album’s tone.

In summary, while California has some standout moments and a certain nostalgic charm, I think there are stronger indie records waiting in the ’90s.

It’s hard for me to hear Randy Newman’s voice without immediately thinking of Toy Story. Honestly, I haven’t explored much of his music beyond the soundtrack, so I was curious to give Good Old Boys a proper listen.

There are definitely some strong moments on this album. I found a few tracks genuinely enjoyable—but they’re surrounded by a fair amount of filler. Some lyrics feel dated or uncomfortable, and several songs suffer from lackluster melodies or weak musical arrangements. Overall, I’m not sure I’d return to this album.

Favourite Tracks:
“Birmingham” stood out—though I’ll admit I might be biased, being a Brummie myself. “Rollin’” is another highlight: a bright, catchy pop tune. “Naked Man” also caught my attention, though it’s hard to ignore how much it echoes Ob-La-Di, Ob-La-Da.

Least Favourite:
Some lyrics haven’t aged well and detract from the experience. “Every Man a King,” in particular, felt totally out of place and was a real low point for me.

Album Artwork:
The blurry photo style just doesn’t do it for me—visually underwhelming.

While I can enjoy dance music at times when I am in the right space, it's rarely something I seek out by choice. So, I went into Sincere by MJ Cole with an open mind, curious to see if it could win me over.

Unfortunately, the album didn’t quite hit the mark for me. At over an hour long, it feels bloated, and much of the content blends into a repetitive, generic 90s sound. This is very much a product of late-90s British dance music—with all the polish but little of the innovation.

Too many tracks lack distinction, and nothing really stood out or grabbed my attention. To be honest, I was surprised to find Sincere included in 1001 Albums You Must Hear Before You Die. It seems like a questionable inclusion when compared to other, more impactful records.

Favourite track: I couldnt pick one
Least favourite: I couldnt pick one
Album artwork: I actually really like the cover—stylish and visually appealing.

I’ve always considered Wild Wood to be Paul Weller’s finest solo album—better, in my opinion, than Stanley Road. I’m revisiting it today to see if that still holds, and it absolutely does.

This album is packed with some of Weller’s most iconic solo tracks. Sunflower, Wild Wood, and The Weaver are all brilliant, timeless songs that really showcase his songwriting and sound. But what lifts this album even higher for me are the deeper cuts. Tracks like All the Pictures on the Wall and Has My Fire Really Gone Out? add real depth and emotion, making it feel like a complete piece of work rather than just a collection of standout singles.

I also found myself really enjoying the instrumentals, which is rare for me. They add a subtle atmosphere and help the album flow beautifully from start to finish.

Favourite tracks: Sunflower, Hung Up, and The Weaver
Least favourite tracks: None, it’s a flawless listen from start to finish
Album artwork: An iconic Weller cover, simple, earthy, and instantly recognisable
Rating: 5/5

I’m not sure I’ve listened to much Steely Dan before, so Pretzel Logic was a fresh experience for me. I gave it a couple of spins today and found it to be an easy, enjoyable listen with a few standout tracks.

The album has a lively energy and smooth production, making it accessible and pleasant. That said, nothing on it really gripped me or compelled me to hit repeat right away. It’s solid, but not particularly groundbreaking on first impression.

Favourite songs: “Rikki Don’t Lose That Number” is a clear highlight—catchy, confident, and effortlessly cool. “Night by Night” also stood out with its groove and punch.
Least favourite: Honestly, nothing felt skippable. Every track was worth a listen.
Album artwork: I love the cover—simple and iconic. And yes, lots of pretzels!

This album didn’t resonate with me, as I’ve always found jazz a challenging genre to connect with. Ellington at Newport is clearly a landmark recording for jazz fans, but personally, I found it difficult to engage with the style and energy of the performance.

Favourite Track: I couldn’t identify a standout track, as the overall sound didn’t quite click with me.

Least Favourite: The whole album blended into what felt like an overwhelming wall of jazzy improvisation — not something I found easy to follow or enjoy.

Album Artwork: The cover is fine — nothing remarkable, but it suits the era and genre

Pretenders is a fantastic debut album, and Chrissie Hynde proves herself to be a powerhouse. Her sharp lyrics and commanding presence drive the entire record.

The album bursts with energy and raw emotion. Tracks like “Precious,” “Tattooed Love Boys,” “Up the Neck,” and “The Wait” are urgent, punchy, and packed with infectious riffs. The rhythm section is tight and relentless, giving the songs a powerful backbone.

There’s also great variety here. Slower, more melodic tracks like “Kid,” “Brass in Pocket,” and “Mystery Achievement” show the band’s range and add emotional depth without losing momentum.

This is an album I can happily return to again and again.

Favourite song: “Brass in Pocket” — a confident, catchy standout.
Least favourite: None. Every track feels essential to the whole.
Album artwork: Cool and iconic — a great fit for the music inside.

Actually, the Pet Shop Boys' second album, is a brilliant showcase of the duo at the height of their creative powers. With this release, they perfected the distinctive sound and style that would define their music for the next three decades.

This is pop/dance music at its finest. Tracks like “One More Chance” and “What Have I Done to Deserve This?” exemplify the group’s talent for crafting flawless melodies, infectious rhythms, and lyrics that are both powerful and meaningful.

Favourite Song:
“What Have I Done to Deserve This?” is a standout. The collaboration with Dusty Springfield adds emotional depth and a timeless quality. That said, it’s hard to choose—“Shopping,” “It’s a Sin,” “Heart,” and “Rent” are all 5/5 tracks in their own right.

Least Favourite Song:
There truly isn’t a weak track on the album—every song earns its place.

Album Artwork:
A brilliant, minimalist cover that perfectly complements the sleek, sophisticated sound within.

I hadn’t revisited White Ladder in years. When it first came out, the hype was massive—and honestly, I never quite understood it. I always felt it had some nice moments but was overall a pretty average album.

Listening to it again two decades later, my opinion hasn’t really changed.

One thing that did stand out this time around was how much “Nightblindness” reminded me of The Who’s “Behind Blue Eyes”—both in mood and melody.

There are some genuinely solid tracks here, like “Babylon” and “My Oh My,” but the album suffers from a lack of variety. The songs blend into one another, creating a repetitive, almost monotonous listening experience.

Favourite track: “Babylon” – still a great tune.
Least favourite: “We’re Not Right” – just feels flat and uninspired.
Album artwork: A cool and distinctive cover that holds up well.

What’s Going On is a phenomenal album—one I’ve returned to time and again. It’s more than just music; it’s an emotional and social statement that still resonates today.

The title track What’s Going On and Mercy Mercy Me (The Ecology) are absolutely stunning—both musically and lyrically. They’re timeless pieces that blend soul, jazz, and heartfelt commentary on the state of the world.

There are moments of profound pain throughout the album, powerfully conveyed through the lyrics of songs like Save the Children and God Is Love. Gaye’s voice is filled with both sorrow and hope, giving these tracks a deeply human quality.

Favourite tracks: What’s Going On, Mercy Mercy Me
Least favourite: — (Honestly, it’s hard to pick one)
Album artwork: Iconic. When you think of Marvin Gaye, this cover—his solemn, thoughtful gaze in the rain—instantly comes to mind. It’s as legendary as the music itself.