Reviews by kitch82

American alternative rock from the late ’80s and early ’90s usually isn’t my scene, and I’d never even heard of fIREHOSE—or their album Fromohio—before this. Honestly, the quirky way they spell their name didn’t give me high hopes going in.

That said, Fromohio turned out to be a pleasant surprise. It’s a genuinely easy listen, with a sound that’s both warm and stripped-back. The production is clean but unpolished in a good way—there’s a rawness that adds charm. The band jumps between blues, acoustic, and rock influences, and each track is anchored by standout drumming that really pulls everything together. The lyrics are solid too—nothing overly poetic, but they suit the vibe perfectly.

Favorite track: In My Mind – laid-back and catchy.
Least favorite track: Honestly, nothing here falls flat. The album is short, sweet, and full of variety.
Album artwork: The cover is chaotic in a cool way—there’s a lot going on, and it matches the band’s eclectic sound.

As a fan of Iggy Pop and The Stooges, I was genuinely looking forward to giving this album a listen.

The Stooges is a short and punchy record—just 8 tracks spread over 35 minutes. While I can appreciate that this album was groundbreaking in 1969, it didn’t quite land for me. Despite Iggy’s unmistakably raw and powerful vocals, the album felt flat and lacked momentum. It never really seemed to build or go anywhere interesting.

Favourite Track: I Wanna Be Your Dog – A standout with gritty energy and an unforgettable guitar riff.
Least Favourite: We Will Fall – At nearly 10 minutes long, it takes up almost a third of the album, yet it feels like it goes absolutely nowhere. A total bore.

Album Artwork: The cover is great—simple, moody, and iconic.

Going into this, I had never heard of Mask or even the band Bauhaus—so I was curious to see if this album could turn me into a goth.

Right away, the sound reminded me of Joy Division: minimal, moody, and atmospheric. But as the album unfolded, it veered into darker, stranger territory—and I mean that in the best way. The production is raw and unpolished, giving the music an edge that feels authentic and deliberate. It’s goth rock stripped to its essentials, and done incredibly well.

I gave the album a few spins to really sit with it. The first listen was compelling enough to hit replay immediately. Overall, I really enjoyed it and I’ll definitely be coming back to it. It’s brooding and unconventional, with flashes of punk energy woven into its gothic-rock core. It just sounds effortlessly cool.

Favorite Track: “Kick in the Eye 2” was a standout—sharp, punchy, and full of energy. “Muscle in Plastic” also left an impression. Honestly, most of the tracks hit the mark.

Least Favorite Track: The album lost some momentum toward the end. Tracks like “Earwax” and “Harry” didn’t land as strongly and felt a bit less focused.

Album Artwork: The cover is excellent—strange, stylized, and perfectly aligned with the music it represents.

I’ve spent years trying to get into Eric Clapton’s music—partly because I feel like I should enjoy it, even though he’s a deeply problematic figure. That said, Cream is by far the best version of Clapton. His solo work and time with the Yardbirds never clicked with me the same way. Disraeli Gears stands out as the album I return to most—it's a perfect fusion of blues and psychedelic rock, packed with memorable riffs and standout tracks.

This album is so good I played it three times in a row.

The biggest hit, “Sunshine of Your Love,” features one of the most iconic guitar riffs of its era. It’s brilliant—an undeniable classic. But the rest of the album holds up just as well. Tracks like “Strange Brew,” “Dance the Night Away,” and “SWLABR” are absolute gems, each with their own unique groove and iconic guitar work.

Favourite tracks: “SWLABR” and “Sunshine of Your Love”
Least favourite: “Mother’s Lament” – feels very Monty Python. I’m not convinced it needed to be on the album.
Album artwork: A super cool, quintessentially '60s psychedelic cover—totally fitting for the sound within

I love The Clash, and London Calling, their third album, is easily one of the greatest records of all time.

At its core, it’s punk at its best, full of raw energy, but played by proper musicians with real range. What makes this album stand out is that it goes far beyond punk. Across its 19 tracks, it blends genres effortlessly, moving through punk, pop, reggae, and ska without ever losing its identity. The band push into new territory while keeping that edge, which is what makes it feel so timeless.

The title track London Calling is an explosive opener, driven by an unforgettable riff and urgent, powerful lyrics that set the tone perfectly. At the other end, Train in Vain closes the album as a personal favourite, catchy, emotional, and slightly unexpected.

Favourite tracks: London Calling and Train in Vain
Least favourite tracks: None, every song earns its place on the album
Album artwork: Absolutely iconic, with Paul Simonon smashing his bass, one of the most memorable covers in music history

Another Wu-Tang Clan member appears on the 1001 Albums list—there really are quite a few of them! I’ll admit, I tend to struggle with this genre; the gangster rap themes don’t particularly resonate with me, and with 27 tracks spanning 1 hour and 12 minutes, this is a long listen. Wish me luck.

Fishscale has its moments. It leans heavily on collaborations—perhaps a bit too much at times—but those features often end up being the highlights. Tracks with Ne-Yo and Raekwon, for example, really stand out. The flow is smooth, the production is tight, and the lyrical delivery is sharp—even if the subject matter isn’t quite my thing.

One thing that really surprised me was the number of writers credited on each track. It genuinely took an army to put this album together.

Favourite track: I really enjoyed “Big Girl” and “Back Like That,” but if I had to pick one, I’d say “Back Like That” takes the top spot.
Least favourite track: I actually felt the album improved as it went on. It started off a bit weak for me, and I didn’t enjoy the tracks that leaned heavily into gangster themes.
Album artwork: That stare on the cover is intense—I feel like I’m being personally challenged just by looking at it!

I am looking forward to listening to this album. Elastica for me are a fun, female-led indie/post-punk band known for their tight musicianship and punchy 2–3 minute tracks so this album should be a belter!!

I liked this album, Their sound is aggressive, energetic, and full of attitude. While they might not be reinventing the wheel with theis album, they definitely know how to deliver a good time and fun tracks. Waking Up instantly took me back to my early 2000s indie nightclub days—what a tune! It’s the kind of track that gets you moving and sets the tone for a night out. I’ve always loved that one.

Beyond the big hit, there are some absolute belters here—Car Song, Line Up, and Hold Me Now all stand out as highlights. The whole album keeps a strong momentum and delivers consistent energy from start to finish.

Favourite songs: Waking Up and Car Song take the top spots, but honestly, I enjoyed every track.
Least favourite: None—there’s not a bad song on the album.
Album artwork: Pretty standard cover—nothing too exciting visually, but the music more than makes up for it.

I've always meant to dive deeper into Rufus Wainwright's work, so I was really looking forward to giving Want One a proper listen. He's always been on my radar, mostly as "the guy who did the best version of Hallelujah," but I hadn’t explored much beyond that. With all the glowing reviews out there, expectations were high—and the album absolutely delivered.

Want One exceeded my expectations. I genuinely enjoyed it from start to finish. Of course, there are the well-known tracks like Oh What a World and Go or Go Ahead, but what really stood out to me were the lesser-known gems. Movies of Myself and Vicious World were personal highlights—unique, emotional, and beautifully arranged.

This album has definitely made me excited to explore more of Rufus’s catalog. It’s one I’ll be returning to for sure.

Favourite track: Movies of Myself
Least favourite: I couldnt pick one. I really enjoyed every song on the album
Album artwork: A very cool, striking cover—fits the theatrical vibe of the album perfectly.

I’m genuinely surprised this album made the list. Trafalgar sits in a strange, in-between phase of the Bee Gees’ career—after their ‘60s baroque pop heyday and before their iconic disco dominance. Unfortunately, it doesn’t measure up to either era, both of which represent the Bee Gees at their creative peaks.

Now, I get that the rules for this list exclude soundtracks, but leaving Saturday Night Fever off while including Trafalgar feels like a major oversight. That soundtrack defined an era; Trafalgar, on the other hand, barely leaves a mark.

Aside from the standout ballad “How Can You Mend a Broken Heart,” the album leans heavily into bland, middle-of-the-road folk-pop. It lacks the energy, emotion, and innovation that define the best of their work. Even Robin’s usually moving vocals can’t save some of these tracks.

Favorite song: "How Can You Mend a Broken Heart"
Least favorite: Most of the rest—largely forgettable
Album artwork: A cool visual tribute to the Battle of Trafalgar, which is sadly more memorable than the music inside.

Otis Redding really does sing soul.

This album is a joy to listen to—I've had it on repeat 3 or 4 times today. It's just so effortlessly enjoyable and easy to get lost in.

It has everything: it can be light-hearted and funny one moment, then full of sorrow the next. His darker, more emotional take on Respect is brilliant. Some of the covers even outshine the originals—My Girl and Wonderful World are both standout versions.

Favourite songs: Hard to choose! My Girl and Wonderful World are classics for a reason, but I found myself really drawn to Respect and Satisfaction as well.
Least favourite: Honestly, there isn’t a single bad track on this album.
Album artwork: A really cool cover—simple but striking.

I don’t think I’ve ever listened to a George Michael solo album all the way through before, and what better place to start than his debut, Faith?

There are moments I genuinely enjoyed—especially the opening two tracks. The title track "Faith" is undeniably brilliant, and "Father Figure" also stood out as a highlight. However, much of the album didn’t land for me. Songs like "Kissing a Fool" and "Look at Your Hands" felt like filler, and I couldn’t really connect with "I Want Your Sex" either—it just didn’t resonate.

Overall, Faith strikes me as a very dated slice of ‘80s pop, heavy on the sex appeal but light on substance. It’s not something I’d revisit.

Favourite song: “Faith,” with “Father Figure” as a close second.
Least favourite: “I Want Your Sex (Pts 1 & 2)” didn’t do much for me, and “One More Try” felt quite dull.
Album artwork: Very cool cover—simple but iconic.

This was a new discovery for me—I’d never heard of Halcyon Digest or Deerhunter before. That’s surprising, considering 2000–2010 indie was right in my wheelhouse. Somehow, this one just slipped through the cracks.

Overall, the album leans toward fairly standard indie rock. It didn’t blow me away, but there were definitely standout moments. “Memory Boy” and “Desire Lines” caught my attention and hinted at something more interesting beneath the surface.

While Halcyon Digest didn’t fully land for me, there’s something about the band that makes me want to dig deeper. I’ll definitely be checking out their back catalogue.

Favorite tracks: “Memory Boy,” “Desire Lines”
Least favorite: “Don’t Cry,” “Revival,” “Sailing”
Album artwork: Cool cover—eye-catching and distinctive.

I hadn’t heard of Gillian Welch before, but I was curious to check out this album — and I’m really glad I did.

It’s a beautifully stripped-back blend of folk and bluegrass, with minimal instrumentation that really lets the vocals and lyrics shine. What surprised me most was how much I connected with it — the storytelling is exceptional and pulls you in with each track.

Favorite songs: I Dream a Highway and Elvis Presley Blues stood out to me — both are haunting and beautifully written.
Least favorite: I Want to Sing That Rock and Roll felt a little out of place. The sudden shift to a live track broke the flow of the album for me.
Album artwork: I love the cover — simple, but striking and perfectly suited to the mood of the music.

Before this listen, I had never heard of Pentangle, their album Basket of Light, or any of its tracks—so I went in completely blind. What followed was unexpected and, at times, fascinating but not in a good way.

I definitely wasn’t anticipating psychedelic, medieval folk music—but that’s exactly what I got. To be honest, it wasn’t really for me. While the album has a few nice moments, much of it is steeped in mystical, whimsical sounds that just didn’t resonate with me. It felt like I was listening to the soundtrack of a Renaissance fair rather than an album I’d want to revisit.

Favourite track: Springtime Promises really stood out—beautifully arranged and easy to connect with. I also enjoyed the remix of Sally Go Round the Roses; it had a more contemporary, accessible vibe.

Least favourite: Lyke-Wake Dirge was the low point for me. It felt more like a scene-setter for a medieval film than a standalone song. I just couldn’t get into it.

Album artwork: I actually loved the cover art. It has a cool, retro charm that perfectly captures the era and aesthetic of the album.

David Bowie’s Final Masterpiece: Blackstar

Blackstar is nothing short of superb. As his final work, it stands as a bold, emotive, and forward-thinking statement from an artist who continued to innovate until the very end. In an industry where many artists struggle to remain creatively relevant with age, Bowie defied the trend — evolving, experimenting, and delivering something truly fresh.

This album isn't just a farewell; it’s a reinvention. Deeply atmospheric and layered with meaning, it feels like Bowie knew this would be his last artistic statement — and he made it count.

Favourite Track: It’s hard to choose, as every song is a gem, but Dollar Days resonates most with me.
Least Favourite: Honestly, I couldn’t find a single weak track.
Album Artwork: Minimalist, striking, and instantly iconic — perfectly befitting the music within.

Marcus Garvey is a brilliant album and an essential gem of 1970s reggae. As a longtime fan of the era, I had this record on repeat all day—easily spinning it four or five times without ever tiring of it.

The tracks are powerful and purposeful, combining uplifting rhythms with a deep sense of righteous anger and spiritual conviction. Burning Spear’s sound is distinctive, and their storytelling is rich with history, identity, and resistance.

Favourite Tracks: “Marcus Garvey” and “Slavery Days” stand out as unforgettable—both sonically and lyrically impactful.
Least Favourite: Honestly, there isn’t a weak moment on the album
Album Artwork: The cover has a strong presence—simple, iconic, and fitting for the message within

My review of Horses may come with a hint of bias—I love Patti Smith, and this album represents her finest hour.

From the moment Gloria kicks off the record, it's clear you're in for something electric. It's an explosive opener, full of raw energy and poetic defiance, setting the tone for the rest of the album. That same intensity carries through every track, making Horses feel like a continuous wave of bold, unapologetic artistry.

Standouts like Redondo Beach and Land showcase the album's range—from reggae-tinged rhythms to sprawling, spoken-word rock epics. Honestly, every song here feels essential; there's not a single misstep.

Favourite track: Gloria is superb, and Land is an absolute masterpiece.
Least favourite: Not applicable—there’s no weak link on this album.
Album artwork: An iconic and effortlessly cool cover.

Before this, I’d only heard Sheryl Crow’s biggest hits—never a full album—so I was curious to give Tuesday Night Music Club a proper listen on a quiet Sunday evening.

I’ve always enjoyed her greatest hits; they’re catchy, easygoing, and fun, even though pop/country isn’t usually my go-to genre. That said, a few tracks on this album really stood out. “Leaving Las Vegas” shines with its storytelling and energy, and “Can’t Cry Anymore” delivers an upbeat, infectious vibe that’s hard not to enjoy.

On the flip side, a few songs didn’t quite land. “Strong Enough” and “Solidify” felt flat and lacked the spark to keep my attention. Overall, the album leans into a middle-of-the-road country-rock sound—solid and well-produced, but nothing particularly groundbreaking or adventurous but a good fun album with some good songs.

That being said, Crow’s voice is excellent, and her songwriting talent is undeniable. While this album didn’t fully click with me, I can absolutely see the appeal for fans of this style.

Favourite Tracks: “Leaving Las Vegas” and “All I Wanna Do” – both standout sing-along anthems with great energy.
Least Favourite: “Strong Enough” and “No One Said It Would Be Easy” – both felt dull and forgettable.
Album Artwork: A fitting, well-designed cover

This might be a tough listen. Personally, I never really connected with The White Stripes or any of Jack White’s other projects. Still, I thought I’d give his first solo album Blunderbuss a shot.

Surprisingly, I didn’t hate it—but I also don’t think it’s essential listening. I’m honestly puzzled as to how it ended up on any “must-hear” lists. The album feels pretty basic overall, without offering anything particularly new or groundbreaking. There are a few decent moments scattered throughout, but nothing that truly stands out.

Favourite track: Love Interruption – a rare moment of genuine intrigue.
Least favourite track: Blunderbuss the title track was very dull.
Album artwork: A moody, melancholic cover that suits the tone, even if the music doesn’t quite live up to it.

Iggy Pop, produced by David Bowie—on paper, it sounds like a dream team. And honestly? It delivers. The Idiot is a fascinating listen, drenched in the moody, experimental vibe of Bowie’s late '70s Berlin era.

Right from the opening track, Sister Midnight, it’s clear Bowie’s fingerprints are all over this. The production, the atmosphere, even the phrasing—this could easily be a Bowie track, and that’s not a bad thing. Songs like Dum Dum Boys and Funtime carry that same twisted glam energy. And then there’s China Girl—Iggy’s raw, haunting version is nearly as good as Bowie’s later polished take. It's cool to hear the original in all its gritty glory.

Standout Tracks: Sister Midnight and Nightclubbing are absolute highlights. Both are hypnotic, weird, and utterly iconic.

Least Favorite Track: Honestly, there isn’t a weak link here. The album flows in a strange, compelling way from start to finish.

Album Artwork: The cover perfectly matches the music—striking, offbeat, and undeniably cool.