Reviews by kitch82

I loved this.

Intro is such a beautiful opening. Minimal, atmospheric and instantly recognisable. It sets the tone perfectly. Crystalised is another standout. Simple, moody and completely addictive.

There were a few songs on here that I had heard before but never realised were by The xx, which made it even more enjoyable. The stripped back production really works. It feels intimate and understated rather than empty.

This is an album I will definitely come back to. It is calm, cool and quietly powerful.

Favourite songs: Intro and Crystalised
Least favourite: None that stood out negatively
Album artwork: Simple and striking. Clean and instantly recognisable

Two Tim Buckley albums in one week, and this time it is Goodbye and Hello. After not really connecting with Happy Sad, which I rated a 2, I was hoping this earlier record might suit me better.

It definitely does.

This feels far more dynamic and engaging. The folk foundations are still there, but there is a psychedelic sweep to it that gives the songs more shape and drama. The arrangements are fuller, the melodies more immediate, and the performances feel more alive. Buckley’s voice is still distinctive and ambitious, but here it feels anchored by stronger songwriting.

There is introspection, of course, but it never feels as heavy or weighed down. Instead, the emotion feels purposeful and expressive. The longer tracks stretch out without losing interest, and there are moments that genuinely stand out rather than drift past.

It is not flawless, but it is a clear step up for me and a reminder of why Buckley holds such a unique place in the late 60s folk scene.

Favourite song: Morning Glory
Least favourite song: Carnival Song
Album artwork: Very much of its era, colourful and slightly surreal, which fits the music well

This just is not for me.

I know From Elvis in Memphis is often regarded as one of his strongest later records, and I can hear the quality in the production and musicianship. The performances are polished and the vocals are powerful. But it simply does not connect with me.

Later era Elvis has never really been my thing. It feels smoother and more restrained, and I miss some of the raw energy that made his earlier work so exciting. As a full album, it drifts rather than grabs me.

I can appreciate why people love it, but it is not one I will be revisiting.

Favourite song: None that truly stood out for me
Least favourite: The overall tone just does not land
Album artwork: A classic live style image, but nothing that elevates the record for me

I have struggled with Tim Buckley in the past, so I came into Happy Sad hoping this might be the one that finally pulled me in. It has a reputation for being more adventurous and jazz influenced, which made me think it could land differently.

There are moments here that are genuinely beautiful. The arrangements are loose and atmospheric, drifting between folk and jazz with a kind of late night intimacy. His voice is expressive and fragile, and at times it creates something quite haunting. You can hear the ambition and the willingness to stretch beyond standard singer songwriter territory.

But across a full listen, I found it hard to stay emotionally connected. The album leans heavily into introspection, and for me it tips too far into melancholy. Instead of feeling moving, it often feels weighed down. The songs drift rather than build, and I kept waiting for a moment that would truly lift it.

I can appreciate what he was trying to do and why this record is so admired. It just does not quite resonate with me personally.

Favourite song: Buzzin’ Fly
Least favourite song: Love from Room 109 at the Islander
Album artwork: Soft and understated, very much in keeping with the mood of the record

Aretha Franklin’s voice has always amazed me, but Lady Soul really drives home just how untouchable she was at this point in her career. From the very first note, the album feels confident, powerful and completely in control.

There is that unmistakable Northern Soul energy running through it, but it is balanced with real emotional depth. She can sound defiant and gritty one moment, then tender and vulnerable the next. The band grooves effortlessly behind her, but it is always her voice that commands your attention. Every phrase feels lived in, every note deliberate.

What stands out most is how timeless it sounds. These are not just great soul songs, they are performances that still feel alive decades later. There is not a weak moment here. It flows beautifully from start to finish and never dips in quality.

Favourite song: Chain of Fools. A gritty, infectious groove that captures Aretha’s raw power and charisma perfectly.
Least favourite song: None. Every track earns its place.
Album artwork: Stylish and era defining. It matches the confidence and class of the music inside.

I really enjoyed this.

It is fun, loud, confident and completely of its time in the best possible way. Big beats, massive hooks and samples everywhere. It does not pretend to be deep or overly serious. It just wants you to turn it up and enjoy yourself.

The big hits still sound great. Right Here, Right Now has that huge build that feels cinematic and uplifting. Praise You is effortlessly catchy and impossible not to nod along to. The whole album flows brilliantly and never outstays its welcome.

This is easily my favourite Fatboy Slim album. It captures that late nineties energy perfectly and feels like pure nostalgia without sounding dated.

Favourite song: Right Here, Right Now
Least favourite: None. It is consistently fun throughout
Album artwork: Bold and iconic. Instantly recognisable and perfectly matched to the energy inside

I know this is considered a landmark album in early 2000s hip hop, and for a lot of people it defined an era. I went into it fully aware of its reputation and cultural impact, hoping I might find something in it that connected.

It just did not land for me.

The production is polished and confident, and you can hear why it dominated at the time. There is swagger, hooks and plenty of attitude. But across a full album listen, it all felt very one dimensional to my ears. The themes, the tone and the overall vibe never really shift, and I found myself disengaging rather than getting pulled in.

I can respect its place in music history and the impact it had commercially and culturally. It is clearly an important record for the genre. It just does not align with my personal taste, and I cannot see myself returning to it.

Favourite song: None stood out enough for me
Least favourite song: Most of the album blends into one for me
Album artwork: Instantly recognisable and iconic for many, but not one I would choose to display

This really was not for me.

I can appreciate the ambition behind 2112. The musicianship is clearly impressive and the concept is bold. But as a listening experience it just does not land for me at all. The long, sprawling title track feels overblown rather than epic, and the theatrical vocals make it hard for me to connect with the story.

There is no doubt Rush are talented, but the combination of progressive rock excess and sci fi concept leaves me cold. It feels more technical than emotional, and I struggle to find anything that draws me in.

Favourite track: None that truly grabbed me
Least favourite: The extended title suite is particularly hard work
Album artwork: Striking and instantly recognisable, even if the music does not match it for me

This was a very tough listen for me.

I understand that the point is to be strange, unsettling and completely unconventional, but it just does not work for me at all. The songs feel chaotic and disjointed, with melodies that never really develop and structures that seem deliberately awkward.

I can appreciate that it is experimental and probably influential in certain circles, but as an actual listening experience I found it grating rather than interesting. It is the kind of record that feels more like an art project than an album you would ever choose to put on.

Favourite track: None stood out for the right reasons
Least favourite: The overall sound just never clicked
Album artwork: Bizarre and eye catching, which probably sums the whole thing up

I have spent the best part of twenty years trying to get into Sonic Youth. They are one of those bands that critics and musicians absolutely revere, and on paper they should be right up my street. Every few years I go back in, hoping this will be the moment it finally clicks.

Listening to Dirty again, I really wanted it to win me over.

It did not.

There is no denying the influence or the attitude, and the production has that thick early 90s alternative rock weight to it. But for me it just feels like a fairly standard heavy record from that era. The guitars are noisy, the vocals detached, and the songs blur into one another without ever really grabbing me. I keep waiting for something to spark, a melody, a hook, a moment of chaos that feels exciting rather than just abrasive, but it never quite arrives.

I can appreciate what they were doing and why so many people love them. It just does not connect with me emotionally. After multiple attempts over the years, I think I have to accept they might simply not be my band.

Favourite song: 100%
Least favourite song: Orange Rolls, Angel’s Spit
Album artwork: Bold and very of its time. Instantly recognisable.

Album Review: Eli and the Thirteenth Confession – Laura Nyro

Going into this, I had never heard of Laura Nyro before, so I was genuinely curious to explore Eli and the Thirteenth Confession.

It turned out to be a really interesting listen—definitely not what I was expecting. The album has a theatrical, expressive quality to it that feels almost like a stage performance. While many of the songs are strong in their own right, I found myself preferring some of the versions I've heard covered by other artists.

There’s no doubt Nyro was a bold and unique talent, but the showy, dramatic tone didn’t fully connect with me.

Such a good album, packed with songs you already know even if you think you do not.

I had never properly listened to Tapestry before, but I really enjoyed it. There is something warm and effortless about the whole record. The songwriting is strong without being flashy, and the melodies just feel natural and honest.

I Feel the Earth Move is full of energy and confidence, while It’s Too Late is beautifully understated and emotional. The album flows so well and never feels overdone. It is personal, reflective and quietly powerful.

There is not a single track I disliked. It is one of those albums that just feels comforting and timeless from start to finish.

Favourite songs: I Feel the Earth Move and It’s Too Late
Least favourite: None. Nothing I hated at all.
Album artwork: Simple and iconic. A relaxed portrait that perfectly matches the intimate feel of the music

I wasn’t entirely sure what to expect from this one. I knew Bill Callahan by name but had never really sat with a full album properly. This feels like one of those records that demands patience rather than immediate reaction.

His voice is the first thing you notice. It is deep, calm and completely unhurried. There is something very steady about the way he delivers lines, almost conversational but with real weight behind it. The music matches that mood perfectly. Gentle strings, subtle arrangements and songs that take their time to unfold. Nothing feels rushed.

Lyrically it is intelligent and often very dry. There is humour in there but it is subtle and understated. The album feels reflective without being self indulgent. It is not a record packed with big hooks or obvious singles, but the more you listen the more it draws you in.

It is not an instant classic for me, and at times it can feel a little emotionally distant. But there is depth here and it rewards attention. This feels like a quiet Sunday morning album, one you put on when you want something thoughtful and measured rather than loud or dramatic.

Favourite song: Eid Ma Clack Shaw
Least favourite song: Too Many Birds
Album artwork: Moody and striking. The cover suits the tone of the music perfectly.

Urban Hymns by The Verve is a standout album that truly defined the sound of a generation—mine included. It captures a unique blend of emotion and atmosphere that still resonates today. The Verve were also an incredible live band, and that raw energy comes through in every track.

Favourite Tracks:
There are some absolute belters on this album. Bitter Sweet Symphony is iconic for a reason—its sweeping orchestration and emotional pull are unforgettable. Sonnet is another highlight, with its poignant lyrics and haunting melody.

Least Favourite Track:
Honestly, every song on Urban Hymns brings something to the table. There’s no real weak link—each track feels carefully crafted and worth revisiting.

Album Artwork:
The cover is effortlessly cool. It perfectly reflects the introspective, moody vibe of the music within.

Jazz is just not really for me.

I can appreciate the musicianship and the influence this album has had, but as a listening experience it does very little for me. It feels slow and meandering, and I struggle to stay engaged. I know this is considered one of the greatest albums ever recorded, but it simply does not connect with me.

There is no doubt the playing is technically superb, and you can hear the skill and restraint in every note. It is just not a sound or style that moves me in the way rock or soul does.

Favourite song: I genuinely could not pick one that stood out.
Least favourite: The overall experience felt dull to me.
Album artwork: A fairly standard jazz cover, understated and serious, much like the music itself

Not for me.

I have never really been able to get into Portishead, and this album does not change that. I can hear the atmosphere and the mood they are creating, and I understand why it was so influential, but as a listening experience it feels very samey to me.

The production is dark and cinematic, and Beth Gibbons’ voice is distinctive and haunting, but the overall tone rarely shifts. After a few tracks it all blends together and I find my attention drifting.

I can appreciate the craft and the impact it had in the mid nineties, but it simply is not an album I connect with.

Favourite track: None that truly stood out for me
Least favourite: The overall sound becomes repetitive
Album artwork: A cool, moody cover that fits the music perfectly

A fantastic album and possibly my favourite Beatles record.

This is the album that helped me fall in love with music. Fifteen tracks in just over forty minutes and not a second is wasted. It is packed with invention, melody and confidence. Every song feels like it could be a single and the energy never fades.

The bassline on Taxman is iconic. It completely drives the song and you can hear its influence years later in Start by The Jam. Two brilliant tracks connected across decades. That kind of legacy says everything about how groundbreaking this record was.

Eleanor Rigby is haunting and cinematic. Got to Get You into My Life is pure energy and soul. The variety across the album is staggering, yet it still feels cohesive. It is creative, bold and endlessly replayable.

Favourite songs: Eleanor Rigby and Got to Get You into My Life
Least favourite: Doctor Robert. It never quite clicks with me.
Album artwork: A very cool and striking cover that perfectly captures the spirit of the era

Songs in the Key of Life is a timeless masterpiece. An album overflowing with musical brilliance, heart and soul. Listening to it is more than just enjoyable, it feels like a full experience.

The depth across this record is astonishing. It moves effortlessly between joy, celebration, reflection and social commentary. The arrangements are rich, the melodies unforgettable and the musicianship is on another level. Yet for all its scale and ambition, it never loses its warmth.

Sir Duke is pure joy. An exuberant celebration of music and the legends who shaped it, bursting with energy and one of the most uplifting horn lines ever recorded. In complete contrast, Village Ghetto Land is delicate and deeply moving, with its sharp social commentary and beautiful, almost haunting arrangement. That balance between light and shade is what makes the album so special.

There genuinely is not a weak track here. Every song feels purposeful and adds something to the whole. It is joyful and profound at the same time, and it is easy to understand why it is regularly cited as one of the greatest albums ever made.

Favourite song: Sir Duke
Least favourite: None. Every track earns its place.
Album artwork: Striking and iconic. Bold, warm and perfectly reflective of the music inside

Led Zeppelin IV has definitely grown on me over the years, much like the band themselves. When I first heard it, I thought it was good but not exceptional. With each listen though, more layers reveal themselves, and I have come to properly appreciate just how strong the songwriting and musicianship really are.

This album balances power and subtlety brilliantly. Black Dog has that swaggering riff and raw energy, while Stairway to Heaven builds patiently into something huge and timeless. It is easy to see why these songs became classics, but the strength of the record goes beyond just the big hitters.

The production feels expansive yet controlled, and there is a confidence running through the whole album. It is one of those records that rewards repeat listens, each time offering something new.

Favourite song: Stairway to Heaven. Iconic, layered and unforgettable.
Least favourite: None. Every track feels like it belongs.
Album artwork: Cool and mysterious. The absence of the band name adds to its timeless, almost mythical feel.