Reviews by kitch82

American IV: The Man Comes Around was the final album released during Johnny Cash's lifetime, and it's nothing short of extraordinary.

This album is superb. It strikes the perfect balance between revisiting Johnny Cash's own songs, such as "The Man Comes Around" and "Give My Love to Rose", and reinterpreting songs by other artists in a way that makes them feel completely his own. Every cover is carefully chosen and delivered with incredible emotion. I also love the guest appearances, particularly from two of my favourite artists, Nick Cave and Fiona Apple, who add even more depth to an already remarkable album.

Johnny Cash has one of the most recognisable voices in music, and on this record it's at its most powerful. The arrangements are stripped back and intimate, allowing every word to land with real weight. His voice is weathered, fragile and deeply moving, giving the songs an honesty that very few singers could achieve.

Knowing how ill Cash was when these recordings were made, and that he was still grieving the loss of June Carter Cash, makes the album even more emotional. At times it's a difficult listen, not because the music isn't beautiful, but because every performance feels so personal. There's a sense of reflection, vulnerability and acceptance running through the entire record that makes it incredibly powerful.

This is more than just a collection of songs. It feels like a farewell from one of the greatest artists of all time, and it's hard to imagine a more fitting final statement.

Favourite tracks: "Hurt" is simply incredible. It's one of the greatest cover versions ever recorded, completely transforming the original into something uniquely Johnny Cash.

Least favourite tracks: There aren't any. Every song is different, every performance is heartfelt, and every track earns its place.

Album artwork: A classic Johnny Cash album cover—simple, timeless and perfectly suited to the music inside.

(What's the Story) Morning Glory? is an absolute classic. Almost exactly a year after seeing Oasis live at Wembley on their reunion tour, it felt like the perfect time to revisit the album that was the soundtrack to so much of my youth. A drive down to Brighton was the ideal setting for it.

This is an easy 5/5.

From the opening notes to the closing track, every song is a belter. It's one of those rare albums where there isn't a weak moment, and nearly every track could have been a single. Even after all these years, I still get excited when I put it on. It has an energy, confidence and swagger that very few albums can match.

More than anything, this record is pure nostalgia for me. It instantly transports me back to the 90s, reminding me why Oasis became one of the biggest bands in the world. Noel Gallagher's songwriting is exceptional throughout, the melodies are unforgettable, and Liam Gallagher delivers every lyric with the attitude and conviction that made him such an iconic frontman.

The amazing thing is that it still sounds fresh today. These songs haven't lost any of their impact. They're just as anthemic, just as exciting and just as enjoyable as they were nearly thirty years ago.

For me, this isn't just one of the best Britpop albums ever made—it's one of the greatest rock albums of all time.

Favourite tracks: "Hello", "Roll With It", "Some Might Say" and "Morning Glory" are all perfect, although I could easily have listed another half a dozen.

Least favourite tracks: There aren't any. Every track deserves its place, and there's nothing here I'd ever think about skipping.

Album artwork: An iconic album cover. I only wish Berwick Street still looked like it did back then.

The Wildest! by Louis Prima is just great fun from start to finish.

I have to admit something that made me laugh—I won't tell you how many songs into the album I was before I realised that Louis Prima was the voice of King Louie in Disney's The Jungle Book. Once it clicked, I couldn't unhear it!

This is exactly the sort of album I'd happily have playing while cooking. It's full of energy, humour and personality, and it's impossible not to smile along with it. The combination of swing, jazz and jump blues makes it incredibly infectious, and the whole record feels like a band having the time of their lives.

I particularly enjoyed the vocals from Keely Smith. Her voice complements Prima's perfectly, and their harmonies add a real warmth and charm to the album. Their chemistry is one of the highlights and gives the songs an effortless, playful feel.

One thing I noticed was how several tracks begin with a very similar walking piano bass line, just in different keys. It could easily have become repetitive, but somehow it just adds to the album's familiar, feel-good atmosphere.

The whole record also brought back memories of a fantastic little Italian grocery store near our old apartment on Long Island. This was exactly the sort of music they always had playing, so listening to the album felt surprisingly nostalgic.

It's not an album that's trying to reinvent music or make a grand artistic statement. It's simply a brilliant, entertaining collection of songs performed by musicians who clearly loved what they were doing.

Favourite tracks: "Just a Gigolo" and "The Lip" are both fantastic and capture everything that's so enjoyable about the album.

Least favourite tracks: Nothing really stood out as a weak point. The whole album is consistently enjoyable.

Album artwork: A classic 1950s album cover that perfectly reflects the fun, lively spirit of the music.

Tanto Tempo by Bebel Gilberto is a pleasant, easy-going listen that I'd describe as a blend of samba, bossa nova and jazz with a few modern electronic touches thrown in.

The standout feature of the album is Bebel Gilberto's voice. It's warm, smooth and effortlessly relaxing, perfectly suited to the laid-back style of the music. This is the sort of album you can happily have playing in the background on a summer afternoon without it ever becoming intrusive.

For me, though, that's also its biggest weakness. While it's undeniably pleasant, there just isn't enough happening to really hold my attention. Every now and then the album introduces some electronic loops, subtle synths and more contemporary production, and those moments are genuinely interesting. I just wish there had been more of them, because they add a freshness that much of the album lacks.

Instead, I found much of the record to be fairly standard samba and bossa nova. It's easy to listen to and never unpleasant, but it rarely surprises or excites. By the end, I was left wondering why this particular album was chosen for the challenge, as it didn't feel especially distinctive or groundbreaking.

Favourite tracks: "Close Your Eyes" and "So Nice" were both enjoyable and among the album's highlights.

Least favourite tracks: There isn't anything I actively disliked. The problem is more that too many songs drift by without leaving much of an impression.

Album artwork: A classic album cover that perfectly suits the relaxed feel of the music.

Trio brings together three incredible artists: Dolly Parton, Linda Ronstadt and Emmylou Harris. On paper, that sounds like a dream team. Three legendary solo careers coming together should surely result in something special.

Unfortunately, it just didn't work for me.

I'd read that this was considered groundbreaking and hugely influential, but listening to it today I found it surprisingly ordinary. Rather than hearing three distinctive voices creating something unique, I felt like I was listening to fairly standard country music that never really developed or surprised me. Track after track blended into the next, and I struggled to find anything that grabbed my attention or made me want to keep listening.

It's one of those albums that I really wanted to like because of the people involved, but I just couldn't

Favourite tracks: I couldn't pick one that stood out.

Least favourite tracks: Nothing really clicked for me. I found the album consistently dull from start to finish.

Album artwork: Such an unmistakably '80s album cover! It always makes me smile, although I'm never quite sure whether it's intentionally cheesy or not.

I really enjoyed Ladies and Gentlemen We Are Floating in Space, so I was looking forward to seeing what I made of Lazer Guided Melodies today. First of all, what a pair of album titles!

Musically, this album is completely out of this world. It's spacey, beautiful and full of rich, atmospheric soundscapes that slowly draw you in. The vocals are soft and understated, perfectly matching the dreamy pace of the music, and the whole album has a calmness that makes it incredibly easy to get lost in.

What I like most about Spiritualized is that they have a sound unlike anyone else. Their music feels as though it exists in its own universe, creating an atmosphere that's peaceful, hypnotic and completely absorbing. This isn't an album that's packed with big hooks or obvious singles. Instead, it's one you immerse yourself in and let wash over you, discovering new details with every listen.

I don't think it's quite as strong as Ladies and Gentlemen We Are Floating in Space, but it's still a thoroughly enjoyable album and another reminder of just how unique Spiritualized are.

Favourite tracks: "Run" and "I Want You" are both excellent tracks and the highlights of the album for me.

Least favourite tracks: I found some of the slower songs, particularly "Take Your Time", a little harder to stay engaged with.

Album artwork: I love the album cover. It perfectly matches the dreamy, otherworldly feel of the music.

Scum by Napalm Death is, for me, officially the worst album I've heard during this challenge.

The good news is that it's short. The bad news is that those 33 minutes somehow felt much longer. With 28 tracks averaging just over a minute each, I expected the album to fly by. Instead, it felt like an endurance test.

From my perspective, it's 28 songs of relentless shouting, blast beats and chaotic noise. I know that's exactly what grindcore is supposed to sound like, and I can appreciate that the album was hugely influential in creating an entirely new genre. Unfortunately, influence doesn't equal enjoyment, and I found almost nothing here that I connected with.

There was no point where the album grabbed me or made me think differently about the music. Instead, I spent most of the running time waiting for it to end. It was one of the hardest listens of the entire challenge.

I know this record has a passionate fanbase and an important place in extreme metal history, but it's about as far away from my musical tastes as it's possible to get.

Favourite tracks: None. Nothing here made me want to hear it again.

Least favourite tracks: Take your pick.

I wasn't expecting to enjoy this. I really didn't like The Predator, so I went into AmeriKKKa's Most Wanted hoping it might change my mind but knowing it wouldnt and it didn't.

I find albums like this quite difficult to listen to today. While I appreciate their historical importance and understand they reflected the time and environment they came from, a lot of the lyrical content has aged badly for me. The misogyny and homophobia make for an uncomfortable listen, and they often overshadow anything else the album is trying to say.

Musically, I also struggled to stay engaged. Much of the album felt like it was built around the same style and tempo, with very little variation from track to track. As a result, the songs began to blend together and I found it hard to pick out many memorable moments.

I know this is regarded as a landmark hip-hop album and many people consider it a classic, but it simply isn't the kind of record that connects with me.

Favourite tracks: "AmeriKKKa's Most Wanted" was probably the best of the bunch, although nothing really stood out enough to make me want to revisit it.

Least favourite tracks: Most of the album, if I'm honest. I found it a difficult listen from start to finish.

Album artwork: A fairly standard hip-hop album cover that suits the era but doesn't particularly stand out for me.

The Renaissance by Q-Tip is one of the more modern hip-hop albums on this list, and I was looking forward to giving it a proper listen.

I came away really enjoying it. It's a smooth, easy album to listen to, packed with great beats and excellent production. Everything sounds polished and effortless, without ever feeling overproduced. There's a confidence to the whole record that makes it flow from start to finish.

What really stood out was Q-Tip's sound. Although the album was released in 2008, it has a timeless quality that feels rooted in classic hip-hop rather than chasing contemporary trends. The jazzy production, soulful touches and hints of R&B give it a warmth that's often missing from more modern rap records. It feels like an album made by someone who understands that great hip-hop is just as much about the music as it is the lyrics.

It's not an album that's constantly trying to impress you with huge singles or flashy production. Instead, it's consistent, stylish and incredibly easy to return to. The more I listened, the more I appreciated just how well put together it is.

I'd happily recommend this to anyone, even if hip-hop isn't normally your genre. It's a classy, understated record that's aged really well.

Favourite tracks: "Good Thang" is a brilliant track and a fantastic way to close the album.

Least favourite tracks: There isn't really a weak song here. Everything is enjoyable and deserves a listen.

Album artwork: Love the album cover—simple, stylish and a perfect fit for the music.

I've always wanted to listen to Figure 8 by Elliott Smith. Elliott Smith's life is such a sad story, and it's hard not to wonder what he might have gone on to create had he not died so young. His influence on singer-songwriters is still felt today, which made me even more curious to hear one of his most celebrated albums.

Figure 8 is a beautiful record. It's melodic, thoughtful and full of understated emotion without ever feeling overdramatic. The songs are incredibly well crafted, with gorgeous arrangements and the sort of songwriting that reveals more with every listen. There's a warmth and calmness running through the album that makes it a pleasure to spend time with.

What impressed me most was how effortlessly the melodies flow. The album has a rich, layered sound that feels bigger than much of Elliott Smith's earlier work, yet it never loses the intimacy that makes his music so special. His storytelling is excellent throughout, and there's a vulnerability in both his lyrics and his voice that makes the songs feel deeply personal.

It is quite a long album, and there are a couple of moments where it could perhaps have been trimmed slightly, but that's a very minor criticism. Overall, I found it to be a beautifully written and performed album that I'll happily come back to.

Favourite tracks: There are some wonderful songs here, particularly "Everything Reminds Me of Her", "Somebody That I Used to Know" and "Pretty Mary K".

Least favourite tracks: Everything deserves its place, although if I was being really picky, the album could perhaps lose "Bye" without losing much overall.

Album artwork: Great album cover. The famous Los Angeles mural is simple, colourful and has a really mod feel to it, which I love.

Suicide by Suicide is one of the few albums on this challenge that I can say I didn't enjoy at all.

I tried to approach it with an open mind, especially considering how influential it was and how experimental it must have sounded when it was released in the late 1970s.

For me, the album is relentlessly repetitive, abrasive and difficult to connect with. The sparse electronic backing and Alan Vega's vocal style never clicked, and I spent most of the album waiting for something to happen that never really did. Rather than sounding hypnotic or unsettling in an interesting way, I just found it exhausting.

The biggest challenge was "Frankie Teardrop". In over 900 days of working through this challenge, it's the first song I've actually skipped. The relentless screaming was simply too much for me, and I couldn't make it to the end. I know it's often praised for its intensity, but it just wasn't an experience I wanted to continue.

I completely understand why this album has such a devoted following and why critics regard it as groundbreaking, but it's a reminder that influential doesn't always mean enjoyable. This one definitely wasn't for me.

Favourite tracks: I genuinely couldn't pick one. Nothing on the album stood out in a positive way for me.

Least favourite tracks: "Frankie Teardrop". The first track I've skipped in more than 900 days of this challenge because I simply couldn't take any more of the screaming.

Album artwork: The album cover is better than any of the music inside.

I wish I had the memory of a fish and could instantly forget Captain Beefheart & His Magic Band and Trout Mask Replica.

I was actually expecting more from this. Earlier in the year I listened to Safe as Milk and really enjoyed it, so I came into this with reasonably high expectations. Unfortunately, this album and I simply did not get along.

The opening track, "Frownland", is possibly one of the most unpleasant things I have ever listened to. It feels chaotic, disjointed and completely impenetrable, and unfortunately things didn't improve much for me when "The Dust Blows Forward 'n the Dust Blows Back" followed it. Rather than pulling me into the album, the opening few tracks left me wondering what on earth was going on.

I understand that Trout Mask Replica is regarded as a groundbreaking and highly unconventional record, and I can appreciate the ambition behind it. The complex rhythms, strange song structures and complete disregard for conventional melody are clearly deliberate choices rather than mistakes. The problem is that none of it worked for me as a listening experience.

Maybe I simply prefer my rock and roll to be a little more straightforward and a little less experimental, because I found much of this album bizarre rather than brilliant. The lyrics didn't connect with me, while the polyrhythms, multi-octave vocals and polytonal arrangements felt more exhausting than exciting.

I can understand why some people consider this a masterpiece and an important artistic statement, but after spending time with it I can safely say it isn't for me, and I can't imagine ever wanting to revisit it.

Favourite tracks: "Moonlight on Vermont" was probably the closest thing to a highlight, with some genuinely nice guitar work. "Sweet Sweet Bulbs" also has moments where the musicianship shines through beneath all the chaos.

Least favourite tracks: "Frownland" takes the prize here. It was a very difficult introduction to the album and set the tone for much of what followed.

Album artwork: Love the cover — it's far more appealing than the music inside.

Faces are a great rock and roll band and A Nod Is as Good as a Wink... to a Blind Horse is a hugely enjoyable record.

This album feels loose, scruffy and completely unpretentious in the best possible way. It has that brilliant, lived-in quality that great rock and roll albums often have, where it sounds like a group of incredibly talented musicians simply getting in a room and having a fantastic time making music together.

Rod Stewart is in superb form here. His voice has so much character and personality. Meanwhile, Ronnie Wood's guitar playing is outstanding throughout, full of energy, swagger and great little flourishes that lift every song.

What I really like about the album is that it never feels like it's trying too hard. There are no grand statements or overblown moments; it's just brilliant rock and roll played well.

Favourite tracks: "Stay With Me" is an absolutely brilliant tune and easily the standout track for me.

Least favourite tracks: Everything on the album is worth a listen.

Album artwork: Brilliant album cover, simple, effective and perfectly suited to the music inside.

Who doesn't love a bit of Norwegian electronic music? Röyksopp have always felt like a slightly unique proposition, so I was looking forward to finally giving Melody A.M. a proper listen from start to finish.

There are moments on this album that are genuinely beautiful. It's peaceful, atmospheric and evocative, creating a mood that is easy to lose yourself in. One of its greatest strengths is that it works equally well as background music and as something you can sit down and properly engage with. At times it drifts along gently in the background, while at others it grabs your attention and pulls you into the emotion and feeling of the music.

The production is excellent throughout, with warm synths, subtle melodies and grooves that feel timeless rather than dated. There's a calm confidence to the album that makes it a very easy listen, and it never feels like it's trying too hard. Instead, it creates its own world and invites you to spend time in it.

That said, by the halfway point some of the tracks do begin to blend together a little. The atmosphere remains consistent, but the individual songs become slightly less distinct and memorable than those that open the album.

Overall though, this is a great electronic record and one that has definitely made me curious to explore more of Röyksopp's catalogue.

Favourite tracks: The opening two tracks, "So Easy" and "Eple", are absolutely superb and set the tone brilliantly for the rest of the album.

Least favourite tracks: Around the middle of the album things become a little samey. Tracks such as "A Higher Place" and "Röyksopp's Night Out" are enjoyable enough but don't stand out in the same way as the earlier songs.

Album artwork: Cool album cover that fits the album's chilled, understated atmosphere nicely.

PJ Harvey is an artist I've always loved. I've been lucky enough to see her live several times over the years, and she's one of those rare artists whose albums I've consistently enjoyed throughout her career. From the raw emotion of Dry and the ferocious energy of Rid of Me to the brilliant songwriting of Let England Shake, she has an incredible ability to evolve while still sounding completely and unmistakably like herself.

That makes Stories from the City, Stories from the Sea a serious contender for her best album. Song after song lands perfectly, with hardly a weak moment to be found. These are great rock songs, full of purpose, emotion and confidence, delivered by an artist operating at the absolute peak of her powers.

The music is fantastic throughout, balancing moments of intensity with quieter, more reflective passages, while PJ Harvey's storytelling remains as sharp and compelling as ever. There is an immediacy and energy to the record that makes it incredibly easy to connect with, but it also rewards repeat listens as more details begin to emerge.

What impresses me most is how effortless it all feels. The album never sounds like it's trying too hard to be clever or important; it simply delivers one excellent song after another. For me, it's one of the standout albums of the early 2000s and another reminder of just how remarkable an artist PJ Harvey is.

PJ Harvey is superb.

Favourite tracks: There are so many great songs here, but "A Place Called Home", "One Line" and the excellent single "This Is Love" are particular highlights for me.

Least favourite tracks: Honestly, everything on the album deserves its place.

Album artwork: A classic PJ Harvey cover — simple, striking and instantly recognisable.

Arular was the debut album from M.I.A. and one of the more modern releases on this challenge. I remember it coming out at the time and, if I'm honest, I didn't enjoy it then either. Still, it felt worth revisiting to see whether time and context might change my opinion.

Unfortunately, it didn't. For me, much of the album felt like variations of the same song repeated over and over again. The production style, with its looping beats and chaotic energy, quickly became repetitive, and I struggled to find enough variety from track to track to keep me engaged.

The vocals and lyrics also didn't really connect with me. Often the lyrics felt buried in the mix, making them difficult to make out, and when they did come through they didn't leave much of an impression. I can appreciate that the album was trying to sound different and push boundaries, and I know many people view it as an influential record, but personally I found it more irritating than exciting.

By the end of the album, my opinion hadn't really changed from when I first heard it twenty years ago. It's simply not a style of music that works for me, and I can't see myself returning to it.

Favourite tracks: “Bucky Done Gun” was probably the closest thing to a standout. It's reasonably catchy and felt less abrasive than much of the rest of the album.

Least favourite tracks: The album got off to a poor start for me. “Banana Skit” felt completely pointless, while “Pull Up the People” was a difficult listen and unfortunately the album never really recovered from that opening stretch.

Album artwork: Nothing particularly memorable or striking about the cover for me.

Little Earthquakes was my first proper listen to Tori Amos, and my immediate thought was just how wonderful her voice is. It’s distinctive, expressive and full of emotion, and it carries the album from start to finish.

Little Earthquakes is a good album, but for me it never quite became a great one. The piano-led songs are full of lovely melodies and there are some genuinely strong lyrics throughout, but I kept waiting for a moment or a song that would really grab me and make me want to come back for more.

That’s probably my biggest criticism of the album. It’s consistently pleasant and well crafted, but it can feel a little long and repetitive as it goes on, with many of the songs sitting in a similar emotional and musical space. Nothing here is bad, but very little leapt out as essential listening either.

That said, this was a positive introduction to Tori Amos and one that has made me interested in hearing more of her work in the future.

Favourite tracks: “Crucify” and “Girl” were both lovely songs
Least favourite tracks: Nothing stood out as bad, but the album felt a little too long and repetitive in places
Album artwork: Classic album cover

Space Ritual by Hawkwind is certainly an experience, although I'm not entirely convinced it's one I want to repeat.

One thing I discovered before listening was that a young Lemmy plays on this album, which was news to me and definitely raised my expectations. I went in hoping for some great bass lines and classic Lemmy moments.

Unfortunately, the album itself confirmed something I've learned repeatedly during this challenge: space rock and progressive rock just aren't genres that really work for me. Space Ritual is long, sprawling and never really grabbed my attention. More than anything, it feels less like a collection of songs and more like one long piece of theatre or storytelling, with tracks blending into one another as part of a much bigger concept.

I suspect this album was designed to be experienced live, with the visuals and stage show being just as important as the music itself. Perhaps something is lost listening to it purely as an audio experience in 2026. Or perhaps I'm being generous and this simply isn't for me.

Either way, I still don't get prog rock, and I can't see myself returning to this album in the future.

Favourite tracks: “Time We Left This World Today” was okay and probably the closest thing to a standout for me
Least favourite tracks: “The Black Corridor” was particularly hard work, along with several other sections of the album
Album artwork: There is a lot going on in the cover art — I have absolutely no idea what any of it means, but it certainly fits the music!

I’ve always meant to listen to The Mars Volta, so I was genuinely looking forward to finally giving De-Loused in the Comatorium a listen today. If you're going to start somewhere, their debut album feels like the obvious place to begin.

That said, I went into this knowing it might be a challenge. I’m not really a fan of progressive rock and concept albums tend to leave me cold, and De-Loused in the Comatorium is very much both of those things. It also turned out to be a lot heavier than I was expecting, particularly in the opening few tracks, and I quickly realised this might be a struggle.

Musically, there’s no denying the talent on display. The musicianship is excellent and there are moments where the energy and ambition are genuinely impressive. My problem is that I just never connected with it. The lyrics often felt incoherent and, when I could make them out, I struggled to understand the point or the story the album was trying to tell.

I think this is one of those records that either completely clicks with you or leaves you standing outside wondering what everyone else is hearing. Unfortunately, I was firmly in the second camp. I can appreciate the creativity and technical ability involved, but it just wasn’t an enjoyable listening experience for me and it’s not something I can see myself returning to.

Favourite tracks: “Drunkship of Lanterns” was probably the standout and gave me early Muse vibes in places
Least favourite tracks: There were quite a few tracks that felt overlong or unnecessary, with “Televators” in particular doing very little for me
Album artwork: I love the album cover — really striking and memorable

I still struggle with a lot of 80s hip-hop, as much of it feels quite dated to my ears now, but Public Enemy have always been one of the exceptions. This is now the third of their albums I’ve reviewed during this challenge, and I gave the previous two a very respectable 4/5, so I went into Apocalypse 91... The Enemy Strikes Black with fairly high expectations.

Unfortunately, this one didn’t quite hit the same heights for me. The beats are still strong and there’s plenty of energy throughout, but they become repetitive after a while and the album lacks some of the freshness and urgency I found in their earlier work. The lyrics also felt more dated than on the previous albums, and some of the themes and references don't land in quite the same way today.

That said, it’s still an easy enough listen and there are moments where you’re reminded why Public Enemy were so influential and important. Even when the material isn’t at its strongest, there’s an intensity and confidence to their music that keeps it engaging.

Overall, this is definitely the weakest of the three Public Enemy albums I’ve heard so far, but it’s still a perfectly enjoyable listen.

Favourite track: “Bring the Noise” is an entertaining track and the clear standout for me
Least favourite track: “Lost at Birth” isn’t the strongest opener and I found myself waiting for it to end
Album artwork: Standard hip-hop album cover