Reviews by mkaddour2001

Had no idea this was Nick Cave's early '80s band, and in general knew very little going into this album. But gosh, this was one of the most dilapidated, gritty, grating, rusty, and ugly releases from this list - in all the best ways. I love how strung out and miserable the whole thing feels, like an old tractor on its last legs; it has that very relentless industrial feel that is very reminiscent of a group like Big Black (especially on that big wobbly bass on 6" Gold Blade). But it also has that gothic, reverby feel sorta like a much noiser Joy Division, and the raked guitar chords on songs like the title track also give this thing an almost western flavor.

But yeah, it's really the whole run-down gas station filled with lost, drunk souls vibe that hooked me. The song 'She's Hit', for example, sounds like it's being whipped by these machine-gun snare hits into continuing its aching, miserable trudge. This song and a few others give this album an almost sludge metal feel as well, 'Hamlet' especially. 'The Dim Locator' was also great, it had this rockabilly edge to it, but like it's being played out of a small radio speaker out of the basement of an old factory. It was also oddly catchy, and so was 'Several Sins' - love how sharp the guitars here sound and how earwormy that core melody is.

Just a really enjoyable, dirty punk record - Nick Cave does this barked, edgy vocal style really well; it's much less elegant than his more bellowed and elegant delivery from his '90s stuff. And this album really lives up to its name; it really does sound like it was recorded in a junk yard, where the percussion is made of empty paint buckets and texture is added via some old, thrown-away horns that have seen much better days.

Solid vocal jazz delivered by the smooth voice of the iconic Frank Sinatra. And while I do think that performances from this late '50s vocal jazz scene tend to blend in with one another, Sinatra's remains instantly recognizable to me. It's a voice that paints a vivid image of its time - one of a nostalgic setting, where middle-class Americans are drinking their wine in a glossy hall as the full moon hangs above downtown New York. Nostalgic to me, specifically, seeing as I was obsessed with old Disney movies growing up. But anyway, the album creates a pleasant atmosphere to bathe in for 40 or so minutes, despite its lack of variety. It's not something I can really hold against this record, though, I've come to expect that from Sinatra in all honesty. It's just not a record that rewards in-depth listening, but rather one you throw on to add a rich flavor to some other activity. A few moments here did demand my attention, though, especially the Big Band breakdown on 'I've Got You Under My Skin,' or the string section on 'We'll Be Together Again.'

Still undeniably well executed, and Frank proves himself to be one of the most well-rounded vocalists in this genre. Favorite song here was 'You Make Me Feel So Young.'

I, like many people, was familiar with the song 'Big Iron' from Fallout New Vegas, and it's a damn great song even after all these years; just super tense, slick, catchy, and one of the coolest songs out there - it really does fit the atmosphere of that game perfectly. I'd say it remains the musical and lyrical highlight of the album, seeing as many of the other songs here follow suit. This is your typical outlaw country and blues album, with Marty's tender vocals and light guitar work guiding you through these dramatic stories as if they're just another day in his twisted life. Most songs sort of have this ironic twist thing going for them, ending with the protagonist dying at something of their own making, like with the shattered love of the epic 'El Paso', or on 'Utah Carol', where the thing that was meant to comfort his lover (A red blanket) led to the titular hero's ultimate demise.

It was an enjoyable listen, sure, but it left me wanting a bit more out of the lyrics - maybe there's some deeper meaning here that I wasn't grasping. I did like 'The Master's Call' quite a bit because, despite it sounding a lot like 'Big Iron', it was maybe the most surreal thing here, with a lot of divine and spiritual imagery laced throughout the story. Otherwise, though, this is what I've come to expect from the outlaw country genre: pretty good at what it does, but not much that blew me away.

About as chill as downtempo gets, felt my heart slow to a snail's pace listening to this while at work. And yeah, I find I enjoy this type of music, and this album more specifically, in the background where it can sort of create a calming atmosphere in an otherwise very uncalming place. It's simultaneously breezy and refreshing, and warm and cozy, largely depending on the song, with the occasional ominous tone or transition here and there, but nothing egregious that would take me out of the experience.

The opening track sets the tone well enough, with this dusty trip-hop beat overlayed with these hypnotic textures, making the whole thing feel very dreamlike and whimsical. Feels like an entry sequence to a very vivid dream journey you're about to embark on, which is fitting. The shimmering arpeggios and sun-kissed guitar on 'Eple' create this feeling of falling down an endless vortex. 'Sparks' is more melancholic than anything else here and has this almost lo-fi J Dilla quality to it, especially with the vocals. And for as out-of-place as it seemed at first, the song 'Royksopp's Night Out' was maybe my favorite song when it was all said and done - didn't need to go this hard, I love the funkier breakdown at the halfway mark, and the strings returning for the final bit was great.

Good stuff. Could've used a bit more variety - again, I don't see myself revisiting this one outside of a background context, at least not for the time being. But this album worked exceptionally well for what it was trying to be. A great, textured mix of electronic songs to soundtrack a long summer day.

A greatest hits band, where the greatest hits aren't even all that. I guess it's inoffesive, its worst crime is being pretty boring for a good chunk of it, sounding like the Beatles minus all the edge or experimentalism. What you end up with is standard soft-rock that plays everything too safe; it's sad.

There's genuine talent in here, I'll admit. 'Israel' of all songs was a pretty great love ballad, and the swelling string sections on the song 'I Don't Wanna Live Inside Myself' were straight up gorgeous. But there's ultimately way too little to chew on here; it just feels empty, repetitive, the songs drag and feel directionless, and the whole thing is far too long for its own good.

Pretty damn good. A pretty diverse set of songs and styles with vocals that are equally as versatile and flexible. Vocalist Skin is really the highlight here; her vocals absolutely soar in the mix when they need to, like on 'Charlie Big Potato', or they can take on a gentler form, like on the throwbacky 'Tracy's Flaw'. And with fiery, politically-driven, in-your-face lyrics on a lot of these songs, it's hard not to love her. She's a bit over-the-top sometimes, though in a mostly good way, and reminds me a lot of TMV's vocalist Cedric in that sense. My favorite vocal performance has to be on 'Lately', especially on that chorus.

And the playing is pretty tight here, with some stuff drawing from contemporary nu-metal, to just your standard metal-fusion sounds. Some killer riffs too, 'The Skank Heads' particularly stands out. 'Secrely' is an oddball track in the mix here that still works relatively well, a song that just proves that Skin's vocals can mesh with just about any instrumental thrown at them, even if it's a whole-ass string section. I also really love that monstrous guitar solo in the latter half of the song. The ending of 'Good Things Don't Always Come To You' is another standout moment in the tracklisting here, just the wave of distorted singing against that guitar melody was epic. And while not entirely in the forefront, the bass was pretty good on this album, too, especially on the funkier 'And This Is Nothing That I Thought I Had'.

Definitely a gem in the list here, will be checking out more of these guys for sure.

Pretty good, the kind of down-in-the-dumps, traditional country style that I like seeing a lot of '80s artists take on. While the production is a bit more involved and detailed than your typical classic country album, pulling in a slew of different instruments, the overall vibe is the same - super mopey. You get that right from the opening 'I Got You', with the protagonist aiming his grievances at society, or the title track, which is maybe the darkest track here, with the whole thing ending in a homicide of an unfaithful lady, as the protagonist loses his mind in heartbreak. Some other highlights here: I really liked the strings that come in on 'I Sang Dixie,' and the more upbeat accordion-backed 'Streets of Bakersfield' was a nice change of pace, and maybe the catchiest thing here.

Overall, though, all the singing of death and heartbreak does get a bit tired by the end, especially over these mostly samey instrumentals and vocal style. Still a pretty solid listen, and not too long.

Having Middle Eastern parents means I don't have that same experience western folk have where their parents put them onto their favorite bands from back in their heyday (though obviously I got my fair dose of Arabic music, and I love that). Dire Straits is the exception to that. One night, my dad put on 'Sultans of Swing' in the car, saying he used to listen to this band in university, and just like that, I fell in love with that song. It really is one of the greatest songs ever, a tale of a band coming together, against all odds, over this spacious, lick-heavy, and dexterous guitar line. 'Water of Love' was another song he played that night, which had this really fat groove that clearly drew from the world of blues rock, and it had such a winning chorus.

And the rest of this album is pretty great too. If I could choose one word to describe it, it would be "light". Every instrument here moves with such little clunk and weight, there's a lot of dexterity in the playing, like I mentioned before, but it's subtle; it never feels like it's getting too fast or aggressive - the band is always in control. I know I use this word a lot, but there really is a slickness to a lot of the playing here, especially on songs like 'Setting Me Up' and 'Six Blade Knife'. And it does all this without ever sounding "Soft Rock"; it's a great balance.

Chill-as-hell album, like a lazy Sunday afternoon on a hot summer day, and the AC is blasting. Not the situation I'm in now, given it's February, but soon hopefully.

Unfortunately, I've never been huge on this one. It's easily the mildest of the classic Hendrix trilogy, and a super downgrade from 'Are You Experienced' in my opinion. It's not worse per se, the fire, passion, and oomph in Hendrix's playing and singing are still here, but it's certainly less noisy, energetic, and blood-pumping when compared to its older brother. Instead, it opts for these open, meditative, and oftentimes directionless jammy bits that draw from the worlds of psychedelia more than anything. It works quite well on a few songs. 'Little Wing' will always be one of Hendrix's best songs, and 'One Rainy Wish' remains one of his most soulful songs and is far more dynamic than many of the other songs here. And I love that tremolo picking on the closing 'Bold As Love', it's again one of his slower RnB type tracks that actually goes over pretty well.

But I just don't think there's enough interesting happening on a good chunk of these songs; there's no strong sense of structure. I know it's probably a preference thing, I'll always prefer Hendrix's noiser songs to his less in-your-face songs. But I do also just think his other two main albums are better on the songwriting front in a lot of ways; there's very little memorable here, no matter how many times I end up revisiting it.

My favorite of Nick Cave's early releases, and maybe my favorite album from him, period. Yes, it's edgy and overly grotesque, which is what initially drew me to it as a teenager - the many dark, twisted tales that Nick expressively goes through on this record. That part sort of grew off of me over the years, but goddammit it's still so much fun...for the most part, you do get the sudden mood change with 'The Kindness of Strangers' which is the most serious the album takes itself (don't know how I feel about it entirely).

But it's the production value on this thing that remains the album's best quality; it's so beautiful. Really fits this album cover - beautiful on the outside, but with something truly sinister hidden underneath. Each backing track fits the story being told, rising and falling with the song's story beats. I love the intro to 'Stagger Lee'; it's ominous and subtle, and it really takes its time before the drums kick in and the story of the titular badass unfolds. This album is over the top, in general, but this song might take the cake, and Nick clearly knows that - it sounds like he's having way too much fun on here. 'Lovely Creatures' has that iconic somber, full-moon, heavy piano playing, but it's so nicely juxtaposed with these sharp guitar hits and this driving drum beat. And for as long and repetitive as it is, I'll always love the barroom organ style of 'O'Malley's Bar'. Feels like some innocent bystander just panically playing in the background as the whole mess unfolds.

And the guest vocalists on here are so important to the album, a much-needed contrast to Cave's deep bellowing croon on so many of these nocturnal, evil songs. There's no way I won't love PJ Harvey on this; her chemistry with Nick Cave on 'Henry Lee' is mesmerizing (I believe they were dating at the time). Love this woman's vocals generally, but this is honestly one of her very best, which is saying so damn much. Easily the best song here, and maybe my favorite Nick Cave song period. And for as repetitive as they are, the backing vocals on 'Lovely Creature' over this ever-evolving instrumental add a lot of drama and weight to the whole thing. 'Where The Wild Roses Grow' is maybe the most "dark cabaret" thing here, as Kylie Minogue's angelic vocals so beautifully hover over this pillowy string section. Another incredible song. And it's honestly pretty cheesy, but I'll always have a soft spot for 'Death Is Not The End', it offers somewhat of a resolution(?) to much of the album's "themes", if you can even call them that.

Was a bit nervous revisiting this. I hadn't listened to it in years despite being in love with it as a teenager. And while it doesn't hit the same this time, I do still think this is one of the lushest-sounding albums in its lane, and those guest vocalists are as incredible as I remember. Nick Cave's music and songwriting would only grow deeper and more mature after this, but this is a nice send-off to my favorite era of his.

Pretty damn great, and in a lot of ways forward-thinking for a mid-'80s album, production-wise, and vocally. This sounds super '90s AT LEAST. There's something super soft and human about Suzanne's vocals; she's not overly expressive, and there's a subtle rawness about it. I think this is most obvious on my favorite song on here, 'Marlene On The Wall,' where she ups the intensity out of nowhere on that second go of the chorus, just the dynamics here feel super unfiltered. Or on the really weird speak-singing of 'Cracking,' which, over this gorgeous acoustic arpeggio and soft synth backing, creates a pretty hazy and dreamy atmosphere. Also, the noticeable breaths she takes between the loosely sung 'Small Blue Thing'. Maybe it's nothing, but all that to say I really love her voice - she's great.

And the production I'll mention again is stellar. It's simplistic and minimal when it needs to be, like on the aforementioned 'Small Blue Thing' or grand and full on a song like 'Knight Moves. This song, and the previous 'The Queen And The Soldier', I also really liked from a songwriting perspective, just the story of betrayal told here was something that stuck out lyrically. And the song 'Neighborhood Girls', at least on the vocal front, gives me major early '90s PJ Harvey vibes.

Cool little jem here, a lot to chew on and definitely an album that deserves a few more listens.

Didn't really get into this album. It starts off pretty strong with 'Message in a Bottle', which is about as perfect as new-wave flavored punk music gets. But the rest of the album was pretty hit-or-miss. I was hoping for less Reggae on this album, given the title and all, because I just don't think these '70s white boy bands do it super well. But honestly, it worked on some of the songs like 'Bring On The Night' and 'Walking On The Moon', which is about as open and spacious as the title suggests. But then you get a song like 'The Bed's Too Big Without You' where String puts on this awfully tacky accent.

The non-reggae songs were decent, I sorta liked 'No Time This Time', but I just don't see what The Police were doing on here that sets them apart from a group like The Clash, who were much better at doing this punk and new-wave genre fusion sound.

Maybe not the country I expected, given the title, a lot of this really leans more into traditional pop, but either way, this was still a pretty great listen. Ray Charles was one of those talents that I've never fully tapped into before. And while his vocals are pretty standout, I'd say the whole production here is just super well executed; everything comes together perfectly - be it the lush string arrangements, the grainy backing harmony, or very minimal but complementary piano playing.

Many of my favorite songs have Ray's voice hanging in the background, making them sound distant, echoey, and sort of dreamlike in the very dense mix here, specifically 'You Don't Know Me' and 'You Win Again'. The great 'I Can't Stop Loving You' more than any other song, really puts those "backing" harmonies in the forefront, with Charles almost playing the backing role; his restraint and the way he comes in at all the perfect times to dance with those lead vocals gives the song this satisfying edge. This one song is maybe the most dreamlike here; the whole thing feels like floating down a river under a full moon, as nature's harmonies entrance you. You still get songs like 'Bye Bye Love' and 'It Makes No Difference Now' that spotlight Ray's vocals and piano playing, the former being maybe the most jazzy and big band piece here.

Pretty great record, and as classic-sounding as popular music gets. Maybe not the best showcase of Ray's individual talents, but he fits well into the general mix here regardless.

Forever my favorite Sonic Youth album, and also one of the greatest atmospheric noise-rock albums ever. This album really takes those Joy Division gothic, monotone, and reverb sounds established only 5 or 6 years prior and elevates them to something horrific, crushing, and at times jaw-droppingly dystopian. The waves of distorted guitars, reverb, and tremolo-picked delay on these songs make the whole album feel like the unfolding of some awful disaster, a disaster that ushers in the end of an already empty, macabre, and dreadful world, one where the sun never shines, and the soul has been sapped out of just about everything.

I'd say this album comes together to form a strong, singular atmosphere - but each song is still very much unique-sounding and brings something special to the table. 'In the Kingdom #19' is maybe the most industrial punk song here, with a killer bass backing from none other than Mike Watt. It's like what standard punk rock in a dark parallel universe would sound like - the way the song screeches, pauses, and stutters before devolving into nothing but feedback over Ronaldo's ugly and gory spoken word piece. 'Marilyn Moore' feels like being in a single room as it's collapsing in on itself, just absolute crushing feedback as Moore howls off-key about the struggles of this troubled protagonist, painting such a horrifically vivid picture of the scene. I just love how the band is constantly able to dish out these incredible short bursts of reverb or delay-drenched guitar, not just on this song but the whole album. They do some incredible shit with guitars on this record that really brings many of their contemporaries to shame. This is true dissonance.

With all that said, there are subtle moments of beauty here that sprout out of seemingly nothing. For example, the reverby guitars, synth, and thumping bass hits of 'Shadow of a Doubt' over Kim's hushed vocals are such a genuinely serene moment, like a lone flower sprouting from miles of debris. Or the surprise piano in the second half of 'Secret Girl.' And I'd argue 'Madonna, Sean, and Me' (or whatever title it chooses to go by, there are many) is maybe the most easily digestible song here, parts of it, especially in the beginning, with these wholesome chords, remind me of a group like Have a Nice Life, nearly 20 years before the fact. And this closing track finishes with this horrowing dark ambient piece that's actually an infinite locked groove on the vinyl version. And I know it's a bonus track, but I really love the song 'Bubblegum'; it doesn't really fit in the mix here, but on its own, it's a pretty great punk rock track.

I love this thing to death. Just the atmosphere it paints from start to finish. Sonic Youth remains undeniably influential in this world of dark, moody music - so many future acts would draw from the superb dark atmosphere construction (and deconstruction) of EVOL.

Fun fact, I started listening to the completely wrong Pet Shop Boys album, I listened to 'Actually' instead of 'Behavior'. Probably because all of these guys' album covers look the same and also have similar-sounding titles. But I digress, this was pretty damn good. I mean, there's something bold about unabashedly doing this undeniably '80s new-wave sound at the turn of the decade, at a time where electronic based music was evolving completely, especially in the mainstream. But there's always something about the '80s synth clunk, twangy clean guitar leads, and the deadpan delivery here that's just so charming, and these guys are nothing if not talented. The songs are evocative, moody, long, interesting, and, above all, entrancing - you really get lost in this album. Each song feels like a little room or vibrant ecosystem that you just get chucked into and then come out feeling a different kind of way each time.

It's great new-wave, 'Being Boring' especially was incredible, just super catchy and really excels in being subtle and slow without ever feeling dull. Best song here. I also really enjoyed the lush strings driving the song 'How Can You Expect to be Taken Seriously?' which was a particularly harsh song here, not sure who it's targeted at exactly. And 'So Hard' was also pretty good, minus that annoying string stab sound that dates the song beyond repair. 'The End of the World' was maybe the softest song here, the tightest song here in just about every way.

Some moments are better than others, and the back half is certainly weaker than the front one. But the vibes here are just incredible. I love the sounds of this album.

Even without Luther Vandross's talents, CHIC delivers yet another stunning disco album. In fact, I think I liked this one more than I did 'Le Freak.' The long, repetitive, hypnotic grooves, overlaid with orchestral-level, sweeping strings and harmonized vocals repeating these earwormy hooks, remind me a lot of what I loved about a group like Sister Sledge; it's music to get lost in. And it's music to make you feel pretty damn good.

That's not to say this is background music, but it would certainly work very well in that context. But for this listen, I was listening intently and was laser-focused on the album, and never once did I feel like it was dragging on. I'd say it's a generally feel-good album (as is the case with most disco albums), though with occasional mood swing, like with the slightly more nocturnal 'A Warm Summer Night' or the slower, sentimental 'Will You Cry', which showcases Alfa's vocals in the forefront on those verses - and is also maybe the most dramatic song here. These songs stop the album from feeling stagnant, and they were honestly my favorites alongside the iconic opener 'Good Times'. But it's hard to pick just a handful of favorites, because the album is only 36 minutes at the end of the day, and the whole thing really does form together to make one very strong, cohesive listening experience. Again, just get lost in it...Disco doesn't get much better than this.

Paraphrasing, but I read somewhere, can't remember where now, that Dinosaur Jr. were the grim reapers of '80s music. I'd say even moreso than groups like The Pixies and Fugazi, this album was the '90s and early '2000s indie and alternative rock sounds way before the fact; it's nothing short of impressive. And a messy presentation with glimmers of beauty in these walls of distorted guitars goes a long way in making this feel more warm than abrasive. And there's nothing more '90s alt than the lead vocals here, courtesy of J Masics, who does this mumbled, whiny thing that'll go on to become a staple in the genre. I hear a lot of Pavement and Built to Spill, specifically in these vocals.

There are some genuinely incredible songs here, 'Freak Scene', 'No Bones', and 'Pond Song' specifically. And 'The Post' had some really neat guitar work, especially in that screechy solo halfway through, and 'Don't' was such a harrowing turn for the album - an utterly insane tsunami of feedback and cacophony that still manages to work so well in the generally fuzzy mix here. I do think a good chunk of the songs here ultimately feel like a rudimentary take on the alt-rock sounds that would go on to get fleshed out in the '90s. But still, all that considered, this was pretty damn good.

Yeah, it's pretty much just as incredible as I remember, if not more so. The OG heavy metal, and so much heavier than so many of its contemporaries (and albums in general) that wear that title proudly on their sleeves. Whether Hendrix is cutting metal with his shrieking, uncontrollable solos like on 'Manic Depression' or he's delivering these clean bluesy licks alongside the breathy harmonies over the unexpectedly dark 'Hey Joe,' or he's hitting you with these scratchy funky leads like with 'I Don't Live Today' or the psych-jazz madness that is 'Third Stone From The Sun', you just know this man's going to bring something worth engaging with to the table, on damn near every song, vocally, structurally, and guitar-wise.

I've always found the opener, 'Purple Haze' and its twisted guitar riff to be such an oddball song to get so popular. I mean, the song is a staple in classic hard-rock, but the riff itself remains one of the most skeletal, industrial, bone-chilling noises to open any mainstream album, period. That's not to say that I don't fully understand why Hendrix was so popular in the '60s; for one, I think people valued fancy guitar work and live showmanship at this time, but I also believe Hendrix fuses his insane guitar fuckery with some genuinely easy to swallow song premises, most obviously with the call-and-response catchiness of 'Fire' or the earwormy whispered refrains of 'Foxey Lady'

And while this album is generally noisier than his follow-ups, I find that Hendrix still knows when to warm everything up and slow everything down. Like on 'The Wind Cries Mary' which is maybe the most Dylan Hendrix has ever sounded (even more than when he's literally covering Dylan, like on Watchtower) or 'May This Be Love', which feels like tripping out in an open grassy field, intentionally so, might I add, there's a reason acid rock often gets tagged onto a lot of Hendrix's music. This song certainly contains one of his more expressive vocal performances in the chorus; it works remarkably well, but I'll always prefer his more atonal, deeper, and at times reverby (like on Love Or Confusion) vocal performances that take on this almost deadpan delivery form.

So so so good. I don't know what else to say. This and 'Electric Ladyland' are like crack to me.

To be completely honest with myself, I really wasn't in the headspace for this album. I can usually enjoy a good Reggae album, but this one was way too slow and roomy for my liking. And I'm all for solid chill-out music, and I think certain songs like '12 Bar' andthe title-track. scratch that itch. And there were some great standalone tracks - 'Tyler' drew me in right from the start, and 'Food For Thought' was an incredibly dark but effective album centerpiece. But given this album's length and at times painfully consistent sonic palette, I found myself growing uninterested about halfway through. So I just ended up lying in bed and listening to this through my earpods and not thinking about it too hard, just letting the music soothe me - that helped.

I do still think it's way too slow for my liking, but it's also one of those albums where there is a wrong and right way to listen to it, for me at least.

A great balance of the slower-paced, spacey, and cerebral '1999', and its more catchy, explosive, and immediate younger brother 'Purple Rain'. The contrast is made clear right off the bat, with the opening title track sticking to this vibey, simplistic, and synthetic sound that was so prominent in '1999', with lyrics that are equally as ominous and forboding as that album's title track as well. While the song 'Play in the Sunshine' is a stark contrast to that, as the title may suggest, it feels like a bright sunny day, and is far more catchy and immediate.

Overall, though, I'd say this album is certainly Prince's most alien-sounding, filled to the brim with numerous production oddities, grooves, and samples that couldn't have possibly come from this world. 'The Ballad of Dorothy Parker' comes to mind, with these aggressive drum fills hitting the listener more often than it sounds like they should - like the song glitched and all its various tracks started going haywire.

Still, a good chunk of it, and my favorite songs, are some of Prince's more easily digestible ones. I really loved the cutsey, jolly piano-chord progression and vocal melodies of 'Startfish and Coffee'. It's sort of simple by Prince standards, but it works remarkably well. The string-backed and lush 'Slow Love' may be Prince's sentimental magnum opus, another gorgeous chord progression, and those harmonies are to die for. 'If I Were You Girlfriend' is maybe the most "Prince" Prince song out there; it's what I'd show someone to get them into the guy. This song has it all: the slowly creeping, tight groove with an emphasis on a popped bassline, the intense falsetto shrieks and vocal inflections, and lovesick lyrics with a heavy emphasis on the sexuality of it all (Heck, Prince is playing a female character on this song!). 'Strange Relationship' and the jammy, psych-influenced 'I Could Never Take the Place of Your Man' are two other highlights here.

Just another great release from this guy, not much more to be said. If you remain unimpressed by this, I'd say it's important to put into context that this batshit experimental behemoth of an artsy RnB and rock album was released in the late '80s. It's no wonder so many people look up to this guy.