Reviews by tjehl

Rod Stewart is great as always and Ronnie Wood delivers one stellar guitar performance after another.

Especially the piano and guitar parts of McLagan and Wood on the beautiful “Love Lives Here” are stunning.

I don’t really care much for the cover of “Memphis” and a few of the bluesier performances, but the charisma, charm and musicianship of Faces somehow always makes it work anyway.

It’s easy to underestimate Travis.
You definitely shouldn’t, though.

It does very little to offend anyone but still manages to leave its solid mark.

Aphex Twin began reinventing techno as early as age 14. That’s no easy feat.

The album could easily have been just a wonderful background piece, but it manages to always remain playful and even the smallest changes of pace demand (and are worthy of) your attention.

Pre-punk-post-punk.

State of the art new wave / power pop.
If you don't find yourself grooving with a smile to the playful time signatures on "Heart Of Glass" are you really human?

First of all - there’s really no need for two Goldfrapp albums on this list. I’ll scream if there happens to be a third later on.

Not as boring and generic as the other Goldfrapp on here. There is definitely a lot to enjoy here, but I really hate the static noise every time the vocals appear on the quieter songs.
Is it an aesthetic choice? Is it a mistake?
I sure hope it’s the latter.

It’s a low three, but I feel like a two is too harsh.

I’ve got nothing bad to say about Harvest.
It’s a perfect record. Pure and simple.
No notes.

Thank you.

Highly influential and infinitely better than the horrible debut. The instrumentation is great and I can easily hear how some of my favorite groups of the last decade have been influenced by songs like “Poptones”.

It’s not an easy listen and there’s definitely aspects of it I’m more into than others - it’s also too long, but that’s not really a surprise.

Terrific record - it’s not perfect, but I can’t find anything I actively dislike. Just great songwriting and musicianship.

Genuinely shocked at how low this is rated. Why?!

Haunted world music befitting of its title.

I adore both of the gentlemen behind the record, but I ultimately have a hard time truly connecting with it despite its intriguing ideas.

Proof that rage is one hell of a motivator.

Undoubtedly Mustaine’s greatest attempt to emerge victorious in the Metallica/Megadeth battle.

And dare I say it? It might just be a tad better than anything Metallica ever produced.

Depressing to think that the lyrical themes of this record are from 1971 when it’s still as important today - if not more.

Feels more like a collection of songs than an actual album … Perhaps because it is.

You can easily tell the different members songs apart from each other. Young’s contributions are without a doubt the strongest of them. Stills and Foray deliver some great work, but it’s no surprise Young went on to become the biggest star of the three.

There’s just no denying the masterpiece Jason Pierced pieced together here.
From the utter beauty of the title track to chaos of “Cop Shoot Cop…” - it’s just a flawless record.

Overly commercial, borderline silly and not my genre at all - yet Slippery When Wet just rocks.

Richie Sambora is phenomenal and the songwriting is some of the best this genre has to offer. You just have a good time in the company of this.

Madman Across The Water is one of Elton John’s more complex albums - it’s also a strong contender for his greatest album in a world where Goodbye Yellow Brick Road didn’t exist.

Synth-pop of the 2010’s peaked with “Night Sky”. CHVRCHES entered the scene hard with this sublime debut album!

Who is that much of a Madonna fan that you think everyone should listen to Music? It’s mental.

The hits are hits for a reason but “Nobody’s Perfect” is easily one of her worst songs.

Madonna is a chameleon, changing with every musical trend to blend in - no real integrity, she just wants to be relevant.

Ultimately I can sorta respect that; it just doesn’t always make for a great listen.

Really surprised by how solid this debut from Bert Jansch is. I know him mainly by name but he sounds like one I just probably look into.

Soulful jazz drenched in organ? I’ll take it.