Reviews by tjehl

Almost infinitely better than the follow-up, Dub Housing, which is almost unlistenable.

Beep boop 80’s music.

It’s not a bad record but I need one or two big, bombastic dance hits to really breathe some life into it.

Womack delivers hit after hit on The Poet.
Funky, soulful beats accompanies Womack’s golden voice and the dirty slap bass really brings it all together.

There’s a few songs that doesn’t quite live up to the rest, but with songs like “Secrets” on the track list it’s really no problem.

If “So You Think You Can Britain” was a competition, Mike Skinner would win every year.

His flow is unique and might take some getting used to, but he’s always on point, sharp-witted and fun with a knack for storytelling.

A Grand Don’t Come For Free is so British it hurts. And I just love it.

Two words: Armadillo tank.

Lavish, virtuous and complex. Emerson, Lake & Palmer are pillars of 70’s prog.

It doesn’t necessarily get more rock ‘n’ roll the louder you mix it.

I’d heard the name Beth Orton before but this was the first time I actually listened to her music.

There are some obvious comparisons to Joni Mitchell, but Orton still manages to stand out as her own entity entirely. Everything just works and the compositions are works of art.

I would probably trim a few of the songs, but Central Reservation is as close to a 5/5 record you will hear without it actually being one.

Nü-metal is definitely a nostalgic thing for me.
I was way more into Linkin Park and thought Korn was a bit too silly at times.

I can still appreciate Davis’ manic vocals (when he’s not doing monkey sounds) and the at times bonkers instrumentals. There’s even the singles to back up this album.

There’s also a feature from Fred Durst though.
It’s despite of that this still lands on the number of stars that it does.

Fred Neil (the album) is at most times pretty generic. At other times it hits you with the wonderful “Everybody’s Talking”, a surprise raga and song pretty melodies.

It’s not much. But what it is is rarely bad or boring.

Usually not my preferred genre(s), but Leftism still had a lot to offer. From deep progressive house to danceable jungle beats featuring none other than Johnny Rotten himself this a great ride.

I think it easily too long and there are moments where I simply lose focus. Maybe I’m meant to? But when I notice that I’m losing focus it’s rarely a plus.

There’s really no need for this to be on the list.

Some songs are good. Most are okay. Some are just kinda there. Overall it’s a forgettable experience.

While still sounding rather British, Blur distances themselves from the UK and glances toward the US. A bold move that doesn’t quite pay off.

Joplin was a vocal power house not to be messed with. The Full Tilt Boogie Band provides her with less of a live feel on Pearl - and it really suits her studio output. Too late this would be released under the saddest circumstances possible.

Off the Wall (the unofficial debut album of the Not-Jackson-5-Michael) is often overshadowed by its big brothers Thriller and Bad. That’s just not fair.

Side A is as good as anything of the following records, and while I find Side B to be not as good (surprising giving its songwriters), Off the Wall is not to be underestimated one bit.

Do not let yourself be fooled by the title.
Your friends will not appreciate it, if you bring this to a beach day.

Laid back and smooth samba album from an easily recognizable surname. The production is good and there’s some great tracks along the way.
As a whole it just turns out a tad too bland to fully support the playtime.

The African entries on this list are mostly top class.
This album by the former Senegalese minister of tourism is no exception.

Go easy on the women, Slim.

Eminem is one hell of a rapper and his ability to go back and forth between styles and personalities in a matter of seconds is superb.

There are a few bad songs that could’ve been cut and a few skits that go on for too long. But other than that this album is just filled with hit after hit.

I knew that this received a good amount of praise when it was released. I enjoyed some of the songs but never thought more of it.

Sometimes you just gotta listen to the critics and fans though. The production is great, the songwriting a well mixed breed of pop and country with lyrics that are… Yeah okay, they are not all that good to be honest.

I really enjoy the more upbeat pop songs like the fun “High Horse” with its iconic opening - but Musgraves also hits right at home on the mellower title track and “Slow Burn”.

It’s as catchy as a cowboy with a notorious aim.

You can hear just how many bands listened to this record. I’d rather listen to a lot of those bands though.

2,5 / 5 content. 5 / 5 cover art.