Reviews by waynekerred

This one was alright. It was nice and chill, good for an early evening. That opening track was really good, but after that it kinda faded into the background a bit. It's nothing really spectacular, nothing jumps out at you.

Definitely better than their other album here. But that album cover was 100x better than whatever this is.

Nothing revolutionary, Anita's just got a great voice. Some here don't like the 80s production, I don't mind it. I quite like the bass in them.

Couldn't quite decide between a 3 or a 4. Thought I'd be nice today. The things I do for you, Anita.

I don't really have the knowledge or the effort to dissect the meanings of everything in this album. So I'll leave that to other people.

To put it simply, Kendrick Lamar is a phenomenal rapper who makes phenomenal beats. This is his best album, and what an album it is. Funky and catchy at times, powerful at others. One of the greatest hip-hop albums ever.

Quite a frustrating one to be honest. This is my first time hearing of her and therefore first time hearing her stuff. I can't help but feel like Smith could easily make better music than this. When she sings properly, it's great. But when she starts doing weird noises and different singing styles it just sounds so shit. The music itself is so boring it hurts. At least with many of the other boring albums I've had on the list previously they've been somewhat pleasant to listen to. I know it's supposed to be minimalist. But there's a difference between minimalist and laziness. Maybe Smith isn't being lazy. But that's what it sounds like.

If it makes it any better I wasn't sure whether to give it a 2 or a 1, so this is probably the best album I've rated a 1 here. Good job Patti.

I really liked it to begin with, but the longer it went on worse my enjoyment got. And I don't think that it's because the songs got worse either. I think I just found it more annoying the more I listened to it. The synth was the main culprit for this.

60s production is always poor. As are live albums. A combination of the two is just so atrocious.

Not as bad as the crowd though. The start of every song was (un)welcomed with this ear-splitting shriek from the crowd that wouldn't go amiss in a slasher film.

The music itself is pretty poor too. I felt blueballed in most songs. "I Don't Mind" was going pleasantly along, I was getting excited for the chorus, then it just ended. Lost Someone was that but for 10 minutes. The couple of songs at the end were a bit better but nothing massively redeemable.

James Brown has been done dirty here. He's got miles better stuff that could have been included instead.

Nothing really to say that hasn't been said already. It's just really, really, REALLY fucking good.

I find that the lesser talked about songs - like Damage Inc., Disposable Heroes, and Leper Messiah - are the best ones. Everything else is still phenomenal, but these are my standouts, and some of my favourite thrash metal songs as a whole.

Orion is the only one that doesn't hit as hard for me. It's definitely better than I remember it being though. Maybe it's just beginning to click.

Still not their best album. AJFA rules supreme.

The best Springsteen album I've had so far - better than Nebraska and The Rising. I've never hated his voice, but he does a really good job of expressing his anger at certain times, but optimism at others. The music though is still nothing special to me, and I doubt his other albums here will be either.

Oddly enough, I enjoyed it more on my first listen and less on my second. It's the sort of thing I should like - trip hop with dreamy/mysterious female vocals. I think they do that part ok. It's like a slightly worse Portishead in that regard, but it's still pretty good. I am far from a fan of the cabaret influences. They kinda ruin the vibe for me. Flipping between chilled and theatrical wasn't a great mix. It's unique though, and I'm glad it's on the list. I'll have to listen to the other albums too.

Felt slightly let down by this one. I've only heard a few songs by The Isley Brothers prior to this, all of which I have thoroughly enjoyed. So when I got this generated, and especially after the first song, I was expecting a 4 or 5.

After the opener though, everything else didn't stand out as anything special. There were bits and pieces, some basslines, some of the synth, of course, but nothing consistent. Nothing to jump out at me. Summer Breeze was the only exception - a phenomenal song. It leads me to believe that The Isley Brothers aren't really best for listening to in albums and instead to have their best songs in a playlist. I'll have to listen to their other stuff to verify this.

I'm finding it really hard to make my mind up on Björk. Sometimes I'm enjoying her music, sometimes it gets on my nerves. I think she's one of those that you have to listen to when you're in the right mood and atmosphere, and this album isn't much different.

Another query I have with this is the length. Just short of an hour, so it doesn't seem all that bad, but because it meanders along it makes it seem longer than it is. To be clear, I like the meandering of Vespertine. Perfect meandering album. But meandering can only go on for so long.

It's pleasant to listen to, but with how long the songs go on for, they get old towards the end. I also have no idea what he's saying because I don't speak the language. I'm not rating the album worse for that, but it's harder to enjoy the music when to me it just sounds like gibberish. I think I preferred Djam Leelii. Both albums had their bright spots, but weren't consistent in them.

average music with a slightly annoying vocalist

6 Elvis Costello albums? Really?

Adele's "25" gets generated to me on the first day of 2026. What sort of cruel, twisted irony is this? I had the entirety of last year to get this album. It would have been perfect if I got it yesterday. But no. Big 1001 is laughing at me.

Annoyances aside, I've always loved Adele. Some of my first memories of music was when my mum would play Adele when I was a lot smaller when making a lovely spaghetti bolognese, so this brought back some nice nostalgia. Adele's voice is phenomenal, and this album has some underappreciated bangers alongside ones I've never heard before. I Miss You was a great surprise.

It is rather one-dimensional and there are a couple of songs in here that aren't as good. Adele is one of those few exceptions where I'd look to listen to individual songs of hers rather than a full album. Definitely on the higher side of 4.

It's one of those pub bands that when they first start playing you say to your mates, "they're a bit naff" and they then fade to background noise. That was until they went to the slower songs, like Hospital or Girlfriend, then they immediately grabbed your attention with Richman's atrocious vocals - which were atrocious before, but made more evident with the lack of instruments around them. I physically winced when he tried hitting those higher notes.

Nice and pleasant to listen to and definitely one of the better folk rock albums I've listened to on this list. I like his voice too. But folk music has never really done anything for me.

It's nice enough, but it just plods along. It's just, there.

Compared to Everybody Knows This Is Nowhere, it's definitely not as good. Neil forgot how to sing in this one and many of the songs were too bloated, alongside some proper shit ones like Farmer John and that last track. But I do like this sort of American country-garage rock, and there were some bits and songs that I enjoyed, like Fuckin' Up.

Even for ambient music this was more tedious to listen to than usual. Brian admits himself that it's "ignorable". The best way to ignore it is by not listening to it at all.

Sure, it'd be good to go to sleep to I suppose, but I'm not rating it higher for that. That'd be like criticising a nice jalfrezi because it gives you a bit of the runs on the way out.

What a miserable way to bring up a years worth of albums on this site. 4 more from this tosser to look forward too.

Nothing really interesting to say, just some very good pop-punk. High 4.