Reviews by wotanmjolnir

Why do rap albums have to be so fucking long?! At least jazz albums generally have the good grace to release the listener after 35-45 minutes. This is 72 minutes!

Not my taste, not going back.

It’s fine. Solid, bluesy rock, and she had a remarkable, instantly recognisable voice, but it doesn’t set me on fire. It’s right on the cusp of 4, but it doesn’t quite get there.

A strange hotch-potch of stolen (Master of Sparks is basically Fleetwood Mac’s Green Manalishi) and stolen from (AC/DC clearly took a whole lot from Jesus Just Left Chicago for Ride On). It’s ok, nothing special. ZZ Top never broke into the UK, you’ll very occasionally hear Legs or Sharp Dressed Man, and I’m not overly surprised.

What’s That Noise is about right. I found three tracks on YouTube as it’s not on Spotify, and that was enough. There’s a reason this isn’t widely available …

This really is a rum egg. World music via broad Essex - I’m not saying I enjoyed it, but I didn’t not enjoy it. The weird stream of consciousness but in the middle can get back in its box, though. Very borderline 2/3.

One thing this project has taught me is that I think jazz is really, really shit. There’s a bass solo in this - I didn’t enjoy it when Jason Newstead did a bass solo when Metallica played the Milton Keynes Bowl in 1993 so I’m not likely to enjoy one here. And I didn’t. Because it is shit.

Really good album. Personal Jesus and Enjoy The Silence are clear standouts, but the rest is great as well.

I have two major issues with this album. Firstly, I derived absolutely no pleasure from listening to all 61 minutes of this album. It didn’t upset me or make me angry, it was just rubbish and filled my ears with sounds that I have no desire to ever come across again. And, secondly, I don’t see it as deserving of a place on this list at all. I don’t think it was groundbreaking, and I don’t think it was hugely influential, and as an artist Ms Dynamite was very short-lived as high profile, even in the UK. I can promise anyone who cares that if I had died yesterday my last thoughts would not have been “oh cock, I didn’t get around to hearing ‘A Little Deeper’ by Ms Dynamite! I’d best hang around a bit longer.”

It’s ok. I think, like a lot of ‘legendary’ ‘60s bands, The Kinks benefitted from first-mover advantage and their status has been cemented as far greater than it would be if they were formed today. It’s far from bad, but it’s far from good as well, it’s just very mid. Waterloo Sunset stands so far above the rest of the album in quality that it really shows how average the rest is.

I should be Nirvana’s prime fan base - I was late teens when they blew up, was a metal-head, and I like grunge … I just don’t really like Nirvana. They’re ok but I never got the hype, and this is missing the big singles that lifted Nevermind. It’s fine, but I’m unlikely to go back.

Yeah, the clue here is in the title …

Everything about this is so affected and dated, and it’s just so boring and bland. The high-gated drums. The horrid synth bass. The syrupy over-production. Jackson ticking ‘ooh’, or ‘hee’, or ‘cha’, or ‘chamone’, or ending every word with an extraneous ‘-ah’. Everything just comes together in one horrible cloying glop like a really unpleasant dog-egg that has worked its way into the tread of your boot and leaves its subtle perfume everywhere.

Says a lot when I give an album a roasting and don’t mention that the artist was likely a paedo. Hee-hee! Cha! OW!

My favourite Metallica album, and one I’ve loved for thirty-some years. Yes, the bass is non-existent, and arguably Master of Puppets is a ‘better’ album but that doesn’t matter - as a body of work it is simply great.

“Too jazzy?”

“It is a bit too jazzy.”

I like punk, and this is definitely punk, but it’s punk with surprisingly high production values. Good album.

Great album. I bought it when it came out on the strength of Novocaine For the Soul, I wasn’t disappointed then and I’m not disappointed now.

This is both very lightweight in terms of music, but really pretty fucking heavy on lyrical content. Pleasant but not amazing.

I think that there might have been some recording interrupting Bowie’s arduous cocaine sessions for this. A staggeringly long 38 minutes of music.

Sounds like a colliery brass band doing covers of obscure TV themes and playground songs. That isn’t a good thing.

Alison Goldfrapp has an excellent voice, but holy shit is this dull.

Background music to the character creation screen of a Temu Sims knock-off.