Nightman Listen’s To – Harvest Moon – Neil Young (Top 1000 Series)

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Greetings, Glancers! Another day, another album to expose myself to. Yes, as I sit here completely bollock naked in front of my screen, I am ready to absorb some good tunes into my many orifices.

What Do I Know About Neil Young: All the grunge kids liked him. All the grunge bands too. As a grunge kid myself, I’m sort of surprised it’s taken me this long to get here. I’ve heard some of his stuff, I know he’s experimented with a variety of styles, but I’ve never sat down and listened to a single album. Naked or otherwise.

What Do I Know About Harvest Moon: It’s a series of games which merge farming simulator with RPG and dating antics, played at a gentle pace yet oddly addictive. Heh, you saw that one coming, right? I’ve been aware of the album for a long time and I’m surprised Larkin didn’t have it higher on his list given that other critics seems to rate it higher.

Unknown Legend: I like the main riff, but I’m immediately on guard because it sounds country. You know I can’t stand country music. The lyrics, the way they rhyme sounds very forced and overly simple. Musically simple, nevertheless there are dynamic qualities like the female backing vocals in the chorus. The lead vocals aren’t great but I was kind of prepared for that..that country guitar though…. nothing will ever convince me that it it’s good, and I’m not a huge harmonica fan either.

From Hank To Hendrix: Doesn’t bode well starting out with harmonica and the exact same rhythm as the first song. I do appreciate the laid back nature but I get the sense this is essentially a period piece from a specific time in the USA which means nothing to me – I wasn’t there, though it’s nothing like what I remember of the era – grunge. I like the effects on the harmonica, giving some sort of twisted futuristic feel to what is at its core an old fashioned song. I think I could like this one a lot with additional listens, but I also think I could tire of it quite easily – maybe only one for a certain mood.

You And Me: The vocals…. I know what he’s going for, but it’s clearly not his range. This reminds me of The Wicker Man, which is always a good thing. This is nice, too repetitive for me, also reminds me of The Battle Of Evermore. 

Harvest Moon: Hmm, I believe I know this one. I was going to say it reminded me of Close To You. Yeah, I’ve definitely heard this before, but I don’t know from where, possibly a movie or a friend. I checked out the video for this, and it’s cheesy as hell – terrible. I’m still not a huge fan of the vocals, they do break at points and fall out of tune momentarily, though this doesn’t appear to be done for effect. It’s sweet and gentle, but comes a little close to being cloying and twee.

War Of Man: This also seems familiar. I enjoy when the beat picks up in the intro giving things a more stomping, urgent feel. I’m not paying much attention to the lyrics, but I’m guessing from the vocal refrain it’s anti-war. Actually, that’s not much of a guess, it’s 100% clear. The vocals are still weird, a mixture of tone and accent and delivery.

One Of These Days: The vocals are all over the place here, not good. More terrible pedal guitar which I can’t stand. There’s a good song in here, but I can’t get past the vocals and pedal both which verge on and often soar past dreadful.

Such A Woman: This is more encouraging, orchestral, piano, something different. The vocals are fairly deep in the mix here, almost being swamped by everything else, which is probably a good thing. I think I could love this song if there was a decent singer getting stuck in and wrenching out every last piece of the emotion, because the music is beautiful.

Old King: No no, country is one thing… weirdo country is another thing entirely.

Dreamin’ Man: Didn’t we hear this one already? Sounds very similar to one of the earlier songs on the album. Identical rhythm, almost identical chords. The album got, well, crap, very quickly after a decent start. Too many samey songs, too much country. This is just way too simple, way too boring.

Natural Beauty: Not sure why the album is ending with a ten minute live performance. Assuming this is a live version of an older song? He doesn’t sound any better live than he does in the studio… in fact, he sounds identical. This song also sounds almost identical ot something from earlier in the album, the melodies are heavily borrowed, that sloth rhythm is still lingering, and the old trick of backing female vocals was overplayed by the third song. How can you have a ten minute song where almost nothing happens – no change in pace, style, anything?

What Did I Learn: Not much… Neil Young can’t sing for shit and he loves country shit.

Does It Deserve To Be In The Top 1000 Albums Of All Time: I think you can guess what I’m going to say in summary – some good songs, but needs the country whacked out of them and needs a decent singer to take control of them. The album sounds like it was made in the 70s, but was actually recorded in the nineties, so it can’t have had much influence on anyone significant. All of that adds up to a resounding no, which is a shame as I think this had potential to be much better than it is.

Let us know in the comments what you think of Harvest Moon!

Chart Music Through The Years – 1999

Yes! Back thanks to an almost universal lack of demand, I stretch back the scalp of time and feast upon the mushy innards of the past – in this instance I return to the UK music charts. If you’re interested, you can read my original post here – https://carlosnightman.wordpress.com/2015/10/22/the-uk-top-40/

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Greetings, Glancers! Today we party like it’s the end of the century… the end of the millennium…. the end of your life… because it is! Yes, that’s right, I’m about to murder you! But before that inevitability, lets go back to 1999, a time when the world inexplicably lost its mind and started freaking out about clocks stopping, microwaves eating us, and computers stealing all the babies or something. We all looked forward to the greatest party the world has even known, which ended up more like any New Year’s Eve with me drunk in various alleys and streets. Music was probably blaring that night, I can’t remember, but I do remember lots of great stuff, and even more terrible stuff from that year – I suspect you’re going to be subjected to ten such terrible tracks below.

It wasn’t all bad news though – Iron Maiden announced that Brucey and Adrian were coming back to the band, Eminem released The Slim Shady LP, Californication made us all wish we were Californicators, and Metallica arsed about with strings and trumpets. Elsewhere there were many ugly events which propelled the species further down the road to where we find ourselves today – The Columbine Massacre (from which zero lessons appear to have been learnt), Shakespeare In Love won the Best Picture Oscar despite being mostly terrible, Jill Dando was murdered by a demented loon, wars and coups continued to kill and destroy throughout the Middle East, Africa, Europe, and Asia, and George Lucas introduced us all to Jar Jar Binks.

If all that adds up to a crazy time to be alive, a glance through the charts only confirms that thought. Grunge was dead and buried, Britpop had already been vomited up its own ass, and the illegitimate spawn of both had yet to enter the studio for one last shot at rock and roll salvation. Lets do this.

1: Christina Aguilera: Genie In A Bottle

What Britney can do, a comatose, crusty bowl of rabid feces can do just as well, right? Enter another Disney tween, just innocent enough to be exploited by anyone, just dirty enough to be… well, exploited by anyone.  At least Aguilera can sing they said and yes, that’s sort of true. Genie In A Bottle doesn’t exactly show off Aguilera’s dubious talents, but it’s actually a good song. It’s catchy and has a nifty chorus – much better than that love letter to abuse that Britney forced upon us. It’s possibly the only worthwhile thing Aguilera has released.

2: Ann Lee: 2 Times

I struggle to think of a better (worse?) example of twee. A song can’t really get any more simplistic or less emotional, and that wee do-di-do chorus was always shambolic. It’s still catchy yeah, but in this case it doesn’t help. This is what commercial dance music was in the 90s – shit. Guess what? All commercial dance music is shit – who’d’a’known? Just remember… human beings made this, and human beings bought this. Seriously.

3: ATB: Don’t Stop

I have no clue what this is, so I’ll have to listen to refresh my memory…. and instantly wish I hadn’t. It’s more 90s dance drivel – it has the exact same beat as 2 Times, the exact same drum machine was apparently used. I’m not sure I’ve heard this, but that noise which makes the main… noise, it’s very similar to a song I do remember which was marginally better than this so assuming it’s by the same twat(s). But that’s like saying Mengele was marginally better than Hitler. Utter wank.

4: Eiffel 65: Blue Da Ba Dee

Music in the 90s guys… once again someone made this, and people bought it. 

5: Steps: After The The Love Has Gone

It was bound to happen sooner or later. It’s the 90s. It’s Britain. It’s Steps. You don’t need to listen, you already know it’s shit. The only difference between this and The Teletubies is you weren’t embarrassed when you were caught masturbating over The Teletubies. Has there ever been a less attractive group of attractive people in pop history?

6: Buffalo Tom/Gallagher/Cradock: Going Underground/Carnation

I have no clue what this is. Ah right. Gallagher. So this was some sort of supergroup doing cover songs? I have absolutely no memory of this, so I refuse to believe it happened.

7: Honeyz: Never Let You Down

Why?

8: B*Witched: Jessie Hold On

Sweet fucking NO.

9: Macy Gray: I Try

Everyone loved this. I had no idea why then, and I have no idea now. Clearly everyone making and buying music in 1999 was insane. Out of all the shite on this list… this is the worst. It is absolutely not getting linked.

10: Shania Twain: Man I Feel Like A Woman

Yeah? Yet you sound like a twat? So which is it? As much as I dislike everything about this, it’s not as bad as everything else here, and I actually liked some of Shania’s earlier stuff.

As is almost always the case, the charts are not a fair or accurate depiction of the good music released at the time. For my alternative playlist, check out these bad boys:

  1. Blondie – Maria
  2. Eminem – Guilty Conscience
  3. Lene Marlin – Unforgivable Sinner
  4. Red Hot Chili Peppers – Otherside
  5. South Park – Blame Canada
  6. Tori Amos – 1000 Oceans
  7. Muse – Unintended
  8. Opeth – Face Of Melinda
  9. Rage Against The Machine – Testify
  10. Tool – Stinkfist

There you have it, folks. 1999, another year in the can. Let us know your favourite tracks and memories from ’99!

Nightman Listens To – The Style Council – Our Favourite Shop (Top 1000 Series)!

When I started writing this series of Listens To! posts, my idea was to:

A: Listen to the tonnes of albums I have acquired over the years that I hadn’t bothered to actually listen to yet and give my thoughts as I listened for the first time.

B: Catch up on those artists that I was aware of/liked certain songs by, but whose albums I had never listened to in their entirety.

C: Potentially get some new favourites based off what I heard or by recommendations from my billions of readers.

D: Because there are a tonne of albums which always appear on best of lists which I have never heard.

As a musician, music fan, and human with working ears, I feel that I should give these a go. To get some focus, I decided to go to 2000 Edition of ‘Colin Larkin’s All Time Top 1000 Albums’ because it looks fairly comprehensive (and there are a few extra sections listing top 100 albums by genre which cover selections left out of the main 1000 which I will also try to cover).

When I started writing this series of Listens To! posts, my idea was to:

A: Listen to the tonnes of albums I have acquired over the years that I hadn’t bothered to actually listen to yet and give my thoughts as I listened for the first time.

B: Catch up on those artists that I was aware of/liked certain songs by, but whose albums I had never listened to in their entirety.

C: Potentially get some new favourites based off what I heard or by recommendations from my billions of readers.

D: Because there are a tonne of albums which always appear on best of lists which I have never heard.

As a musician, music fan, and human with working ears, I feel that I should give these a go. To get some focus, I decided to go to 2000 Edition of ‘Colin Larkin’s All Time Top 1000 Albums’ because it looks fairly comprehensive (and there are a few extra sections listing top 100 albums by genre which cover selections left out of the main 1000 which I will also try to cover).

When I started writing this series of Listens To! posts, my idea was to:

A: Listen to the tonnes of albums I have acquired over the years that I hadn’t bothered to actually listen to yet and give my thoughts as I listened for the first time.

B: Catch up on those artists that I was aware of/liked certain songs by, but whose albums I had never listened to in their entirety.

C: Potentially get some new favourites based off what I heard or by recommendations from my billions of readers.

D: Because there are a tonne of albums which always appear on best of lists which I have never heard.

As a musician, music fan, and human with working ears, I feel that I should give these a go. To get some focus, I decided to go to 2000 Edition of ‘Colin Larkin’s All Time Top 1000 Albums’ because it looks fairly comprehensive (and there are a few extra sections listing top 100 albums by genre which cover selections left out of the main 1000 which I will also try to cover).

When I started writing this series of Listens To! posts, my idea was to:

A: Listen to the tonnes of albums I have acquired over the years that I hadn’t bothered to actually listen to yet and give my thoughts as I listened for the first time.

B: Catch up on those artists that I was aware of/liked certain songs by, but whose albums I had never listened to in their entirety.

C: Potentially get some new favourites based off what I heard or by recommendations from my billions of readers.

D: Because there are a tonne of albums which always appear on best of lists which I have never heard.

As a musician, music fan, and human with working ears, I feel that I should give these a go. To get some focus, I decided to go to 2000 Edition of ‘Colin Larkin’s All Time Top 1000 Albums’ because it looks fairly comprehensive (and there are a few extra sections listing top 100 albums by genre which cover selections left out of the main 1000 which I will also try to cover).

When

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Greetings, Glancers! Once more it’s time for me to broaden my horizons by listening to one of the greatest albums of all time. It’s fair to say that I haven’t been overwhelmed in my journey thus far – while there have been good moments, great moments, most of what I have listened to hasn’t been my cup of tea. Add to that fact the other fact that I hate tea. And coffee. Someone needs to ban that shit.

What Do I Know About The Style Council: Absolutely nothing. Although, something way back in the darkest recesses of my mind a little voice is squeaking ‘aren’t they one of those ‘orrible ska bands’. And oh crap, yeah, that does sound familiar. I have a vision of a pack of douches in hats playing ‘orrible ska. I really hope I’m wrong about this, because if there’s one thing I can’t stand, it’s ska. I’ve definitely heard the name, but I can’t connect the dots.

What Do I Know About Our Favourite Shop: They say never judge a book by its cover. When it comes to people, in many cases that metaphor is apt. When it comes to books, in most cases the metaphor is shit – if you don’t like the cover, you probably won’t like the book. When it comes to music, I find that if a band has a name, or if an album has a name that rubs me the wrong way, then nine times out of ten I won’t like said band or album. Having said all of that, this is a terrible name, or at least it’s one which does rub me the wrong way. Couple that with my ska concern, and not one part of any of this sounds promising. Oh God.

Homebreakers: Well, the second I visited youtube to listen to this, the game was up as I recognised Paul Weller. So that’s where I know the name from, suddenly it all fits. For the most part I like Paul Weller, in my limited listening of his work with The Jam, though sometimes he does veer awfully close to some of the ska punk bands…. Anyway… this opens with some Tube Station stuff. It’s a decent intro which suddenly becomes worrying when the brass comes in – brass equals Ska. I’ve probably mentioned it before, but I can count on a very few fingers the songs where brass is added that I’ve enjoyed. This is all quite funky, though it does feel very 80s. It’s certainly jazz infused, what with the horns and backing vocals – not a huge fan of the main vocal work or the melodies, but I could get used to the melding of styles.

All Gone Away: This for some reason reminds me of The Beautiful South – another of my most hated things. On the flip side it also reminds me stylistically and lyrically of Joni Mitchell, which is a much better thing. This is very… cute? I won’t go so far as calling it twee, but it’s nice, less depth than the first song musically, but I prefer the vocals and melodies. It could be the satirical intro to some twisted sitcom.

Come To Milton Keynes: I’d rather not. More organ, again which screams ska. There’s something lazy and sunny about the songs so far which keeps making me think of cheesy sitcoms or Caribbean beaches. The rhythm of the songs so far is very similar to each other which makes the vocals feel samey. There’s a nice middle section here to break things up, but I already know if this rhythm doesn’t change up in future songs I’ll get irritated before long. Now an unnecessary, but thankfully brief spoken part.

Internationalists: Great drum bombast gives way to funky guitar and stupid horns. A more hectic pace. Nifty guitar work in the middle. This is marginally more to my tastes. Still very 80s.

A Stones Throw Away: This starts wonderfully – give strings a chance to shine and I’ll be in love. This sounds familiar, actually – both reminding me of The Smiths, The Beatles, and making me question if I’ve heard it before. I am noticing the subtle and less subtle political lyrics. Great vocals this time, and the melodies blend with the strings. This was bloody fantastic.

The Stand Up Comic’s Instructions: They’re not going to, are they? Is that Lenny Henry? Yes. Talking, near rapping over some funky jazzy wank. Mostly this reminds me of The Wall. More political stuff. I’m surprised a bunch of idiots haven’t commented here calling this lefty PC Commie cuck agendist leftist crap. Yeah, idiots.

Boy Who Cried Wolf: This feels unusually sexy. A more straightforward pop song, and while I haven’t paid attention to the lyrics this time it sounds more like a love song of sorts. I can see the influence of this in a lot of later R’n’B. Mostly very nice.

A Man Of Great Promise: Church bells always depress me or put me on edge. A bunch of these songs make me think of another 80s band, but I can’t quite place it. Musically this is lovely again, not quite enough to make me seek it out again, but good enough for me to recommend it and not mind hearing it more. Lyrically it sounds like a dedication… I assume Paul’s not singing about himself.

Down In The Seine: Come on, I know I’ve heard this somewhere. I have no clue where, but this is definitely familiar. I’m still getting vibes of all the aforementioned bands. Now French vocals, now accordion. Good stuff again, the album getting stronger after a stumbling start.

The Lodgers: Ah, nice vocal intro. Breaks away into more 80s Floyd funk. Good lyrics, great rhythm, I like the vocals, the melodies. I could do without the organ.I’m even getting a Michael Jackson vibe here. I’d like to say this is superb, but purely personal preference holds me back from saying it. But it is very good. Thank God it’s not what I thought.

Luck: I don’t feel this one as much, though admittedly I was reading something about some Instagram bin-lid going on a racist rant about Martin Luther King while listening. This is quite poppy, what with all the vocal waverings going on. It’s fine, summery. This time it reminds me of both Phil Collins and Cartoone.

With Everything To Lose: Another merging the male and female vocals. Reminds me of Spanish holidays. That rhythm is back. This one’s just okay for me, not as strong as the ones I’ve called out as enjoying.

Our Favourite Shop: That sounds like one of the instruments I used to select on my dad’s old keyboard – like the keyboard version of a bass guitar. Still, it’s funky, there’s some funky organ, some sort of cowbell, piano, and… is this all an instrumental? You probably know my feelings on instrumentals – they have to be truly exceptional or exceedingly hooky to get me listening more than a few times. This is neither, but it ain’t ‘alf bad, guv. Pretty ballsy to name your album after an instrumental track, I guess.

Walls Come Tumbling Down!: I feel like this would have worked better if it had properly merged with the song before. Bowie vocals. Lady vocals too. Full disclosure. It’s a few weeks between listening to this song and listening to the previous tracks and this feels very similar to one I’ve already heard. Nevertheless, I like it well enough and wouldn’t switch channel or song if it came on. Can’t say I’d go searching for it though.

What Did I Learn: That The Style Council is not a Ska band and features Paul Weller. That I liked it more than I thought I would. That judging a book by its cover, or a band by their name is perfectly acceptable – as long as you have a few other facts to help.

Does It Deserve To Be In The Top 1000 Albums Of All Time: I liked it more often than not, but that’s not nearly enough for me to say it deserves a spot. I can tell at a high level it had an influence on later groups, but those groups would tend to be ones I don’t like or listen to much. I can’t give any good reason why it shouldn’t be included, so I fall on a maybe for this one.

Colin Larkin’s Ranking: 706/1000

Let us know in the comments what you thought of The Style Council’s ‘Our Favourite Shop’ and if it’s in your list of favourites!

Nightman Listens To Bon Jovi – Have A Nice Day

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Greetings, Glancers! We’re back with another slice of MOR tunes courtesy of those mulleted 80s minstrels Bon Jovi. Last time around we checked out Bounce, and since that album the band released two curios – This Left Feels Right which was basically updated versions of classics, and that one about millions of fans which was a boxset of some sort. Have A Nice Day was their ninth studio album, and their first of original music in three years. I’ve heard the title track on this one but beyond that I don’t recognise any of the other songs listed below. Maybe listening with refresh my memories.

Have A Nice Day: This has always been a straight-forwards, no nonsense rocker with an inspirational set of lyrics with just enough rebellion to bridge the gap between chart sensibility and those looking for something just a touch harder. It’s a step down from It’s My Life but for most people probably not noticeably so. You should know the score with their hits now – big chorus that forces you to shout along.

I Want To Be Loved: This opens like a very specific Bryan Adams song but soon transforms into what feels like an under the radar Bon Jovi hit. It’s very middle of the road and commercial but it continues the inspirational theme – not giving up, always fighting and all that. The verses aren’t the most adventurous but they do build nicely and allow the two part chorus to be the focal point. It’s another good chorus but the song as a whole never reaches that top gear to tip it into their upper echelon songs.

Welcome To Wherever You Are: A soft intro, so assuming we’re in ballad territory. This one has a video, so assuming it was a single. Nice enough verses, again with a focus on the self – don’t be hard on yourself, you’ll be okay, you’re in control, chin up etc. It’s another B grade Bon Jovi song – good, probably feels better to me than it actually is because it hasn’t been over-exposed, but not any chance of it being promoted to the A grade status.

Who Says You Can’t Go Home: Bon Jovi have always been a band about lifting your spirits up – musically, lyrically, and making you feel good, but this is four songs on the trot which are specifically about those very ideas. This one has a very nineties video which adds a nice touch of nostalgia for me. It sounds very much like a song I can’t quite put my finger on, but it’s so damn happy that I don’t care. I believe I have heard this one before and while it’s most likely a B Grade for them, it’s fresh enough, charming enough for me to allow it to sneak in to their A Grade. A nice surprise and good to see that they can still make music at this point in their careers that I would gladly hear again.

Last Man Standing: Faster, heavier, and with a different atmosphere that the previous tracks. I would have preferred the verses to have a little more of the oomph of the intro, but by and large the atmosphere and energy is continued. The chorus is a marginal let down for me – as a standalone chorus it is fine, but as a chorus to follow that intro and verse, it doesn’t feel as impactful. Still, this is five decent songs so far that I don’t have anything truly negative to bring up.

Bells Of Freedom: I realise that the album has had, not on the nose patriotism, but a definite sense of the spirit of the USA thanks to the inspirational sounds and themes. I haven’t clicked play on this yet, but I expect this one to be more up front with a name like that. It actually opens with a bell, then acoustics and vocals fade in. The verse is good but the chorus feels an awful lot like This Ain’t A Love Song. It isn’t exactly on the nose, but the lyrics do evoke all of the traditional apple pie USA stuff without explicitly calling them out. With a better chorus this could have squeezed into the upper tier Bon Jovi stuff, but it doesn’t quite get there and is more lower B tier for me and the fact that it is dragged out pushes it more towards average.

Wildflower: A brief intro suggests another softer ballad. Piano and drum led verses are a little different and the chorus doesn’t get much heavier. It adds some dynamics thanks to some strings and guitars and it all fits together coherently. I like the melodies throughout, Jon tries a little too hard to add unnecessary vocal tics, but on the whole it’s another decent song.

Last Cigarette: Five songs to go and I’m not sure they can maintain this momentum. Hopefully they can, but the album runs the risk of becoming too samey. This starts with single chords and vocals, followed up by an edgier drum and vocal piece, and then straight into an upbeat chorus – it all works. The rest of the song follows this format with some additional energy sprinkled on top. The guitars haven’t been at the forefront in this album, with only a couple of basic solos not really worth mentioning so far – there’s one here too. The band goes for a strange childlike choir section after the solo, unusual for them, but they pull it off before closing out with another chorus.

I Am: Instantly with the atmosphere. This is quite funny to me because it sounds very close to a British band you won’t have heard of but which I love, called Haven. Not the vocals, but that intro and some of the melodies are scarily close to a couple of their songs. This is more like the Bon Jovi stuff I enjoy – understated yet powerful at the same time. I’ve no idea how well known or popular this song is but it’s another one I wasn’t aware of which I think goes well with their best hits. The lyrics are once again concerned with the self, with positivity, encouragement.

Complicated: Gets straight down to business. The verse is quite similar to the opening track as well as It’s My Life and the verse feels too by the numbers. The band landed on the word ‘complicated’ and built a simple chorus around it, making sure it rhymed and scanned okay but with little imagination. As a radio rock song it does the job, but it lacks any of the adventure of their hits. When a band has been going for a while, you can tell the songs which didn’t take a lot of care in construction from those which did.

Novocaine: A breathless, wordy verse kicks things off, slowly builds to a decent drawling chorus. Standard drug/love metaphor lyrics. I like how there are very few breaks in the vocals between sections. I like this – not sure how many more times I’d want to hear it though. A strange whispering, talking section closes it out.

Story Of My Life: Closing with a ballad it seems. Piano intro. Are they going to go full piano or – no, there’s the explosion. It’s a booming end, with jubilant melodies and the same care-free energy which has symbolized their career. No complaints about this one, though I think the chorus could have been more emotive. A good end to a good album.

A very consistent album without a single weak link. There isn’t a standout track for me – a couple of quite good ones, a couple of weaker ones that it’s clear not a lot of effort or thought was put into, and the rest are better than average without quite hitting the heights. As I mentioned throughout, the whole thing is designed to be uplifting, comforting, and very easy to get along with – sing and dance easily. As much as I like to make fun of the band – I give them more credit than most – but to be this far into their career and still making worthwhile songs while retaining what made them popular in the first place, gives a warm sense of security. I have many favourite bands who burned out after a couple of albums, so for the big Bon Jovi fans out there it must be wonderful to hear the band still putting out stuff which they should love. I believe this will be the last album I’ve definitely heard tracks off, and while I’m not sure if it was their last big hit, every other album they’ve released since will be almost 100% unfamiliar to me.

Let us know what you think of Have A Nice Day in the comments!

Nightman Listens To – Bryan Adams – Get Up

Greetings, Glancers! We’re here, we’ve finally made it. At the time of writing this is Bryan’s latest album and so you won’t be hearing my thoughts on him for a while after this post. Thank Jeebus you say… and yet, you keep coming back for more. Now, the album contains thirteen tracks but four of these are acoustic versions of other tracks on the album. That leaves a pretty pathetic nine songs – I’m not going to bother with the acoustic versions, unless someone tells me they are radically different. So, for potentially the last time, lets do this.

You Belong To Me‘: What is this country wank? Aside from the twang guitar riff the rest of the song is okay – it’s incredibly simple and feels exactly like the sort of song which took a shorter time to write than the song actually lasts. It’s brief, the vocals are fairly clean as opposed to his usual gravel style, and the drums, bass, and guitar do exactly what they need to do to complete the song. It’s quite hooky, but quite forgettable.

Go Down Rockin‘: This has a similar vibe to Place Your Hands by Reef. There are no risks here, it’s old fashioned rock, sounds like it could be on a car advert featuring some Coupe zipping along a beachfront. It has a hooky chorus too, the lyrics don’t have anything we need to discuss, and even at under three minutes there’s too much repetition – still, it’s fairly fun.

We Did It All‘: Has some unusual (for Bryan) chord changes and rhythms in the verse, the chorus being more traditional and stronger. I quite like the chorus, tending towards that old school soft rock ballad style. There are some swirling effects which feel disorienting, the piano merges nicely with the rhythm guitar tone, but the lead guitar lines in the chorus feel misjudged and could have taken the song to another level if reworked. It does peter out towards the end.

That’s Rock And Roll‘: This starts out like another relic from the 50s. Then I guess that’s the point once I hear the lyrics. This is way too tame to really be considered rock and roll, even those tracks from the fifty had a fiery energy, burning passion, while this is just a pop song with 50s rock guitars and rhythm. The lyrics get worse as the song goes on, to the point where he’s explaining how to write a simple song… there’s a reason we progressed. Fuck those claps too.

Don’t Even Try‘: Right, so the whole album is going for a fifties vibe. The album so far is just a vanity piece, something which feels like a collection of bonuses that he should have given away for free or kept as an extra disc on an honest new album. All musicians reach that point when they decide to just do a covers album or force the fans to hear the artist’s inspirations reinterpreted. Having said all that, I quite like this one, though it’s about 60 years late to the party.

Do What Ya Gotta Do‘: Honestly, these songs are almost direct rip-offs of songs you already know, it’s quite funny. This one has a bit of The Who in it too, I like the refrain, again it has its hooks, not enough, and it’s incredibly simple. This was the shortest yet, barely scarping past two minutes.

Thunderbolt‘: This one has a bit of experimentation, I guess. The riff and backing is quirky, the drums sound very distorted, but there’s almost nothing to distinguish the chorus and verse making the two or so minutes feel very repetitive and annoying.

Yesterday Was Just A Dream‘: Finally. This one feels like a genuine Adams song and not something he’s nicked from his favourite childhood records. It’s quite sweet, and I like the melodies all the way through. I’d happily listen to this song again, but the rest of the album has left a sour quality which may taint anything good.

Brand New Day‘: We finish with a song that sounds like it could be a single (no idea if it was or not) and another which feels like a genuine Adams song, though it does have the fifties beat. The vocals in the chorus and pre-chorus sound like they have some silly filter on. More unnecessary clapping in the middle.

Well, that was… something. A bad something. Compare anything here with something like Thought I’d Died And Gone To Heaven and…. well, there is no comparison. Fair enough he can do whatever he wants, as any artist should, but you have to ask yourself if anyone else is going to want it. It’s a bit of a crap ending if he doesn’t make another album. I’m sure he had fun making it and the songs aren’t really bad, they’re just retreads of stuff done better sixty years ago.

Let us know in the comments what you think of Get Up!

Nightman Listens To – Roxette – Joyride!

Greetings, Glancers! In 1990, the pressure was on Roxette to release a follow-up to their multi-million selling second album. Momentum was on their side with that previous album seeing a number of hit singles as well as the re-release of their biggest hit It Must Have Been Love being played around the world thanks to Pretty Woman. The band were at their creative and commercial peak and the new album would prove to be an even bigger success. Like I mentioned in my previous Roxette post, this album was on regular rotation during car trips. For some perspective, we would spend most holidays at a caravan park on a beach near to where my mother grew up and the car journey from my house to our destination was roughly 90 minutes. Sometimes at weekends I would come home for a day with my dad, before returning the following morning. So there was a lot of time listening to songs from this album, along with other favourites of my youth. I’m sure there are a few I’ve forgotten about here, but overall it’s an album I know well.

Joyride. A great intro to the album with one of their biggest singles. You’d be forgiven in thinking this was the lead in to a concept album what with the artwork and the spoken intro. It ain’t. Roxette have this habit of including multiple great hooks in certain songs – this one has a tonne – the whistling part, the pre-chorus ‘magic friends’, the chorus itself, certain guitar parts – each is addictive and will gnaw away at you. If you like some of the weirder stuff on this site you’ll be please to know I actually did one of my delightful remixes to this song years ago, but I never uploaded it. I must get around to that.

Hotblooded. This comes in heavy, a little cheesy but we can forgive that. Mostly. I’d mostly forgotten the verse but the chorus is another one with fangs. Lots of raunchy lyrics, a fast pace, a harmonica solo, guitar solo, it’s pretty simple but with a decent rock flavour. Good vocals from Marie.

Fading Like A Flower. This was always one of my favourites, but then you know how I love the ballads. This is a power ballad following the 80s template. We have a piano lead in, a lot of atmosphere and emotion, a surge into a crunching chorus. It’s actually heavier than I remember it, more emphasis on the power than the ballad with plenty of guitar to drive things. It also has a greater pace and shorter running time than I remember, but it’s still just as good and gives me nostalgic chills.

Knockin’ On Every Door. This starts with some dated drum sounds before pulling out a very funky verse – lots of riffs and weird sounds along with Per’s fast paced vocals. It’s not very exciting but the chorus is another decent one. Things get weirder in the second verse with stranger vocals and a few interesting musical choices. It could do with a little trimming.

Spending My Time. I feel the same about this one as I do about Fading Like A Flower. It’s another power ballad, but this time the focus is more on ballad than power. It opens with just Marie and an acoustic guitar, very lonesome and atmospheric – especially when the synth and twinkles come in. Then the chorus drops, terrific vocals, nostalgic synth, pure 80s stuff even though this was 1990/1991. Downer lyrics, defiant guitars, massive chorus. It’s perfect power pop.

I Remember You. This opens with some didgeridoo sound before stabilizing. Riffs, decent pace, rock infused pop. The chorus has that annoying Def Leppard feel. The verses aren’t that interesting and the chorus is merely okay, making this the weakest one so far. Still, there is enough here that it is still worth hearing.

Watercolours In The Rain. Another acoustic opening, reminds me a little of Led Zep’s Tangerine. It’s very soft and sweet. This one is unusual in that the chorus doesn’t live up to the verse. It feels like a song that strives for greatness but doesn’t quite reach it.

The Big L. I remember this one feeling heavy. There’s a little bit of guitar there and it’s quick, but it isn’t heavy. We have dual vocals and the melodies are fine throughout. It does have terrible hand claps though, you know I hate those. It’s catchy but it’s one I would have liked much more as a child. This one goes on a bit too long too.

Soul Deep. It’s a rip off of (I Can’t Get No) Satisfaction but it’s still good. Marie yelps and howls, the drums are solid, and it’s upbeat. Not much else to say.

(Do You Get) Excited? A synth one which feels more in tune with the direction 90s pop was going. The synth also feels like any number of John Carpenter movies. It suddenly bursts into life for the second verse with a loud guitar riff, but the song doesn’t continue in that vein – the verses are still plain. The chorus is good but not as strong as the big ones here.

Church of Your Heart. This one is interesting – it’s another which tries to be a power ballad but just lacks that certain something. I think this one is too upbeat, for some reason I always treat power ballads as ones which come from a place of pain or sadness. This is just happy and though it has the same trademarks as those ballads it doesn’t strike the same chord with me. I still like it, just isn’t essential.

Small Talk. This is a weird song. It’s all drums and synth bass and strange spoken parts and little acoustic jingles. The chorus is okay. It feels very similar to Hotblooded but a less sexy version. A strange mixture, yet it mostly works.

Physical Fascination. Another weird one, or at least a weird intro. Lots of strange 80s sounds and funk stuff. It’s a bit all over the place but I do remember there were a bunch of songs like this – throw in as many instruments and sounds as possible and see if a song pops out the other end. A song usually does, but it’s almost always crap.

Things Will Never Be The Same Again. Ah yes, I always loved this one. I’m sure you can guess why. Somber intro. Sudden big synth and guitars. Atmosphere. Downbeat. You got it, it’s another power ballad. The verse melodies here aren’t as good as others but the pre-chorus and chorus are both great. It’s not as good as I remember, certainly not as good as the biggies, but still one of the better ones here.

Perfect Day. The closing song is another good one. Good verse, good chorus. This one doesn’t rely on silly sounds and production balls – just melody, vocals, idea. The album ends on a strong note.

It didn’t long before my brother started chopping songs from albums to make his own mix tapes fro car journeys, so quite a few of these didn’t make the grade. I also made my mix tapes and the only two songs I remember taking from this album were Fading Like A Flower and Spending My Time. My opinions haven’t really changed – those are the two clear best songs here, with three or four close behind. The rest of the album I can take or leave – there’s really only one crappy one and the rest are average album fare. What about you? Do you have any specific memories of this album or any of its songs? Let us know in the comments!

Nightman Listens To – Madonna – Music!

Greetings, Glancers! It’s Madonna time again and an album released back in 2000, a simpler, less stressful time some would say. Not me though – I was in the middle of my A-Level preparations, I was 17, drinkin’ and a druggin’ and a womenin’. As you’ll have read in my previous post, Ray Of Light had been a massive hit with me and some of my friends, but in the few years between these albums we had started to see Madonna in a less favourable light. She had a lot of stuff going on which made her a prime candidate for ridicule, not that she’d care, and her release of American Pie was met with general laughter. To many of us it seemed she had lost it. I don’t know how much, if any, this contributed to me not paying much attention to the album but Music is not one I know much about, outside of some vague memories of the singles.

The album seems like it could be short and brisk – only ten songs and the only one I can clearly recall is the title track, and that’s a song I wasn’t a fan of. William Orbit did an awesome job on Ray Of Light so presumably the same will be said for this, although I think this album has a more general dance music flavour with less focus on atmosphere and rock. There’s no point guessing, lets just get into it.

‘Music’ was the first single from the album, and I didn’t like it from the first moment I heard it – much too much focus on quirks and production than, you know, actual music. The video likely influenced me too, what with its apparent love of celeb culture and lifestyle. Lyrically of course the song is supposed to be about the power of music to bring people together and overcome… something, but when the music is mostly dire the message falls flat. I appreciate the creativity and the production, but the style is not for me, the vocals are too whiny, and the melodies grating.

‘Impressive Instant’ is… well, my instant impression is that I’ll never want to listen to this again. It seems to be like another irritating dance song, entirely manufactured in the studio with nothing tangible. The vocals are annoying, the music is repetitive, the lyrics are garbage… unless you’re into dance music there’s nothing good here.

Runaway Lover‘ is a more traditional dance track. As a general rule I’m not a fan of dance music in most of its guises, but there are exceptions. This, I don’t mind. It could be any style of song, they just happened to make it dance – take away the beats and replace them with guitars or generic pop stuff and you’ll have a decent rock or pop track. Some of the noises and drums stuff annoys me, but it moves swiftly with a tidy energy and some decent melodies.

I Deserve It’ seems familiar somehow. I’m almost certain I’ve never head it, but I’ve shared many a set of earphones with many a person, so possibly… This one rambles along never quite reaching any sort of point or peak, though based on the lyrics that in itself is possibly the point. There are moments of potential where I thought it was going to build into something more, but then it didn’t.

Amazing‘ starts with manufactured bird-like noises and bell type sounds. Before long a beat that’s unusually similar to Beautiful Stranger takes the song further along. The song has more of a rock vibe like some of the songs from Ray of Light, though in a completely different style.

Nobody’s Perfect’ begins with something that sounds like ‘I am wet when I am with you’ which seems a little inappropriate even for Madonna. This is annoying because I do like the melodies here, but they are largely ruined by the auto-tuning nonsense. The drum sounds feel too weak in places, but I do like all the robotic laser stuff going on. This would be great if it had a traditional vocal throughout, but even with the nonsense I can’t help but like it and I think it could become one of my favourites over time.

Don’t Tell Me‘ is one I’d forgotten about. I like the disjointed nature and I remember this one had fairly heavy rotation when I was in the University Student’s Union bar anytime Kerrang wasn’t being shown. It’s a decent single but clearly I’d forgotten it for a reason, gets annoying before long.

What It Feels Like For A Girl’ begins with experimental sounds, some annoying English accented speaking, lyrics about androgyny etc. I have a feeling I have heard this before. The good qualities here are buried under the production – the melodies and the backing sounds don’t go together at all, making the whole affair feel like two completed different songs which got mashed together accidentally.

Paradise (Not For Me)’ is a song that mostly goes nowhere until the second minute where a very John Carpenter piece emerges followed by a much stronger vocal (though still downgraded by auto-tune). It’s clearly an attempt at an epic and it doesn’t quite get there, though I appreciate the effort. I love the strings which join the mess near the third minute, but the opening two minutes are too uneventful – a better melody lifting towards that middle section would have improved things drastically. The final couple of minutes repeat variously the good and bad without offering a final distinct section – aimed for the stars and scraped the clouds or something.

Gone‘ begins as an unusually streamlined and simple song – only voice and acoustic guitar. I love the melodies, the vocals and lyrics are plaintive, and the chorus is great. Given what has come before I keep waiting for the big production to come blasting out of the speakers. It does come, kind of, but it’s not as intrusive or all encompassing as elsewhere on the album. This is good stuff, and a great ending – another song I wasn’t aware of that I already look forward to hearing again.

For me this was an ambitious yet disjointed album. As a sequel to Ray Of Light it tries a host of new ideas but it doesn’t have the impact, musically or emotionally, which that album had. Where one felt urgent and inventive, this one feels at times like a joke or more accurately that the people involved were just having fun without caring about the quality of the end product, while at other times it feels as if they are throwing as much sound and technique into the mix in the hope that some of it will come good. The best moments are those where the simple tune is allowed to speak for itself – some of the songs are bogged down by production to the point where the melody is drowned, while in others the production fails to disguise the dull core. There are still some great moments here, and a few songs that I’ll add to my regular rotation, but as a sequel to a great, it falls below expectation.

Nightman Listens To – The Rolling Stones and The Beach Boys

Greetings, Glancers. As I near the end of my adventures with Bon Jovi, Bryan Adams, David Bowie, and Madonna (I’ve only started with Roxette) I’m already looking forward to which artists I should cover next. Fair enough, Bowie will take some time to finish and the Roxette posts will go on for a while – I’m also looking at the Iron Maiden solo input and Disney Soundtracks, God help me.

Ideally I want to cover those artists that I’ve always kind of liked, but whose albums I’ve never heard. The Beach Boys are a band you just can’t avoid. You hear there songs at an early age – certain songs are simply part of Western or even World culture – you’ll hear them in movies, on TV shows, on adverts, or of course on the radio (or whatever passes for radio these days). I want to cover artists who have been around for a while – those who have had more than 5 albums – ideally more than 10. They should be people I know with a few songs I know, but who for whatever reason I have just never got into. I thought about Bob Dylan, but then I’ve never heard a Dylan song (performed by him) that I’ve really liked (I’ll admit to only hearing a tiny amount). I thought about Elvis, but Elvis is too much of a cover artist. I pondered over ABBA and The Bee Gees, but I’m not convinced on their credentials on having great albums – they’re always seen as Singles bands, right?

Anyway, I’ll probably get to those guys some day, and maybe some of their albums are covered in my Top 1000 Albums Quest. For now, I’ve picked two bands who have stood the test of time – emerging in the 1960s and still playing and recording today (sort of). It’s time to be honest – I’ve never listened to a single Beach Boys Album. I know a tonne of their songs, even ones that weren’t singles to my knowledge, but I’ve never stuck on an album and listened from start to finish. The Rolling Stones however, I have listened to many of their albums, around the same time I started properly listening to The Beatles. At that time, to my mind, there was no comparison – The Beatles were smart, funny, talented, innovative, while The Rolling Stones seemed to be playing the same old blues songs over and over with the odd exception. It’s time to go back and listen again.

Both bands have written some of my favourite songs ever, but still I’ve never been fully sucked in. It’ll be interesting to see if I find any new favourites or a new appreciation. Everyone else loves them, so it’s about time I gave them their due respect. Why not join me on my adventure and share your thoughts and memories of their albums and songs? Because you don’t like me or my musical taste? I suppose that’s fair enough….

Nightman Listens To – David Bowie – Let’s Dance!

Greetings, Glancers! Ugh, I’ve been dreading this one. Not for any understandable reason you know, but I’ve still been dreading it. Like when you went to a school disco when you were a kid and you got all concerned and sweaty even though you’d be seeing the same friends and classmates you’d seen a few hours earlier? I don’t know. Maybe it’s the title of the album that’s had me wary, along with the fact that we’re now well into the 80s – the decade when good musicians forget how to make good music. I’ve never liked the Let’s Dance song either, and I’ve been concerned the rest of the album will be similar. China Girl sounds familiar, but other than that I don’t recognise any of the songs listed. We’ve been hear many times before, but let’s dance once more.

Modern Love: Well, it starts with guitar at least, so that’s good. Uh oh, repetitive and crappy drums. Talking with accent. Garth Marenghi. Better singing, and I like the minor stuff. Neat melodies. There was this terrible pop song a few years ago which had a very similar beat and rhythm to this and now that I’m hearing this it’s clear the pop song ripped this off. It was this overplayed twee mess with… were there two singers? Thankfully I’ve put it mostly out of my memory, but did it have someone singing ‘infatuation’ over and over? Something like that. The guitar is mostly gone now, leaving jagged piano and prodding brass. It’s very poppy, but it’s good.

China Girl: Okay yes, obviously I know this one. I quite liked the main riff but the song doesn’t really lift off for me until Bowie belts out the vocals after the halfway point. It feels like a curious one-off pop single till that point – I like it, though not a favourite.

Let’s Dance: Ugh, I never liked this one. It just sounded too 80s cheese, mixed with a faux 50s rock swagger and disco sound. It’s not a bad song or anything and I like the parts of the song outside the main ‘Let’s Dance’ vocal and riff. I find it quite overplayed too.

Without You: So, this is a new one on me yet it feels familiar. I like these unassuming songs which don’t try to show off or be some big hit yet quietly do a better job. Like the previous two songs there is a prominent repeating riff, and as this is new for me it doesn’t feel annoying or overplayed. The vocals are gentle, the song is short, and it has an unexpected finish.

Ricochet: Clapping and jungle beats – two of my least favourite things. A stuttering beat and near spoken vocals. It’s certainly doing its best to not endear itself to me. Smokey jazz horns play over dissonant sounds and soundbites. It’s a bit of an experimental mess. I know what he’s going for here, but it’s nowhere near interesting enough for me to be anything more than a one time curio.

Criminal World: Another new one for me, but wait, isn’t this just China Girl again? That riff is very similar. It’s lucky the verse is slow otherwise it would have been nearly identical. There’s some deep bass funking along, the vocals are quiet. The chorus speeds up and brings the melody. Rinse and repeat, though I liked this one.

Cat People: Ah yes. I saw the remake when I was in my early teens and liked it okay if it has boobs and blood when you’re that age, it automatically gets a thumbs up. It starts with simple cymbal snaps, then a growing synth purrs its way into view. Bowie does his best deep voice – it’s all very slow and somber, like a proto-industrial piece. The build up is slow, then there’s an explosion of vocals and sound to take us into the second phase of the song – basically a heavier take on the first with added energy and drums. It’s great. We follow this with a funky instrumental section before the vocals return – this is one of Bowie’s better vocals for me. We end on a nice synthetic guitar solo and choir rendition of the chorus.

Shake It: Umm… Prince? This is very 80s and the lyrics seem like the sort of silly stuff you got back then. It’s not quite New Wave pop, but it has that vibe, tone, and sound and feels like it could have been recorded by any number of 80s groups. That’s not always a bad thing – it’s fun and it would probably be catchy after a couple of listens, but on this first hearing it doesn’t have enough to pull me in.

A mixed bag then – some good ones, some I knew, some new ones. There aren’t any songs I didn’t like, title track notwithstanding as I knew it already, but there are a couple which I didn’t care for. Mostly on the positive side then – maybe a couple I’d choose to listen to again and which would potentially be added to my playlist, but nothing immediately jumped out at me and landed on the playlist. What are your thoughts on Lets Dance? Is this the best of Bowie’s 80s offerings, or does he get better through the decade while his peers suffered? Let us know in the comments!

The Nightman Scoring System(c) – A Hard Day’s Night!

 Remember the Nightman Scoring System ©? My system for reviewing music as fairly as possible, an attempt to remove as much inherent bias as possible? That system where I break up an album into twenty evenly weighted categories so that when you score each one out of five, trying to base the score as much on fact as on opinion, you get a fair total out of 100? It’s the best scoring system in the world and you should use it. So should I in fact, hence this post. Anyway, if you want to read the rules about the system click this link and it will reveal all. There’s one for movies too, at this link. Check them both out – I say with absolutely no hyperbole that it will unquestionably change your life, make you an astonishingly brilliant human being, and also get you the ladies (regardless of your gender or orientation).

It’s number 3 and the album I consider to be when the band truly found their stride and their own voice. Check out my original review here.

Sales: 5 (Another smash hit)

Chart: 5 (Another smash hit)

Critical: 5 (The first truly great Beatles album, loved by all)

Originality: 4 (The signs of originality in playing, recording, and writing make sudden, small leaps on this record. There are no covers, giving the band the chance to show off their own abilities in full flight, though they are still finding their direction. Here they move away from the blues laden tracks on the first two albums, and make a selection of pop hits instead but give new twists and flavours on the sounds and content of such songs).

Influence: 5 (Like most of the Beatles albums, this is a huge influence on everything that came after, but this was the first album which showed that a band could do everything themselves without relying on exterior input. The variety of styles, the look and feel, the sound, the lyrics, everything here has influenced countless works since).

Musical Ability: 5 (Not only do the band solidify their playing, but they expand with new ideas, instruments, and they cement their ability to play as a group).

Lyrics: 4 (Although most of the songs still are based on love and romance, there are the odd moments and perspectives which eschew conventions and show that the writing was greatly improving).

Melody: 5 (There is a huge leap here from the first couple of albums, possibly by moving towards a more pop oriented sound, and by having free rein to write whatever they wanted. The harmonies shine through meaning that depending on whose voice you choose to listen to, each song can be heard in completely different ways).

Emotion: 4 (The band step up the emotional content bravely here by baring themselves like few groups had before, not only showing their cynicism but their unabashed love).

Resilience: 5 (Again, 50 years later it still sounds better than much of what is around today, more vital, more important, and will still be discussed in another 50).

Vocals: 4 (Each member excels again, while there are a few moments which drag my score down from maximum such as John’s eunuch moment).

Coherence: 4 (The band’s first fully original album holds together wonderfully, nothing sounds out-of-place, and the overall sense of a romantic chase and the ups and downs within is potent).

Mood: 4 (The record makes you want to dance, to sing along, to write, to pick up an instrument and play along).

Production: 5 (This is the first Beatles album which sounds like a unique Beatles album – no other band could have made these songs in this way. Everything is just right).

Effort: 5 (A lot of effort went into this, especially considering the film was being done around the same time, as well as continual writing and touring, and the mix of breathless endeavor and weariness is apparent).

Relationship: 4 (Fits nicely with the previous albums, stands on its own, and blends seamlessly into the next).

Genre Relation: 4 (It’s pop, it’s rock, it sounds like many of the bands of the time, but more importantly it sounds like it is improving upon, and almost making a mockery of those other bands).

Authenticity: 5 (It’s the sound of a band coming into their own, throwing off the shackles of convention, embracing expectation and confidently acknowledging that they will surpass all expectation. Some may go 4 here, I couldn’t accept anything lower).

Personal: 5 (Not my favourite Beatles album, but it can’t be anything less than a 5).

Miscellaneous: 5 (Great stories from the recording, an oft-imitated cover, a film which should have won several Oscars, a classic).

Total: 92/100

I mean… I’m surprised by that score. It’s by no means my favourite Beatles album but that score is almost perfect and you wonder how anything could get any better. If someone asked me to give a score out of 5, I’d say 5, out of 10 I’d probably say 10, out of 100 I suppose 90 or late 80s would have been my answer. So far my scores are on track with my personal feelings, so that either means I’m a genius or the system is balls. Or somewhere in between, who the hell knows. At the very least, this mirrors the general critical consensus, but that’s not saying much either. No matter which way you slice it, this is one of the best albums of all time and the score reflects that.