1001 Albums Summary

Favourite Track: Police & Thieves

Favourite Track: Maggot Brain

Favourite song: Sonnet

Favourite Track: Champagne Supernova or Cast No Shadow

Favourite Track: Water of Love

Favourite Tracks: You Really got a hold on me

Favourite Track: She’s losing it Not my thing on my first listen but I may try and give it another go.

Favourite Track: What More Can I Say? or Lilac Wine

Favourite Track: Once

Favourite Track: Finest Worksong. Lot of great tunes.

Favourite Track. Barbarism Begins at Home

Favourite Track: Goya Soda

Difficult to rate this album. It starts off really strong. I loved the first three songs. The first few tracks really hit with that fusion of tango, electronic, and world music vibes, and it feels fresh and exciting. The tracks just weren’t shifting enough to keep things dynamic. It felt abit repetitive towards the end. The album definitely has its standout moments, there was a lot to like about it and I’ll definitely be revisiting it when I’m in the right mood. Favourite Track may be Chunga’s Revenge.

I struggle a bit with Bob Dylan’s voice — I find it quite abrasive. The songwriting is undeniably brilliant and clever, but vocally it’s just not really my thing, and I don’t find the record particularly melodic. Not all music needs to be melodic, of course, but melody is one of the ways I emotionally connect to songs, so its absence stands out. It’s only a first listen though, so I may revisit it — or try another era of his. “Mr. Tambourine Man” is probably my favourite track so far.

I’m honestly torn on this one. I’d probably land at a 2.5 rounded up to a 3/5. It’s a solid album, but not one I’d rush back to. I didn’t hate it, but I didn’t love it either. On first listen, nothing completely grabbed me, though there were moments I liked enough to consider giving it another listen. Considering how highly it’s regarded, I do wonder if it’s a grower and something I’m not fully connecting with yet. I found myself wishing there was one standout, defining track that really lifted the whole album. Vocally, Cale occasionally reminded me a bit of Ringo — not in a bad way, just in tone more so than anything else. Favourite Track by far is the title track.

I can see the appeal and understand why so many people rate this, but it’s just not really my thing. Listening in 2026, it feels very much of its time. “Dance for Me” and “Come Into My House” were the obvious standouts. There’s some solid rapping throughout, but by halfway I started to lose interest. It felt a bit repetitive, and a few tracks came across like filler. Favourite Track: “Come into My House”

Before listening to Fela Kuti’s Zombie, I read a bit about him and the album. It helped — knowing what was happening politically in Nigeria and the risks he was taking made the whole thing hit harder. The title track, “Zombie,”. It calls soldiers… zombies. They “go and kill,” “go and die,” just following orders. It’s blunt and repetitive, but that’s the point — the repetition really sticks with you. I wasn’t super familiar with Afrobeat, so it was interesting to hear. The long grooves and repeated sections didn’t always click for me; sometimes they dragged a bit. But I get why they’re there — it drives the message home. I probably wouldn’t have picked this up on my own, which is why the thousand albums project is fun. I could see this growing on me with another listen, especially knowing the history behind it. Overall, I’d give it a 3 out of 5 — more respect than personal enjoyment, but glad I experienced it.

Honestly, I really liked the production — it’s super interesting, and the beats are smooth and full of energy. The lyrics, though, weren’t really my thing — felt kinda dated at times. But “Renegade” definitely stood out for me. I know this album gets a lot of hype. It's considered a classic — the production, especially with Kanye’s influence. I’ll admit, I might not be fully in the loop on all the album’s context, but for me, some of the bragging and certain themes didn’t really connect today. Still, I can see why a lot of people like this album.

Abbey Road is a classic — not much else really needs to be said. Even a track like Octopus's Garden, which was never one of my favourites, has properly grown on me over time. It’s just an album full of great songs and great harmonies. Everything sounds polished but still effortless. You can hear how tight the band are, and the production — with George Martin behind it. It’s hard to pick a favourite track, but maybe Maxwell's Silver Hammer. It gets overlooked a bit, but when you stack it up against some of their bigger hits, it definitely deserves more credit. Even knowing there were tensions around that time, the album sounds completely unified. And of course, the cover — the band walking across the zebra crossing outside Abbey Road Studios in London — is still one of the most iconic images in music. With all or this and the influence this album continues to have today, it can’t really be anything less then a 5/5

When In Rainbows came up as my next listen, I was genuinely delighted. I’m already very familiar with it, and it’s probably my favourite Radiohead album. I love everything about this record — the vocals, the raw emotion, the production. It’s all just so perfectly balanced. There’s a warmth to it that makes every track feel strangely comforting, even when the lyrics are vulnerable. It’s hard to pick a favourite because the quality is so consistent, but if I had to choose, I’d say Nude. Thom Yorke’s voice on that track is stunning. The final 30 seconds in particular are breathtaking — it’s one of those moments that completely transports you somewhere else. Unreal. The album is a tight ten tracks, and it flows beautifully from start to finish. There’s no excess, no filler — just a band completely in control. Radiohead really are in a different league. There’s something about Thom’s voice that just stops you in your tracks. Very few singers have that ability — the first comparison that comes to mind is Jeff Buckley. Just so good. As of right now it’s one of my favourite albums. Easiest five stars ever.

Favourite Track: After Hours

Favourite Track: Hotel California or New Kid in Town

I didn’t really know what to expect, but Bug grabbed me straight away with the guitar. “Freak Scene” is great—killer riff, solo that basically sings, and easily my favourite track. The first half of the album keeps that energy going with some awesome melodic guitar hooks, but the back half felt a bit weaker on first listen. The vocals are a bit hit-and-miss for me—sometimes they work, sometimes they feel distant. What blows me away is how modern it sounds for an ’80s album. Overall, I’d give it 3/5 if I’m judging the whole thing, but for the guitar moments and how modern it feels, more like 4/5. Definitely coming back to it.

I had to find this on YouTube and honestly didn’t really know what to expect, as I’d only heard a couple of tracks before. But I actually thought What's That Noise? was a really interesting listen. It’s got that early sampling thing going on, which is pretty cool, and at times it’s just full-on chaos—but in a good way. It kind of keeps you on your toes because you never really know what’s coming next. It doesn’t sound like a lot of other 80s stuff I’ve heard either, which made it stand out straight away. It almost feels a bit like a mix or a collage rather than a normal album, but that’s part of what makes it work. Coldcut were clearly just having a lot of fun with it and trying different things. Only real downside for me is the production does sound a bit dated now, which is kind of expected, but it’s still an interesting listen regardless. “People Hold On” was definitely a highlight—Lisa Stansfield’s vocals are quality and give it a bit more of a proper song feel compared to some of the more chaotic tracks. Overall, not perfect, but definitely one I’d go back to. Glad I gave it a listen. 4/5

Gave Birth of the Cool a listen—not my usual style, but I can appreciate the talent and clever arrangements. Venus de Milo and Moon Dreams stood out, smooth and mellow; overall, 3/5.

Proper Ska bangers , full of energy, proper fun album this. Loads of great tunes that make you want to dance, but also songs that hit you with real stuff. Really enjoyed this.

Lyrics are repetitive, predictable, and at times cringe-worthy—“put it down towards her mound”? Vocals shout the same way through nearly every track, and the raw, chaotic energy just didn’t land for me. I can see why metal fans love it for attitude and influence, but as a casual listener, it’s a tough slog.

It’s just banger after banger. Shame the By The Way album isn’t on the list as well which surprised me. Californication is a brilliant album, start to finish.

I found it okay honestly but abit underwhelming at times. Mother and Love are really beautiful tracks though. This album may grow on me with a few more listens.

Music for the Masses is a 5/5 for me—just dark, catchy, and really easy to vibe with. Dave Gahan sounds great on it, and it reminds me how good Depeche Mode are at making pop albums. Violator’s still my favourite though.

I’m gonna need more time with it. It grew on me as the album went on.

I’m kind of meh on this. I don’t think it’s as terrible as people say it is but it definitely isn’t great. The whole thing feels like a collection of unfinished ideas just thrown together. It’s not horrible, but it’s pretty hard to get into. Track 3 and Track 10 were probably the best tracks. The rest of it though? There’s a lot of waiting around for something interesting to happen, but it’s like the album is just stuck in a loop. Overall, it’s not terrible—it’s just not for me.

I get why people people rate it—proper emotional, stripped-back etc But honestly, I just couldn’t get past the vocals, which I didn’t enjoy at all. Just not one I’d stick on again, not my cup of tea. My favourite track was what can I do but that’s really because I really like Rufus Wainwright.

I liked quite abit of the guitar work on this album I just didn’t enjoy the vocals which I struggled to get past.

Songs in the Key of Life is packed with great tunes. Stevie Wonder really is a legend, and you can clearly hear just how much influence this album has had over the years. The songwriting is top-tier: funky, groovy, and full of personality. You can tell it’s the work of someone insanely talented. I also found it interesting learning that “Gangsta’s Paradise” samples from this album—that added a whole new layer of appreciation. That said, the album did feel a bit long for me. Some tracks, while great, seemed to go on longer than necessary. It’s definitely a personal preference thing, but at times it felt slightly bloated. I almost feel guilty not giving it a 5 because the highs are so high, but taste is taste. The singles are incredible—“Isn’t She Lovely” - I mean come on now!! So yeah, it’s a 4/5 for me—but a really strong 4. An album that was clearly ahead of its time, with some truly unforgettable peaks.

First thing—production is ridiculous. Like genuinely top tier. You can hear straight away why this album is such a big deal. Everything sounds smooth, cohesive, nothing feels out of place. Tracks like “Let Me Ride” are just effortless—proper cruising music. But yeah… the lyrics. There were quite a few moments where I was just sat there thinking “this is rough.” A lot of it hasn’t aged well at all—especially the misogyny. It kind of takes you out of it sometimes because the beats are so good, but then the lyrics come in and it’s a bit like… right, okay. I get that it’s of its time, early 90s, post-N.W.A era, all that attitude and shock value was part of the scene. And to be fair, there’s loads of personality on this album—it’s not boring for a second. You can hear how influential it is, and why it blew up the way it did. But yeah, I do kind of agree with that take I’ve seen—musically it’s close to a 10, lyrically it can be a bit of a 1 at times. Overall I’d probably say: incredible production, massive cultural impact, but a pretty mixed listen today depending on how much the lyrics bother you. Definitely respect it more than I actually enjoyed parts of it.

Interesting album. No particular track fully stood about but I need more time with it. Not sure what to fully make of it. Think I’ll go back to it.

Great album overall—just shy of a 5 I think since some tracks didn’t fully land for me. The singles really stand out. Debbie Harry is, as always, an absolute icon.

Interesting listen. Loads of personality and good production. Feel like it looses abit of steam towards the end of the album. Favourite tracks: Pull up the people and Amazon

This is just a really easy, enjoyable listen. I wasn’t quite sure what to expect, but it’s one of those albums that clicks straight away—warm, catchy, and never trying too hard. What stands out most is how tight everything is. The band is really locked in. Nothing feels cluttered or overdone—everyone just knows how to serve the song. There are loads of instantly memorable moments too, like La-La and Troubles of My Own, which just make you smile. Then you’ve got the classics like Blueberry Hill, which still sound fresh and easy to enjoy. It’s also perfectly paced. The songs are short, punchy, and never outstay their welcome, which makes the whole record flow really nicely from start to finish. Overall, it just feels like a sunny, good-time album—something you can happily throw on in the background or really get into

Didn’t hate this, but I can’t say I was that into it either. It just felt kind of underwhelming most of the time, like I was waiting for something to really grab me and it never really did. The first track threw me off. It sounds kind of goofy, which I’m guessing is intentional, but I just couldn’t really take it seriously. It made it harder to get into the rest of the album because it didn’t pull me in the way I hoped. I liked the second half more but even then nothing really stuck with me. It’s not a bad album at all, and I can appreciate that it was probably pretty innovative when it came out. You can hear how it might’ve influenced a lot of stuff later on. But listening to it now, it just didn’t fully land for me, and I did get a bit bored at times. Overall, it’s one of those albums I respect more than I actually enjoyed.

I feel pretty similar to The Chronic. Decent production. Not a fan of the lyrics

This is a great album. Although I might prefer El Camino slightly more than this. Everlasting love is a banger too.

“Hidden Place” has been in my head non-stop since the first listen—production is pretty beautiful on this album. Björk’s voice is like nothing else, so unique. I’ve been slowly getting into her stuff and after debut, which Iv listened to death, I’m loving how this one feels more dreamy and intimate. “Cocoon” is just stunning too. I’ve only listened to the album a couple of times so far, but I can already tell this album’s gonna grow on me the more I play it. Right now, I’m giving it 4 stars, but I’ve got a feeling I’ll enjoy it more with more listens.

I was a bit undecided on this one. It definitely kept my attention, but I probably wouldn't rush to listen to it again. I actually thought I'd like it more than I did. Nick Cave is clearly talented, but I don't think his vocal style is really for me. The album's concept is clever, and I don't have any issue with the idea of a collection of murder ballads. In fact, I think the storytelling is one of the stronger part of the album. When it works, it's genuinely engaging, although there were a few moments where it came across as a bit too theatrical or even a little cringey. The highlights were easily the duets. "Henry Lee" was probably my favourite track—Nick Cave and PJ Harvey's voices work really well together. I've also got a soft spot for Kylie, so "Where the Wild Roses Grow" was another standout. Honestly, I wish there were more duets because they were the best part of the album for me. "Stagger Lee" was... bizarre. I'm still not quite sure how I feel about it lyrically. I was reading some other reviews afterwards, and someone described Nick Cave as sounding like a Disney villain, which genuinely made me laugh—I can kind of see what they meant. Overall, I can appreciate the ambition and the storytelling, even if the album itself didn't fully click with me. It'll be interesting to see how I get on with his other albums. This one just wasn't for me.

A classic

I had to find this one on YouTube. I went into it with an open mind because I'd already seen how divisive it is, and I was hoping I'd end up being one of the people who like it. I can absolutely appreciate the artistic merit and the talent on display here. These are clearly incredible musicians, and I don't doubt they know exactly what they're doing. The problem is that, for me, appreciating the musicianship didn't make it enjoyable to listen to. This honestly felt like a really long 40 minutes. It was so chaotic that after a while it all started to blur into one. I know people who are really into this style of jazz will probably hear loads of different ideas, but to my ears it felt like the same thing happening over and over again. I also just couldn't find any rhythm or structure to it. A lot of it just sounded like noise to me. That's not me saying it is just noise, because I know plenty of people love this album, but that's genuinely how it came across while I was listening. It honestly reminded me of that scene in Friends where Ross is showing everyone the different keyboard sounds and nobody knows what they're supposed to say. That's the closest comparison I could think of while I was listening. I do feel a bit harsh giving this one star because I genuinely respect the musicians and what they were trying to do. I'm glad I listened to it because it's so different from anything else I've heard on this journey, but I can't imagine ever wanting to put it on again.

I’ve seen a lot of critics proper slagging off her vocals, but to be fair, that wasn't really an issue for me at all. I actually quite like her voice—it's unique. My issue is just that I didn't find the songs particularly interesting. The whole thing just felt a bit repetitive after a while, and I found myself getting a bit bored to be honest. The standout for me was definitely "Sawdust and Diamonds." This album is definitely not as bad as some of the brutal comments you see online, but it’s not something I particularly enjoyed too much or will be rushing to play again either. Neat ideas, just a bit of a slog to get through.

I actually enjoy this album more than Thriller. Already been said -just a lot of bangers. His talent was insane. Not quite a five for me though. I think off the wall is his best.

Wasn’t sure what to expect going into this, but I really enjoyed every song. Had only been familiar with three or four tracks. Felt really cohesive. Definitely coming back to this, really good.

Maybe i need to give it another go but didn’t massively enjoy I first listen and found myself getting abit bored. Not really my cuppa tea. Appreciate the talent though. Favourite track by far was jump sturdy

Hard to rate this one. One I’ll be going back to. Definitely enjoyed it.

It was okay. I just found a lot of it not particularly memorable and I got kinda bored by the end of it. I didn’t hate it though. I liked the opening track probably the most

Kinda definition of a 3 for me. Didn’t love it or hate it. Favourite: The Cutter

Felt abit underwhelmed on first listen.

I liked the first couple of tracks and then I felt a lot of songs sounded really similar. Can’t fault her voice. My all is a great song. Didn’t particularly find the album too interesting as it progressed

This albums fairly enjoyable but I just don’t think Jazz will ever be my favourite Genre.

Honestly, I’ve known a few of the big tracks for ages, but I’d never actually sat down and listened to the whole album from start to finish until now. It’s a proper enjoyable listen and I’ll definitely be going back to it.The whole thing just flows really well. The intro is clever and sets it up nicely, and the musicianship is great—proper groovy tunes throughout. Also, usually album skits annoy me, but these ones are actually clever and work perfectly to keep the whole record cohesive.Lyrics-wise, it’s really funny and humorous, but it’s not just a joke album. There’s a good mix with some serious stuff in there too, which balances it out well. "Me Myself and I" is just so good, and "Magic Number" is an absolute classic.It’s just a really cool record that has aged massively well. Good samples. Standard 4 stars for me.

It’s a great album. I don’t love every track so it’s not a 5 for me, which i know is a crime to say considering how many people love it. Still great though.

It’s a classic. He was like 23 when he recorded this which is insane to me. Massive talent. Timeless music. Massive shame his future direction in music was cut short. He was basically at the very start of what should’ve been a long career.

This is a frustrating album because there are parts of it that I genuinely like. Musically and sonically it's excellent, with that classic '90s sound that I love. There are moments where I think it's about to click with me. Then the singers voice comes in, and it completely takes me out of it. His vocal delivery just sounds pretentious to my ears, and no matter how hard I tried, I couldn't get past it. I'd find myself getting invested in a song, only for the vocals to ruin it almost immediately. The lyrics didn't help either. Compared to so many great albums from the '90s, I found the writing surprisingly weak, and there were more than a few lines that made me cringe. Combined with the vocals, it made the album feel more self-important than emotionally compelling. I can appreciate why this album has its fans, and there are flashes of quality throughout, but they're buried under vocals and lyricism that just don't work for me. I wanted to like this far more than I actually did, but in the end it's a 2/5.

I couldn’t really get into this. Appreciate this album is highly regarded but I just found it abit uninteresting and a bit lifeless at times. Might have to give it another go but not really a fan on first listen, found a lot of the tracks too similar sonically.

I found this album a bit boring. Not really my thing. Nothing exciting or interesting.

Tusk kind of frustrates me as an album. I love Fleetwood Mac, and they’ve got one of the best discographies going, but this has always felt more like a bunch of songs stuck together rather than a proper, flowing album. Even the tracklist just feels a bit odd to me in places. It doesn’t really flow the way their other stuff does, and as a full listen it just doesn’t hold together as well as something like Rumours. It’s definitely not a bad album though—I don’t really think Fleetwood Mac are capable of making one. The talent is obviously all there, and I do respect that after Rumours they didn’t just try to copy it again. They actually went and did something a bit experimental instead, which is probably the right move artistically. But at the same time, I just don’t think the songs are as strong overall. It feels a bit bloated, like there are loads of ideas but not all of them fully land or stick. It’s more like a collection of moments than a tight album. There are still some really good bits in it though. “Over & Over” is lovely, even if it doesn’t really feel like an opener. “Sara” is probably one of the highlights for me too, even if it drags on a bit. “Not That Funny” is pretty catchy as well .And Christine McVie is brilliant on this album, as always—there probably my favourite in the band so I’m biased anyway. I’ve just never really got on with the title track either. I know loads of people love it, but it’s never really clicked for me personally. I was a bit surprised this is on the 1001 Albums list instead of Tango in the Night, because I think that’s a stronger and more cohesive record. I know that’s probably an unpopular opinion though. I think with Tusk, it’s probably more important in terms of what it represents—like the big follow-up to Rumours—rather than being something you put on and think “this is a perfect album”. Overall, I don’t think it’s bad at all, it’s just overlong and a bit all over the place. There’s definitely good stuff on it, but it never quite comes together for me.

Honestly, I’m not even a massive jazz guy, but this one completely surprised me. It is just so easy to listen to and has the ultimate chilled vibe.From the second it starts, you can tell these musicians are just top-tier. The talent is insane, but it doesn't feel like they're trying too hard—it’s just super relaxed and natural. It’s the exact kind of record you want playing in the background on a proper sunny day while having a few beers in the garden.Definitely a massive, pleasant surprise. Perfect album to just put on, sit back, and completely unwind to. Solid four stars from me.

Thought this was okay. Didn’t love or hate it.

Not my favourite Beatles album but still great. Lot of great songs on here. Favourite Track probably And I Love Her

I'm a massive fan of Radiohead—they're one of my favourite bands—so Kid A is a difficult album for me to put into words. There are moments on this album that I genuinely think are among the best things the band have ever done. "Everything in Its Right Place" is an incredible opener, the title track is brilliant, and "How to Disappear Completely" is honestly one of the most beautiful songs I've ever heard. Thom Yorke's performance on that track is unbelievable. The reason I don't revisit Kid A as often isn't because I don't love those songs—it's because, as a complete album, I don't connect with every track in the same way I do on The Bends, OK Computer, or In Rainbows. Those albums are almost effortless listens from start to finish for me, whereas Kid A is one I tend to admire more than constantly return to. For most bands, this would easily be one of their greatest achievements. The only reason I don't rank it quite as highly is because Radiohead have set such an incredibly high standard with the rest of their discography. There are a few tracks that don't resonate with me as deeply, even though I can appreciate what they're doing. What's interesting is that my opinion of Kid A seems to evolve every time I revisit it. Every few listens I notice something new, and my appreciation for it grows. It's an album I've never stopped admiring, even if my connection to it has always been a little more complicated than with some of Radiohead's other records. I suppose the best way to describe it is that I have a complicated relationship with Kid A. I absolutely love it, but it's an album I admire just as much as I emotionally connect with—and that's what makes it such an interesting listen.

This is a pretty cool album. Bit of a vibe, really. Enjoyed some of the guitar solos and you can tell Frank Zappa was seriously talented. It just didn't quite grab me though. I liked it while it was on, but I probably wouldn't rush back to it. That's mainly because instrumental albums aren't usually my thing. Feels like the sort of album you'd stick on during a hot summer afternoon with a few beers. Just sounds like a load of really talented musicians having a great jam together. One thing I do love about this project is that I'd probably never have listened to this album otherwise, so I'm glad I gave it a go, even if it wasn't one that'll end up in my regular rotation.

The singles really stand out on this album. For me they're easily the strongest songs here, and it's an incredible run of hits. I also really like "Underappreciated," while songs like "I'm OK" have some genuinely heartfelt lyrics. In general, Christina is more open and vulnerable here than I expected, and that gives the album a lot of emotional weight. This isn't the sort of album you'd probably expect from one of the biggest pop stars of the early 2000s. It feels like Christina was trying to prove she was more than a manufactured pop act, and artistically it was definitely a risk. Sometimes that ambition really pays off, and sometimes it doesn't. The album jumps between a lot of different styles, which keeps things interesting but can also make it feel a little unfocused. I also don't think it needed to be this long. At over 70 minutes, it starts to feel bloated, and a lot of the deeper cuts just don't reach the same level as the singles, in my opinion. One thing that's never in doubt is Christina's voice. Incredible. I go back and forth on Stripped because I really respect what Christina was trying to do. It's ambitious, even if I don't think every idea lands. For me, it's about a 3/5 for enjoyment. I'd probably put this and Back to Basics as her two best albums.

Admittedly, I’m not hugely familiar with the Wu-Tang Clan, so I might be losing some context here, but I just felt a bit bored listening to this one. I didn’t find it interesting at all, and it just doesn’t think it’s for me.A lot of the tracks felt pretty forgettable. I didn’t love the sample choices on this, and there were no memorable hooks to grab onto.The only real standout for me was "All I Need"—easily the best track on the album, but the rest of it just dragged.

I didn’t expect to like this as much as I did. Porcupine was just okay for me. This felt like a step up. The tracks here are just way more interesting. It’s definitely one of those albums that gets better the longer it plays. "Nocturnal Me" is a big standout for me.. Decent vocals.

This is a weird one for me to rate. On one hand, the synth-pop production and songwriting are clever. As a fan of electronic music, I totally respect what they’ve achieved.But the main roadblock is Neil Tennant’s voice. I’ve always really struggled with his vocals, and because I just don't enjoy listening to them, it caps how much I can actually get into the album. "Go West" also just doesn't appeal to me at all.It’s a 2 for me because while I like the production a lot, I just dislike the vocals too much to rate it higher.

Off the Wall is a great record full of bangers, and I actually think it’s Michael’s best album. I know I’m probably in the minority here, but I prefer it to Thriller and Bad because the vibe is just unmatched. The first half of the album is fantastic, but the quality definitely dips towards the end, which stops it from being perfect. Still, it’s a brilliant pop album, and it shows that the man's talent was insane. The sheer influence and impact of a pop star will probably never reach that height again.However, looking back today, it is difficult to separate the music from the man. The allegations surrounding Jackson’s personal life inevitably hang over his legacy, making it tough for me to fully enjoy the record without conflict.

Peak 1980s dad rock. The synths and guitars go alright.Perfect for driving to, it’s completely fine and inoffensive, just not my thing at all, personal preference. Felt really repetitive.