EDIT: 72->100

One of the records to most firmly make you feel like you're living in 'modern times'. Clanton's production chops here are second to none within the realm of blitzy, psychedelic Baggy music- just let the whole record wash over you

George Clanton's debut is a collage of vibrant, glistening synths amidst expulsions of anxiety and fear, all washed under a dreamy bath. It's a debut that may feel like a hallucination- or really more of a pre-cognition. Not his best, but one of the best debuts of the 2010s nonetheless. Production is stellar

Seriously torn on whether or not this or Reign In Blood is Slayer's peak- either way, the performances and energy here is utterly through the roof. Whereas Reign In Blood excelled with its pummeling, 2-minute lightning strike formula, Seasons In The Abyss wraps you in a cloak of fire. Opens up the 90s *strongly*

South of Heaven isn’t as pummeling nor relentless as Reign in Blood, but Slayer were forced to make things dynamic eventually if they didn’t want to just become the ‘speedsters from Hell’, a title that would run into a brick wall quicker than it sounds. The added dynamics here are welcome and result in some thrash-classics like the title track and Mandatory Suicide

There's certainly some Slayer highlights here (At Dawn They Sleep, Necrophiliac), but on the whole I can't help but see this as the weakest of their classic first-five-run. It lacks that raw charm of their debut and the remarkably tight performances of the three projects to follow from here for me, despite it overall being a solid Thrash record

Slayer's debut deserves credit foremost for establishing Slayer's signature hell-coated speed-thrash sound with an iron fist- other Slayer records would certainly refine the formula quite a bit more, but they came out of the gate knowing just what their niche would be in the burgeoning Thrash scene, that's for sure

Despite having little experience with Minimal Techno, I was really pleasantly surprised by how alluring the builds on each of these tracks were. ‘Hypnotic’ feels like a solid descriptor, you’re never disillusioned when listening. Everyday is one of the best techno songs I’ve ever heard

If Punk Rock was initially conceived as a mirror toward society and its flaws, Double Nickels on the Dime is the shattering of said mirror into a million disjointed pieces that all manage to point toward the same inevitable truth if you look at it *just right*. Lots of shades of early Ween here which is a major plus for yours truly

There's definitely worse AOR from this time, to be sure, and the hits here aren't half bad- but most of this is just so painstakingly 'meh'

EDIT: 84->94

It’s weaker than Sabbath’s first three records, but truth be told only marginally. There’s a few ‘filler’ (major quotes there) tracks toward the end, but the highs here are still among Sabbath’s best. Changes never fails to make me emotional

EDIT: 64->97

Assuredly one of the best metal records of the late 70s, and the best Priest record to this point no doubt. So many all-time classic Priest cuts here like Exciter, Better by You, title track, Beyond the Realms of Death, etc. Can’t believe I had this at a 64

The sequel to what many consider Takanaka’s opus avoids any notion of a sophomore slump, featuring elegant and gorgeous jazz-fusion arrangements that also manage to reflect many of the common sound palettes one might find in ‘97, such as industrial, dance, and even light hip-hop elements. The actual core narrative being weaved here isn’t quite as potent as the original Rainbow Goblins, but the meat and potatoes (the music, babieeee) is excellent as you’d expect

Definitely one of the more 'City Pop' Takanaka records to this point, apart from maybe his self-titled in '77. As such, don't go into this record expecting any total mind-blowers- instead, let the charm and perk of tracks like Straight From Your Heart or the delicate closer whisk you away

You may think by this point in Takanaka’s discography that his sound may, even just the teeeensiest bit, grow stale- not so. SAUDADE brings some of the most charm and effortless suave to Takanaka’s work yet, with tracks like A Fair Wind, Chill Me Out, and Ride’em High carrying a sort of flirtatiousness to them that’s infectious. Meanwhile, the final two tracks stand as some of his strongest ballads- The Forest of My Heart in particular is a showstopper

Although ALONE is pretty much doomed to live forever in the shadow of Takanaka's other '81 release (understandably so, to many it is his best work), I'd dare say that this record stands as Takanaka's single most under-appreciated record. Everything that makes Takanaka's work so stinking special is here in spades- think of it as a 'Tour-de-Takanaka' if you will

All of Takanaka's work has a 'fantastical' quality emanating from it, thanks to the lush, sprawling production and the man's genuine God-send ability on the guitar. On THE RAINBOW GOBLINS, however, Takanaka leans head-first into the mythical, presenting a Fairy Tale about the land of the mystical titular Rainbow Goblins. If the story evades you here, the good news is you're still left with one of Takanaka's very best records and one of the best of its genre *ever*. ... read more

A short and sweet EP that’s easy to gloss over in favor of Takanaka’s explosive early 80s projects, but you’re missing out if you do. Opens with one of Takanaka’s longest songs, and feels like an epic interstellar ballad as the title implies. Plastic Tears sits as one of the most intriguing cuts of Takanaka’s career given just how… icy it sounds. The title track and Heart Ache are both righteous funk cuts that could fit right in on any of Takanaka’s ... read more

Takanaka enters the 80s without missing a single step, cranking out some of the best tunes of his near-spotless early career thus far, such as Early Bird, Crystal Memories, and Soraso Shiraso

Takanaka's 'worst' record to this point still puts most other Jazz-Fusion from its time to shame. Opening with one of Takanaka's most under-appreciated cuts, JOLLY JIVE is, well, indeed! A healthy balance of instrumentals and sing-a-longs keeps the record dynamic. Superb

As inferred by the title, [On Guitar] is a lesson on how Takanaka may be the most badass guitarist to ever live. Things slow down somewhat considerably compared to most of his other early records, but then the palette is this impeccably smooth, it's a welcome excuse to stroll