My God. I honestly think this beats Hounds of Love. Two words come to mind. Magnum. Opus. This is a perfect record. She learns from what was, at times, an inconsistent incorporation of rock elements on The Dreaming, and does so with absolute perfection on The Sensual World. This record is much darker than Bush made her forte, much grittier just from the cover alone, and in its instrumentals you can identify it has a much more down-to-earth, grittier feel. You would never consider that ... read more

When you have an artist as experimental and willing to be abstract and distinct as Kate Bush, some misses are to be expected, potentially even customary. Even for a miss, this record has its outliers. Her background vocals do border on absurdity at times, but they still pack their necessary punch when necessary. I am further disappointed that I did not care for this album because the cover makes me feel... certain things... alas, it could potentially grow on me

What was evoked with pure prominence on this record, for me, was Kate Bush's talent on her background vocals. Not that it has been lacking on previous works, but it is apparent to me that on Never For Ever, she dedicates a special amount of intent into perfecting what is already a marvelous talent of hers. And, as per usual, she accomplishes such. She is a natural-born storyteller through the medium of sound and music, her voice equivalent to brushstrokes on a canvas, or the most poetic of ... read more

While it is evidently rushed, being released mere months following The Kick Inside, it still brandishes it's strengths hidden in its breast. Every Kate Bush record manages to contain this ambiance that just drips of an ethereal quality. It feels mythical, like a fairy tale portrayed solely through sound, and it is beautiful. Lionheart, through its flaws, does persist with consistency. Each record feels like a tale of mythological proportions, and I am absolutely here for it. ... read more

How did she write some of these when she was fifteen? Genuinely incredible. Amazing from the perspective that this is a debut record. Instrumentally it is as vast as it is ambitious, and it truly contributes to the glamour of the work. Vocally, she is in a league of her own. Her lyricism, especially on a track like The Man with the Child in His Eyes, that describes the father of a child so distantly, even describing the child themselves so distantly, precisely using the word "the" is ... read more

She has a rather distinct voice, a blend of many other artists packaged into a beautiful concoction, which definitely intrigues me. The record began with some pretty nice tracks, but around the midway point fell into a bit of a lull and never fully recovered. Thematically, it is consistent, which I admire, and for a solo debut I think it makes some necessary strides. However, she could look to reform more elaborate instrumentals or just basic quality on any future solo works

It had some highlights, but is vocally missing that emphasis that solidifies records when they are otherwise thematically or instrumentally lacking. It isn't terrible instrumentally, but it is also nothing unknown to one's ears, either. Never the Same was good, though

It's difficult to become enveloped in the record when the lead vocalist appears overcome with boredom. The instrumentals were impressive at times, and I will say I rather enjoyed Evil Evil Idiot. But overall rather bland

Definitely suffers from the notable absence of Randy Rhoads, and while Ozzy attempts to present experimental inclusions to rock music, it lacks the fervor and thematic brilliance that made Diary of a Madman such an impactful record. It would understandably take Ozzy a few more years to really return to the divine creation of unholy masterpieces

Ozzy's first full-length album following the separation with Black Sabbath, and you can kinda tell. It isn't bad by any means, but it certainly more simplistic compared to its predecessor. It is much more of a tame sound than we would become familiar with from Ozzy. His vocals are nearly monotone, not offering much abstract or experimentation from his obviously talented voice. Even Randy Rhoad's guitar seems to hold back on this record compared to Ozzy's sophomore work. This ... read more

One of Ozzy's premier solo records, and it is a magnificent display of what made him such a prevalent artist in rock n' roll. The track list truly does read like the rushed scribbles of a self-proclaimed madman in whatever tattered pages he documents his thoughts. Whether it is self-reflective, thought-provoking lyricism, or unabashedly and seemingly insane tangents about internal turmoil or interest, it all aligns and manages to contribute to the greater artwork at play. There is ... read more

It's such an extremely scalding take, but I preferred this to Purple Rain. Prince's vocals fit the psychedelic mold, his wails and screams inserted much more sporadically, thus making them much more impactful on the ear. Many of the tracks are quaint and sweet, proving that Prince can perform with a plethora of romance even when he isn't being explicitly vulgar in his lyricism. Raspberry Beret encapsulates this exact point, balancing the barest remnants of romance and admiration, ... read more

Prince is surprisingly very poor from a vocal standpoint on this record. His screams, which are typically iconic, appear awkward on many of these tracks. Instrumentally, while it displays hefty amounts of development compared to previous records, it is nothing interesting. If When Doves Cry wasn't legitimately one of the greatest tracks of all-time, this would probably be a rather awful record. Even the long-winded ballad that is Purple Rain, honestly, doesn't hit for me. It is one of ... read more

THIS is Prince. There have been glimpses in his previous works, but this is what made him renowned and admired. These instrumentals were exactly what I was referencing when mentioning that other records couldn't reach the instrumental peak that he made customary. They are wonderfully fleshed out, and even with the extensive run time they feel natural. These are the sounds that hypnotize your body to MOVE. Prince probably delivers his most impressive performance yet, sonically speaking. ... read more

Prince manages to vary from his typical sound, while still remaining wholly Prince? An incredibly forward thinking record. Takes a bit to appreciate, but when you experience the rest of his discography, it is tough not to appreciate

Favourite Songs:
Housequake
Sign O the Times
Strange Relationship

Prince's best album out of the first four, in my opinion. One thing that is consistent about the man is (not only is sexual obsessions) but he remains thematically consistent. Controversy is no different, discussing scandalous concepts such as religion, sexuality, and of course Prince going into such exact detail regarding his sexual escapades and desires would have been excessively controversial in the puritan society of the time. Hell, Prince himself was a constant controversy, you could ... read more

I'm actually rather surprised by how positive the reception is for this record. The lyricism is even a regression from Prince's past work, and certainly not up to the standard he would set in later years — it isn't kinky in a romantic way, but in a way that nearly evokes revulsion. I understand that is the intent, but it is a poor one. Not to mention the previous album, which made strides instrumentally, seemed to devolve in ways and become more linear in production rather ... read more

While still in the infancy of his artistry, Prince makes some improvement while failing to clear some similar hurdles as "For You." Prince once again begins this album with a duo of hits, before trailing off into the tame remnants of his bass-funk repetition that lack the same imagination he possessed on future records and plagued his debut record to an extent. He makes strides toward his lyrical touch we would inevitably grow accustomed to, but it does leave a bit to be desired in ... read more

While this is merely an uneven shard of rock that he would later sculpt into a moniker more befitting of his diva-esque antics, the promise is certainly evident in the groove of the bass, the talent in his voice, and the provocative content that would only increase in frequency. It is certainly not a poor display of a debut — one which begins with an affirmative punch, dwindles in quality and repetition as it goes, before finishing with a statement

From a vocal perspective, this record was lacking in many regards at times. Instrumentally, it certainly conforms to a formula, but is interesting at the album's heights. What impressed me most about this record was the thematic decisions, conveying the dangers of cult thought and the manipulation of those possessing the "cult of personality" through upbeat songwriting and instrumentation supported the commentaries Brown wished to direct the listener's attention toward. Not ... read more