Pink Floyd – Wish You Were Here (1975)

It was a strange time for music. The mid 1970’s was all about progressive rock. This was both positive and negative at the time. Of course, Pink Floyd took notice and crafted a more progressive rock style into their music. This album is proof of that.

It’s actually devoted to Syd Barrett, their original guitarist and songwriter. Apparently after recording The Dark Side Of The Moon, Pink Floyd were stumped to know where to go musically. Memories of their old band mate inspired this album’s material. Ironically Syd himself walked into the studio when the band were recording the Shine On You Crazy Diamond parts. How sad and strange…

That being said, this is a superb listen. Let’s dive in and have a listen to the album.

We begin with Shine On You Crazy Diamond (Pts. 1-5) which has ethereal sounds, a keyboard based flute and the feeling that we are going to be transported into something really great here. The lonely flute melody sticks out, it’s not a fast track, and it never was intentionally so. Some trippy keyboard sounds back up this part of this song. David Gilmour’s Fender Stratocaster then enters. My God, it’s good. His playing sounds fantastic here. The sound is nice and bright. Mysteriously, the sound almost fades into oblivion, before we hear THAT four note guitar figure, which sounds ghostly. Nick Mason and the others come into play afterwards, driving the song rhythmically. The song just flows and evolves here. It sounds mega emotional, even though there are no lyrics here just yet. The sound slows down once more, just before going uptempo again. Pink Floyd sound like a solidly united musical front here, not willing to back down for anyone or anything. Then Roger Waters finally starts singing the chorus, and goodness, it is mind blowing. A nice development of things, clearly being about Syd Barrett. It’s a lament for their lost band member, and the performance here is fantastic. After all this, we have Dick Parry playing a beautiful saxophone solo and some trippy and interesting guitar parts in the background. The song then fades out gracefully and nicely as well, before we jump into the next piece on the album.

The next song Welcome To The Machine begins with some mechanical noises, before launching into an acoustic number about railing against the record industry. It’s easily the weakest song on the album, and even then it’s worth a listen. Some brilliant playing is here, Pink Floyd had no equals with the sort of music that they were making in this era. It’s more a sonic journey this one, but hey, Pink Floyd were experts at this sort of thing. After more Theremin like noises, the song ending is rather strange. Without spoiling it, it is worth following along for the listen.

Have A Cigar is a very funky piece again about the trappings of the music industry. It is musically better than the previous song, with a friend of theirs (Roy Harper) singing this song. There are many descriptions of the nasty business of the album based record industry of the time: “And did we tell you the name of the game, boy? We call it riding the gravy train…” Obviously Roger Waters was fed up of being prodded by record executives to sell more records. Indeed, this is true of many rock bands, why sell out to compromise artistic integrity? There is no point, but the funky guitar solo at the end rocks hard, segueing into the next song.

Wish You Were Here is a sad acoustic ballad about missing someone who you have not seen in a very long time. It may or may not be specifically about Syd Barrett, but is likely so. It’s a great radio ready number for the masses. It uses a comparative analysis to observe different situations at hand. The slide guitar and melodies here are beautiful, a very nice song indeed. The wind blows this track away at the end, before we enter into the next piece.

The next piece, Shine On You Crazy Diamond (Pts. 6-9) revisits the first part of the album, just in a very different way. We have some different keyboard and guitar based melodies here this time, whilst still keeping the theme of the album going. It is very well structured here. It then suddenly burst into a shuffle sort of groove based section here, before leading us back into the main melody of the song. It sounds a bit more messy a mix than the first sections of this song, but it is intended to be so. High pitched keyboard sounds propel this number along. We then go back to David Gilmour’s stunning guitar parts, and Roger Waters sings about the long lost Syd Barrett legend that the band dearly missed. The backing vocals are mint here as well. The whole piece is thoroughly consistent throughout. The trippy riff comes in after the singing is complete, and then we finalise our musical trip with a beautiful, almost jazzy section to boot. The keyboard brings a groove based piece to light with more funky, quacky sounding guitar playing. We then return to familiar territory with the ethereal keyboard sound, and lastly enter the final, very relaxing section of this song. After some gentle music, we conclude the album here, feeling very satisfied.

This album is just as good as Dark Side Of The Moon, although not as popular. It should be essential listening for Pink Floyd fans though. A very decent and overall excellent musical accomplishment. Pink Floyd were at their best with Dark Side Of The Moon and Wish You Were Here. It’s a great listen here, don’t miss it.


Pink Floyd – The Wall (1979)

Pink Floyd had not died out, even during the onslaught of Disco and Punk in the late 1970’s. In fact, they managed to excel by adapting somewhat to the tastes of the time. This double album may not sound exciting at first, being a double disc concept album about said wall, but it sold many copies and is now considered a stone cold classic.

We begin with the words “…we came in?”. In The Flesh? poses a big question to the Pink Floyd audience about what is considered to them as acceptable to them from Roger Waters point of view. It is hugely theatrical and great to listen to. Excellent stuff. It builds up to the sound of a plane crash. Epic.

The follow up The Thin Ice begins with a baby crying and some poetic lyrics and spacey sound effects to boot. It sounds as a warning to any young child about life, but sounds mega all the same. Some great guitar work by David Gilmour is here as well.

Another Brick in the Wall, Pt. 1 arrives and tells the disturbing fact of Roger Water’s upbringing about his Dad losing his life in the second World War. It’s selfish a tale and not very nice, but the rhythmic delayed guitar parts are killer here. It segues into the next song with the sound of school children playing and a helicopter arriving on the scene, with some shouting.

The Happiest Days of Our Lives is a cynical observation about time at school. It’s a short, yet direct point about the mistreatment of school children at hand, before launching into the next piece.

“We don’t need no education” begins the next piece. Another Brick in the Wall, Pt. 2 begins and is a great pop song. There is a choir here singing the chorus, some great instrumentation and a killer guitar solo towards the end of this piece. These four musicians of Pink Floyd were absolute legends in the day. The song segues out with more shouting of children and some old English man shouting as well.

The acoustic driven piece Mother poses a rather nasty Roger Waters message to his own mother about various things in life that could hurt him emotionally or physically. Obviously Roger Waters had a huge ego by this point, but the song sounds as though it fits this album well. There are some answers, but not those that you’d expect from a said mother.

Goodbye Blue Sky is a short and direct tale about the World War II bombings of England that occurred, which scarred many people’s lives in the UK. It’s a short and scary tale about human fragility. It’s a good addition here to the album.

Empty Spaces is a linking sort of piece which is largely atmospheric. It joins together the songs before and afterward, questioning about what is necessary to create said wall. We shortly find out the answer.

The next piece, Young Lust fulfills all the needs of young man’s desire for a woman, at least in this album. It’s a good anthemic piece which sounds great, even today. Sounds a lot like AC/DC in a strange way. A must listen. It segues into the next piece.

The follow up One of My Turns doesn’t sound nice lyrically at all. It’s a connecting piece, but so horrible and brutal that one feels rather disturbed by the music here. Roger Waters could have been a bit nicer here, but the concept goes on. The Wall is being built well up here.

Don’t Leave Me Now is a plea to said woman of the last few songs not to leave, despite being an absolute monster in terms of abnormally sexist and brutal behaviour. It doesn’t sound sympathetic in any sense, but the music and concept are revealing here.

Another Brick in the Wall, Pt. 3 reveals the main character as a psychopath. He goes on a rant and insists he doesn’t need anything but his own wall to hide behind. How strange and sad. We segue into the next piece.

The next song Goodbye Cruel World is a short and dreary statement that almost sounds like a suicide note. It finalises the wall mentioned about, and the first side of the album comes to a close.

The first song on disc two is Hey You. It’s a cry for help from the madman behind the wall, but is a very well done song here. It conveys artistry and feeling from Roger Waters here. A nice piece. “Together we stand, divided we fall,” is a great quote at the end of this song.

Is There Anybody Out There? continues the theme of the previous song. It’s a bleak statement asking for help with an atmospheric musical accompaniment. The acoustic guitar piece in the second half of the song is fantastic. Very well played here.

Nobody Home actually sounds like an ode to Syd Barrett in terms of self-description. It’s very well done. The piano is a very good driver of this song, and the lyrics are deep. It feels as though the main character is severely depressed here, and has little chance of success behind his wall.

The next piece Vera is an ode to an artist long gone by. It seems melancholic and retrospective in terms of its outlook. It’s a quick ode to retrospective thought.

Following up is Bring The Boys Back Home. It’s a joining track which takes samples from the previous songs before it, before launching into the next important piece.

Comfortably Numb lifts the mood largely with clear description of drug use, be it heroin or otherwise. The song is strangely uplifting for such a subject. David Gilmour’s guitar solos are blistering here. The whole piece here is fantastic, a must listen.

The Show Must Go On indicates that, regardless of our central character’s problems, said rock and roll show has to go on. It is a good piece joining two major songs together.

The freaky return to the start of our concept album, with a twist, is In The Flesh. No questions asked this time. The Wall has been built, and our central character likens himself as a Fascist dictator. This is scary stuff on a psychological level. Listening to it is a different experience to what you’d expect. Same music as the first version of this song, but just plain nasty in comparison.

The next song is where The Wall does not hide our main character, so he has to Run Like Hell. Our main character is in a mess, so he has to escape from everywhere and everything. It sounds like he is a big state of paranoia here, afraid of all that comes his way. A good tune all the same.

Waiting For The Worms uncovers our main character hidden behind his wall and in a desperate state. He uses his energies to fight with his demons in his head, and the backing vocals sound like The Beach Boys here. Chanting and screaming finish this piece off.

Stop forces a reality check upon our rockstar. He surrenders himself to all those negative people chasing him. It’s super short a piece.

The next song, The Trial, is the rockstar being revealed in a court for his true feelings and state of mind. It’s not a happy situation whatsoever. He is pulled apart by all external forces. The judge then imposes his final decision upon our rockstar. With heavy metal style guitars, he orders The Wall to be torn down, which is done immediately.

Lastly, we are Outside The Wall. It’s a bleak observation about the realities of life. And our concept album comes to a close here. “Isn’t this where…”

This album sold tens of millions of copies around the world. It is a great testament to isolation and distress. It’s also a great listen.


Montrose – Montrose (1973)

For a debut album, this is a winner. Sammy Hagar found Ronnie Montrose on his travels on the west coast of the USA and became the singer in his band. Ironically, Sammy Hagar would become the second singer in Van Halen. They, and many others, loved this recording. It’s a definite classic and shines bright, even today.

Rock The Nation starts off the album, and it is truly awesome. It’s a rifftastic and wonderful number. And Sammy Hagar’s unique high octave voice is here. Interstellar Overdrive Part Two? Not quite, but this is very, very good indeed.

Bad Motor Scooter is next, and has some interesting guitar sounds on it. It keeps this song alive, and shows just how underrated this band was at the time. It’s a classic rock tune, listen to it and smile. Sounds much like a distorted Gibson Les Paul with a slide piece added to it. Nice.

The next cut is definitely Interstellar Overdrive Part Two. Space Station #5 is a great piece with some awesome trippy guitar sounds on it. It then bursts into a loud and raw rocker which makes you want to go to the moon and back. Brilliant. It has a great twist at the end.

The follow up is more a song like piece, I Don’t Want It. It has an anthemic chorus to boot. It also shows a great riff off throughout the song. These guys obviously knew how to rock, and very well at that.

Good Rockin’ Tonight arrives next and is an up-tempo piece about dancing, and just having fun in general. Nowadays the lyrics and music style would be canned, but this is just really well done. Was music really better back in those days? We will never know for sure.

Rock Candy – what a tune! It sounds awesome, from the drum lead off, to the riff and to the main part of Sammy Hagar’s singing. Everything about it hits the spot, and is likely the best song from the album. A must hear.

The next song, One Thing On My Mind, is about the music, and the love of a woman who likes to dance away the night. It’s a great anthemic tune, and by this point, we know we have a really great album on our hands.

The last song on the album, Make It Last, is a good piece to close this album. It does sound a little longer than should be, but still, it fades out nicely and we conclude this wonderful album.

Real hard rock starts here. The album has sold steadily over the years, and Sammy Hagar became a star over time. Be sure to check out the reissue with many demos and other goodies that have been previously unreleased.


Van Halen – Van Halen (1978)

The late 1970s seemed a bad time for rock and roll. Indeed, most of the good progressive rock had been done, disco was everywhere and punk was a nasty underground movement of the time. But, along came a California based band called Van Halen to save the day.

The band was a bunch of virtuosos. The four of them each had an ability to rock and showed a great ability to do so. David Lee Roth could howl, Eddie Van Halen could rock out, Michael Anthony could really excel as a backing vocalist and bassist and Alex Van Halen could do loud and powerful drumming like nothing before.

So, what does the album sound like? Let’s have a closer look.

The intro to Runnin’ With The Devil and the entire album is a mesh of the band member’s car horns, slowed down of course. It then kicks off. It’s a loud, in your face, rocker and does so well here. It’s a great song too.

The instrumental called Eruption is a hugely popular Eddie Van Halen piece, all recorded in one take. Producer Ted Templeman overhead Eddie Van Halen play it and suggested that he record it. The result is a wonderful, futuristic sounding shred fest which is short and sweet. A great job from Eddie.

You Really Got Me is indeed, a cover of The Kinks song. But it’s such a great cover that it sounds like an original from the band. With a twist in the guitar solo and David Lee Roth sounding very sexual, it’s a great cover.

Ain’t Talkin ‘Bout Love is a great song. It has a variety of sounds on it and goes very quiet in the middle. It’s likely that David Lee Roth was talking about the importance of non-romantic sexual experiences here, and does pretty well in serving up a solution. A great song by Van Halen.

The next piece is the quick and upbeat I’m The One. It’s a very party-like song but is not dull at all. It breaks down into an interesting midsection where David Lee Roth goes into female soul singer mode. Brilliant.

After that we have Jamie’s Cryin’ which is a fairly weak track, but not out of place on the album. It’s about a girl who is in love with the wrong sort of guy. It’s still listenable, mind you.

Atomic Punk sounds, wow, kind of different. The palm-muted intro by Eddie Van Halen sounds awesome here. It’s a good song too, about a postmodern mythical Atomic Punk. It’s likely these guys were influenced by some Progressive Rock ideals here. Still, it’s great to listen to.

Feel Your Love Tonight is a good piece with a chugging riff to boot. It is representative of these guys in a good way, and even though it does seem a little weaker, it’s still sonically awesome to hear on this album.

The next piece Little Dreamer talks about someone who was bullied at high school, only to surprise everyone by surviving. It’s a strange sort of sentiment, but hey, it sounds very good indeed.

After that, we arrive at Ice Cream Man. This is acoustic blues, and totally underrated too. It’s very brilliantly done, particularly by David Lee Roth, and sounds refreshing. These guys obviously had studied their musical history as well.

On Fire is a great song to finish the album by. It has some awesome yelping by David Lee Roth and some nice guitar licks by Eddie Van Halen. It fades out nicely as the album comes to a close.

This album made Van Halen. It has sold 10 million copies and secured guitarist Eddie Van Halen into the rock history books. But also, the songs are fantastic here. It is absolutely worth listening to this gem of an album, it’s almost perfect in its own way. Van Halen has made many recordings during their lifetime as a band. This, by far, is their best though.


Public Image Ltd. – Second Edition (1979)

Britain was not a nice place to live in 1979. Successive Labour and Conservative governments had done next to nothing to improve the country’s economic woes. This was due to a committed belief in appeasing trade union interests who clearly were not interested in being reasonable or democratic. During The Winter Of Discontent in 1978-1979, the country was in a chaotic state. The public services went on strike and Labour Prime Minister James Callaghan was refusing to acquiesce to their wage demands, leading to things like rubbish piling in the main streets of London. This led to Margaret Thatcher being elected in 1979, who was very much anti-democratic as well, just in a completely different way.

Out of all these turbulent times, came some great music. John Lydon was carving himself up a great solo career, and he was totally feeling the mood of the times. His mother had passed away and The Sex Pistols were a thing of the past. He took one step ahead of his contemporaries and made Second Edition. It was released in 1979 in various forms (such as the Metal Box LPs) but it’s seen as a totally underrated classic today.

There is no midrange on this record. It’s all bass and treble. To be honest, there never has been such deep bass guitar on an analog made recording before. John Lydon has moved on from the anti-singing on The Sex Pistols and instead adopts a vastly different vocal style. It’s repetitive too, but not overwhelmingly so. It is actually bass on a huge array of musical influences that John Lydon dug.

We begin with the Albatross piece. The bassist Jah Wobble consumes the song with the bass, whilst Lydon screams and bemoans urban life. It’s a thrilling listen from the beginning. It goes over 10 minutes, so be patient with this album.

The follow up has John Lydon screaming again in Memories about having such useless memories. It’s deeper than you’d think, with spacey science fiction keyboards, possibly inspired by dub music. He doesn’t sound very happy throughout the record here, which isn’t always a bad thing.

Swan Lake deals directly with the passing of John Lydon’s mother. We can sense the pain and anguish in this song as he deals with internal emotions from the experience. It’s a great and relatively short song. “Words cannot express…” Indeed.

Poptones is catchy enough to have a repeated bass riff going through it that is cool, and John Lydon talks about having a picnic in the British countryside. It’s a good listen.

The follow-up Careering talks directly about the uselessnesses of modern living. John Lydon really does a good job here and stands out as quite possibly the best and most flexible punk singer ever.

The instrumental Socialist is actually not political, apart from the title. It’s a short and funky track with some interesting bass and keyboard textures throughout. Not bad for a piece of its kind.

Graveyard is yet another instrumental, but eerie in its name and textures. It’s not as good as the previous piece before it but is listenable nonetheless.

The Suit is perhaps directly political. It talks about office politics and climbing the company ladder. It’s rather humourous in retrospect and has a brilliant bass riff throughout. Excellent.

The piece afterward Bad Bady has little meaning but is still good listening. By this point, we sense this is a great leftfield and artistic album, for it is enjoyable on that level.

The songy No Birds is a really touching piece vocally. John Lydon sings from an emotional place. You’d think otherwise, especially during The Sex Pistols. The fact is that John Lydon is an underrated and intelligent vocalist. This song is proof of that.

Chant mocks all the street protests and strikes of the time. It should come as no surprise, given the backdrop of the times in the UK. John Lydon humourously rants about the things that people do in street protests. It’s a great social observation. It segues into the next and last piece of the album.

Radio 4 is a keyboard instrumental with a few other textures. It’s nicely done, although not 100% necessary for this recording. By this point, we have finished our rather artistic journey with John Lydon.

Sadly, this album never sold well and contemporaries such as Joy Division were in the spotlight more than these guys. It was too arty for the mainstream. But hold it right there, it’s not rubbish at all. In fact, John Lydon came as an artistic power with this recording. It has inspired many musicians who dug the deep bass guitar lines, trebly electric guitar, precise drum rolls, and haunting vocal imagery. John Lydon is still making music with PiL. But this is his finest effort with the group. It’s worth checking out if you are craving something just a little bit different.


Public Image Ltd. – Public Image: First Issue (1978)

The Sex Pistols officially ended in January 1978 when Johnny Rotten had enough of Malcolm McLaren’s intervention in both the music and image of The Sex Pistols. At the last concert of The Sex Pistols in San Francisco, Johnny Rotten put the question: “Have you ever felt like you’ve been cheated?” to the audience. Indeed, he was asking an honest question. He left The Sex Pistols immediately to carve out his own musical journey.

The other members of The Sex Pistols did not fare so well. Sid Vicious disgraced himself with a murder-suicide act, Steve Jones became a heroin addict in the 1980s and Paul Cook did nothing special. Glen Matlock licked his wounds as well. Johnny Rotten dropped the stage name and went back to being John Lydon and went on a brief break whilst carving out more intellectual musical territory.

He teamed up with various individualistic and quality pseudo-punk musicians of the time and recorded new songs. The result here is the Public Image: First Issue album. It’s not even their best as John Lydon’s group, but it’s a very good beginning to a much more varied musical palette.

So beginning with Theme, it’s actually a piece about the parody of melancholy and bad feelings. To be honest, it’s good that it is a parody piece, otherwise, it would be awful. John Lydon of new still had the ability to see through human stupidity, after all. It’s one of the worst tracks on the album, but we can see past that as it is John Lydon finding his feet.

Straight afterwards we hear the spoken word Religion I. It reveals John Lydon as a mock preacher, delivering a sermon for atheists and the anti-religious. Close listening reveals that it is calling out the hypocrisies of the Catholic Church more than anything else.

Religion II is the song version of the spoken word piece and has John Lydon screaming “This is religion!” in a furious manner. It’s a good piece and his tone and singing are awesome. Only early Liam Gallagher came close to the legendary Johnny Rotten singing voice.

Annalisa is cheerful rubbish. It’s hard to decipher any meaning about this song but it’s at least danceable. Not really that good a track. Worth skipping if you can.

The main track Public Image has John Lydon laying everything bare. It is so honest in its dealing with the realities of being The Sex Pistols superstar that it questions whether or not it was worth it. It’s a post-John Lennon confessional and did okay in the singles charts.

The follow-up Low Life points out to a person who fits the criteria, although not mentioning anyone specifically. It lacks originality but it’s a good listen.

Attack begins with John Lydon hocking a loogie, before rushing into a sonic audio assault. It sounds a little weak musically but still better than some of the other songs here.

Fodderstompf is a long and artistic parody of the hippie based music scene that had been around for some time. “We only wanted to be loved” is repeated many times, and John Lydon uses his unique voice to change between accents in the mockery of such hippie based cultural values.

To be fair, this isn’t the greatest album ever made. But it’s quintessential for fans of the master of punk Johnny Rotten and mixes trebly guitars, dub style bass lines, attacking drums and punk vocals on it. It’s a good intro to Public Image Ltd. without being a great one. The next album afterwards was their best, but this one still has its place. Worth seeking out if you enjoyed Never Mind The Bollocks, Here’s The Sex Pistols.


Pink Floyd – The Dark Side Of The Moon (1973)

Pink Floyd went big with this album. Prior to the release of The Dark Side Of The Moon, Pink Floyd had not achieved much commercial success as musicians. Of course, they had critical success with releases of very good artistic and psychedelic works as a group. They had their fair share of ups and downs as well, with great albums but also losing Syd Barrett early on due to his unstable mental health. The group was ready to unleash one of their best, most popular and critically acclaimed pieces of work.

The Dark Side Of The Moon is a fantastic listen. From the go, it’s brilliant. From the cover to the concept and the songs, it’s just totally awesome. It’s an era-evoking message of art that transcends the era. It’s a definitive album for not just the 1970s, but of all time.

We get a rather psychedelic intro with a heartbeat, to begin with, before launching into the piece Speak To Me. It works as a dark and mysterious introduction to the music before us. From the outset, we have a very special and valuable album.

It segues into Breathe which is a cosmic interstellar pop song which is about human longevity. It’s a nice pop song which does very well. Roger Waters wrote all the lyrics on The Dark Side Of The Moon for the first time on a Pink Floyd album, and we sense the melancholy and despair of the times in his lyrics.

On The Run is a proto-techno and acid house style piece. It has one of the world’s first sequencers ever used on it and has various recorded sound effects and dark foreboding themes on it. It’s a great instrumental which ends in a plane crash. Emotionally and wonderfully brilliant.

Time begins with a load of clocks banging away, before having a dark and mysterious intro before lurching into a pop song about aging too quickly and other matters as well. It’s so effective, and later on, returns to the reprise of the Breathe song we heard earlier. “Home, home again. I’d like to be here when I can. When I get home cold and tired, it’s good to warm my bones beside the fire.” Mint.

The next song will blow your mind. The Great Gig In The Sky is an instrumental piece featuring soulful vocals and great piano work from Richard Wright. It’s an evocation of death and all involved with it. It’s amazingly emotional and never gives up on that. It’s one to shed tears to.

The hit single Money is unashamedly open about the love of money but is so well done and catchy that it’s a great song. Featuring cash register style sounds at the beginning, along with wah-wah guitar, a fancy saxophone solo, and a danceable groove, this song really got Pink Floyd noticed. It’s fun to listen to.

Us And Them is an extended piece about the fragility of the human condition. It’s likely inspired by Syd Barrett’s presence earlier in their lives and has a great saxophone solo once again by Dick Parry. It’s just mindblowing and awesome to hear, even today.

Any Colour You Like follows and is intended to be psychedelic. It features great organ work and trippy guitar parts to boot. It’s a very good instrumental, segueing into the next song.

The following song Brain Damage talks directly about mental health but is emotionally rousing too. As Roger Waters says, “We’ll see you on The Dark Side Of The Moon.” If that makes sense to you, then you are already no doubt a Pink Floyd fan.

We end the album with Eclipse, a great way to finish the album which references the human condition, prior to closing the album down. It finishes with the reoccurring heartbeat and samples a voice of a friend of the group’s, stating: “There is no Dark Side Of The Moon, really. As a matter of fact, it’s all dark.”

This album is truly wonderful and majestic to listen to. Normally most albums can be ignored. However, this one in no way can be ignored. It’s not only the definitive album of the time, but of all time. It has so many interesting and wonderful elements to it that words cannot express here how good the album is. Do yourself a favour and listen to this album at least once in your lifetime. With 50 million sales and counting, this is the one album to own in your collection.