Fatboy Slim – You’ve Come A Long Way, Baby (1998)

Fatboy Slim became a household name with this release. It’s a decent listen for sure, and is a nice mixture between big beat and other electronic sounds. Let’s dive in and have a listen, track by track.

We begin with the eerie sounding Right Here Right Now which is an EDM classic. It takes a while to build up, but when it hits you, it hits very well. It’s a great dance number with many different sections to boot. It has a great midsection and climax, short story of the tune is that is a great tune to listen to, despite the fact it goes well over five minutes. It finishes with some interesting radio chatter, before leading into the next tune.

The next one perhaps is even better. The Rockafeller Skank is an optimistic and cheerful tune with some country-esque Telecaster sounding licks and some other great samples. It never bores once through the listen, and has an ear busting (in a good way) climax with more multi-sectioned goodies sound wise. A good listen.

Fucking In Heaven is ridiculous sounding for THAT sampled quote. This one seems a little overkill for that reason, it’s a good piece without sounding great. It still has its moments, sounding rather comical. It’s throwaway, but decent for a South Park sort of tune. It does have some, once again, good midsection based sounds. Nice.

Gangster Trippin is a much more listenable tune than the previous one. It sounds really good, with alternating sections as well with some alternating samples and melodies. This sort of music isn’t played much at parties or in regular day-to-day life, so it is worth a listen for that purpose. Much like the other songs on this album, it is fairly repetitive, mind you.

The next piece is fairly meh. Build It Up, Tear It Down is merely an exercise in doing that to a dance track, with mixed results. No doubt a fan favourite, but it just lacks quality. Better examples of dance tracks out there have done this sort of thing. Just very, meh.

Following that is a vast improvement. Kalifornia has some weird sound effects and samples to boot. But it’s quite enjoyable. Suitable for a road trip or something similar, it’s a good listen throughout. The beats are quite heavy for sure, propelling this piece along very well. The outro is pretty different.

Soul Surfing is a crowd pleaser. It’s sort of a mixture between a soul and funk pastiche. It’s an adventurous and nice listen. There are many different guitar based samples and some unusual breakdowns. A nice listen, but like much of the album, good, but not great.

You’re Not From Brighton is quirky. It’s likely considered by many to be a filler track, but sounds so cartoon like and different that it does necessitate listening. Sounds not like out of a Donald Duck cartoon or something similar, it sure is interesting. Guessing the tune here, not a lot of us are from Brighton, UK, either. A basic, slowed down outro leads into the next piece.

Probably the defining Fatboy Slim piece is here, Praise You is a good-vibe and uplifting piece with a piano riff, a variety of samples and many different tasty sounds. It kind of blows away a lot of the other songs on the album. It segues to and from the piano riff to an organ led midsection. It’s a good listen. There is some beatboxing here if you listen closely as well.

Following up is Love Island. This could be a reference to Ibiza, the club paradise of the world, off the coast of Spain. Google that one, if you don’t know about it. The song has a very moving intro, before launching into a static sounding acid-like piece with some interesting peaks and troughs. By this point, we recognise the album as a good, yet not great listen. It’s still worth the time if you can put that into the recording itself.

Acid 8000 finishes the album. It’s a beatastic and extended piece for a long period of dancing, in or out of home. Some pulsating sounds make up this one. “It’s so easy to get acid, you can get it anywhere,” launches the more danceable section of this one. The baby screaming is unnecessary and annoying.

This album is okay, but only okay. The main thing letting it down is the length of the album, which is excessively long. If 10-15 minutes were chopped off some of the songs, this would be a much better listen. Still, it’s better than most EDM compilations out there right now, which gives it a sort of place in history. But still, it could be bettered here.

6/10

Knife Party – Abandon Ship (2014)

Knife Party are notably a musical duo from Australia. Early pieces, such as Internet Friends were club classics, and great tunes too. They released this, their first and only album so far, in 2014. Is it up to scratch? Let’s have a listen to the music here.

We begin with Reconnect. It has a psychedelic intro with a spoken voice letting the world know that Knife Party are here. It’s a good listen and a nice way to kick off the album.

After this, we go to Resistance, a nice piece with some house and dubstep overtones. The breakdown is intense. There are some African sounding drums in this breakdown, we hit party central with an awesome groove. This is a refreshing listen compared to the RnB of today, it’s fantastic. These guys are fantastic at what they do, the music here is great.

Boss Mode begins with some freaky distorted chimes, before knocking down the competition with a Hip Hop style groove and distorted dubstep riffs. It is a great tune here, the sampled lyrics pointing to a higher level of consciousness. Our sonic journey on this track is wonderful. It ends with some gunshots. Mint.

EDM Trend Machine is a piece that sounds much more mellow, along with some good male soul like singing. It’s a good one to relax to after a heavy night of clubbing, assuming that people enjoy this sort of thing for that purpose. It’s way different than the tracks before it. Automated dance music for the people.

The following piece 404 sounds a little weird. It has some Chiptune sort of noises in the track, before going into a static sounding bliss. Rotating drums capture our attention, before launching into a very good piece in the style of Knife Party. It’s a good listen, taking us into the future of music and sounds we have not heard before. There are a few twists and turns in this one, being very suspenseful indeed.

We Begin Again with some poly rhythmic beats and we hit sonic waves afterwards. The vocals, which have a sense of urgency, then kick in. Honestly, this piece is not as good as the ones before, which is disappointing. But it fits the album well anyway. There are some good samples in the middle of the track as well.

A more dubstep driven Give It Up with some reggae influences comes next. It is a good uptempo and busy sounding piece that sounds club ready. A progressive and semi-psychedelic listen here. A nice effort. The dubstep bassline is fantastic here.

D.I.M.H. sounds much more mainstream and House based, you can seriously dance to this tune. It has some interesting sound effects, and vocals comparing music to God. It sounds like a rework of an old 1980’s song, but seriously, it is much better than that for sure. It’s a greatly textured piece.

Micropenis is a strange tune that begins with a strangely sampled situation, before leading into a piece that has beats galore everywhere. It had some rather metallic sounds in it as well. It’s okay, but not fantastic, mind you. There are some Sufjan Stevens like melodies in the breakdown here. The second half is far better than the first half by far.

The next song Superstar is outright awful. It sounds like a poor take on a disco track here. Worth avoiding, and enough said about this number. Noel Gallagher’s High Flying Birds do a better job at disco than what Knife Party do here, and that’s saying something.

The follow up Red Dawn is a far better tune, something indeed to listen to at sunrise, for all you party animals out there. It has some middle eastern melodies and cut up vocals for your enjoyment. It’s a good dance number. Some neat intricate backwards loops occur, before banging beats hit you. A good way to liven up the listen towards the end of the album. A ghostly outro makes it better, too.

Kaleidoscope is the last one on the album. It’s a laid back and chill tune, for those who made it through this album. A good downtempo, deep house sort of joutney. It has suspense all the way through. We then finish the album.

This is a good album, not a great one. It does have its moments, but for the most part, could have been bettered. It’s still listenable, especially for you young nightclub goers. Having said that, it is worth a listen anyway.

7/10

Uberzone – Ideology (2007)

Nobody does the hybrid of techno and breakbeat better than Uberzone do. This album is a good one. It features a variety of tracks and instrumentation. Let’s dive in and have a listen.

Okay begins our cyber journey into bliss. With robotic voices and a great beat kicking along, it sounds so different to everything else out there it is refreshing. It’s a good introduction to this album. It must be heard to be believed. There are acid sounds here too, a nice touch. The breakdown sounds great here as well.

4 Bit sounds so 1980’s in a good way that it makes one feel nostalgic. The beat kicks in, and what a beat it is! The grinding bassline makes this song greater than your typical EDM piece. Overall, this album so far is a great sonic trip. This tune is enjoyable as well. There are many unique sounds in the music here, a great piece to listen to when the mood strikes. It fades out mysteriously.

The robotic nature of this sort of music returns with Vibrate. It’s a great piece for those who like this sort of music. It’s surprisingly dance able as well, given the genre of music that this is, despite the fact it is clearly for home listening. A great futuristic and robotic sounding track. It has some highly intelligent sounds here, likely mostly original too.

The unusual Satisfaction follows. No, it’s not the hit by Benny Benassi either. It’s just a good tech-breaks style romp. Some great sounds are found here, which are individual, idealistic and creative. An epic and excellent listen, with some great drum sounds in the middle of the track. Acid noises return as well, just for the ride. A nice piece.

Ideology is the title track, and it starts rather slowly. It’s more laidback than the other tracks here, with some unusual theremin like melodies. It seems quite melancholy here, but still is as consistent as the rest of the album. It’s a good, but not great piece when the mood strikes. Sounds a lot like Radiohead in their Kid A or Amnesiac phase, in fact. It ends with a clock ticking.

FUBAR is much more like it. It’s an excellent and catchy driven piece to boot. It is the sort of tune that could be stuck in your head for days. It’s a wonderfully intriguing listen, so put on your headphones and listen to it. It’s rather more progressive than other EDM tunes out there, too.

The next piece, Alphawave, is a great rhythmic piece with some unusually modified vocal samples as well. It has some great drum sounds as well. It’s just a kickass track with some awesome TB-303 sort of sounds to hear as well. This album is very consistent throughout, always a good thing for the listener. It sounds like it was recorded it 3007, not 2007. A great sonic experiment done well.

The next one sounds apocalyptic. Germs sounds freaky and futuristic. It has a basic rhythm, acid sounds and mechanical melodies to entrance you. It is no doubt one of the better ones on this album, and is musically structured very well.

Geisha samples some Geisha talk in Japanese. It’s a lot slower than some of the other tracks on this album, but sounds like a good head trip all the same. It’s brief, but a good listen.

Funny Noise is another robotic creation from Uberzone. It’s a great deal better than the last couple of tracks, but still very consistent overall. It just flows nicely this album. It’s a robotic and musical project intertwined in a great effort. In the middle of this track, we have a great dancefloor piece. Even through headphones at home, this album is a winner. This track is no exception in this regard.

The short Inner Space is a semi-ambient piece that lets you drift into outer space. There’s not much to it, but it is a nice addition to the album.

The next tune, M87, sounds like a sort of Dub like piece. It’s got some laidback beats and psychedelic noises in it. Whoever said that postmodern music was bad? Uberzone make great tunes, and this album is proof of that. This track sounds like a Sonic The Hedgehog video game soundtrack, no joke.

Black Hole has some strummed acoustic guitar and some real life sounding beats. It sounds different, but good all the same. There is a variety of sampled instrumentation here, from pianos to bongos. It breaks down into silence at the end.

Yes speaks for itself. No comments required for an 11 second track.

The extra track Octopus (Bonus Track) is a solid listen itself. It should have been placed on the original album, but fortunately it is found on some releases of the album. We finish our sonic journey, satisfied with the outcome.

This sort of music is regularly overlooked by critics and consumers alike. However, it is clear that perfect techno + perfect breaks = Uberzone. Do yourself a favour and have a listen to this if you haven’t done so already.

8/10

The Prodigy – Music For The Jilted Generation (1994)

The Prodigy broke free of the old UK Hardcore scene that they were a large part of, with this album. It’s also a very good EDM album, and has aged very well and has its own sound. Let’s dive in and have a listen to this masterpiece. It’s also a semi political album as well.

We begin with the dark sounding Intro with a typewriter and some dark sounding electronic textures. It’s a great piece to hear, short and interesting.

The first tune is Break & Enter. It’s an excellent introduction to the album, with the sound of glass smashing and a dirty, dark electronic riff. This album is completely different to the previous album by The Prodigy and kicks ass. The beats are bigger, the textures are more unique and the breakdowns are intense. This piece in particular sounds dark and eerie. A great piece, even though it goes well over five minutes. A must listen.

Their Law (feat. Pop Will Eat Itself) is the best electronic political piece you will ever hear. It has drum and bass style breakbeats, chugging metal guitars and that refrain, “Fuck ’em and their law!”. It is definitely a political piece, although main man Liam Howlett denies this. The UK Conservative government implement a law around this time preventing underground raves and parties from occurring, and The Prodigy reacted very well in this respect. A classic tune.

Full Throttle is a more upbeat and textured piece that sounds mega. It contains some truly great samples and instrumentation. The laughter is actually sampled from the original Star Wars movies (it’s Emperor Palpatine laughing). The piano is a wonderful riff throughout and it’s never a dull listen. Truly great, maybe some of today’s EDM artists can take note of pieces like this more often? We hope so.

The hit single Voodoo People actually has the Very Ape Nirvana riff, but like people really recognised that. The piece is great though. Some great breakbeats and samples here brought this song into the charts. It’s awesome, and a trip as well. A must listen for fans of The Prodigy. It’s another rather long piece, but never dull for a moment.

The next piece, Speedway (From Fastlane) is a great piece designed for high speed driving. It has some wicked sounds in it, mainly car sort of noises. There are more pounding beats, plenty of acid squelches and science fiction sort of sounds. The breakdowns are intense, and this album is very consistent throughout. A great job here done by Liam Howlett. It sounds urgent all the way through.

The Heat (The Energy) is a good piece to return us back to more ambient style sounds here. It’s a really intelligent sort of album this one, with twists and turns you’d never expect. Case in point, tunes like this. There are liquid and surreal sounds throughout, a great listen. It then morphs into a good dance tune. A great listen all the way through.

Poison was a big hit. It begins with cocaine being chopped up by Liam Howlett. Yes, really. It then kicks off as a killer EDM classic. This may be even the best piece off the album. It was designed to be a punchy, slower than drum and bass sort of thing. It works well and the sampled phrases and the beats just make this a classic tune. Mint. The Prodigy really come into their own here.

The next tune is an older one from this era, but it’s great. No Good (Start The Dance) is a great piece which is a transitional piece between the first two albums by The Prodigy. It’s a very good piece indeed, and sounds killer. It has some great sound effects here, and is fast and pacing. Nice effort here. It sounds a little cheesy and dated, but so what? It’s a good listen.

Following up is One Love (Edit) which is a good tune, although the vocals at the start are super annoying. But then it gets 10 times better, with some likely drug influenced acid noises and pounding beats. Proves that even a bad sounding tune at the start can get better over time. Unfortunately the vocal samples ruin this piece as it is reoccurring.

The Narcotic Suite:

3 Kilos begins this three piece song kit without any vocal samples. But it’s mega. It’s sounds like the song was done under the influence of a lot of drugs. It’s a chill piece with flute and other great melodies in it. A more kind sounding piece than the stuff beforehand. It ends with some strange sound effects, including some frequency modified sounding wind. Excellent.

Skylined is a more concise piece from Liam Howlett’s brain and sounds much more exciting in general. It’s a non vocal piece again, but has some reassuring melodies within. It slowly builds and releases, a bit of a proto Narayan here. It transforms from structure to structure and just sounds epic. A good listen. It ends with crashing waves before entering the last piece on this album.

The last piece of the suite and album, Claustrophobic Sting, begins with creepy laughter and launches into a great sonic based and textured piece, with some really great samples here. Definitely worth listening if you can hear it. It has a vocal sample, “My mind is glowing!” which makes it seem partially psychedelic. A great tune, and we finish the album after this seven minute track.

This album brought The Prodigy closer to the mainstream of music, and gave them the success that they deserved. It’s probably better and worth more of your time than The Fat Of The Land. If you want to hear some darker EDM and want a good starting place for it, here will do. Try the More Music For The Jilted Generation if you can, a re-release with some extra goodies with this album too.

9/10

LMFAO – Sorry For Party Rocking (2011)

Probably one of the funniest albums this century, LMFAO’s Sorry For Party Rocking is pretty out there. Is it any good though? Let’s give it a listen and find out.

We begin with Rock The Beat II is obviously a joke piece which sounds sort of dubstep. It’s a great introduction to a very silly album here. These guys obviously can make music, yet at the same time don’t care about tomorrow. Brilliant.

The title track Sorry For Party Rocking is a millennial anthem for no tomorrow. It’s an all-in-all anthem for those who have made it in the music industry. It’s got some wacky lyrics in it about said experience. A must listen for fans of the album. It’s very profane as well.

Party Rock Anthem continues the madness in the scene, and was regularly played in nightclubs at the time. It sounds very nightclub ready indeed, and is a great listen to hear. It’s more civilised compared to other numbers that have come before. But hey, sorry for party rocking everyone. It’s futuristic and funtastic.

Sexy And I Know It is THAT song that was all over the radio at the time. The video clip is likely the most homosexual or appealing thing out there on YouTube, depending on your view. It’s still a great tune, and sounds awesome. It sounds very catchy.

The next song starts slowly. Champagne Showers is an alcoholic’s anthem for the next generation. With digitised vocals and sound effects everywhere, it is a good party song for those who wish to hear it. It’s a great song to hear about getting wasted. The climax of the song is awesome.

The next club ready tune is One Day. It’s about chasing the finer pleasures in life, including chasing a girl. It’s more of the same, but hey, sorry for party rocking.

Put That A$$ To Work is a devotion to sexy girls out there. It’s about a sort of sexy up song about a real party girl that one could love, on the dancefloor. It’s about a girl’s ass, obviously these guys were very sexual about things. Still, it’s a good piece.

Take It To The Hole is obviously about you-know-what. Sounding cheesy and slightly annoying, it’s kitsch galore. These guys must have been pretty wasted writing pieces like this, but hey, sorry for party rocking. “I’ll beat it up!” is screamed here.

A lesser cut, We Came Here To Party, features a rap piece that sounds very flowing though. It’s about getting trashed. In fact, all these songs are about that. But that’s the great thing about this album. It talks about toasting to the good life at hand, nice to hear.

The next one is about a strange way of loving and appreciating someone. Reminds Me Of You is about finding someone to be with at a party environment. This song sounds like a computer game with beats – but hey, it’s a great listen. Wicked stuff. Mentions Calvin Harris as well, a nice touch.

Best Night is about having a crazy chick as a partner. It’s a more mediocre piece to a partytastic album for you crazy peeps out there. A good listen. It’s a little weaker here, despite the album being very consistent overall for this sort of music. Not bad. Let’s make this moment last forever.

All Night Long is a great piece about the necessity of seeing a partner. It’s a party devotion song. A nice piece for a lover at hand. There are many cameos here, all to good effect.

By this point, the album seems to tire. With You sounds lethargic. Could have been better, but hey, once again, sorry for party rocking. It’s about smoking weed though, a party thing for sure.

The next song Hot Dog is a sort of reprise of Sexy And I Know It. It’s hilarious and clubtastic. These guys were mega at the time, and time shows why. This song is excellent. A good listen.

I’m In Miami Bitch refers to a club heavy lifestyle that is fun and sexually explicit. It’s a great piece to hear on this album which talks about a “polka dot bikini girl” (Underworld reference here?). It’s a good fun romp.

Shots featuring Lil’ Jon is a great piece which samples seemingly the author of this website at the start of the song. It ends the album nicely, and we party hard to the finish. It’s repetitive, but works well.

If you want to get messed up big time, this is your album. It made the duo mega. Sadly, it fell apart for LMFAO after this. But hey, Sorry For Party Rocking.

8/10

Nickelback – The State (1998)

Ah…Nickelback. The most hated famous rock band to many. But back in their older days, they were actually musically decent. The State is one of their better albums, so cue the hysterical laughter, and here we go.

We begin with Breathe. It’s a pumping and pulsating rock tune that is actually quite good to listen to. There are some interesting chords and chord structures here, with some lyrics about social interaction. The breakdowns are interesting as well. It’s an almost political talk here. Interesting to listen to.

The follow up is the acoustic driven Cowboy Hat. It’s a weird tune that only Southern Americans with a twisted mind would enjoy. It talks perversely about weird relationships with…well if you listen to the song you’ll understand. A lot of the lyrics seem nonsensical, but the sound is fantastic.

Leader Of Men is an introspective and acoustic driven piece about considering what one has to say in life. It evolves into a strange love song of sorts, with great chords and nonsensical lyrics. It sounds very musically accomplished here.

Old Enough sounds quite, bad, really. It could have been rethought here, but the production powers this piece along. It does sound good in that respect, but is a very ordinary piece. Some questions are raised here about the quality of this song.

The pothead anthem Worthy To Say comes next. It’s a brilliant piece about weed and paranoia, and seems catchy enough for the mainstream audience. A great song, with some great sound effects here. Mint. “They’re growing dope everywhere around the block,” indeed.

The next song Diggin’ This is a song about wasting time. These guys here at this point were very musically accomplished. There is a great deal of variation in their chord structures, sound effects and structures here. A good listen.

Deep doesn’t sound that deep musically, but it’s a good tune anyway. It has some tripped out guitar sounds midway through, which add to the song. An interesting listen with a drum solo midway through as well, or is it? Adds to the album here. The producer here deserves kudos for the interesting sounds at hand.

One Last Run is a good listen. It sounds more uptempo and varied in terms of playing and structure here, adding something extra to the album. A good song. The drummer sounds like he is having good fun here.

And a real stinker is here now. Not Leavin’ Yet sounds pretty awful. This is easily forgiven here as much of the rest of the album is good. But come on guys, if a track stinks, edit it at least, rather than leave it in its entirety. That is a poor error of Nickelback’s in retrospect.

The next song is much better. Hold Out Your Hand sounds cool, and has some interesting lyrics as well. It’s got some Nine Inch Nails esque percussion here as well, a nice touch. It’s just a mint song on the album. Cool interplay between the instruments here.

Leader of Men – Acoustic is the last one on the album. It’s a good take on the song earlier on, with strummed acoustic guitars here. It sounds melancholy and different. A good way to finish up here. Sounds just as good, if not better than the original.

This album is actually quite decent. It’s not perfect, but then again it’s a very good listen overall. Nickelback deserve more credit than what they often receive, and this is a good example of that status.

7/10

The Chemical Brothers – Surrender (1999)

It had been two years since the previous album by The Chemical Brothers had been released. The (then) new album is a good mixture of quality tunes. Let’s dive in and have a listen.

We begin with Music:Response, a futuristic and funktastic piece which sounds expertly and wonderfully done. It has pounding beats, a robotic voice sample, funky guitar sounds and all sorts of twists and turns. Mint. It sounds surreal for sure. Tripped out to the max here.

The next cut Under The Influence of course, refers to drug use. It’s an uplifting and futuristic psychedelic piece here which is thoroughly enjoyable. “Who’s under the influence?” indeed. It concludes with subsonic bass and a statement saying: “Don’t run…” What were the duo implying?

Out Of Control is a great house music like piece featuring New Order singer Bernard Sumner and does well here to show off its musicality. It’s a great mainstream sort of piece here without being unoriginal. A good effort here. Some nice singing here and lyrics as well. “Could be that I am just losing my touch, or maybe you think my moustache is too much?” Great lyrical insight here.

Orange Wedge has some great plucked bass guitar parts and some interesting static squelches. It’s The Chemical Brothers broadening and expanding their sound. It’s perhaps not the greatest thing the duo ever did, but sounds interesting all the same. It’s trippy beyond words, however.

Probably the most depressing song Noel Gallagher ever contributed to, Let Forever Be is really depressing, but great. He comes across singing as a street preacher, before asking the quintessential question: “How does it feel like…to spend a little lifetime sitting in the gutter?” Sad yet this is a great song all the same. A great collaboration is here. It sounds like Joy Division in the 21st century, but with Noel Gallagher singing. A great piece. At the end it crashes into the abyss.

The following tune The Sunshine Underground is an ethereal piece that sounds psychedelic and great here as well. The slowed down drumbeat and chanted vocals here do well. It’s a Neo hippy delight. African drums are here to spice things up too. It then warps into a beatastic piece with wind chimes which sounds fantastic. This is a mega trip. A great effort here by The Chemical Brothers. At the end, we have some sunrays of colourful music come through here.

Asleep From Day is the next piece, with some beautiful vocals and intertwining textures that just kick ass. This is a good chillout sort of piece that works well. It has some interesting instrumentation in it and just sounds good. A nice tune. A computerised xylophone finishes this off.

Got Glint? is a psychedelic instrumental piece that seems a little lacklustre. But even so, it shines brightly this album overall, so that even a piece like this is quite good listening. It mixes some robotic statements with trippy sounds, a nice mix here of unusual sounds. The end is very quiet indeed.

The big hit from the album Hey Boy Hey Girl is a house based pounding beatastic number. It is interesting and radio ready, simply a good tune. Some surreal sounds are here, a must listen. The outro is tripped out.

Here we have the title track Surrender. This piece starts slow, then builds up into a colourful concoction of sounds. It seems a little repetitive, but sounds not out of place in a city like Tokyo. It’s really that well advanced here, and a good but not great listen.

Dream On is the last piece on the album. It doesn’t sound at all in its place here, and could have been rethought here. Sounds more like a rock band than The Chemical Brothers really. It’s not all that bad though. A twist at the end occurs which is surprising though.

This album is a good listen to after a heavy night out in the club. It’s perhaps not the best EDM album you’ll ever hear, but is a worthy addition to your collection. A 20th anniversary re-release is available for those who would like to seek out some extra tunes from the era.

Good album overall.

7/10