When I first played Zelda on NES as a kid in the 1980s, the sense of wonder was palpable as I explored and interacted with the virtual world of Hyrule. With a printed map on the table in front of me, I truly felt like an adventurer on a quest to save the world. The presentation of the beautiful 8-bit color was captivating even on a small CRT television. Staples of the Zelda series like bombs, boomerangs, and secret walls are guaranteed to capture a child's imagination. If Mario first piqued my interest as a child in videogames, then it's safe to say Zelda cemented it. The creator of those two iconic series, Shigeru Miyamoto, is now a cultural icon, and the Nintendo company is widely known as an innovator of gameplay thanks to the trends that Miyamoto and his development teams set.    

Where Mario was simply about saving Princess Peach, Zelda was more than about rescuing the titular Princess. It's about a war between Good and Evil centered around the Triforce symbol and follows Joseph Campbell's Hero's Journey template in a way similar to Luke in Star Wars. The hero, heroine and villain each represent a piece of the Triforce: Courage, Wisdom and Power respectively. This is an important distinction because it's saying Good does not equal Power; Evil does. Ganon represents the absolute corruption of power and he threatens the entire world, while holding Princess Zelda (Wisdom) hostage. Link, the main hero, doesn't speak and can be renamed because Miyamoto wanted the player to impart their own personality into the character, drawing something from their own reality and imparting it into their virtual avatar.  

A good friend of mine once said that opening treasure chests in the Zelda series is like a dopamine release that keeps you coming back for more. This is not to imply there's an equivalence between experiencing the fantasy land of Hyrule and the negative connotations associated with addictions, only that it illustrates the game designers brilliance with regards to human psychology. Maybe it's nostalgia, but with each generation of Zelda it makes me feel like a kid again experiencing that sense of wonder each time I play, and seeing my daughter also fall in love with the games has been extremely rewarding. The Zelda games have been some of the most innovative in videogaming history. Here is where I stack up each game in the series. The ranking is based on my own subjectivity and I have done my best to focus more on each game's individual merits instead of my nostalgia.   

1. Ocarina of Time – N64/3DS

My favorite game of all time, up there with Chrono Trigger, Mario 64 and Final Fantasy VI. I vividly remember first playing the demo at a N64 kiosk in KMART. I imagine that gamers get a similar feeling when first experiencing a great VR game, because first playing a 3D Zelda game was absolutely immersive. This one game alone set so many trends in the gaming industry, cemented numerous staples in design that some gamers may take for granted these days, and raised the bar so high that even Nintendo themselves have to work extra hard to try and surpass all these years later.  

(Click play to hear me cover the song "Zelda's Lullaby" on guitar and other instruments. The song was originally composed by the legendary Koji Kondo.) 

As if each previous iteration was just preparation for this game I felt I was seasoned enough to easily tackle whatever challenge the game would throw me when I first played it. I was still stumped for hours at the Water Temple like most people frantically searching for a missing key. I could write an entire article about all the things I love about this game, so allow me to highlight a few: I love that you acquire the hookshot early on in the game and how there are so many various ways to use it, making it an essential item for traversal and exploration.  

I also love how dark the Shadow Temple is, probably the darkest dungeon in the entire Zelda series. The temple is filled to the brim with devious traps, zombies and ghouls. It's also the first temple that requires you to go back and forth in time to explore the dungeon correctly, both times requiring the use of the Lens of Truth to destroy a litany of illusions. On top of all that you also find a super special pair of boots that open up the physics system of the game even more. One sequence is so fantastic in this level that I have to spoil it (sorry new players) where you jump on a big wooden ship floating down an underground river. After landing on the ship, you can hookshot a skulltula (spider) for a golden token before using the ocarina to play Zelda's Lullaby, which engages the ship to start it moving. Suddenly, two skeleton pirates surprise attack you as the ship makes its way down the trench. During this tough battle you can actually avoid fighting them and just block their attacks with your shield while waiting for the ship to reach its port stop. When it does, you can simply jump off, watch and laugh as the ship sinks along with the skeletons who are stuck on it and doomed to drown. The oppressive atmosphere of the temple along with the freedom of the gameplay really makes this dungeon stand out in my view as a perfect example of why this is the best Zelda game of all time.      

2. A Link to The Past – SNES

This was the first time I remember seeing rain in a videogame. It felt the most cinematic of any videogame I had played up until then. It took what Zelda 1 created and improved it in every conceivable fashion, like Terminator 2 was to Terminator 1, a superior caliber sequel.   One of the best entries that follows the Heroic Journey monomyth so well. Right off the bat, your Link character loses the only family he has, is thrust into action with a sword a shield and sent to the castle to save Princess Zelda and avenge his uncle.  The innovation this time is adding an entire second world that sits alongside the main one, allowing you to transfer back and forth between them.  The replayability of this title is so strong I play through it annually.  

This graphic novel of ALTTP is phenomenal: 

3. Breath of the Wild – Wii U/Switch

This was like a defibrillator shock to the heart when it released, once again raising the bar for the videogaming industry for a new generation. Taking Hyrule into a completely open and massive world hearkened back to the non linearity of Zelda 1 while transfiguring the gameplay for modern audiences. Sporting the best graphic engine of a Zelda title to date, and the largest world by far, the immersion is off the charts excellent.  The dungeon tropes have been completely upended in this game, as instead of the typical crypts, there are large, moving levels called Divine Beasts and tons of smaller puzzle dungeons called Shrines.  You also have an expansive inventory similar to an Elder Scrolls game with tons of breakable weapons, armor sets, food and tools.  The player is given complete control and agency to chart their own path in the game, even allowing you to rush straight to Ganon while underpowered, a great thing for players who like to speedrun. 

In the case of this game, the Japanese developers took some influences from Western developers like Bethesda (Elder Scrolls). In a way this has come full circle because those Western devs were also influenced by the original Zelda game. This reciprocal element of influence between the West and the East reminds me of the legendary Japanese film director Akira Kurosawa, who was influenced by the great American director John Ford, and Kurosawa would in turn influence other American directors like George Lucas and Martin Scorsese.     

4. Link's Awakening – Gameboy/GBC/Switch (remake)

"Human, monster, sea, sky...a scene on the lid of a sleeper's eye..."
​
The greatest handheld videogame ever created. Playing through the recent release of the remake on Nintendo Switch 100% reaffirms my opinion about this. This was the first Zelda game not to actually feature the characters of Zelda and Ganon, and also not take place in the kingdom of Hyrule. It was the first top-down perspective Zelda game to feature a jumping mechanic. The dungeon design is again phenomenal, with Eagle's Tower being a personal series favorite of mine.  In an interview with Zelda Producer Eiji Aonuma and Link's Awakening director Takashi Tezuka, Takashi stated his game was inspired by one of my favorite TV shows, "Twin Peaks", which was being broadcast at the time in the early 1990s.  It's a perfect "classic" Zelda style game like A Link to the Past, without any flaws to speak of.     

Please watch this fantastic review of Link's Awakening by Kotaku's Tim Rogers:

5. Wind Waker – Gamecube/Wii U

 Now that Breath of the Wild exists, I think gamers have slightly forgotten this great title. This 3D Zelda had a beautiful cel-shaded art style paired up with an open ocean world you explore with your trusty sailboat.  Some of the ocean can get redundant and boring, as there are a lot of "filler" islands populating the world. Manipulating the wind was a fun mechanic and the conductor baton was a nice change of pace from the usual Ocarina.  This game is filled to the brim with cute moments, and is much lighter in tone than some of the other 3D Zelda games.  

(Click play to hear me cover the song "Great Fairy Fountain's Theme", originally composed by Koji Kondo)

6. The Legend of Zelda – NES/Wii U/Switch

Miyamoto was inspired to create Zelda after his time exploring the woods around his home as a child in Sonobe, Japan. The name itself was lifted from author F. Scott Fitzgerald's wife, the Master sword was inspired by the Arthurian legend sword Excalibur, and Link and the fairy were influenced by Peter Pan and Tinkerbell.  The game released in 1986 on the NES. The first time I played it was around 1988 when I was 5 years old. The gameplay was mindblowing during that initial playthrough, where everything felt so fresh and innovative.  What kid wouldn't enjoy a tool set consisting of bombs, boomerangs, arrows, a wand and a sword? The game was also very challenging especially during the last few dungeons.  It was fantastic to link up with friends at school and share the secrets we had each uncovered in our respective games, and assist each other as needed.  

7. Twilight Princess – Gamecube/Wii U

While it follows all the tropes set by Ocarina of Time, I don't necessarily see that as a flaw. More amazing gameplay with a more grown-up Link? Take my money, Nintendo. This title also features my favorite sidekick, Midna, a fun character with an engaging storyline embedded into the main arc of the plot. One of my all time favorite dungeons is in this game: Snowpeak Ruins. It's an icy dungeon that's actually not even really a dungeon...it's a castle owned by a Yeti husband and wife. The husband cooks you soup that heals you while you gather items for the wife, and there's a great twist in the boss room that tugs on your heartstrings. The biggest twist on the Ocarina formula is turning Link into a wolf (although transformations of characters began in Link to the Past with the Dark World). The wolf gameplay doesn't really add a lot of fun factor to the game which is why I rank this game lower.  

8. A Link Between Worlds – 3DS

My second favorite handheld Zelda game after Link's Awakening.  This is a brilliant way to combine a part remake (of A Link to the Past) with a new Zelda game. They took the world from ALTTP and made a new game on top of that with some great innovation: Having access to all the tools early, allowing a non-linear approach to the dungeons, and also a system where you can enter the walls and turn into a 2D character like Paper Mario.  There are a few nitpicks though as the villain is forgettable and some of the dungeons have some boring sections.    

9. Zelda 2: Adventure of Link - NES/Wii U/Switch

An amazing action sidescroller that gets unfairly maligned sometimes for straying too far away from the original Zelda's design and being extremely difficult. Getting to the final dungeon alone can be a slog through the overworld. In my opinion this game was like an early version of Dark Souls (another fantastic series) in that after the repetitive nature of dying so many times you develop a true skill in the game, level up your character, and get good enough to actually beat it and feel rewarded.  I want to say I broke a controller or two playing this game back in the day as the difficulty was, dare I say, legendary? This first sequel showed the world that Nintendo would always continue experimenting to keep things fresh and each entry engaging to players already acquainted with the series.  .     

10. Majora's Mask – N64, 3DS

 Ahh, the Zelda game that features one of the creepiest characters in the series, the Mask Shop owner. What, you thought I'd say the Moon Face that's on track to crash into the world of Termina and terminate it forever? Well yeah this game is filled with creepy characters actually. That Mask Shop guy, though not technically a villain, acts shadier than the criminal penguin from the classic Wallace and Gromit episode, "The Wrong Trousers". I can't deny that this is a fantastic game conceptually, essentially Zelda meets "Groundhog Day", but I have to admit needing to be in the right mood to replay it.  The dungeons are also on the weaker side of the Zelda series, except for the final dungeon which is unquestionably one of the best parts of the entire game. Arguably contains one of the best stories in the series with a lot of emotional weight and just plain weirdness.        

11. Skyward Sword - Wii

There are things I love about this game, though I dislike just as many. The biggest stain on it for me is having to backtrack through the same areas over and over again without much rewarding gameplay offered for doing so. The Sand Ship level is by far my favorite part of the game, followed by the Ancient Cistern dungeon. I'm ambivalent on the motion controls. I love using gyro controls for aiming the bow and such, and for awhile when the game first released I did enjoy swinging the sword, but as Breath of the Wild showed, it's arguably more fun to just use a button press for the sword swings and leave the motion controls for aiming the other tools. The art style is fantastic and I hope they make a HD remaster of this for the Switch with optional control schemes.  

12. Minish Cap - GBA

The main draw of this game is the shrinking mechanic, turning Link to something like the "The Borrowers". This game and the Oracle games were actually developed by Capcom and not Nintendo. I also really dig the Mole Mitts (oh, the puns) and appreciate their reappearace in Skyward Sword. I rank this lower as I don't feel it has nearly as many memorable moments as the other handheld games above.  I also found the shrinking mechanic to grow tiresome quickly, looking at it as more of a gimmick than a true innovation. 

13. Oracle of Ages/Oracle of Seasons - GBC

Using the same engine as Link's Awakening, while adding a mechanic that crosses over the two Oracle games, these were entertaining games with some great new ideas, especially with the seasons changing (time travel had already been done in Ocarina.) Like Minish Cap, the other Capcom developed Zelda, I feel that there just aren't as many memorable moments in these games compared to Link's Awakening or A Link Between Worlds.  These are still great games in my opinion, but I honestly don't replay them as often as the ones higher on my list.  

14. Phantom Hourglass/Spirit Tracks – DS

The two DS Zelda games that use the stylus exclusively for control. I just don't enjoy moving Link and attacking all with the stylus and touch controls. I do like the ways the games incorporated other features of the DS like closing the system to solve a puzzle, and adding notes to maps. Spirit Tracks slightly edges out Hourglass for me because the train system felt more fresh considering Wind Waker had already extensively used the open sea and boat travel.    

15. Four Swords – GBA

I must admit I never played this in multiplayer, which is the way it's intended to be played. As a solo experience I found it extremely lacking compared to other Zelda games. The procedurally generated dungeons are no match for the carefully constructed designs of the other games.   

 16. Link's Crossbow Training – Wii

It's a motion control based shooting game. I played it a handful of times and then it collected dust on the shelf. I think it's the only Wii game I ended up using the zapper attachment for.   

Dishonorable Mentions:

The 3 Philips CD-I Zelda games.  I actually played these on a kiosk in Sears in the 1990s.  They are categorically terrible games and rightly disavowed by Nintendo. These are the only truly bad games associated with the Zelda name. It's a shame these even exist. I have to laugh at the Ebay listings of these games, as they go for pretty high prices. Come on, who the hell wants to throw away hundreds of dollars on these garbage games? The only possible thing they could be good for are some funny memes. We are talking Atari E.T. levels of bad game design. It's like "The Star Wars Holiday Special" in that yeah, they exist...but we really wish they didn't.       

As someone who spends a lot of time staring at computer screens, I have experienced a wide range of eyestrain and headaches. It's no secret that prolonged use of computers and smartphones can cause those symptoms. Blue light that emanates from screens is one of the culprits behind this issue. Blue light (which is also found in sunlight) causes wakefulness, and there's some strong evidence that filtering out blue light before bedtime can improve sleeping habits and reduce eye fatigue.

The best thing one can do to avoid eyestrain is to take frequent breaks from electronic screens. However, what if you can't simply take many breaks and need to remain productive? What has helped me minimize eyestrain and headaches and continue working on my computer uninterrupted are Blue Light glasses by a company called Quay Australia. From day one of using these glasses I was immediately satisfied with my purchase as I no longer experience eye fatigue or headaches. They also fit comfortably and have a wide range of styles available.

I highly recommend these glasses for office and tech professionals where a high level of productivity is vital.

When I was a kid my favorite genre of music was Hip Hop and I had little interest in Jazz. That changed completely when I discovered Guru's “Jazzmatazz, Vol. 1” album on CD at a Virgin Megastore while on a family summer vacation in Paris in the early 1990s. The album was featured prominently in the Hip Hop section of the store and had a sticker on the plastic wrap that said “Featuring MC Solaar”, who was a famous French emcee at the time. I instantly knew I would buy the CD because I was already a huge fan of Gangstarr, a Rap group comprised of Guru on vocals and DJ Premier on production. Guru's Jazzmatazz album is near and dear to my heart for two reasons: it helped make Jazz music “cool” to me, and expanded my sonic palate to include international Hip Hop artists. It was also a huge commercial success in Europe.

Arguably it was A Tribe Called Quest who first used jazzy live instrumentation in 1991 on their classic album “The Low End Theory” where they collaborated with the great bassist Ron Carter. Even though I loved that album, it wasn't until I got older that I truly realized the live Jazz elements used there as it was more sparse compared to the totality of Jazz-Rap fusion and live instrumentation present on Jazzmatazz. I should also mention the 80s rap group Stetsasonic was the first to use live instrumentation on a Hip Hop record and their producer Prince Paul would go on to work with De La Soul, a member of the Native Tongues family with Tribe Called Quest. While those projects paved the way for a full blown Jazz-Rap concept in Jazzmatazz, the Jazzmatazz album itself would pave the way for live band Rap groups like The Roots to take the concept even further as evident in their 1995 release “Do You Want More?!!”. Guru, who sadly passed away in 2010, should not only be regarded as one of the greatest emcees of all time, but also given proper dues and respect as a progenitor of the Jazz-Rap crossover genre. He was the main creative force behind the making of Jazzmatazz.

On this project Guru assembled a superstar lineup of Jazz musicians. Guru also is credited as having arranged, mixed and produced the album. It was recorded in 1992 at D&D studios in NYC. The Chrysalis Records label released the album in 1993. I was lucky to see Guru perform live with his group Gangstarr on two different occasions and I will always cherish those moments. One show was at a college where the Black Eyed Peas opened for them (I honestly couldn't wait for BEP to finish their set and leave more time for Gangstarr). The other show I saw was even better as they played with Erykah Badu, Common and The Roots (a superstar line-up).

​The vinyl itself: My copy is a reissue pressed in 2016. A big issue with many rap vinyl pressings is sibilance and I'm happy to report that this record does not have a high amount of sibilance. The bass response is clear and does not muddy the overall mix. The horn sections are usually panned wide and given the space they need to sit alongside Guru's vocals smoothly. The cover art emulates old Blue Note records with solid blue in the upper third containing the album title while the rest of the frame features an extremely cool looking green tinted B&W picture of Guru exhaling smoke in front of a microphone, surrounded in darkness save for one bright light on his face. The backside of the cover contains extensive liner notes and credits, again in the style of classic Blue Note releases. Guru says in the liner notes: "Jazz's mellow tracks, along with the hard rap beat, go hand-in-glove with my voice."

Song by Song breakdown:

“Introduction”
Guru gets straight to the point and explains his ideas behind the project alongside a trumpet. A nice relaxing introduction.

“Loungin”
Features Donald Byrd on trumpet and piano. The boom-bap beat blends seamlessly with Byrd's relaxing trumpet notes. When listening you can close your eyes and imagine sitting in a smoky jazz club and mellowing out to this amazing music. Some critics say that Guru's lyrics are too simplistic, however I believe the simplicity is equal parts accessible and deceptively complex. Guru himself said it's “mostly the voice” that matters, meaning his amazing tone, delivery and cadence. On those merits he excels with his vocal work. There are also interesting conversations between Guru and Donald Byrd embedded in the song about the music industry.

“When You're Near”
Features N'Dea Davenport on vocals and Simon Law on keyboards. A great groovy bass-line accentuates the keyboard chords. N'Dea's voice is smooth and seductive and she's given equal time on the track with Guru which strikes a fantastic balance.

“Transit Ride”
Features Brandford Marsalis on alto and soprano saxophone and Zachary Breaux on guitar. My favorite track on the album. I love the interplay between the sax and guitar. The song creates an atmosphere that succeeds in making you feel like your are on the metro. Guru's cadence on here is stellar and the rhythm keeps your head bouncing. Marsalis' mix of saxophones and melodic playing is equally relaxing and stimulating.

“No Time to Play”
Features Ronny Jordan on guitar and D.C. Lee and Big Shug on vocals. Smooth jazzy guitar licks are prominent in this upbeat track. D.C. Lee sings a great chorus that's infectious and easy to sing along to.

“Down the Backstreets”
Features Lonnie Liston Smith on acoustic and electric pianos. Though many Hip Hop artists have sampled Lonnie Liston Smith's records, Guru one-ups them by actually having the musician himself play on his record. The rhythmic swing in his piano playing here induces lots of head nodding.

“Respectful Dedications”
Similar to the Introduction, where Donald Byrd prefaced his feature track by playing a short trumpet line while Guru spoke, this track gives a preview to Roy Ayers' vibes while Guru converses.

“Take a Look (At Yourself)”
Features Roy Ayers on vibraphone. Another staple in Hip-Hop sampling appears in the flesh to perform on Guru's album. This is my third favorite track on the album as I'm a huge fan of Roy Ayers work. I love Guru's simplistic hook and it's fun to rap along to. The vibes on here are absolutely magic and exude sweetness.

“Trust Me”
Features N'Dea Davenport on vocals. The most traditional Rap/RnB sounding track on the album that works to balance out the stronger jazz fusion elements of the other songs.

“Slicker Than Most”
Features Gary Barnacle on sax and flute. It's so fresh to hear a flutist soloing underneath an emcee rapping. These fusion elements are what make Jazzmatazz so unique and valuable.

“Le Bien, Le Mal”
Features MC Solaar in an outstanding international collaboration. You know an emcee is talented when you don't speak their language and they still capture your attention. His tone mixes perfectly with Guru's and together they made a beautiful song. It's my second favorite track on the album.

“Sights in the City”
Features Courtney Pine on alto and soprano sax and flute, Carleen Anderson on vocals and Simon law on keys. A beautiful closer as Guru tells a serious story against a backdrop of more bluesy style Jazz fusion.

Final Score:

5.0 out of 5.0 Octaves.
All serious music collectors should own this record.   ​

In November 1984, the veteran Manchester rock band The Smiths released their first compilation album, “Hatful of Hollow”. Earlier that year the band had great success with their self-titled album which reached number two on the UK Albums chart and solidified The Smiths as one of the country's preeminent rock bands. One of the signature elements of the group was the idiosyncratic pairing of vocalist and frontman Morrissey's dark and introspective lyrics with the catchy and bouncy melodies of guitarist Johnny Marr. “Hatful” is comprised mostly of sessions recorded for BBC Radio 1 paired with a few fantastic singles and b-sides. I believe it to be one of the strongest compilation albums cut during the peak of a band's popularity.

The vinyl itself: The pressing is a heavy 180 grams with minimal background noise. Not only is the mastering satisfactory, but the gatefold record cover features a great large B&W picture of the band. The insert has all the lyrics printed which is necessary for such a great album to sing along to. Overall I'm very satisfied with this reissued vinyl release from 2012.

Song by Song breakdown:

“William, It Was Really Nothing”
The album opens with one of the best singles by the band. The song exemplifies the darker lyrical content ironically mixed with the fun and upbeat instrumentation. Morrissey's inspiration for this was, according to him, a serious lack of male singers “speaking directly to another male saying that marriage was a waste of time...”. It's a fantastic opening track which sets the mood for the rest of the album.

“What Difference Does it Make?”
Continuing the upbeat tempo from the opener, this track absolutely rocks. Apparently this is one of Morrissey's least favorite songs they ever made, which seems crazy to me! I just love how the song ends with his high pitched adlibs. The rhythm section is also very tight on this tune.

“These Things Take Time”
Gorgeous melodies throughout especially during the chorus. When he sings the word “spellbound” I get chills.

“This Charming Man”
I could write “gorgeous melodies” as a description for every song on this album quite honestly. Marr employed a jangle style on the guitar lines, which is characterized by an undistorted and heavy treble sound. Morrissey's lyrics focus on sexual ambiguity and he uses a first person narrative technique which show off his storytelling abilities.

“How Soon is Now?”
The second song title on the album that's actually a question. It's also my favorite song and the one that got me into the band. Marr's distorted guitar effect is hypnotic and the lyrical content is an absolutely brilliant piece of sociological analysis.

“Handsome Devil”
Superb drumming here by Mike Joyce exemplified by the double snare hits. The first person narrative of the lyrics follows a man suffering from an unhealthy obsession with sex and desire.

“Hand in Glove”
Propelled by Andy Rourke's beautiful bass-line, Morrissey sings about a couple with different views on their relationship and how they are perceived by society. There's also a bit of harmonica in the song that works well.

“Still Ill”
More harmonica begins the song, which utilizes a fast tempo full of energetic instrumentation, and yet Marr's guitar lines are soothing and calming. The song ends with another short harmonica solo.

“Heaven Knows I'm Miserable Now”
My second favorite song on the album. The epitome of depressive lyrical content mixed with happy, jangle pop melodies. It's an infectious blend that soars through your eardrums and ensures a permanent place in your head canon. There are also some darkly funny lines sung by Morrissey in this classic song.

“This Night Has Opened My Eyes”
My third favorite song on this record. A slower, and darker instrumentation backing for Morrissey's vocals comes at a perfect place in the tracklisting. The song is relaxing and thoughtful.

“You've Got Everything Now”
Another track that shows how amazing the drummer is with fantastic fills throughout the song. Morrissey shows off his falsetto skills during the end of the track.

“Accept Yourself”
Features more introspective lyrics from Morrissey. The music leaves a smile on my face and my head nods along to the beat like clockwork. “I once had a dream and it never came true.” How can such sad lyrics on a song still make me smile? Such is the great irony of The Smiths.

“Girl Afraid”
Beginning with a jangle style guitar break by Marr, the narrative of the song moves between the two perspectives of a boy and a girl each dealing with their insecurities. Absolutely brilliant music.

“Back to the Old House”
A beautiful acoustic song. Morrissey's angelic voice glides over Marr's sublime guitar.

“Reel Around the Fountain”
Pulsing bassline drives this incredible song about loss of innocence and sexual relationships.

“Please Please Please Let Me Get What I Want”
Another acoustic ballad with sparse electric guitar lines mixed in periodically. This short song works perfectly as the album closer. There is not a weak track on this album in my opinion.

Final Score:

5.0 out of 5.0 Octaves.
All serious music collectors should own this record.