#MWE 2025
Welcome back to our annual roundup of #MWE, where we take a look at the albums I listened to for this Music Writing Exercise and posted about on social media. This blog version has my slightly longer, non character-limited versions of these reviews, so there's a little something for even those that followed along on either my Bluesky or Mastodon.
For those unfamiliar, #MWE is about listening to an album you've never heard before once a day for all of February and reviewing them all in one post. (It started out as "tweet", but this has been going so long the character limit jumped from 140 to whatever it is now, and I'm trying not to call them :"tweets" anymore because we moved out of the nuclear exclusion zone that was Twitter and there are plenty more games in town.)
So here are (unfettered by character limits, for better or worse) my listens for #MWE 2025:
DAY ONE: Janet Jackson "The Velvet Rope" (1997)
This album feels like it's dated and ahead of its time simultaneously. It really captures the retro sounds of the 2010s that pay homage to the styles on display, but it came out in 1997 (the sounds being those of the late 80s and early 90s, with a little late 90s neo soul thrown in). The Velvet Rope seems so out of place when you think about it in historical context. (So just don't do that if you want to get more out of it? Sounds reasonable.)
Side note: Was the soundtrack for Serial Experiments Lain inspired by "Interlude-Online" / "Empty"? Because this came out a year before and this feels like it'd fit right in to that series.
DAY TWO: Aurora Clara "IV" (2024)
2024 was a good year for albums that reminded me of 70s fusion (like two, maybe three?). This is pretty Mahavishnu-ey. They don't nail it, but hey, have to leave some room in there for your own personality. This is pretty good; I wonder what I, II and III sound like. (If I were doing the 2024 Year End list now, this would've been #15.)
DAY THREE: Kendrick Lamar “Y.H.N.I.C. (Hub City Threat: Minor Of The Year)” (2004)
He's trying real hard to be Jay-Z and Lil Wayne on this, but he's also only 17. And for a 17 year-old, K.Dot (which was his stage name at the time) is pretty sharp. For a mixtape from 2004, this is pretty decent.
DAY FOUR: Ahmad Jamal "Steppin' Out With A Dream" (1976)
A more laid back version of 70s fusion, more acoustic and less electric, but still dexterous and tuneful. It does get extremely bogged down in the middle, with "Prelude To A Kiss" being a seven-and-a-half minute loungy piano number and the next song "My One And Only Love" being nine more minutes of the same but with bass (it's fine if you drop "Prelude"; "My One" has better runs in it anyway). The second side picks it back up and makes this a solid jazz album. If you're listening to what Jamal is doing on the keys, you're appreciating some art. If that's enough to get you through 40 minutes of slightly-subdued jazz vibes, your mileage may vary.
DAY FIVE: Christopher Cross (1980)
Yeah, it's cheesy, but it's a class cheese, like a brie or something. You can't tell me "Ride Like The Wind" doesn't whip serious amounts of ass. Nor "Sailing"; that shit rules.
DAY SIX: Fabiana Palladino (2024)
Anglo-cized city pop for the roaring 20s. Music isn't as severe or noir as the cover, but it's in the ballpark.
DAY SEVEN: Propagandhi “Potemkin City Limits” (2005)
They do NOT pull any punches on this album. The production's great too; crisp and punchy without feeling too polished. I'm mad it took me 20 years to hear this, and double mad the shit they're singing about has only gotten worse.
DAY EIGHT: Simple Minds "Life In A Day" (1979)
Starts a serviceable new wave album, (the rockier, early variant of New Wave too) but quickly gets repetitive, and the whine of the vocals gets worse with each passing song. Even side one closer "Pleasantly Disturbed", which has some nice strings, drags on way too long.
DAY NINE: Stevie Wonder "Fulfillingness' First Finale" (1974)
Much more laid back than the surrounding albums in his "run"; probably my least favorite of his untouchable period. Wasn't vibing with the first three tracks (though their optimism was helpful; been having a rough time lately), but once it gets going, it's still good. (Also super depressing to hear "You Ain't Done Nothin'" and realize the Democrats have been fucking useless for more than half a century. Make that shit go viral again, because the entire DNC leadership needs to be HOUNDED by these lyrics.)
DAY TEN: Gwen Stefani "Bouquet" (2024)
"Someone Else's" is the most interesting (and probably best) song Gwen's done since No Doubt broke up. (Low bar, but we'll take what W's we can find.) Rest of the album is not country enough to be pop country, but too twangy to be rock. It doesn't commit enough to either lane. Also, songs 2 through 6 are about the exact same thing. I'm happy her and Blake are happy, but you barely changed the lyrics or the tune from song to song. Each track is passable in a vacuum (except the limp duet "Purple Irises"), but overall, just stick to the two singles and "Reminders". You'll get the idea.
DAY ELEVEN: King Gizzard and the Lizard Wizard "Float Along - Fill Your Lungs" (2013)
Aside from the opening 16-min jam "Head On/Pill", this album's kinda trash. And even "Head On/Pill" is a prototype of songs like "The Dripping Tap" that do it better. Only 4 more Giz albums 'til I'm finally caught up.
DAY TWELVE: Vylet Pony "Cutiemarks (And The Things That Bind Us)" (2021)
Beats the shit out of Brat! At times Cutiemarks feels disjointed, but once it gets going this is hyper...music. It's not just pop. It's trying everything and doing a pretty damn good job at it all. Don't know if I like this or Carousel (2023) more, but fuck competition. This shit fucks.
DAY THIRTEEN: The World We Live In "Star - Broken Soul" (2023)
So I guess there's a thing called Barber Beats, eh? This is some random shit that got recommended to me last year, and yeah, it's a vibe. No idea who actually came up with the O.G. songs, since the description says "These tracks are not original. I slightly edit them and give them a new context", but whatever they did sounds good.
DAY FOURTEEN: The Haas Company & Jerry Goodman "Thirteen" (2024)
You might recognize Jerry Goodman as the violin player for both Mahavishnu Orchestra and Dixie Dregs. This is on more of a melodic prog tip, but still that instrumental good good. There's plenty of fire, but in a way old prog nerds can get down to; there's not like djent breakdowns or anything. Really like the keys they use.
Then of course, track three slams into autopilot and track 4 is nine minutes of flaccid wank. (Also never thought I'd ever see the sequence of words "This Thing Ain't Gonna Suck Itself (feat. Jerry Goodman)", but now I have. 2000's me would've died laughing.) Really just the first two songs and the guitar solos in "Sleepwalker" are all that's worth hearing.
DAY FIFTEEN: Van Halen "OU812" (1988)
After the first three songs, I was like "This is better than 5150. What's everybody on?" Then the rest of the album happened. It's the most lifeless this lightning rod of a band ever sounded, and it's not just the production (which even the band admits sucked). With only a handful of exceptions, they're all limp heaps of nothing.
DAY SIXTEEN: Death Grips "Fashion Week" (2015)
After breaking up, Death Grips surprise released this instrumental album. They had promised a different one called Jenny Death before disbanding, and the song titles on Fashion Week lampshade this, all named "Runway _" with a letter in the blank. The letters all spell out "JENNY DEATH WHEN".
The music? It's fine. Most of it belongs in the leftover beats folder, but the first "Runway N" was hitting.
DAY SEVENTEEN: Ted Leo and the Pharmacists "Living With The Living" (2007)
I really liked this album for the first half; punchy, clever indie rock with as good of production as you can expect from 2007. But the back half tried my patience in ways I wasn't prepared for. Every song should stop at the three minute mark, but has three to four more minutes tacked on of repetitious garbage to the point where I'm frustrated and annoyed. Straight ruined like five songs doing this. What happened?
DAY EIGHTEEN: Jon McKiel "Hex" (2024)
Such a unique soundscape on this album; I've never heard anything quite like it. It's mostly clean tone guitar and bass guitar with some percussion and ambience, along with some soft singing. I really connected with the lyrics too. If I were doing my 2024 Year End list right now, this would've been #10.
DAY NINETEEN: Steely Dan “The Royal Scam” (1976)
This...happened. It's the most ho-hum, middle of the road Steely Dan album I've heard yet, which means it was pleasant but empty. It's not like I wouldn't recommend it, but don't get your hopes up.
DAY TWENTY: Lord Huron "Lonesome Dreams" (2012)
Immaculately produced. Real fitting they used this for the finale of Longmire, because this sounds like a giant wide open space. Definitely a vibes record rather than a riff or lyric record, but one could get lost in it just fine.
DAY TWENTY-ONE: Sunblind Lion "Observer" (1976)
Local Wisconsin band my mom was into as a teenager that does hard rock with a hint of prog. The keyboard sounds are distractingly 70s, but it's a pretty fun listen if you want something of this vintage.
DAY TWENTY-TWO: Level Nine "Lost Sector Battle Section (Goddess Of Victory: NIKKE Original Soundtrack)" (2025)
Some primo PS1 era techno right here. Normally this kind of music leaves me cold, but there's something about the melodies on here that has me playing video games to it at 3AM and nodding my head. Definitely takes me back.
DAY TWENTY-THREE: Joni Mitchell “The Hissing Of Summer Lawns” (1975)
Some real nasty early synthesizers on "The Jungle Line"; the type that would soundtrack 60s sci-fi. I wish this album kept up that kind of experimentality, because it get kinda samey until "Centerpiece", which flat-out sucks. The rest is a comfortable 3.78 out of 5. (Also in desperate need of a remaster; this felt like listening to the album through a blanket; muffled and nothing pops.)
DAY TWENTY-FOUR: Missy Elliot “Supa Dupa Fly” (1997)
I feel like if I'd picked this album up anytime in the last 20 years, I'd've been into it. It came out closer to 30 years ago, though, so it took me way too long to get back to it. But I'm here now, and this, for 1997, was some forward thinking Hip Hop & R&B. Establishes the platform from which her and Timbaland's sounds took off.
DAY TWENTY-FIVE: Willow "3" (2014)
Not bad for a 13 year old (who turned 14 on release day). A so-well-connected-I-can-get SZA-on-my-1st-EP-13-year-old (though to be fair, SZA was not as big back then). This was some decent neo-soul until the third song where she proclaims her brother Jaiden a "visionary" and somethingsomething chemtrails. Whatever, she was 13.
DAY TWENTY-SIX: Dream Theater "Parasomnia" (2025)
Easily their best album since Systematic Chaos (2007). Being that's a pretty low bar, that might seem I'm damning with faint praise, and well, a little. The atmosphere isn't quite up to their old snuff (and some of the songs need editing), but it's a much needed car ride on the highway of the right direction. If and when they drop the next one, we might dare hope they can recapture the magic. For now, this was what they needed.
[BLOGGER'S NOTE: I didn't display cover art for this one because the artist who made it used AI in its creation. You'd think Hugh Syme would know better, but this is also a band that's used literal clip art in their covers before, so make of this what you will. No idea if Dream Theater knew this was happening and no word (that I've heard) on what they think of it now that it's out, but I haven't exactly looked. It's a big internet and I'm tired.]
DAY TWENTY-SEVEN: Linkin Park “The Hunting Party” (2014)
Hey, finally another Linkin Park album I like! I've always had a love/hate relationship with LP: Hated at first, got some perspective from one of my friend's younger nieces on why they liked them, got into them through their remix album, loved them for like two years, then Minutes To Midnight was poopy, and by A Thousand Suns I was out completely. Then this dropped and I always had it in the back of my mind "Hey, you should check out The Hunting Party." Why that took a literal decade is...well, it's because we're all so fucking distracted now; humans were not meant to put up with this much input day-to-day; we're just not. (Look at the sentences I'm writing in this review; I'm fried.) But I always wondered: "Is this any good?"
The answer is yes! It's their most metal album by a mile, with very little rap or balladry on display, which I'm all for. Not that those elements are bad, but between A Thousand Suns and One More Light they were coated with so much gauze that it's nice to see them take the bandage off one more time.
DAY TWENTY-EIGHT: Queensryche "Operation: Mindcrime" (1988)
OH, so THIS is where prog metal comes from! Very ahead of it's time (there's even a tribal nu-metal beat on one of these songs from NINETEEN EIGHTY EIGHT). Anybody who's even kind of into prog metal needs to hear this if they haven't. It's the building blocks.
And that's #MWE 2025! If you want a year breakdown on what I covered, here ya go:
1974
1975 x2
1976 x3
1980
1988 x2
1997 x2
2004
2005
2007
2012
2013
2014 (x2)
2015
2021
2023
2024 (x5)
2025 (x2)
Definitely skewed newer than I ever have on these, but I was either covering another project from bands I've been methodically taking off the board, hitting the random button, going with whatever stood out to me, or trying to see if I really missed anything in 2024 (the answer: probably not). (For instance, I didn't deliberately cover an album from before The Beatles (which I think I've tried to for every one of these).)
So yeah, that's that. Next time is already time for Spring Hit Mix 2025! It's gonna be...well, long again, because a lot of good to great songs just keep coming out. Stay tuned! And no matter what...
Don't give up.
For those unfamiliar, #MWE is about listening to an album you've never heard before once a day for all of February and reviewing them all in one post. (It started out as "tweet", but this has been going so long the character limit jumped from 140 to whatever it is now, and I'm trying not to call them :"tweets" anymore because we moved out of the nuclear exclusion zone that was Twitter and there are plenty more games in town.)
So here are (unfettered by character limits, for better or worse) my listens for #MWE 2025:
DAY ONE: Janet Jackson "The Velvet Rope" (1997)
This album feels like it's dated and ahead of its time simultaneously. It really captures the retro sounds of the 2010s that pay homage to the styles on display, but it came out in 1997 (the sounds being those of the late 80s and early 90s, with a little late 90s neo soul thrown in). The Velvet Rope seems so out of place when you think about it in historical context. (So just don't do that if you want to get more out of it? Sounds reasonable.)
Side note: Was the soundtrack for Serial Experiments Lain inspired by "Interlude-Online" / "Empty"? Because this came out a year before and this feels like it'd fit right in to that series.
DAY TWO: Aurora Clara "IV" (2024)
2024 was a good year for albums that reminded me of 70s fusion (like two, maybe three?). This is pretty Mahavishnu-ey. They don't nail it, but hey, have to leave some room in there for your own personality. This is pretty good; I wonder what I, II and III sound like. (If I were doing the 2024 Year End list now, this would've been #15.)
DAY THREE: Kendrick Lamar “Y.H.N.I.C. (Hub City Threat: Minor Of The Year)” (2004)
He's trying real hard to be Jay-Z and Lil Wayne on this, but he's also only 17. And for a 17 year-old, K.Dot (which was his stage name at the time) is pretty sharp. For a mixtape from 2004, this is pretty decent.
DAY FOUR: Ahmad Jamal "Steppin' Out With A Dream" (1976)
A more laid back version of 70s fusion, more acoustic and less electric, but still dexterous and tuneful. It does get extremely bogged down in the middle, with "Prelude To A Kiss" being a seven-and-a-half minute loungy piano number and the next song "My One And Only Love" being nine more minutes of the same but with bass (it's fine if you drop "Prelude"; "My One" has better runs in it anyway). The second side picks it back up and makes this a solid jazz album. If you're listening to what Jamal is doing on the keys, you're appreciating some art. If that's enough to get you through 40 minutes of slightly-subdued jazz vibes, your mileage may vary.
DAY FIVE: Christopher Cross (1980)
Yeah, it's cheesy, but it's a class cheese, like a brie or something. You can't tell me "Ride Like The Wind" doesn't whip serious amounts of ass. Nor "Sailing"; that shit rules.
DAY SIX: Fabiana Palladino (2024)
Anglo-cized city pop for the roaring 20s. Music isn't as severe or noir as the cover, but it's in the ballpark.
DAY SEVEN: Propagandhi “Potemkin City Limits” (2005)
They do NOT pull any punches on this album. The production's great too; crisp and punchy without feeling too polished. I'm mad it took me 20 years to hear this, and double mad the shit they're singing about has only gotten worse.
DAY EIGHT: Simple Minds "Life In A Day" (1979)
Starts a serviceable new wave album, (the rockier, early variant of New Wave too) but quickly gets repetitive, and the whine of the vocals gets worse with each passing song. Even side one closer "Pleasantly Disturbed", which has some nice strings, drags on way too long.
DAY NINE: Stevie Wonder "Fulfillingness' First Finale" (1974)
Much more laid back than the surrounding albums in his "run"; probably my least favorite of his untouchable period. Wasn't vibing with the first three tracks (though their optimism was helpful; been having a rough time lately), but once it gets going, it's still good. (Also super depressing to hear "You Ain't Done Nothin'" and realize the Democrats have been fucking useless for more than half a century. Make that shit go viral again, because the entire DNC leadership needs to be HOUNDED by these lyrics.)
DAY TEN: Gwen Stefani "Bouquet" (2024)
"Someone Else's" is the most interesting (and probably best) song Gwen's done since No Doubt broke up. (Low bar, but we'll take what W's we can find.) Rest of the album is not country enough to be pop country, but too twangy to be rock. It doesn't commit enough to either lane. Also, songs 2 through 6 are about the exact same thing. I'm happy her and Blake are happy, but you barely changed the lyrics or the tune from song to song. Each track is passable in a vacuum (except the limp duet "Purple Irises"), but overall, just stick to the two singles and "Reminders". You'll get the idea.
DAY ELEVEN: King Gizzard and the Lizard Wizard "Float Along - Fill Your Lungs" (2013)
Aside from the opening 16-min jam "Head On/Pill", this album's kinda trash. And even "Head On/Pill" is a prototype of songs like "The Dripping Tap" that do it better. Only 4 more Giz albums 'til I'm finally caught up.
DAY TWELVE: Vylet Pony "Cutiemarks (And The Things That Bind Us)" (2021)
Beats the shit out of Brat! At times Cutiemarks feels disjointed, but once it gets going this is hyper...music. It's not just pop. It's trying everything and doing a pretty damn good job at it all. Don't know if I like this or Carousel (2023) more, but fuck competition. This shit fucks.
DAY THIRTEEN: The World We Live In "Star - Broken Soul" (2023)
So I guess there's a thing called Barber Beats, eh? This is some random shit that got recommended to me last year, and yeah, it's a vibe. No idea who actually came up with the O.G. songs, since the description says "These tracks are not original. I slightly edit them and give them a new context", but whatever they did sounds good.
DAY FOURTEEN: The Haas Company & Jerry Goodman "Thirteen" (2024)
You might recognize Jerry Goodman as the violin player for both Mahavishnu Orchestra and Dixie Dregs. This is on more of a melodic prog tip, but still that instrumental good good. There's plenty of fire, but in a way old prog nerds can get down to; there's not like djent breakdowns or anything. Really like the keys they use.
Then of course, track three slams into autopilot and track 4 is nine minutes of flaccid wank. (Also never thought I'd ever see the sequence of words "This Thing Ain't Gonna Suck Itself (feat. Jerry Goodman)", but now I have. 2000's me would've died laughing.) Really just the first two songs and the guitar solos in "Sleepwalker" are all that's worth hearing.
DAY FIFTEEN: Van Halen "OU812" (1988)
After the first three songs, I was like "This is better than 5150. What's everybody on?" Then the rest of the album happened. It's the most lifeless this lightning rod of a band ever sounded, and it's not just the production (which even the band admits sucked). With only a handful of exceptions, they're all limp heaps of nothing.
DAY SIXTEEN: Death Grips "Fashion Week" (2015)
After breaking up, Death Grips surprise released this instrumental album. They had promised a different one called Jenny Death before disbanding, and the song titles on Fashion Week lampshade this, all named "Runway _" with a letter in the blank. The letters all spell out "JENNY DEATH WHEN".
The music? It's fine. Most of it belongs in the leftover beats folder, but the first "Runway N" was hitting.
DAY SEVENTEEN: Ted Leo and the Pharmacists "Living With The Living" (2007)
I really liked this album for the first half; punchy, clever indie rock with as good of production as you can expect from 2007. But the back half tried my patience in ways I wasn't prepared for. Every song should stop at the three minute mark, but has three to four more minutes tacked on of repetitious garbage to the point where I'm frustrated and annoyed. Straight ruined like five songs doing this. What happened?
DAY EIGHTEEN: Jon McKiel "Hex" (2024)
Such a unique soundscape on this album; I've never heard anything quite like it. It's mostly clean tone guitar and bass guitar with some percussion and ambience, along with some soft singing. I really connected with the lyrics too. If I were doing my 2024 Year End list right now, this would've been #10.
DAY NINETEEN: Steely Dan “The Royal Scam” (1976)
This...happened. It's the most ho-hum, middle of the road Steely Dan album I've heard yet, which means it was pleasant but empty. It's not like I wouldn't recommend it, but don't get your hopes up.
DAY TWENTY: Lord Huron "Lonesome Dreams" (2012)
Immaculately produced. Real fitting they used this for the finale of Longmire, because this sounds like a giant wide open space. Definitely a vibes record rather than a riff or lyric record, but one could get lost in it just fine.
DAY TWENTY-ONE: Sunblind Lion "Observer" (1976)
Local Wisconsin band my mom was into as a teenager that does hard rock with a hint of prog. The keyboard sounds are distractingly 70s, but it's a pretty fun listen if you want something of this vintage.
DAY TWENTY-TWO: Level Nine "Lost Sector Battle Section (Goddess Of Victory: NIKKE Original Soundtrack)" (2025)
Some primo PS1 era techno right here. Normally this kind of music leaves me cold, but there's something about the melodies on here that has me playing video games to it at 3AM and nodding my head. Definitely takes me back.
DAY TWENTY-THREE: Joni Mitchell “The Hissing Of Summer Lawns” (1975)
Some real nasty early synthesizers on "The Jungle Line"; the type that would soundtrack 60s sci-fi. I wish this album kept up that kind of experimentality, because it get kinda samey until "Centerpiece", which flat-out sucks. The rest is a comfortable 3.78 out of 5. (Also in desperate need of a remaster; this felt like listening to the album through a blanket; muffled and nothing pops.)
DAY TWENTY-FOUR: Missy Elliot “Supa Dupa Fly” (1997)
I feel like if I'd picked this album up anytime in the last 20 years, I'd've been into it. It came out closer to 30 years ago, though, so it took me way too long to get back to it. But I'm here now, and this, for 1997, was some forward thinking Hip Hop & R&B. Establishes the platform from which her and Timbaland's sounds took off.
DAY TWENTY-FIVE: Willow "3" (2014)
Not bad for a 13 year old (who turned 14 on release day). A so-well-connected-I-can-get SZA-on-my-1st-EP-13-year-old (though to be fair, SZA was not as big back then). This was some decent neo-soul until the third song where she proclaims her brother Jaiden a "visionary" and somethingsomething chemtrails. Whatever, she was 13.
DAY TWENTY-SIX: Dream Theater "Parasomnia" (2025)
Easily their best album since Systematic Chaos (2007). Being that's a pretty low bar, that might seem I'm damning with faint praise, and well, a little. The atmosphere isn't quite up to their old snuff (and some of the songs need editing), but it's a much needed car ride on the highway of the right direction. If and when they drop the next one, we might dare hope they can recapture the magic. For now, this was what they needed.
[BLOGGER'S NOTE: I didn't display cover art for this one because the artist who made it used AI in its creation. You'd think Hugh Syme would know better, but this is also a band that's used literal clip art in their covers before, so make of this what you will. No idea if Dream Theater knew this was happening and no word (that I've heard) on what they think of it now that it's out, but I haven't exactly looked. It's a big internet and I'm tired.]
DAY TWENTY-SEVEN: Linkin Park “The Hunting Party” (2014)
Hey, finally another Linkin Park album I like! I've always had a love/hate relationship with LP: Hated at first, got some perspective from one of my friend's younger nieces on why they liked them, got into them through their remix album, loved them for like two years, then Minutes To Midnight was poopy, and by A Thousand Suns I was out completely. Then this dropped and I always had it in the back of my mind "Hey, you should check out The Hunting Party." Why that took a literal decade is...well, it's because we're all so fucking distracted now; humans were not meant to put up with this much input day-to-day; we're just not. (Look at the sentences I'm writing in this review; I'm fried.) But I always wondered: "Is this any good?"
The answer is yes! It's their most metal album by a mile, with very little rap or balladry on display, which I'm all for. Not that those elements are bad, but between A Thousand Suns and One More Light they were coated with so much gauze that it's nice to see them take the bandage off one more time.
DAY TWENTY-EIGHT: Queensryche "Operation: Mindcrime" (1988)
OH, so THIS is where prog metal comes from! Very ahead of it's time (there's even a tribal nu-metal beat on one of these songs from NINETEEN EIGHTY EIGHT). Anybody who's even kind of into prog metal needs to hear this if they haven't. It's the building blocks.
And that's #MWE 2025! If you want a year breakdown on what I covered, here ya go:
1974
1975 x2
1976 x3
1980
1988 x2
1997 x2
2004
2005
2007
2012
2013
2014 (x2)
2015
2021
2023
2024 (x5)
2025 (x2)
Definitely skewed newer than I ever have on these, but I was either covering another project from bands I've been methodically taking off the board, hitting the random button, going with whatever stood out to me, or trying to see if I really missed anything in 2024 (the answer: probably not). (For instance, I didn't deliberately cover an album from before The Beatles (which I think I've tried to for every one of these).)
So yeah, that's that. Next time is already time for Spring Hit Mix 2025! It's gonna be...well, long again, because a lot of good to great songs just keep coming out. Stay tuned! And no matter what...
Don't give up.
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