Every song basically really good. Will listen to it more.
Sad boy album. Listened to it in highschool and thought it was cool. Good sound still, but not too hot about it. Title song is the "popy-est". That one kinda misses it after a while too though.
Eclectic and folky. Not really my style but it gives off a certain feeling. Maybe a relisten at some time. Not bad, just not my style. Some new wave in there too. It's like a salad with a dressing I'm not a fan of.
Some cool moments in there. Like the sounds of some of the songs. The pigs one is the best so far. Difficult to keep listening to though. Didn't finish lol
Greatest voice of all time? Almost every song is good, the great ones completely overshadow the not so great. The great ones really take advantage of her range and voice and passion. The hoarsness comes through and it feels so real.
Some songs reminded me of Dylan in that they start calm and collected and eventually end in a very different way. The passion is always there in the background and it's just waiting to come out (for Dylan it's the harmonica, for Joplin it's her voice).
Trust Me is probs my favorite, but the first two and last one are great as well.
In general, jazz is something I always wanted to get into , though I don't know that much about it. Like, wtf makes this one of the best albums ever made? Sounds like jazz to me. Good moments in there, and I bet that if I pay real good attention, I'd get even more out of it.
Who knows. It's a fun listen though. And the cool thing about jazz is all the dynamism. Goes all over the place. And hearing where the next place they'll take you musically is cool. It's like an excercise in presence. Most pop songs, it's all about expectation and payoff I think. The bass drops just when it needs to. But with jazz, it's a constant flow. THings come out of nowhere. And most likely when "jazz that's not jazz" is when it tries to prevent that unpredictability. Lol maybe I do like jazz!
Never listened to a full smiths albums, just random songs here and there.
In general, I get why. I feel like the Smiths are a band made for the compilation. Good songs, album is ok? IDK.
Heard many of these songs before. Great energy in them.
What's interesting is that they're also quite complicated in their instrumentation too. It's not "normal" payoff rock. It tells you it's going one way and then goes another. Pretty rad. Every song is good. Great background music too.
Very funky, lets go dancing
Never listened to Black Sabbath. Some good tracks. Quite different than I thought it would sound--not that cheesy hard rock proto-metal at all.
1st one has a bunch of time sig changes.
3. "Changes" chill and somber--I like the reverb
I am sort of reminded of Yes, though Yes' bass and drums, i think, ties it all together. With some of these tracks, the guitars' slimy and drifty quality makes everything less solid and impactful.
So you got some great tracks, though sometimes the incompleteness takes over. The ideas are there, I just need it to be taken home. Sometimes the singer's voice succeeds in this though, I can't lie.
7. "Cornucopia" hits it pretty good
8. "Laguna Sunrise" another chill song. Great guitar playing, and what seems like violins and strings in the background. Not what you'd expect from a band called "Black Sabbath".
2 songs in. It's ok. She's got a fine voice but not blowing my mind.
4 songs in. Ah ok I get it. I typically don't listen to country because, unfortunately (?), i am in the section of the USA that is prejudiced against it and calls it cringe. As such, listening to it is challenging. But what's life without challenge!?
5 songs in. There's a bit of depth here. Some solemn moments. Her voice carries most of it--the instrumentation is ok but it does what it needs to. If I was invited to a stereotypical saloon in the south where this is played, I could have a good time probably
8 songs in. What is interesting is how....light? the music is, without being weightless. It's a very interesting middle ground. It's not Joan Baez where it's *just* her voice, nor is it something like Laura Nyro where everything blasts, voice and instruments together. It's almost chill.
9 songs in. Ok ok ok you got me. I'm into it. The verse titillates you and then the chorus comes in. Ugh, you guys are right, this is good and I hate this fact...You win.
I had a Bowie phase pretty hardcore in college, though, and don't hate me for this, it was largely comprised of Ziggy Stardust, Hunky Dory (Later Low, and then Scary Monsters). Unfortunately, I often had the habit of sticking to one or two albums (sometimes two or three songs) and called my self a fan of such and such artist. Sorry! (am I?)
But now I am listening to "Heroes". The title track is amazing--of course I already loved it. Bowie impresses you first with sonic flourishes--and then he punches you in the face with emotion--often paired with his voice going as high as it can. His result is incredible, and my result is crying.
First two songs: In listening to the whole album, the energy is clear, though what is also apparent is the chaos underlying.
Heroes: What more can be said? It's the sound of the future that's never been reached, while talking about the past we've never had--these two meet themselves in the present--an almost violent union. SOLID WALL OF SOUND!
Sons of the Silent Age: Exhausted from the previous blossoming--both Bowie and his band hit an almost tired vulnerability. Perhaps a tinge of anger--yet, again, exhausted.
Blackout: Starting with dramatic pulses. Bowie is your friend, back on your side, ready to help you go the distance. Anything is possible.
V-2 Schneider, Sense of Doubt, Mass Garden, Neukoln, Secret Life: and this is why Bowie was a master. He can do anything.
The great thing with the Beatles is that you can put any album and have a good time. From moment one, you just want to party with them, and make no mistake, you are invited. Paul and John's voice comes through powerfully--is it a wonder that the entire western world was seduced by these guys?
This being said, the music does feel dated--it doesn't have the timeless quality of the later Beatles. We clearly hear that this was made in the 60s, especially with songs like Little Child. Later, you have a couple of covers of popular songs that get Beatle-ized. They're pleasant, but nothing spectacular (Mister Postman is great though).
And then, out of nowhere, you get tracks like Till There Was You whose instrumentation sounds almost like a classical Spanish love song. So in this album, the depth comes and goes, but the potential is always there and when it's fulfilled, it hits you like nothing else.
Unfortunately, the album seems front loaded, with the back half being much less impressive--you'll only like it as far as you already appreciate 60s rock.
