1001 Albums Summary

Very different. Kinda trippy. This is apparently what everyone on r/guitarpedals wants to play haha The title means "a good start." The art on the cover was drawn by someone with a bic blue pen. This is the groups breakthrough album. I think their third. The group is Icelandic. Makes sense. This sounds like I would expect Icelandic music to sound. Like they wrote it while out on a boat surrounded by glaciers.

This is one of Davis' later albums, in what became known as his "electric era" where he started using a lot more electric pianos, etc. I didn't really care for it, I haven't spent the time to "get" Jazz. His earlier work is apparently better, I should listen to his best album, "Kind of Blue" at some point, but I can't get myself to listen today after listening to this one. Davis was sort of controversial, he was seen as a huge sellout later in his career and isn't the best instrumentalist, supposedly. He also beat his wives, so there's that.

Favorite is "Wanna be startin something." which is apparently about gossip magazines. This was his global breakout, and went 33x Platinum. Its the highest selling record of all time with 66 million copies. Crazy how many hits are on this one. Same with "Bad." I guess critics say this is the first time he uses a full adult voice.

Acoustic, easy listening, soft rock type stuff. Some of it is really enjoyable, other stuff is weird and kinda cool. Not sure I’ll listen to it again but it’s a solid album.

"The record was conceived as an album that focused on the pressures faced by the band during their arduous lifestyle, and dealing with the apparent mental health problems suffered by former band member Syd Barrett, who departed the group in 1968." "Breathe" is a really great song. "On the run" is freaking weird. I would be so scared if I listened to this song high. "Time" is also strange for the first 2:30, but in the best way. Then it turns into a mostly normal Pink Floyd song. Really cool. "Money" is great. "The Great Gig in the Sky" is very cool, I like the vocals throughout. Brain Damage and Eclipse are a great finish. Very little I didn't like in this album. Crazy, spacy production.

"Following intermittent recording sessions between gigs for earlier albums, Deep Purple wanted a dedicated amount of time to record an album away from the typical studio environment that sounded closer to their live shows. They hired the Rolling Stones Mobile Studio for recording, and block booked the Montreux Casino as a venue, but during a Frank Zappa concert immediately before the sessions, it burned to the ground. The band managed to book the Grand Hotel, closed for the winter, and converted the hotel into a live room suitable for recording. These events, particularly the casino fire, became the inspiration for the song "Smoke on the Water". Machine Head is cited as a major influence in the early development of heavy metal music. It is Deep Purple's most commercially successful album, topping the charts in several countries." "Highway Star" was written by Deep Purple while they were on a coach travelling to their opening UK tour date. The band's management had arranged for them to travel to the gig with a group of music journalists, who could interview the band at their leisure. One of the journalists asked Blackmore how he wrote songs, upon which he said, "like this", picked up the guitar and played the song's opening riff. Gillan improvised a set of lyrics around: "We're on the road, we're a rock'n'roll band".

Early electronic music. Its not really my thing, but the first song is pretty good. Some of the songs are real weird. En-Tact is an album by The Shamen, released in 1990. It was the first Shamen album to feature Mr C, and the last to feature Will Sinnott (who died on 23 May 1991). It fused the band's past psychedelic rock sounds with the rave act it became, developing a style that represented multicultural dance music.

I already knew this album. Its great. Cherub rock, Today are classics. Some new ones I never listened to: Rocket, Disarm, Soma, Geek U.S.A.

Honestly really liked this album. I'll definitely listen to "Down to Zero" and "Love and Affection" again. Joan has the vocal range contraito, which is the lowest female register I guess. This is probably her best known album, but she has a 50-year career with 19 studio albums! She's never been super well known, but has played alongside some big acts like Bob Dylan.

Immigrés is an album by Senegalese singer and percussionist Youssou N'Dour. AllMusic remarks that the album is "a good part of what put [N'Dour] on the international map"

This is their third album. Apparently their second, "Doolittle," is the one everyone loves... so why am i listening to this one? The album is fine. I like "Allison." LOL at bass players: Two weeks later, Francis placed an advertisement seeking a bass player who liked both the folk act Peter, Paul and Mary and the alternative rock band Hüsker Dü.[6] Kim Deal was the only respondent, and arrived at the audition without a bass, as she had never played one before.[7][8] She was invited to join as she liked the songs Francis showed her. She obtained a bass, and the trio started rehearsing in Deal's apartment.[9]

The hits are: - "He's the greatest dancer" - "Lost in music" - "Thinking of you" - "We are family" But there were some others later in the album that I enjoyed as well. It was a fun listen for sure. It's happy music.

Very cool album. Cohen has this deep, soft voice, that just pierces you. Most of the songs are very calm, which gives it a cool feel. Cohen is the one who first performed "Hallelujah" This is one of his later albums. He began 1967, this album is from 1988.

Honestly this album is amazing. It was received indifferently when it was released, but has since become a cult favorite. I feel like there isn't a bad song on the album... its really, really good.

meh, not really my thing

The album is really good, I like it a lot. "Music is Love" is great. "Cowboy Movie" sounds like a dead song (and is over 8 minutes long, lol). David Crosby was a member of the Byrds. In 68 he was asked to leave the band, and he formed a supergroup (Crosby, Stills, and Nash) with Stephen Stills and Graham Nash. Neil Young also joined them on and off. This is the debut album of Crosby as a solo act. He has a ton of guest appearances including Jerry Garcia, Nash, Young, Joni Mitchell, Jefferson Airplane, and Santana.

T. Rex, fronted by Marc Bolan, was one of the most popular bands in the UK in the 60s and early 70s. They are seen as one of the pioneers of the glam rock scene. This is a great record. Nothing really stuck out as incredible, but everything is pretty solid. Satellite Sam is pretty cool

Another "fine" album. the hit, "Alright" is good. Seems like the group was more or less a one hit wonder. On Spotify, "alright" has 170 million plays, the next highest is only 13 million.

Tonight, Tonight is great, the first song is really nice orchestral song.

"Not since Leon Payne has anyone gone from love that is so obsessive it cares not a whit for the most basic of life's needs…to a murderous jealousy…to homicide in the first five songs.[9] Side one begins with "I Got You," which was released in February 1989 as the album's third single, peaking at #5. With lines like, "I got a letter from the folks over at Bell, just to let me know for my next phone call I could walk outside and yell," the song is practically the album's only source for wry humor, detailing the troubles of a narrator trying to make ends meet while taking solace in the fact that he has the woman he loves "to ease my pains" and "keep me sane." This rosy outlook is shattered with the gentle waltz "One More Name’ as the narrator hears the woman uttering names in her sleep – presumably the names of her lovers. Now paranoia carries over into the drum-heavy "What I Don’t Know," which contains the near psychotic warning "What I don’t know might not hurt me, but what I don’t know might get you killed." A cover of Johnny Cash’s "Home of the Blues" comes next and finds the narrator alone in a house "filled with the sweetest memories, memories so sweet that I cry." The story culminates with "She Wore Red Dresses," a murder ballad that finds the narrator "like a madman" praying for vengeance before tracking down the woman and her lover and shooting her in the head.

This is his first album. It went platinum in like three days in the UK. Reminds me a lot of Michael Jackson. Really good album!

old school New York singer. She influenced Elton John. This album was in Rolling Stone's top 500 albums of all time (somewhere in mid-400s).

While hard rock influences were still present, such as on "Immigrant Song", acoustic-based songs such as "Gallows Pole" and "That's the Way" showed Led Zeppelin were capable of playing different styles successfully.

"Tarkus" is a suite in seven parts—one of the earliest multipart progressive-rock suites. The recorded version lasts nearly 21 minutes and takes up a full side of the album. The odd-numbered sections are instrumentals, and the even-numbered ones vocal tracks. It is a concept piece the idea for which is gleaned not from the music and lyrics alone, but also from the album artwork and the section titles; nevertheless the concept and narrative remain ambiguous and open to interpretation. The second side of the album is made up of short songs unrelated to "Tarkus" or to each other. The name "Tarkus" refers to the armadillo-tank from the William Neal paintings on the album cover. The artist has explained that the name is an amalgamation between 'Tartarus' and 'carcass' (hence the name being written in bones on the album cover). Consequently, the name refers to the "futility of war, a man made mess with symbols of mutated destruction."[2] The song "Tarkus" itself supposedly follows the adventures of Tarkus from his birth, through a fight with a manticore, which he loses and concludes with an aquatic version of Tarkus named "Aquatarkus". The parts supposedly follow Tarkus' birth in a volcanic eruption centuries before known history. The exact nature of Tarkus' origin and actions are unknown, and left ambiguous by its creator, Keith Emerson. "Eruption" itself presents a musical impression of cascading eruption on the keyboards in a 10 8 time signature, backed by Carl Palmer on drums. This segues into the "Stones of Years", the first of three vocal sections. The second, third, fourth and fifth are supposedly the movements that represent the enemies he meets: The interlude of the aforementioned "Stones of Years", the second movement, represents the travel of Tarkus and the enemy he meets first. The "Stones of Years" are thought to resemble a mixture of a "stone" version of a cybernetic spider-like creature with spikes like a stegosaurus; a shield embedded in its side; two antennae, each with its own set of eyes; and what looks like a set of two poison gas tanks on the back, sort of resembling a futuristic station. As the interlude is reaching its end, the enemy is overpowered and then finished off by Tarkus' turrets before the song returns to vocal. "Iconoclast" is the third movement and the movement which represents the enemy Tarkus meets second. The "Iconoclast", according to the inner gatefold, is a mixture of a pterodactyl and a war airplane, and is rapidly overpowered by guitar for "Mass". "Mass" is the name of Tarkus' third enemy and the fourth movement, which is filled with numerous religious references; it often had its lyrics dropped in tours by the Keith Emerson Band, as does Stones of Years. The "Mass" is often thought to be a mixture of a lizard, grasshopper and a rocket launcher. This is followed by "Manticore" in which the final enemy of Tarkus appears and a battle ensues between variations on the "Tarkus" theme and the Manticore's. Ultimately, Tarkus is defeated and "Battlefield" follows. The movement "Battlefield" is the only part written entirely by Greg Lake. "Aquatarkus" closes the track, centering mostly on a march based on the "Battlefield" theme and then returning to the original "Eruption" theme as a farewell to Tarkus and a greeting to the aquatic Aquatarkus.

reminds me of my dad. Very 80s, similar to Depeche Mode.

a really nice, melancholy album. Three hours is one of my favorite tracks. The popular tracks were River Man, Saturday Sun, and Cello Song.

Described as a rock opera and a loose concept album, Ziggy Stardust concerns Bowie's titular alter ego Ziggy Stardust, a fictional androgynous, bisexual rock star who is sent to Earth as a savior before an impending apocalyptic disaster. Influences for the character were English singer Vince Taylor, the Legendary Stardust Cowboy and Japanese fashion designer Kansai Yamamoto. Most of the album's concept was developed after the songs were recorded. The character was retained for the subsequent Ziggy Stardust Tour. A concert film of the same name, directed by D. A. Pennebaker, was filmed in July 1973 and released in 1979, and a live album from the same show followed in 1983. The music on Ziggy Stardust has been characterised as glam rock and proto-punk. Unlike its predecessor Hunky Dory, which was generally piano-led, the songs on Ziggy Stardust are primarily guitar-based, mostly due to the departure of keyboardist Rick Wakeman. The songs were influenced by Iggy Pop of the Stooges, Lou Reed of the Velvet Underground, and Marc Bolan of T. Rex. The album's lyrics discuss the artificiality of rock music, political issues, drug use, sexual orientation and stardom. Bowie also uses American slang and pronunciations throughout. The album cover, photographed by Brian Ward in monochrome and recoloured by Terry Pastor, was taken at 23 Heddon Street in London, outside the home of furriers "K. West". The Rise and Fall of Ziggy Stardust and The Spiders from Mars is about a bisexual alien rock superstar named Ziggy Stardust.[38][39] Ziggy Stardust was not conceived as a concept album and much of the story was written after the album was recorded.[40][41] The characters were androgynous. Mick Woodmansey, said the clothes they had worn had "femininity and sheer outrageousness", and that the characters' looks "definitely appealed to our rebellious artistic instincts".[42] Nenad Georgievski of All About Jazz said the record was presented with "high-heeled boots, multicolored dresses, extravagant makeup and outrageous sexuality".[43] Bowie had already developed an androgynous appearance, which was approved by critics, but received mixed reactions from audiences.[44] His love of acting led his total immersion in the characters he created for his music. After acting the same role over an extended period, it became impossible for him to separate Ziggy Stardust from his own offstage character. Bowie said that Ziggy "wouldn't leave me alone for years. That was when it all started to go sour ... My whole personality was affected. It became very dangerous. I really did have doubts about my sanity."[45] Fearing that Ziggy would define his career, Bowie quickly developed the persona of Aladdin Sane in his subsequent album. Unlike Ziggy Stardust, Aladdin Sane was far less optimistic, instead engaging in aggressive sexual activities and heavy drugs.[46] In the album's story, the Earth is saved by the rock n' roll messiah, Ziggy Stardust, with only five years to survive. He wins the hearts of teens, scares parents, seduces everyone in his path, and eventually dies a victim of his own fame. According to Bowie, he "takes himself up to the incredible spiritual heights and is kept alive by his disciples". During the song "Rock 'n' Roll Suicide", the infinites (extraterrestrials) arrive, and tear Ziggy Stardust to pieces on stage.

This was actually surprisingly good. The first few songs especially I liked. Then there's an interesting monologue about George Wallace and the perception of southerners by the rest of the country. It was pretty thoughtful, but then there's another song that says stuff like, "the south will rise again" so I dont really know what to think about these guys haha.

This is Simon's second solo album after breaking up with Garfunkel. The first song is surprisingly good reggae???, and Duncan is a really nice chill song with some world music influences. Overall its a really good album. Probably 4 stars, but close to a 5.

A classic. Hells Bells, Shoot to Thrill, Back in Black, You Shook me all night long, lots of hits.

Supa Dupa Fly is the debut studio album by American rapper Missy "Misdemeanor" Elliott, released July 15, 1997 on The Goldmind and Elektra Records. The album was recorded and produced solely by Timbaland in October 1996, and features the singles, "The Rain (Supa Dupa Fly)", "Sock It 2 Me", "Hit Em wit da Hee" and "Beep Me 911". Guest appearances on the album include Busta Rhymes, Ginuwine, 702, Magoo, Da Brat, Lil' Kim, and Aaliyah. The album was recorded in just two weeks. Supa Dupa Fly brings together elements of hip hop, dance, R&B, electronic music, and soul.[10][11] Music critic Garry Mulholland described Timbaland's production as "eschewing samples for a bump 'n' grind electronica, strongly influenced by the digital rhythms of dancehall reggae, but rounder, fuller, fatter".[12] AllMusic described it as consisting of “lean, digital grooves [...] packed with unpredictable arrangements and stuttering rhythms that often resemble slowed-down drum'n'bass breakbeats."[10] Elliott's raps were described as “full of hilariously surreal free associations that fit the off-kilter sensibility of the music to a tee.”[10] According to author Mickey Hess, the album's lyrical content "reveals Elliott's complex, creative, and challenging discussion about womanhood; her demand for respect, respect for her personal voice and her desire for fulfilling intimacy with lovers and friends".[13] The album's opening track, "Busta's Intro", features rapper Busta Rhymes as a town crier warning of a "historical event about to unfold".[13] "The Rain (Supa Dupa Fly)" contains a sample of Ann Peebles' 1973 song "I Can't Stand the Rain".[14] "Pass da Blunt" is partly based on the song "Pass the Dutchie" by Musical Youth.

When you first see that painting it's very bucolic, but when you look closer there's all this really strange stuff going on, like dudes defecating coins into the river and people on fire, people carving a live sheep, this weird dude who looks like a tree root sitting around with a dog. There's all this really weird stuff going on. I liked that the first impression is that it's just pretty, but then you realize that the scene is this weird chaos. I like that you can't really take it for what it is, that your first impression of it is wrong.[7] Pecknold explained to Mojo how the painting ended up on the front cover: We were trying to figure out what we wanted to do, and my brother had been working out some stuff, when I saw that Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, like there's a story to each little scene. Which I just felt fitting for that record- dense but unified, not a collage or anything. And I liked its Where's Waldo? quality, that it was something you could look at for a long time on a vinyl sleeve and find new little things. It was very easy to get the museum in Berlin that has it to say yes. They were super excited a band wanted to use it and put it in their newsletter. When you open it up on the inside there's a paisley pattern traced from the back of a book that Skye (Skjelset, lead guitar)'s mum got me. We wanted two very different feelings.[8] The cover claimed the Best Art Vinyl Award 2008, an annual award, organized by Artvinyl.com, a company that manufactures display frames for record albums.[9]

These are the same guys that had that Tarkus album. Another sort of strange progrock concept album. This one is played live and is an arrangement of a classical piano suite or something. Very few lyrics, its a lot of weirdness and moog synthesizers and stuff. Kinda fun, seems like you have to listen to the album as a whole, it would be strange to just randomly listen to these songs on their own.

Genesis is Phil Collins' band. This is their fifth album. Its seen as a classic progrock album now, although it had mixed reviews when it was released. Several really long, but cool songs.

The album opens with "Subterranean Homesick Blues", a romp through the difficulties and absurdities of anti-establishment politics that was heavily inspired by Chuck Berry's "Too Much Monkey Business". Often cited as a precursor to rap and music videos (the cue-card scene in Dont Look Back), "Subterranean Homesick Blues" became a Top 40 hit for Dylan. "Snagged by a sour, pinched guitar riff, the song has an acerbic tinge … and Dylan sings the title rejoinders in mock self-pity," writes music critic Tim Riley. "It's less an indictment of the system than a coil of imagery that spells out how the system hangs itself with the rope it's so proud of." "Maggie's Farm" is Dylan's declaration of independence from the protest folk movement. Punning on Silas McGee's Farm, where he had performed "Only a Pawn in Their Game" at a civil rights protest in 1963 (featured in the film Dont Look Back), Maggie's Farm recasts Dylan as the pawn and the folk music scene as the oppressor. Rejecting the expectations of that scene as he turns towards loud rock'n'roll, self-exploration, and surrealism, Dylan sings: "They say sing while you slave / I just get bored."

German band. Apparently German rock is called "krautrock" lol. This album is really weird and experimental. It influenced a lot of people and has a super unique sound. It was recorded in a castle. In a couple trakcs you can hear things like children yelling or dogs barking. These were accidents during recording and they just kept them in

Nevermind is the second studio album by American rock band Nirvana, released on September 24, 1991 by DGC Records. Produced by Butch Vig, it was Nirvana's first release on the DGC label, as well as the first to feature drummer Dave Grohl. Nevermind features a more polished, radio-friendly sound than the band's prior work, and is therefore considered a significant departure from their debut album, Bleach. Nevermind is often credited with initiating a resurgence of punk culture among teenagers and young adults of Generation X.[3] In addition, it was responsible in part for bringing both grunge and alternative rock music to a mainstream audience and ending the dominance of hair metal.[4] The album has sold over 30 million copies worldwide, making it one of the best-selling albums of all time.

First Pink Floyd album, the only one recorded with Syd Barrett. After this album, Barrett sort of went off the rails and was ousted. He tried a couple solo projects and then became pretty reclusive. Pink Floyd went on to write quite a few songs inspired by him - The Wall, Wish You Were Here, Shine On You Crazy Diamond.

I have to agree with the initial reviews of the album. The lyrics are great, the music is mostly bad to terrible. I liked a few songs - don't interrupt the sorrow, the title track, and shadows and light. A few were literally unlistenable (the Jungle Line).

Closer is the second and final studio album by English rock band Joy Division, released on 18 July 1980 by Factory Records. It was released two months after the suicide of the band's lead singer and lyricist Ian Curtis. Closer was also named NME Album of the Year. It was remastered and re-released in 2007. Today, Closer is widely recognized as a seminal release of the post-punk era. Following the release of the non-album single "Love Will Tear Us Apart" in June 1980, the remaining members re-formed as New Order.

The Boatman's Call is the tenth studio album by Nick Cave and the Bad Seeds, released in 1997. The album is entirely piano-based, alternately somber and romantic in mood, making it a marked departure from the bulk of the band's post-punk catalogue. The Boatman's Call remains one of the most critically acclaimed releases of Nick Cave's career. Cave performed "Into My Arms" at the 1997 funeral of INXS vocalist Michael Hutchence, an old friend from Cave's youth, and requested that the TV cameras be shut off for his performance out of respect for Hutchence.

The Beach Boys Today! is the eighth studio album by the American rock band the Beach Boys, released March 8, 1965 on Capitol Records. It signaled a departure from their previous records with its orchestral sound, intimate subject matter, and abandonment of car or surf songs. Side one features an uptempo sound, while side two consists mostly of introspective ballads. Supported by this thematic approach, the record became an early example of a rock concept album and established the group as album artists rather than just a singles band. It has since become regarded as one of the greatest albums of all time.

Jason Birchmeier of AllMusic wrote, "the performance: in a word, it's breakneck. [...] Motorhead could do no wrong at this point in time, as they were laying the foundation for the coming thrash movement, in a way, and their winning streak continues here on No Sleep 'Til Hammersmith, one of the best live metal albums of all time." In the 2011 book Overkill: The Untold Story of Motörhead, biographer Joel McIver calls the album "the peak of the Lemmy/Clarke/Philthy line-up's career." Robert Christgau wrote, "Vic Maile's power-packed definition obliterates my bias against live recording. Remakes of white lies like 'No Class' and 'Stay Clean' and calling cards like 'Bomber' and 'Motorhead' save valuable shelf space. So what if it gives me a headache? Sometimes a headache comes as a relief." The Daily Telegraph rated it the best live album of all time. "So what if it gives me a headache? Sometimes a headache comes as a relief." Headache indeed

Here's Little Richard is the debut album by American musician Little Richard, In all, nine of the LP's 12 songs made the US Billboard Hot 100 charts between 1955 and 1958. Nicknamed "The Innovator, The Originator, and The Architect of Rock and Roll," Richard's most celebrated work dates from the mid-1950s, when his charismatic showmanship and dynamic music, characterized by frenetic piano playing, pounding back beat and raspy shouted vocals, laid the foundation for rock and roll. His performances during this period resulted in integration between White Americans and African Americans in his audience. During this time, the Beatles opened for Richard on some tour dates. Richard advised the Beatles on how to perform his songs and taught the band's member Paul McCartney his distinctive vocalizations. In the fall of 1963, Richard was called by a concert promoter to rescue a sagging tour featuring The Everly Brothers, Bo Diddley and the Rolling Stones. In November/December 1964, Jimi Hendrix joined Richard's Upsetters band as a full member.

Side three of the release is subtitled Concerto for a Rainy Day, a four-track musical suite based on the weather and how it affects mood change, ending with the eventual sunshine and happiness of "Mr. Blue Sky". This was inspired by Lynne's experience while trying to write songs for the album against a torrential downpour of rain outside his Swiss Chalet. "Standin' in the Rain" opens the suite with a haunting keyboard over a recording of real rain, recorded by Jeff Lynne just outside his rented studio. Also heard at the 0:33 mark of the song, which marks the beginning of The Concerto, is thunder crackling in an unusual manner voicing the words "Concerto for a Rainy Day" by the band's keyboardist, Richard Tandy. At around the 1:07 mark, the staccato strings play a morse code spelling out "ELO". The band used the song to open their 1978 World Tour Out of the Blue concerts. "Big Wheels" forms the second part of the suite and continues with the theme of the weather and reflection. Apart from its inclusion on the Out of the Blue album, the song has never appeared on any of the band's compilations or as a B-side until 2000, when Lynne included it on the group's retrospective Flashback album. "Summer and Lightning" is the third song in the suite. The raining weather theme is continued throughout the track though the mood and lyrics are more optimistic. "Mr. Blue Sky", an uplifting, lively song celebrating sunshine, is the finale of "Concerto for a Rainy Day" suite. Again, the Vocoder is used at the end of the track where, at the 4:54 mark, one can hear "Please turn me over" as it fades out. It is the only piece from the Concerto to be excerpted as a single.

weird, but i kinda liked it

well that was freakin weird. Couple decent songs though.

A really great album. Electronica with lots of different samples from hip hop, gospel, R&B. Really surprised me, and one of my favorites so far.

not really my thing, but cool to listen to something different

"4th Time Around" When the Beatles released their sixth studio album, Rubber Soul, in December 1965, John Lennon's song "Norwegian Wood" attracted attention for the way Lennon disguised his account of an illicit affair in cryptic, Dylanesque language.[88] Dylan sketched out a response to the song, also in 3/4 time, copying the tune and circular structure, but taking Lennon's tale in a darker direction.[88] Wilentz describes the result as sounding "like Bob Dylan impersonating John Lennon impersonating Bob Dylan".[27] Twelve years after its release, Dylan said: "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up."[133] For critics, the double album was seen as the last installment in Dylan's trilogy of mid-1960s rock albums. As Janet Maslin wrote, "The three albums of this period—Bringing It All Back Home and Highway 61 Revisited both released in 1965, and Blonde on Blonde from 1966—used their electric instrumentation and rock arrangements to achieve a crashing exuberance Dylan hadn't approached before."[134] Mike Marqusee has described Dylan's output between late 1964 and the summer of 1966, when he recorded these three albums, as "a body of work that remains unique in popular music."[135] For Patrick Humphries, "Dylan's body of work during the 14-months period ... stands unequalled in rock's 30-year history. In substance, style, ambition and achievement, no one has even come close to matching Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde."[136] Dylan scholar Michael Gray wrote: "To have followed up one masterpiece with another was Dylan's history making achievement here ... Where Highway 61 Revisited has Dylan exposing and confronting like a laser beam in surgery, descending from outside the sickness, Blonde on Blonde offers a persona awash inside the chaos ... We're tossed from song to song ... The feel and the music are on a grand scale, and the language and delivery are a unique mixture of the visionary and the colloquial.

disco/funk type stuff. Made my foot tap, but I probably wouldn't listen again.

classic soul album. Used as the sountrack for the blaxploitation film of the same name. Freddie's dead, and the title track are nice.

The Score is the second and final studio album by the hip hop trio Fugees. Upon its release, The Score was a commercial success, peaking at the number one spot on both the Billboard 200, and the Top R&B/Hip-hop Albums chart (it was a number one album on the latter in 1996 on the year-end chart), becoming the third best selling album of 1996. With an estimated 22 million copies sold worldwide,[3] the album has become one of the best-selling albums of all time, at the time of its release it became the best selling hip hop album of all time,[4] while it remains the best selling album by a hip hop group.[5] The Score was nominated for the Grammy Award for Album of the Year, becoming the second rap album to receive a nomination and the first for a hip hop group

This one came out of nowhere and surprised me. It's a british indie rock band. The two founding members are brothers, and are indian. Their music fuses rock, electronica, and indian music to make a sort of amazing blend. I really liked this one

I had to remind myself whether I actually listened to this yesterday, so i guess that says it all. Its not bad, just sort of forgettable.

Maxwell's Urban Hang Suite is the debut album by American R&B singer-songwriter Maxwell. A concept album, Maxwell's Urban Hang Suite was composed as a song cycle that focuses on an adult romance, based in part on Maxwell's personal experiences.

Lots of funny lines here, and some nice beats. I'm not a huge fan of horror movies, and listening to this was sort of like watching one. I see why it is well-regarded, but I probably won't be listening again. Featuring West Coast hip hop, G-funk and horrorcore musical styles, the majority of The Slim Shady LP's lyrical content is written from the perspective of Eminem's alter ego Slim Shady, whom he created on the Slim Shady EP (1997). The Slim Shady LP contains cartoonish depictions of violence and heavy use of profanity, which Eminem referred to as "made-up tales of trailer-park stuff," describing it as horror film-esque, in that it is solely for entertainment value. Although many of the lyrics on the album are considered to be satirical, Eminem also depicts his frustrations of living in poverty.

debut album of RATM. They were sort of the first to successfully merge heavy metal and hip hop. The cover photo is of a real monk who self-immolated as a protest.

Electric Ladyland is the third and final studio album by the Jimi Hendrix Experience and the final studio album released in Hendrix's lifetime before his death in 1970. Although the album confounded critics in 1968, it has since been viewed as Hendrix's best work and one of the greatest rock records of all time.

Let England Shake is the eighth studio album by English singer-songwriter and musician PJ Harvey, released on 14 February 2011 Upon release, the album received numerous accolades. It was placed 2011 "Album of the Year" by 16 publications[3] and in September 2011 won the coveted Mercury Prize. Mike Williams of NME wrote: "Francis Ford Coppola can lay claim to the war movie. Ernest Hemingway the war novel. Polly Jean Harvey, a 41-year-old from Dorset, has claimed the war album."

It's hard to overestimate the significance of Leftism, roundly acknowledged upon its release in 1995 as the first truly complete album experience to be created by house musicians and the first quintessentially British one.

Dig Me Out is the follow-up to Sleater-Kinney's highly acclaimed second album Call the Doctor, released in 1996 by the queercore independent record label Chainsaw Records. Call the Doctor confirmed the band's reputation as one of the major musical acts from the Pacific Northwest, rebelling against gender roles, consumerism, and indie rock's male-dominated hierarchy The song "One More Hour" is about the breakup of Tucker and Brownstein's romantic relationship Like its predecessor, Dig Me Out also features songs that show frustration with sexism and gender stereotypes.[12] "Little Babies" is a protest against the traditional maternity role, while the title song "Dig Me Out" exposes a woman in a dominant role.

fun listen

Straightforward acoustic arrangements.

Mr. Tambourine Man is the debut studio album by the American rock band the Byrds and was released on June 21, 1965 by Columbia Records.[1] The album, which is characterized by the Byrds' signature sound of Jim McGuinn's[nb 2] 12-string Rickenbacker guitar and their complex harmony singing, consists mostly of covers of folk songs, mainly composed by Bob Dylan, and originals written or co-written by singer Gene Clark.[2][3] Along with the Dylan-penned single of the same name, Mr. Tambourine Man established the band as an internationally successful act[4] and is widely regarded by critics as representing the first effective American challenge to the chart dominance of the Beatles and other British Invasion bands during the mid-1960s two most distinctive features of the Byrds' rendition of "Mr. Tambourine Man" are the vocal harmonies of Clark, McGuinn, and Crosby, and McGuinn's jangling twelve-string Rickenbacker guitar playing (which complemented the phrase "jingle jangle morning" found in the song's lyric).[4] This combination of 12-string guitar work and complex harmony singing became the band's signature sound during their early period

Gene Clark was a member of the Byrds. This is his second solo album. It did really badly in the US, but was voted album of the year (!) in the Netherlands.

Low is the 11th studio album by English musician David Bowie, released on 14 January 1977 by RCA Records. After years of drug addiction and personal instability living in Los Angeles, Bowie escaped to France in 1976 with his friend and singer Iggy Pop to become sober. After meeting musician Brian Eno the same year, Bowie began recording the first of three collaborations with Eno and producer Tony Visconti later named the "Berlin Trilogy". The music on Low is grounded in art rock and experimental rock, and features Bowie's first explorations in electronic and ambient styles. It is influenced by the German music scene, particularly bands such as Tangerine Dream, Neu!, Harmonia and Kraftwerk. Side one consists primarily of short, direct avant-pop song-fragments while side two consists of longer, mostly instrumental tracks. Retrospectively, Low has received critical acclaim and is regarded as one of Bowie's best works. Stephen Thomas Erlewine of AllMusic writes that with the album, Bowie "confirmed his place at rock's cutting edge". Considering it "dense [and] challenging", Erlewine concludes "the record is defiantly experimental and dense with detail, providing a new direction for the avant-garde in rock & roll."

Wonder's most successful album, and widely considered one of the greatest albums of all time (Rolling Stone has it in top 10).

"Fairytale of New York" remains The Pogues' best known and best-selling single. It was named after J.P. Donleavy's 1973 novel A Fairy Tale of New York which Finer had been reading in the studio when the song was first written.[8] The song dated back to 1985 when Finer had written the original melody and lyrics, about a sailor looking out over the ocean, but he admitted that his lyrics had been terrible and MacGowan had come up with a better storyline of a couple arguing in New York City at Christmas time.[6] MacGowan had always intended the song to be sung as a duet, originally with O'Riordan providing the female vocal part, but despite attempts to record "Fairytale of New York" in January 1986 during the sessions for Poguetry in Motion, the band were unhappy with the results and abandoned the song.[9] During the sessions for the third album at RAK in May 1987, MacGowan recorded new guide vocals for the song but with O'Riordan's departure it now had no female vocalist. Lillywhite took the tapes home and recorded his singer-songwriter wife Kirsty MacColl singing the female lines: when he brought them back to the studio The Pogues were so impressed that the song was re-recorded with MacColl as the replacement singing partner for MacGowan.[8] "Fairytale of New York" was released as the album's lead single in November 1987 in the run-up to Christmas and reached number one in Ireland and number two in the UK. Its enduring popularity has seen it re-enter the charts several times since 1987, eventually going on to sell over a million copies in the UK[10] and being voted the most popular Christmas-themed song of all time.

The definitive Soul album. About half the album is covers (Satisfaction is the standout IMO). Aretha Franklin covered Respect from this album.

Moss Side Story is the debut album of British musician Barry Adamson released in 1989. The album is a concept album, a soundtrack album to a non-existent crime film. The music is almost completely instrumental except for occasional screams, vocal samples and a choir. To achieve the soundtrack effect, the song titles are descriptive of a film noir plot outline. The inner sleeve came with a short story written by Dave Graney which added to the concept. This complemented outer sleeve which displays the tag line: "In a black and white world, murder brings a touch of colour...". In a 2017 interview, Adamson reported that he recorded Moss Side Story due to his fascination with film music and as "a calling card [to] send it around to people" in hopes of being hired to write music for actual films.[2] The NME review of the albums describes it as a "Grand filmic suite intended as the soundtrack to a "provocative film thriller set in Manchester's Moss Side" and that Moss Side Story is "one of the best soundtracks ever, the fact that it has no accompanying movie is a trifling irrelevance."[4]

Great album, lots of nice bar songs. I think i like this one better than the other Pogues album.

Billy Bragg is folk-punk. He sings a lot about left-wing politics. This is one of his less well-known albums. Apparently he played with Wilco for a while?

Here Come the Warm Jets is the debut solo album by British musician Brian Eno, released on Island Records in January 1974. It was recorded and produced by Eno following his departure from the band Roxy Music, and blends glam and pop stylings with avant-garde approaches. Eno enlisted sixteen guest musicians to play on the album, who were invited on the basis that Eno thought they were musically incompatible with each other.

Déjà Vu is the second studio album by Crosby, Stills & Nash, and their first as a quartet with Neil Young. Fun album!

After Presley's 1960 return from military service, his manager, Colonel Tom Parker, shifted the focus of the singer's career from live music and albums to films and soundtracks.[2] In March 1961, he performed what would become his last live concert for the next eight years: a benefit for the construction of the USS Arizona Memorial at Boch Arena in Pearl Harbor, Hawaii.[3] During the first half of the 1960s, three of Presley's soundtrack albums reached number one on the pop charts and a number of his most popular songs were from his films, including 1961's "Can't Help Falling in Love" and 1962's "Return to Sender".[4] After 1964, Parker decided that Presley should only record soundtrack albums. He viewed the films and soundtracks as complementary, with each helping to promote the other.[5] As it turned out, the commercial success of Presley's films and soundtracks steadily diminished (Paradise, Hawaiian Style; Easy Come, Easy Go; Speedway),[4] while he was increasingly disappointed with the quality of his work.[2] From 1964 to 1968, Presley had just one top-ten hit: "Crying in the Chapel" (1965), a gospel number recorded in 1960. Only one LP of new material by Presley was issued: the gospel album How Great Thou Art (1967), which won him his first Grammy Award in the Best Sacred Performance category.[4] In 1968, Colonel Parker arranged a deal with NBC for a Christmas television special starring Presley in front of a live audience. Parker originally planned to have Presley sing Christmas carols only, but producer Steve Binder convinced the singer to perform songs from his original repertoire. The high ratings received by the special and the success of its attendant LP re-established Presley's popularity.[6] During the making of the special, Presley said to Binder: "I'll never sing another song that I don't believe in, I'm never going to make another movie that I don't believe in."[7] As part of his decision to refocus on music rather than film, Presley decided to record a new album.[

People's Instinctive Travels and the Paths of Rhythm is the debut studio album by American hip hop group A Tribe Called Quest, released on April 10, 1990[1] on Jive Records. The album's laid back production encompassed a diverse range of samples which functioned as a template for the group's unorthodox lyrics. A Tribe Called Quest formed in Queens, New York, in 1985.[6] After establishing a friendship with hip-hop act Jungle Brothers, both groups formed a collective dubbed Native Tongues, which also included De La Soul People's Instinctive Travels and the Paths of Rhythm has been described as "a celebration of bohemia, psychedelia and vagabondia",[11] as well as "laid back"

Nebraska is the sixth studio album by American singer-songwriter Bruce Springsteen, released on September 30, 1982, by Columbia Records. Springsteen recorded the songs as demos on a 4-track recorder, intending to rerecord them with the E Street Band, but decided to release them as they were.[3] Nebraska remains one of the most highly regarded albums in his catalog. The album begins with "Nebraska", a first-person narrative based on the true story of 19-year-old spree killer Charles Starkweather and his 14-year-old girlfriend, Caril Ann Fugate, and ends with "Reason to Believe", a complex narrative that offers a small amount of hope to counterbalance the otherwise dark nature of the album.[5] The remaining songs are largely of the same bleak tone, including the dark "State Trooper", influenced by the vocal stylings of Alan Vega and Suicide's "Frankie Teardrop".[19] Criminal behavior continues as a theme in the song "Highway Patrolman": even though the protagonist works for the law, he lets his brother escape after he has shot someone.[5] "Open All Night", a Chuck Berry-style lone guitar rave-up, does manage a dose of defiant, humming-towards-the-gallows exuberance.[5] Springsteen stated that the stories in this album were partly inspired by historian Howard Zinn's book A People's History of the United States.[20] A music video was produced for the song "Atlantic City"; it features stark, black-and-white images of the city, which had not yet undergone its later economic transformation.[21]

Third is the third studio album by English electronic music band Portishead. It was released on 28 April 2008 in the United Kingdom by Island Records and a day later in the United States by Mercury Records. Portishead's first studio album in eleven years, it moved away from the trip hop style they had popularised, incorporating influences such as krautrock, surf rock, doo wop, and the film soundtracks of John Carpenter.

OK is the debut studio album by English / Indian tabla player and record producer Talvin Singh, released on Island Records in 1998. It won him the Mercury Prize for 1999.[9] The record was included in the book 1001 Albums You Must Hear Before You Die.[10] It took nine months of travelling around and recording to complete the album. Singh recorded in London and on Okinawa Island to capture folk singers, as well as in India to collaborate with the Madras Philharmonic Orchestra. In the NME, reviewer Christian Ward noted that Singh was "trying to cover the globe with his music", as a voice intones "The world is sound", at the start of the album.[6] The record is rooted in India with odes to Asian underground scene, dub rhythms and jazz. There is also a contrast between "geisha choirs and cut-up beats", along with plaintive orchestral arrangements.[6] Reviewer noted that "convulsive rhythms compete with sensuous strings to create a deep, dark atmosphere", concluding with this positive sentence, "There are still more sonic territories to explore, but on this evidence, it seems that Talvin Singh will get there first."

Happy Sad is the third album by American singer-songwriter Tim Buckley, released in April 1969. It was recorded at Elektra Sound Recorders in Los Angeles, California and was produced by former Lovin' Spoonful members Zal Yanovsky and, coincidentally, his subsequent replacement Jerry Yester. It marked the beginning of Buckley's experimental period, as it incorporated elements of jazz that he had never used before. Many of the songs here represent a departure from the binary form that dominated much of his previous work. The sound of the album is characterized by David Friedman's vibraphone, an instrument which gives the album a more relaxed tone than Buckley's earlier work. The songs are much longer than on previous releases and this style continued through to later works. The vocals on the album are more drawn out than earlier performances and this represents the beginning of Buckley using his voice like an instrument. The lyrics on Happy Sad represent a change as Buckley stopped working with Larry Beckett, his lyricist on the two previous albums Tim Buckley and Goodbye and Hello, and began writing the lyrics himself. Buckley's self-penned efforts stand in contrast to Beckett's occasionally political and literary-style work.[3] Buckley would also go on to author all his own material on the following two albums. The first track, "Strange Feelin", was directly inspired by Miles Davis' "All Blues" from Kind of Blue, and the melody of the song is directly taken from the song. The third track, "Love from Room 109 at the Islander (On Pacific Coast Highway)", is a song composed of various movements and this represents the second time Buckley wrote in this manner, his previous effort being the title track of Goodbye and Hello. The segments of the song were written separately as "Danang" and "Asbury Park", as demonstrated on the later released demo sessions, The Dream Belongs to Me: Rare and Unreleased 1968 - 1973. The final version of the song is backed by an 'ocean' sound effect, however this was not originally intended to feature on the song. Buckley and the band were happy with the take of song but because of a recording problem the track had a slight electric buzzing in the background. The producer solved this by muffling the buzzing with the ocean overdub.[4] "Dream Letter" is as an ode and apology to his ex-wife, Mary Guibert, and his son Jeff Buckley.[3] This is the second song Buckley wrote about the pair, the first being "I Never Asked to Be Your Mountain" on his previous LP, Goodbye and Hello. In comparison to that song "Dream Letter" has a more apologetic tone, the lyrics reveal this with Buckley lamenting "Does he ever ask about me?" . It would be over five years later that Buckley would meet with his son again.[5] The name of the song would later be used for a live album: posthumous release Dream Letter: Live in London 1968. The concert features much of the same personnel from the Happy Sad.

an R&B classic. I just don't like R&B.

Fourth Wilco album. They made a documentary about the making of. Their drummer was fired at the beginning of the sessions, and a guitarist was fired after the album was made. A good listen.

Fuzzy Logic is the debut album by the Welsh rock band Super Furry Animals. The album cover is a montage of photos of Welsh-born drug smuggler Howard Marks, the subject of the song "Hangin' with Howard Marks". Marks visited Rockfield during the making of the album at the band's request. I had no expectations for this album, but its actually really good! I only favorited a few songs, but could have done quite a few of them. Gathering moss, bad behavior, mario man, several of the non-singles were really catchy.

afro-jazz. I didn't expect to like this one much, as I absolutely HATED Bitches Brew, the first Jazz album i had listened to. But I ended up kinda liking it. "Part of a Whole" was really good! "The Big Apple" had a cool theme as well.

Its thematic content has been likened to a concept, generally concerning nightlife, including lyricism surrounding clubbing and pub culture, and romance from the perspective of young Northerners. The album became the fastest selling debut album in British music history, selling over 360,000 copies in its first week, and remains the fastest selling debut album by a band. It has since gone 6× platinum in the UK. In the US, it also became the second-fastest selling independent record label debut album in history. The album received widespread critical acclaim from critics for its depiction of youth British culture and for resurging British indie music that had waned after the 1990s. Cover artwork of the album is a photo of Chris McClure—a close friend of the band, frontman of The Violet May and brother of Jon McClure of Reverend and The Makers—taken in the early hours of the morning in Korova bar, Liverpool[10] after the band had given him, his cousin and his best friend "seventy quid to spend on a night out"

Although not originally well-received, the record is now widely praised by both critics and fans.[15] This album is often cited as the high-point of Francis' post-Pixies catalogue,[15][11][1] and was named on Pitchfork's "Top 100 Albums of the 1990s".

The first side of the album consists entirely of a live performance of Bo Diddley's song, "Who Do You Love?". In a self-deprecating poke at the rendition's extended length, it is listed as the "Who Do You Love Suite", with individually titled "movements" which give writing credits to the soloist on each segment.

It's fine. Child in Time was kinda fun. But sort of generic. This was their fourth album, and they had a new singer and were going for a heavier sound. ~shrug~

xx is the debut album by English indie pop band the xx. Although the xx had been strongly influenced by R&B acts, the album also drew comparisons from critics to alternative rock, electronica and post-punk sounds. The melancholic songs on xx feature minimalist arrangements and are built around Smith's beats, Oliver Sim's basslines and sparse guitar figures played by Baria Qureshi and Romy Madley Croft, who employed reverb in her lead guitar parts.

Colour by Numbers is the second album by the British new wave group Culture Club, released in October 1983. Preceded by the hit single "Karma Chameleon", which reached number one in several countries, the album reached number one in the UK and has sold 10 million copies worldwide

Songs from the Big Chair is the second studio album by English pop rock band Tears for Fears, released on 25 February 1985 by Phonogram Records. The album peaked at number two in the UK and at number one in the US and Canada, becoming a multi-platinum seller in all three countries. It also reached number one in Germany and the Netherlands and the top 10 in various other countries including Australia, New Zealand and Switzerland.

In contrast to the ambient experimentation of their 1984 release, The Unforgettable Fire, the band aimed for a harder-hitting sound within the limitation of conventional song structures on The Joshua Tree. The album is influenced by American and Irish roots music, and through sociopolitically conscious lyrics embellished with spiritual imagery, it contrasts the group's antipathy for the "real America" with their fascination with the "mythical America". Throughout the sessions, U2 sought a "cinematic" quality for the record, one that would evoke a sense of location, in particular, the open spaces of the United States. They represented this in the sleeve photography depicting them in American desert landscapes.

Locust Abortion Technician is an experimental blend of punk rock, heavy metal, and psychedelic music.[3] This fusion led the band to be associated with the emerging grunge and sludge metal sounds.[4] It also employs elements of worldbeat rhythms,[3] noise music,[4] progressive guitar,[4] and folk music,[4] and has been described as art rock,[3] noise rock[4] and alternative metal.[5] The song "Sweat Loaf" utilizes a warped riff parodying the verse riff from the Black Sabbath song "Sweet Leaf".

Some pretty enjoyable tracks, they all sort of run together though. I don't love electronic music that has no words, because of that reason. This was actually pretty fun to listen to, but I didn't save any songs for whatever reason.

Spiderland is the second and final studio album by the American rock band Slint. Formed in 1986 in Louisville, Kentucky, having met as teenagers playing in the Midwestern punk scene, they soon diverged from their hardcore roots. By the time they recorded Spiderland in late 1990, the band had developed a complex, idiosyncratic sound characterized by atypical rhythmic meters, harmonic dissonance and irregular song structures. McMahan's vocal delivery alternates between spoken word, singing and shouting. The lyrics are presented in a narrative style, covering themes and feelings of unease, social anxiety, loneliness, and despair.

Dry is the debut studio album by the band PJ Harvey, fronted by English singer-songwriter and musician PJ Harvey, released on Too Pure Records on 30 March 1992.

Brian Whitener of AllMusic gave the album 4 out of 5 stars, writing, "Welcome to the Afterfuture is a blender of sounds and styles and epitomizes the search that is leading cutting-edge hip-hop further into avant-garde and non-Western musical traditions."[1] Jon Caramanica of CMJ New Music Monthly commented that "Ladd's futurism is merely a mask for his very tangible discontent with the present."[2] He added, "References to the police state permeate the album, arguing that the new world order and newspeak are more than just things weeded street-corner bards philosophize on; they're integral to maintaining the power status quo."[2]

Aqualung is the fourth studio album by the British rock band Jethro Tull. Aqualung has widely been regarded as a concept album, featuring a central theme of "the distinction between religion and God".[4] The album's "dour musings on faith and religion" have marked it as "one of the most cerebral albums ever to reach millions of rock listeners".[5] Academic discussions of the nature of concept albums have frequently listed Aqualung amongst their number. The initial idea for the album was sparked by some photographs that Anderson's wife Jennie took of homeless people on the Thames Embankment. The appearance of one man in particular caught the interest of the couple, who together wrote the title song "Aqualung".[17] The first side of the LP, titled Aqualung, contains several character sketches, including the eponymous character of the title track, and the schoolgirl prostitute Cross-Eyed Mary, as well as two autobiographical tracks, including "Cheap Day Return", written by Anderson after a visit to his critically ill father.[18] The second side, titled My God, contains three tracks—"My God," "Hymn 43" and "Wind-Up"—that address religion in an introspective, and sometimes irreverent, manner.

I try not to say "artsy" music like this is bad, because I feel like I just don't get it, and that's my fault. But man, this is kinda bad. I guess I can appreciate the alien sound. It almost seems like something the belters from The Expanse series would listen to - just totally foreign to my ears. Anyway, I probably won't be returning to the album.

Zombie is a studio album by Nigerian Afrobeat musician Fela Kuti. It was released in Nigeria by Coconut Records in 1976, and in the United Kingdom by Creole Records in 1977.[1] The album criticised the Nigerian government; and it is thought to have resulted in the murder of Kuti's mother Funmilayo Ransome-Kuti, and the destruction of his commune by the military. The album was a scathing attack on Nigerian soldiers using the zombie metaphor to describe the methods of the Nigerian military. The album was a smash hit with the people and infuriated the government, setting off a vicious attack against the Kalakuta Republic (a commune that Fela had established in Nigeria), during which one thousand soldiers attacked the commune. Kuti was severely beaten, and his elderly mother was thrown from a window, causing fatal injuries. The Kalakuta Republic was burned, and Kuti's studio, instruments, and master tapes were destroyed. Kuti claimed that he would have been killed if it were not for the intervention of a commanding officer as he was being beaten. Kuti's response to the attack was to deliver his mother's coffin to the main army barrack in Lagos and write two songs, "Coffin for Head of State" and "Unknown Soldier", referencing the official inquiry that claimed the commune had been destroyed by an unknown soldier. Kuti and his band then took residence in Crossroads Hotel as the Shrine had been destroyed along with his commune. In 1978 Kuti married 27 women, many of whom were his dancers, composers, and singers to mark the anniversary of the attack on the Kalakuta Republic. Later, he was to adopt a rotation system of keeping only twelve simultaneous wives.[2] The year was also marked by two notorious concerts, the first in Accra in which riots broke out during the song "Zombie," which led to Kuti being banned from entering Ghana. The second was at the Berlin Jazz Festival after which most of Kuti's musicians deserted him, due to rumors that Kuti was planning to use the entirety of the proceeds to fund his presidential campaign.

Songs of Leonard Cohen is the debut album by Canadian folk singer-songwriter Leonard Cohen, released on December 27, 1967, on Columbia Records. Less successful in the US than in Europe, Songs of Leonard Cohen foreshadowed the kind of chart success Cohen would go on to achieve. Cohen had received positive attention from critics as a poet and novelist but had maintained a keen interest in music, having played guitar in a country and western band called the Buckskin Boys as a teenager. In 1966, Cohen set out for Nashville, where he hoped to become a country songwriter, but instead got caught up in New York City's folk scene. The album received mixed reviews at the time of its release, with Arthur Schmidt of Rolling Stone writing, "There are three brilliant songs, one good one, three qualified bummers, and three flaming shits."

Hearts and Bones is the sixth solo studio album by Paul Simon. It was released in 1983. Originally meant to be a Simon and Garfunkel album, Garfunkel left the project and Simon erased all his vocals. It was a commercial failure, but has been reviewed favorably in retrospective reviews.

Sound of Silver is the second studio album by American rock band LCD Soundsystem. Musically, Sound of Silver has been described as dance-punk,[2][3] dance-rock,[4][5][6] electronica,[7][8] electronic rock,[8][9] and indie rock.[10] The Guardian's Dorian Lynskey singled out the "devastating emotional punch" of "Someone Great" and "All My Friends" for praise and described the album as "dance-rock for grown-ups: extraordinary." Robert Christgau, writing in MSN Music, remarked that the album contained "one song so irresistible it makes you think the other tracks are songs too, which sometimes they are,"[27] later assigning it a two-star honorable mention rating.

Maggot Brain is the third studio album by the American funk band Funkadelic The album charted in the R&B Top 20.[3] Today, it is perhaps best known for its 10-minute title track, performed by guitarist Eddie Hazel.[4] Pitchfork named it the 17th best album of the 1970s.[5] In 2020, Rolling Stone ranked Maggot Brain the 136th greatest album of all time in its updated list. The album opens with a spoken word monologue by band leader George Clinton, which refers to "the maggots in the mind of the universe".[7] According to legend, the 10-minute title track was recorded in one take when Clinton, under the influence of LSD, told guitarist Eddie Hazel to play as if he had been told his mother was dead:[8] Clinton instructed him "to picture that day, what he would feel, how he would make sense of his life, how he would take a measure of everything that was inside him and let it out through his guitar". The subsequent five tracks have been described as "sour harmony-group meditations heavy with bass, keyboard and class consciousness,"[10] with the band exploring a "psychedelic/funk fusion." The track "Super Stupid" was described by Pitchfork as a "tale of a dumbass junkie set to a tune Black Sabbath would have been proud of."[2] The 9-minute closing track "Wars of Armageddon" has been described as a "freak-out" jam,[4] and makes use of "paranoid, psychedelic sound effects and crowd sounds."[2] Popular music scholar Yuval Taylor described it as "a burning hot prefiguring" of the music that Miles Davis would perform on his 1975 live album Agharta. The album's liner notes are a polemic on fear provided by the Process Church of the Final Judgement, an obscure Satanist religious cult. According to author Rickey Vincent, the organization's presumed association with mass-murderer Charles Manson, along with the album's foreboding themes and striking artwork, lent Funkadelic the image of a "death-worshipping black rock band." After the album was released, the band effectively disbanded:[3] drummer Tiki Fulwood was fired due to drug use; guitarist Tawl Ross reportedly got into an "acid eating contest, then snorting some raw speed, before completely flipping out" and has not performed since; bassist Billy Nelson quit over a money dispute with Clinton.

It's fine.

Reminds me of Kate Bush, but not as fun. I liked "Crucify", "Precious Things" and "Winter." The back half of the album was a chore.

not really a bad song on this one, five stars!