Personally, this is a top 3 jazz album OF ALL TIME. It's dark, unsettling, both fitting of the past and the future. Mingus had been no stranger to aggressive or dark music prior, but goddamn this record takes it to a new level. Required listening for any self-proclaimed fan of jazz. Cannot praise enough.
Tied for my favorite Bowie record, but usually inches ahead of the others thanks to an all-killer tracklist that doesn't overstay its welcome. The hooks are here, the production is here, the experimentation is thankfully present but not drowning or too slow (I love Low but some cuts drag on). Bowie proves you can make a pop/post-punk/krautrock/dance record that appeals to normies and snobs alike.
Scott 4 is a masterpiece. Hero of the War, Old Man Back, Duchess, most songs here are fantastic and bear multiple listens. The drama in his voice is sincere rather than overdone or lame, production is stellar, lyrics are incredible even on their own. Indescribably better than the politician.
Top-notch record, recorded by nobodies in a nowhere town that shot them into the spotlight (beating out Thriller!!). The only issue I have is the sometimes too-clean composition that reflects a band piecing together in a studio rather than REM's legendary stage presence and ensemble. The key to the band in my opinion is there meticulous knowledge and reverence of the history of rock music. The Byrds, Patti Smith, Television, Wire, Neil Young, and local acts like Pylon and B-52s are all here, though in a fresh way that uses nods rather than outright plagarism. Moral Kiosk, Laughing, Radio Free, it's clear these young men from Athens had something that no one else did.
Gorgeous arrangements aided by JPJ, the band at this point has ascended past punk, past alt rock, past pop rock, past acoustic pop, right into an acoustic art album that is as honest as it is grand. Not my favorite, as I'm partial to their more energetic enterprises, but an historical moment for the band and rock music (especially in the distorted, I-hate-my-parents 90s).
Personally, this is a top 3 jazz album OF ALL TIME. It's dark, unsettling, both fitting of the past and the future. Mingus had been no stranger to aggressive or dark music prior, but goddamn this record takes it to a new level. Required listening for any self-proclaimed fan of jazz. Cannot praise enough.
Tied for my favorite Bowie record, but usually inches ahead of the others thanks to an all-killer tracklist that doesn't overstay its welcome. The hooks are here, the production is here, the experimentation is thankfully present but not drowning or too slow (I love Low but some cuts drag on). Bowie proves you can make a pop/post-punk/krautrock/dance record that appeals to normies and snobs alike.
I'm ready to get flamed for this, but as far as TH records go this is milquetoast for me. Certainly better than their first record, but with Fear of Music, Remain in Light, and Speaking in Tongues right around the corner, this record is a victim of its successors. The Al Green cover rips though.
Top-notch record, recorded by nobodies in a nowhere town that shot them into the spotlight (beating out Thriller!!). The only issue I have is the sometimes too-clean composition that reflects a band piecing together in a studio rather than REM's legendary stage presence and ensemble. The key to the band in my opinion is there meticulous knowledge and reverence of the history of rock music. The Byrds, Patti Smith, Television, Wire, Neil Young, and local acts like Pylon and B-52s are all here, though in a fresh way that uses nods rather than outright plagarism. Moral Kiosk, Laughing, Radio Free, it's clear these young men from Athens had something that no one else did.
This is it. This is the one. Post-disco, the beginning (and best) of the legendary team of Michael and Quincy. Every song is great. Every hook is memorable and natural. MJ slides between endearing, exciting, and fun like no other. While he is certainly indebted to the likes of James Brown and Diana Ross, there's no debate about his being a through-and-through platinum performer. Even viewing this record with his later works in frame, Off the Wall has that mojo that never quite returned -- not that it needed to. Something that is ubiquitous tends to lose its flair, and in this case, the untouchability of OTW just adds to its legendary status. Don't stop til you get enough, Michael I'll never get enough so I'm not stopping.
Scott 4 is a masterpiece. Hero of the War, Old Man Back, Duchess, most songs here are fantastic and bear multiple listens. The drama in his voice is sincere rather than overdone or lame, production is stellar, lyrics are incredible even on their own. Indescribably better than the politician.
There's an edge lyrically that I very much appreciate, but the honky-tonk is just too much for me. I find it difficult to get through without wearing a cowboy hat; however, I understand the appeal.