powerful sleaze ballads.

despite the incredible production, i found the vocals to be generic and bland.

a depressing and optimistic ode to survival.

of its time, of our time, of all time.

much better than Odessa imo

lyrics 5/5 composition 2.5/5

it's a solid record with interesting sounds, particularly for it's time, but the sound just doesn't speak to me like other sounds do. this is perhaps due to it having been incorporated into so many other works which were inspired by it that i've heard over the years that it's brilliance is sort of lost on me. i got dylan's blonde on blonde the day before this one and i gave it a 4/5; i liked listening to blonde on blonde at least a full star more than pet sounds, thus the 3/5. favorite track: Hold on to your ego.

i thought the 'love theme' strings were played out and the theme of the disappearing ship from 1899 didn't really seem to maintain any through line. some of the lyrics were progressive and they did seem to be a bit adventurous with a track here and there but largely it was boring as hell. i don't have the desire to listen to any of the tracks ever again.

very fun and progressive

dripping with passion

slightly wild and very ambitious. I really liked the quick "zaps" of sounds we get coming from acoustic guitars and synths throughout the record; they get the passion across. sounds something like talking heads crossed with peter Gabriel. reminds me of a precursor to Destroyer. 7/10 rounding up.

Strawberry Letter 23, Sweet Thang, Ice Cold Daydream, and Freedom Flight were tacked onto the end of the album on spotify. Those four aren't actually part of the album. It's a good record and put me in a good mood. if the last four tracks were actually a part of the record i'd have given it a 4/5

powerful sleaze ballads.

i think the production was great for its time but i'm just not a fan of disco at all. probably skews the data but what are ya gonna do.

much better than Odessa imo

SAVORY WHOLESOME HIP HOP

ONE OF THOSE GREAT 90s EXPERIMENTAL ROCK ALBUMS THAT EXTOLLED THE VIRTUES OF FREEDOM.

one of those pioneering psychedelic electronic records that are kind of hard to really appreciate retroactively given the state of the genre nowadays. i imagine it's hella trippy bro on 300mcgs but pretty fucking annoying sober. shpongle was doing similar stuff around the same time and made masterpieces that stood the test of time way better than this record. chemical brothers have vastly improved since this record.

of its time i suppose. the music and instrumentation is mostly just a vehicle for the story so composition is largely ignored. on top of that, the stories were sort of plain and predictable. Ween's golden country greats demonstrates that this genre can be something other than boring but Night Life did not do that for me.

I'm not a fan of disco but i enjoyed this album quite a bit.

love this old freewheelin experimental shit. can recognize the avalanches / the books in here

that bone thugs verse in breakdown is like straight out of crossroads tf is up with that lmao. she's got impeccable control over her voice, that's for sure, but i'm just not a fan of the 30 bpm R&B love song

awesome psychedelic record with liquid rhythms, expressive synths, and groovy bass lines. love hearing the predecessors to some of my favorite modern psychedelic artists.

didn't particularly enjoy this one. feeling like it's in league with the other 2 star albums i've rated.

treads the line between lackluster and intensely passionate.

pretty unremarkable for the genre but implemented some interesting musical ideas.

of its time, of our time, of all time.

she captures a cuteness with this album that i don't think i've heard anywhere else.

pleasantly surprised. didn't think i would enjoy listening to Elvis but this record proved me wrong. Loved the track Fever.

loved it. some really interesting composition stuff and the dark introspective lyrics were delightful. well, maybe delightful isn't the word...

not my favorite strokes album but an incredibly strong debut.

some really good songs on here. i'd never really got Syd's style but after listening this time it became more clear to me why he's considered to be such a raving genius.

I really liked the long and flowy instrumentation. Hadn't listened to an entire The Cure album prior to this; I expected it to be good and it was. Must be a precursor to shoegaze, right?

lot of adventurous stuff going on and manage to make it sound good. respect.

interesting fusion of salsa and jazz. the pianist and guitarist are virtuosos to boot. i heuristically don't like salsa rhythms but this put me in a great move and i was groovin to it wooooohooo

free spirited and adventurous.

some cool vocal flourishes and good guitar playing but very boring and uniform songwriting. i imagine in the 50s it was interesting. maybe i'm just ill-equipped to appreciate this album. can't lump it in with my 3s; sorry buddy.

came on really strong but got stale over the entirety of the record

there were like 2 or 3 songs that were dope but the rest of it felt like some drawn out blubbery orgasm

i think they broke ground with some of the lyrics and the instrumentation was usually interesting. southern grunge vibes.

such a solid, groovy record. george clinton caliber funk.

awesome instrumentation, super interesting phrases. the vocals were about as formulaic as they come, though she has a nice voice.

a little more innovative than some of the other albums that came out in the late 60s that sound more or less exactly like this

the boldness and creativity from the flaming lips never ceases to amaze me. what a fun and fearless group. the wry innovation within their compositions should be an industry standard.

crunchy grooves, expressive guitar riffs, and some genuinely solid lyrics. for any fans of The Knife out there: i noticed in the song Blueprint he says "what a difference a little difference would make." which is a lyric in Raging Lung off shaking the habitual... i have to imagine karin got it from this album; pretty cool source to pull from.

this one really straddles the line between a 2 and a 4. it was electronically innovative, especially for its time and the lyrics really spoke to me but i don't think you could write more sterile melodies if you tried. i guess my scale suggests a 3.

underwhelming

so angus young's voice is iconic and awesome and bon scott can shred, but man is the song structure ever basic. it seems like they maybe wrote 3 unique songs for this album and then like changed up the lyrics and tempo slightly of highway to hell 6 times and called it an lp. despite all that it still rocks hard.

in terms of prominent early 2000s hip hop i think it's pretty average. some of the tracks were dope and the whole "be" theme was kinda neat. i thought a lot of the word play was tacky. beats were tight enough.

despite the incredible production, i found the vocals to be generic and bland.

This one convinced me a lot more than the other album of theirs on here. Not sure why and not willing to investigate.

was not expecting to be so intrigued by this. the lyrics function really well with the tones.

a depressing and optimistic ode to survival.

jarvis cocker comes off as a weird fragile pervert but he writes some good songs.

coldplay at their best.

really smart and evocative. these guys know how to put a record together.

One thing I really liked about this record was the lead guitar tone. Perfectly dialed in. That being said, I think the whole Alice Cooper "spooky" angle is more remniscent of Party City than rock and roll.

I was surprised by how much I liked this album. The one issue I have with these disco/funk albums from the 70s is that the god damn strings always sound like shit. Dunno how they caught on. Despite that, it's a great record with some good performances and exceptional songwriting.

My favorite Pixies album.