This album does what a lot of albums through the 90s tried to do, but not many came to the level that The La's did. Each song stands alone and has its own character without feeling too uncohesive as a whole for the album. And it's got There She Goes, so...
A classic. Thoughtful, early punk. When so many bands were busy being "weird" or "edgy" for edginess sake, they were the real deal. This album has held up very well throughout the years. Can hear who they've influenced over the years, from Bikini Kill to Rocket From the Crypt. I really need to revisit this one more often.
Overall, the album feels kinda flat. Not bad but doesn't really grab me in any significant way. Indicative of the era really. Screaming Trees are one of those 90s bands that I know the name, but I couldn't tell you any songs of theirs that I know. Sounds like a thousand others from that time period. Meh. I do like a lot of stuff Mark Lanegan has done post screaming trees, though.
I have nothing against Ministry, was just never my thing. The whole industrial gothy metal scene is all a bit much, innit? This album starts strong and stays there. Ministry is legendary at what they do for a reason. Glad I actually sat down and really listened to this one. Now I will know what all my edgy friends with dyed jet black hair are going on about just a little bit better, I suppose.
Know all the songs, but never gave this album a true front to back listen. More of an experience when done this way and is one of the most unique live albums ever made.
Was always more familiar with IV and House of the Holy cause that's what my dad had on vinyl growing up. This album is fiiiine. Drags a bit after the first few, then gets going again with Gallows Pole. Album stays interesting after that, but I feel it really rides on the strength of the openers. Or maybe I just wasn't in a Zepp mood.
Common is one of those under-rated (to me, at least, maybe?) artists. This is such a great album that I don't visit often enough. I little too slick 2000s production, perhaps, but damn...this album is representative of an era. Great stuff.
I never got too into New Order, despite them being hugely influential to many bands that I love and I wouldn't ever discount the importance they and Joy Division had on music on a broad scale.. So, this album might land better with me, if I had a history and nostalgia attached to it? The first track Love Vigilantes hits like a ton of bricks and is fantastic, but after that it's just meh, for me. Not terrible but nothing I feel I'd need to revisit often.
I mean, it's a classic. Revolutionary album.
Previously unfamiliar with this band, until I got to Worst Band in the World and immediately recognized the Workinonit sample J Dilla used! Love when that shit happens! Anyways, the music is not typically "my thing", but its fun, almost self aware hokiness makes it a rather enjoyable listen. It veers all over the place in the best way an album from a British band in the 70s could only pull off this well and have it still feel like a cohesive album. The album seems to get more interesting the deeper you get into it or maybe it just suffers from having such a shuffley blues groove song to open it, but that is of the time, I suppose. Probably, wanted to open with something that wouldn't scare folks off right away with something too "weird" and unfamiliar. I'll delve into more of their stuff for sure.
Venom were one of the first to do it and helped influence and create genres of metal that followed to this day. Got to respect them for that, but I don't have to like 'em! I mean, I appreciate this album for its role and all, but it will never be a frequent visit for me to listen to. Though, I could say that for a lot of metal, for me personally, I suppose. Don't @ me, bro...
It's a lot of album, but damn is it a good live album. I couldn't imagine seeing Hawkwind in their hey day. Would be mind blowing, for sure. Hawkwind's catalog is so huge, that I've never really took a deep dive. Just seems so daunting a task, but I'm familiar enough with what they do to know what to expect from them. Everything is so seemless on this album and just keeps flowing with interesting interludes and all. And those Lemmy baselines drive their music so incredibly well. What a ride.
This is a Neil Young album I've never heard. My go to albums are after the gold rush and harvest, with others thrown in. This one I've somehow ignored, so far. I'm glad this one is on my list cause it's solid early-ish Neil Young. Probably won't become a staple in my rotation, but a worthy album for sure. They can't all be bangers, I s'pose.
Another live album, which is fine. Unfamiliar with Sarah Vaughan. A jazz standard singer with a beautiful voice. Great quality live album for being recorded in '57.
Great performer and album. Tragic we'll never get to see what she would have done with a whole life's worth of music. This album is and will continue to be a classic. When she hit the scene, it was the right vibe at the right time to be so huge. An updated take on a classic style. I don't listen to Amy Winehouse too often but it's nice knowing this music is there whenever I do want to listen.
It's got one of my favorite Christmas songs, so there's that. Love the Pogues, though. Classic band and a classic album here. Perfect? Naw. But a unique sound (for when they were doing it) that holds up pretty well.
Nah... But because I told myself I was gonna commit to this whole 1001 albums things, fine. I'll listen and have my spotify algorithm all fucked. Damnit... Anywho...yep, still terrible. Gets the one star for Otherside, which I would not turn off when it came on MTV back in the day and it still kiiiiinda jams. I mean Flea IS a great bassist and that's a fun bassline. But everything else about this album? Naaaahhh...
Good classic hony-tonkish country. I've heard the name Ray Price before, but don't really recall ever hearing any of his music. I threw the album on and started doing some minor research on its history and saw that Willie Nelson is credited on a couple tracks. Then notice that one of them was "Are You Sure", which is a song that I first heard on Lost (yeah, yeah...) and I immediately fell in love with it. It's probably the moment I started really taking a lot of the classic, outlaw type country more seriously and I'd just never realized it had an earlier incarnation. This is just great news! Oh, and the album here is solid. Not much to complain about. 4 stars!
Such a great album. Interesting, cohesive, original. It can draw you in or just kinda be there, comfortably, like your favorite blanket warming you up on a cold winter's night.
Eminem's edginess, certainly, feels dated nowadays. But back when this album came out, it was still riding the line of being pop while saying things you couldn't fathom other artists at his level of popularity saying. His abilities can't be understated either. He's undeniably a great rapper, but the shit he's usually rhyming about is of little to no interest to me. Not something I need to visit often or really infrequently for that matter. This album certainly takes me back to a place in time, though...this album gets a high 2, so I guess I'll round up to a 3...
An album that evoked the future, now the past, but lives perfectly in the time it was created. Prince exists outside of our earthly constructs, even when he was on earth. I'd give it 5 stars, but I'm reserving that for Purple Rain, which I assume is on this list.
Decidedly, Not. For. Me. Look, I get it. I get why folks dig her thing, but I just...don't. Each song evokes a 90s sitcom intro. Did she have one of her songs used for a sitcom theme song? She must have, right? Personally? A 2 for me. Understanding her overall role in the greater aspect of music? A 3? Sure. A 3.
Overall, the album feels kinda flat. Not bad but doesn't really grab me in any significant way. Indicative of the era really. Screaming Trees are one of those 90s bands that I know the name, but I couldn't tell you any songs of theirs that I know. Sounds like a thousand others from that time period. Meh. I do like a lot of stuff Mark Lanegan has done post screaming trees, though.
Arcade Fire are not afraid to try new things with their sound and I love them for that, but it's not always what I want from them. The suburbs really just expanded and matured their vibe from The Funeral (which is an album I will always hold special to me). The Suburbs really blew them into the stratosphere and allowed them to grow into the indie powerhouse they were becoming, but they'll always be the goofs rollicking around in football helmets in the small 2-300 cap club I first saw them in...
Like most Doors music, I put this album on and kinda forgot it was playing. Idk, it's the doors doing what the doors do. Nothing too offensive, nothing too interesting. Palatable. Just kinda there. If I were around when they were really doing their thing, maybe I'd have a different take on it, but here we are.
Delightful listen all the way through.
Not my favorite LCD album, but has one of my favorite tracks "oh baby" on it. Still a great album and ends on some great vibe out meditative tracks. I appreciate putting the 2 long cuts at the end. Allows me to just let it ride out and I can disengage with the album or remain invested in it, attention wise cause it's still interesting, at least. I think this album will age nicely over the years to come, but only time will tell on that tip.
One of my all times, right here.
It's no secret why U2 continues to be considered one of the top bands of all time. This album is their peak to me. It starts strong out the gate and just continues to pummel with sweepingly epic songs. The songs have messages, carry meaning and you can feel it in the music. Just too bad about what they've done recently, but I do commend them on always looking at what's next for them. They could've just kept trotting out the same ol same ol, but they continued to innovate and try new things. Even if I may not dig what they're writing these days, doesn't change the fact that it's still impressive.
A classic. Thoughtful, early punk. When so many bands were busy being "weird" or "edgy" for edginess sake, they were the real deal. This album has held up very well throughout the years. Can hear who they've influenced over the years, from Bikini Kill to Rocket From the Crypt. I really need to revisit this one more often.
Unfamiliar with this artist previously. Looks like a lot of soundtrack work, so probably heard their work, just didn't even realize it? Anyways, this album definitely has some 90s cheese factor going on, but grabbed my attention at "Homelands" and "Pilgrim" has a cool vibe. From there, it rides into a pleasant cofffehouse vibe of an album and kinda hangs there, with some cool unique flourishes involved. After digging in a little further, the album definitely has some cool themes running throughout. All in all, an enjoyable listen, but not something that needs to be in any regular rotation for me.
Album has that 90s British swagger to it. At least 2 of the members has a cig precariously hanging out of their mouth most of the time. They put more effort into looking like they don't care than you would realize. Only problem is, you realize. It's pretty fuckin obvious. This album has more hooks than other bands of that scene, I feel like. Still a very forgettable album...
A true classic with some great songs on it. Gets a little samey, but it's early Dylan doing his thing.
In Utero is great. Starts out with two unashamedly non-hits, then just bust the door down with Heart-Shaped Box. Nirvana always knew what they were doing, even though we may not have. Steve Albini produced the album and I'm a suckered for almost anything outta Electrical Audio, but this was kinda the big one. I like to think you can feel his influence on this album. They never lacked grit, but this album just feels gritty in just the right way.
I have nothing against Ministry, was just never my thing. The whole industrial gothy metal scene is all a bit much, innit? This album starts strong and stays there. Ministry is legendary at what they do for a reason. Glad I actually sat down and really listened to this one. Now I will know what all my edgy friends with dyed jet black hair are going on about just a little bit better, I suppose.
Pavement, basically, created a sound that defined a generation. You're never really sure if they're playing too fast, too slow? Doesn't matter because it all works so wonderfully. Stephen Malkmus' voice can be a bit of a...thing, but I couldn't imagine this band any other way. A perfect mess of a band. This album gets 4 stars only cause I, personally, think Crooked Rain is the better album.
I'm a huge Tom Waits fan. I'm least familiar with this era of his (early 90s), so that probably factors in to me not loving this album as much as some of his others. His voice can be a bit much even for a seasoned listener and this album features some of the more trying aspects of his vocal stylings... I get why some people loooove this album, but I feel like he's done better versions of this style of his. I suppose that's only because I have the knowledge of his future albums, though. If I were taking this one in when it first came out, it woulda probably blown my damn mind.
I've never went far beyond they're hits, so a lot was new to me. They've always been one of those bands I knew had a much denser back catalogue than they're singles led on to, but I just never took the time. They really hit with some great, heavy topics (especially "for the time"). It all, of course, leans a little too 90s rock-funk? But they're more Fishbone, than Chili Peppers, which is a positive, for sure. One of these days I'll continue through they're discography to really get a feel for how they progressed. Not today, but someday...
Love this album. Grew up listening to it, so it holds a special place in my heart. When I think of Neil Young, this is what I hear...
The Who's: Tommy stands apart from other Who material for me. This sorta album was not being done at the time and though they can make better music, looking at what was created with this rock opera, the legendary status of it can not be denied. I just have to compartmentalize this from the rest of The Who discography. For me personally, I'd give it a 3. For the impact it made on culture and what have you, at least 4 stars.
Starts out strong with Show Girl. They have some good dynamics, which tends to get lost for a lot of UK bands of the 90s. Enjoyable, hooky tunes throughout, but gets a little...meh. Production seems a little thin and tinny. Not totally my thing, but having been unfamiliar with this band, I'm excited to give them some future listens. Curious what the album with μ-Ziq is all about as I love μ-Ziq's stuff!
I've loved his album Pink Moon for many years now, but I don't think I've ever explored beyond that album, despite Nick Drake not having that much music out there. Not sure why, buy I'm glad I am now digging beyond what I've already known. A delightful album that is almost instantly recognizably a Nick Drake record and now I wish we had more of his music...
I got to see Parliament Funkadelic in the early 2000s. Was epic, but I don't think I fully understood the history of the group. This Funkadelic album did a lot for music a the funk scene. They made it fun, while also addressing some issues. A great live version of Maggot Brain, which (to me) is the best song they've produced. It's just so dense. Rarely do I sit down and really listen to a Funkadelic album front to back and I wasn't sure if I'd really enjoy the whole ride. I did. I did enjoy the ride.
Some fine songs, but mostly forgettable. Meh. 2.5? I'll give it a 3, cause I'm sure it would grow on me if I put it in regular rotation, but after this listen? I'm just not motivated to do that.
This album does what a lot of albums through the 90s tried to do, but not many came to the level that The La's did. Each song stands alone and has its own character without feeling too uncohesive as a whole for the album. And it's got There She Goes, so...
Legendary album full of bangers. Only feels dated because it's such an iconic album of an era. A bit long for listening straight through, but doesn't really get stale while doing so and it can be broken into songs easy. Yeah, it doesn't take much to understand why they rose to such extraordinary heights as a group.
Lovely. Dramatic. Great if you're looking for some background piano music that is engaging enough, but never really distracting.
This has always been a band I've had in the back of my head as something I should listen to and like. Here I am listening to them and liking. Enjoyably dramatic 90s rock. Vocals stand out, for sure. Gives me Jeff Buckley vibes? I'll probably go back to not listening to them, but thinking, "Ya know...I oughta."
This album is pure vibes. Some of the smoothest riding songs to come out of the era. Unfortunately, it also came out of the skit era, which is the only reason it drops a star. I'm typically not a fan. Just such a jarring thing that pulls me out of the album. Eh, maybe I'm just getting old, I suppose...
Live albums can be tough, but Sam Cooke has such an infectious energy live and it was captured well here. He's having fun and you can feel it. Fuck, Sam Cooke was so great. Wish he never got wrapped up in the chaos of his time period. Trouble souls can make the best artists, unfortunately.
Not my favorite songs of Sinatra. Feels like the hokiest of music he does. Sure there's some classics on here and I will always enjoy some Sinatra, but I much prefer his more ballady style than the pure cheese that this album reads as.
This is the definitive Pavement album for me. I came to them a bit after the fact, as they were a bit early for me, but yeah, they helped reshaped the way I and I think a lot of the music scene, think about what "indie" music is. They brought that slacker jangle pop to the masses and really perfected that sound on this album, in particular.
I'm not a huge Bowie head, so I was not too familiar with this album. Don't get me wrong, I love David Bowie, there's just a lot of catalogue in there. This album just kinda floats in and sits calmly for the first bit. Then it takes off from there. Nothing overwhelming, but makes for some great, engaging listening.
What a weird side a of a record. I feel like it doesn't really hit that classic Police sound until Synchronicity II. This isn't a bad thing. You can tell they're branching out their sound which is commendable, if not always...enjoyable. Haven't listened to this album since I was a kid spinning my dad's album on the basement stereo, so this album evokes that nostalgia in me, which is great and probably skews my rating of this album up, but oh well. 4 stars!
One of my all times here. Them, Tribe and The Roots got me into a lot of the more laid back, headier side of hip hop. This album, in particular was and still is a standard for me. One of the few albums with skits and all, that has held up throughout the years. Sure some subject matter may feel a bit dated (mainly, Oh Shit, I suppose...), but I'll be damned if that doesn't still bop.
Tori Amos has always loomed over me as an artist who I know I should like, but the music she created just never felt like it was meant for me...? Not even as a gender thing, just never really connected with it. Maybe, that's not a fair reason to not give an artists music a chance, but it is what it is. With that said, I've never heard this album. It starts out strong with Crucify and I, immediately, love this song. The boominess of the drums is outstanding. We continue on from this song and it leaves me wanting to get back to what the first song was doing. There's some interesting choices throughout, which certainly shows me why she is seen as iconic. Some great, great songs on this album, but not all of them will be revisited often by me. I'm going to assume that if I dive deeper into the lyrics, it will weigh even heavier as an album, but I don't know that I'm going to do that... we'll see, though.
Oh, man. This album. Certainly conjures specific vibes. I think I would like it more without previous feelings about this band. But, legacy goes with understanding of bands. It's, also, corny as shit. Right?! Yeah, it's corny. But, it's a good corny. Existing somewhere between Bolan and Osbourne.