The first few tracks (and Truckin') are awesome but it definitely loses me in the middle when it gets too slow and meandering.
Some surprisingly good basslines! Morrissey's voice is not my jam though.
Fuck "Birdland". So long and aggressively annoying. The rest of the album was a mixed bag. Definitely one that's more important than it is enjoyable.
A couple duds (especially Mother) but overall it was pretty enjoyable! The title tracks are especially good.
The songs were initially pretty fun to listen to but were too long and unfocused, losing my interest.
I feel like someone loaded a blunderbuss with every possible style of music imaginable and shot me directly in the face.
I desperately need some indie video game developer to make a spooky 2D metroidvania using this album as the score.
Easily the most pleasant vocal experience we've had to endure thus far.
Starts and ends strongly but the middle loses me. Leans a little too psychedelic at times (see: Mr. Kite). Within You Without Out is like when your family makes you watch a slideshow of their vacation photos. When I'm 64 sounds like the theme song to a children's show. The title tracks, Getting Better, She's Leaving Home, and Good Morning Good Morning are great though.
It was hard to focus because the weather was aggressively awful while I was driving to work and listening to this, but it think I enjoyed this elevated lounge act a lot!
Lauryn Hill is clearly the standout here but is grossly underutilized throughout, save for a couple of tracks.
I don't enjoy these musical styles at all individually (80s pop, country blues, etc.) but something about this combination really works for me.
Aimless, meandering, and interminable with an incessant cacophony of nonsense. There are some decent songs buried in there, but you have to slog through so much shit to get to them. Time is decent enough once it finally starts in earnest. And Money is the obvious best song because it's the one most structured like, you know, a song. But even that becomes tiresome by the end. This is an album that I will never understand.
Not my favourite CCR (that would be Cosmo's Factory) but there's still a few all-timers on here (Lodi, Bad Moon Rising in particular).
This was surprisingly enjoyable considering my very low expectations. It's a little bloated though; if they had trimmed some of the more egregious hipster indie bullshit it could have easily gotten a 4.
The sitar is not a very pleasant instrument to my ear. And the tracks are just too long.
I like the Beastie Boys, but I think only in small doses (though I do love Licensed to Ill). This is just too chaotic, quickly switching between awesome and annoying, often within the same song.
The singles are of course top tier but everything else rocks just as hard. Electric Funeral and Rat Salad especially were great.
Really dug these funky beats
She's Out of My Life is a horrendously sappy ballad, but everything else is pretty great!
Sounds like a bored Stephen Merchant doing a shitty hour-long SNL sketch. BUT it also has a strange earworm quality to it. I can see this growing on me over repeat listens, but I don't want it to.
I really do not enjoy these long, repetitive, meandering tracks that don't build to anything.
Too long, but some pretty great bluesy rock.
Some good songs, some bad, some meh. A true 2.5, rounded down because it's not my typical genre
Solid jazz, but still jazz
That is some sexy guitar
III will never be my go-to Zeppelin, but this was better than I've given it credit for.
This is an extremely 80s and extremely dark album. Not really my scene but there's some good shit. This Corrosion is weirdly compelling.
The songs with Neil Young singing are my least favourite part (also, today I learned that Neil Young was in Buffalo Springfield). The more guitar-driven songs (i.e., Bluebird) suit my tastes nicely.
I'm not really a folk or acoustic guy, but this really resonated for whatever reason.
I tried getting into Mudhoney several years ago before seeing them open for Pearl Jam. It was a little too raw for me then. But now I have a better appreciation for heavier and rougher stuff, so this was good.
If yoy take away the French, this is my preferred style of rap: a pleasant voice with some upbeat, funky backing music.
I've been craving something heavy lately and this somewhat filled the void. Some good stuff in here, but also a lot of very short repeated loops and annoying background noises that distract from the goodness.
Exactly my style.
Once again, a great rap album marred by unnecessary skits and whatever that 1w minute spoken word outro was. The degree skits were actually kind of fun, but still not what I want from an album. The actual songs were bangers though.
Mostly solid but unremarkable throughout, but the last couple songs are kind of annoying. I absolutely do not want to hear whining children when listening to music, thank you very much.
Decent beats scattered throughout. Glad I don't speak French so I couldn't understand what I assume to be creepy subject matter.
The title track is great! The rest was pleasant enough but inoffensive and unremarkable.
I really seem to enjoy this fellow, though I think I prefer his unaccompanied stuff a bit more.
I don't always love Bowie's voice, but this was mostly pretty great. The trio of instrumentals were interesting, especially Sense of Doubt.
We need more standup bass in modern pop music.
Some great guitar riffs throughout. Savoir Faire was a particularly great instrumental.
That certainly was some chaotic jazz.
Man, Damon Albarn's voice is grating
Every track started out fun and interesting but just lasted too darn long to maintain my interest.
The instruments all sounded phenomenal, but the singing was more hit and miss.
Not enough variation, too many croony ballads (my least favourite type of Elvis song). Also, In the Ghetto is incredibly pretentious, pandering, and borderline offensive. Wild that it's the only hit from this.
I really dislike spacey, weightless, meandering songs that are 6+ minutes long.
Mostly annoying but occasionally catchy.
Perhaps I've been too hard on Radiohead in the past. This was pretty solid, if a little too slow for me overall. Solid 3.5
Just an absolutely perfect album.
Kind of really into this, especially the parts with more melodic vocals.
Ah, high school.
The Bottle is a standout, the rest is fine.
This is fine but I prefer the more refined style of Raising Hell
Loving the funky ska vibes and the frantic bass.
Played in Rock Band 4. My high school calculus teacher once gatekept me for liking this album. I was wearing a shirt with the album art on it and she asked my favourite song on the album. I said Train in Vain (which fucking slaps) and she said "Oh, I prefer the more political songs like Spanish Bombs" as if I was some simpleton. She then proceeded to quiz me on the band member's names. I could only name Joe Strummer in the moment and was embarrassed but looking back, who the hell cares? I just loved every song on this awesome blend of punk, reggae, ska, and disco. It's still the only double album I've ever heard that completely earns both discs.
I only knew a few songs ago in and was a little disappointed by the rest.
There are some great songs buried between a bunch of distorted vocals and a cavalcade of weird noises and samples.
Woe to you, oh earth and sea For the Devil sends the beast with wrath Because he knows the time is short Let him who hath understanding reckon the number of the beast For it is a human number Its number is six hundred and sixty-six
Not necessarily bad, just extremely dull. It was much more interesting reading about this guy than listening to his music.
This is frustrating because the opener, Teenage Riot, is exceptional. But the rest of the songs are buried under a bunch of unpleasant distortion and fuzz. Not looking forward to the other 4 (!) Sonic Youth albums we'll have to endure, since my understanding is that this is their most accessible.
Would have much rather preferred this as a studio album instead of live (and probably would have bumped it up a star or two). This proto-punk sound just doesn't really work live on a first listen for me. The bluesy Motor City Is Burning is about the only effective track in this format, due to its different style.
A strange blend of standard country fare with almost Hawaiian-sounding guitar.
This is chock full of bangers: I'm So Bored of the USA, White Riot, Hate and War, London's Burning, Career Opportunities. Some less notable tracks as well, but the highs are very high.
I find it hard to believe that an album without a Wikipedia page is something that I MUST listen to before I die. Especially when it's as bland as this.
This has a lot of that rough Sonic Youth energy to it, but for whatever reason is much more compelling to me. I still don't love the occasional wailing vocals though.
Well that Bond theme comes out of nowhere! Since this is '97, I'm guessing they also approached this guy to do a version for Tomorrow Never Dies but ended up going with Moby instead.
Really leans into that classic 80s thing I hate where the super deep vocals have this weird distorted echo effect layered overtop.
Individual songs are way too long and repitive to be of much interest.
I appreciate Mr. Killah's enthusiasm for explaining the metric system on "Kilo" and his Iron Man references before they were cool.
Okay, so this is obviously obscenely long. But I'm not even mad because it's consistently pretty fucking great.
Any one of these individual songs would be fine as a change of pace track on a more upbeat album. But when you have an entire album solely consisting of one anticlimactic song after the other, each comprised of the same breathy vocals, acoustic guitar, and piano, it becomes an exhaustingly dull slog. When did Swift become allergic to writing hooks? no body, no crime is the only track that comes close to being enjoyable for me. Everything else is just... nothingness.
Rocked pretty hard for being largely acoustic.
Solomon himself has a nice voice but I'm not crazy about the backing vocalists and they are featured heavily throughout.
E Street Band = great! Bruce singing = bad