Sam Cooke (and many other Soul musicians, for that matter) is an artist I've heard by name countless times, but haven't ever sat down to listen to in any substantial way. I really enjoyed this live album, particularly the contagious energy that Cooke and the rest of the musicians brought to their performance. You can really hear that energy reflected back in the audience's enthusiasm - I can't imagine how much fun this concert would have been to experience live in person.
"Feel It", "It's All Right" and "Bring It on Home to Me" were standouts that I can definitely see revisiting frequently.
Surprisingly, the title track was the only song I was familiar with from this album before today. I really enjoy a lot of popular artists from the 80s, but Madonna's style of pop doesn't really do it for me. Songs like "Express Yourself", "Love Song", "Promise to Try" and "Cherish" just sound outdated and cliché to my ears in 2022.
On the plus side, "Like a Prayer" deserves the hype and remains a powerful opener three decades later. I was also pleasantly surprised by "Till Death Do Us Part" and "Pray for Spanish Eyes". I'm a sucker for emotional/epic tracks with violins, so I enjoyed "Dear Jessie" and "Oh Father" much more than I probably should have.
"Act of Contrition" was a very unexpected, but unfortunately uninteresting closer.
Standout tracks: Like a Prayer, Till Death Do Us Part, Dear Jessie, Oh Father, Pray for Spanish Eyes
This album had a huge influence on my musical tastes when it arrived in 2008, and my opinion of it has only improved since then. No other band sounds quite like TV on the Radio, and TV on the Radio has never before or again sounded as good as they do on this album. It is the pinnacle of a completely unique art rock style the band commands all to themselves; a near-perfect listen from start to finish.
I couldn't even describe the least memorable songs on this album like "Stork & Owl" and "Red Dress" as anything less than great. Meanwhile, the best songs on this album "Golden Age" and "DLZ" are on my playlist of all-time favourite songs, across all genres.
Standout tracks: There isn't a bad (let alone average) song on this album, but the cream of the crop for me are "Halfway Home", "Golden Age", "Family Tree", "Love Dog" and "DLZ".
I'm sure this is a seminal punk rock album, but punk rock just isn't for me. As much as I have tried, I can't enjoy this style of music. The raw vocals and fuzzy instrumentation just sound ugly and unpleasant to my ears. To each their own!
The only song I legitimately enjoyed on this album was "Mannequin". I could at least tolerate some of the slower, more melodic tracks like "Three Girl Rhumba" and "Lowdown"... but not enough to ever seriously revisit them. The rest just sounds like noise, to me. Sorry, punk rock fans!
Standout tracks: "Mannequin"
I have mixed opinions on Bob Marley's music. It's an easy-breezy reggae style that doesn't demand much from the listener, but at the same time (on this particular album, at least) many of the songs adhere to a somewhat routine formula, rendering the back half a bit forgettable and less distinguishable from track to track.
I definitely enjoy this sound when I'm in the mood for something more passive and relaxing, but by the end of this album, I am ready to move on to something more intricate.
Standout tracks: "Lively Up Yourself", "No Woman No Cry", "Rebel Music (3 O'Clock Roadblock)"
Hip-hop is a genre that I rarely explore, but I was pleasantly surprised with this one! I had no idea Queen Latifah had such good flow (I'm more familiar with her as an actress than a musician) and I really enjoyed the upbeat energy coursing through the album.
There's a nice variety of samples and collaborators keeping the sound fresh from track to track, though the album is immediately identificable as having been released in the late 80s / early 90s based on the generic style of beats & line delivery that was so commonplace during that era.
The album loses a bit of steam and creativity towards the end, and despite a handful of songs sounding a bit dated ("Come into My House" in particular), this was still so much better than I was expecting going in. I can definitely see myself revisiting this album if I'm in the mood for some throwback hip-hop.
Standout tracks: "Dance for Me", "Wrath of My Madness", "Ladies First"
A seminal folk rock milestone. Some of the weaker tracks ("So Long Frank Lloyd Wright", "Why Don't You Write Me" and "Bye Bye Love") keep this from getting a perfect score from me, but with absolute classics like "Bridge Over Troubled Water", "Cecilia" and "The Boxer" it's a VERY close call. You can hear so many influences on the recent resurgence of folk rock bands present on this album.
Standout tracks: "Bridge Over Troubled Water", "Cecilia", "Keep the Customer Satisfied", "The Boxer" and "The Only Living Boy in New York"
I expected to like this one a lot more than I actually did. I appreciate the originality and creativity of the sampling, and how the album flows as one continuous mix, but a lot of the individual tracks which make up that mix just didn't command my attention as much as I had hoped. The standout tracks here are strong, there's just a few too many skippable beats in-between.
The artificial vinyl crackling on many of the tracks became increasingly grating as the album went on, and I can only imagine that hearing it on actual vinyl would be extra irritating in combination with the natural crackling one might experience.
I suspect this album was highly influential when it released, but I definitely prefer the Avalanches' newer releases "Wildflower" and "We Will Always Love You" more than this one.
Standout tracks: "Since I Left You", "Two Hearts in 3/4 Time", "A Different Feeling" and "Frontier Psychiatrist"
Hot take: This is a pretty damn good pop album.
The 1-2-3 punch of "Thriller", "Beat It" and "Billie Jean" has to be one of the best runs on an album of all time. There isn't much I could say about these songs that hasn't already been said better a million times before; just that they absolutely deserve the timeless popularity and cultural significance they have attained. "Wanna Be Startin' Somethin'" is an equally amazing opener, and I'm honestly a bit surprised it didn't reach that same level of acclaim.
However, while those tracks may be some of the best pop songs ever produced, for an album to receive a perfect rating from me, every song needs to be at least memorable... and that unfortunately is not the case here. While "Human Nature" and "P.Y.T. (Pretty Young Thing)" are perfectly enjoyable, "Baby Be Mine" is a bit boring. Meanwhile, slower songs "The Girl Is Mine" and "The Lady in My Life" just haven't aged very well to my ears, which seems to be the case for many slower songs that I have encountered from the 80s.. it's just not my style.
Is "Thriller" one of the best pop albums of all time? Without a doubt. Does it deserve the acclaim? Absolutely. Is it a perfect listen from start to finish? Not quite, but it may be as close as a pop album will ever get, for me!
Standout tracks: "Wanna Be Startin' Somethin'", "Thriller", "Beat It", "Billie Jean" and "P.Y.T. (Pretty Young Thing)"
I'm a major Sigur Rós fan, but despite popular opinion amongst fans, "Ágætis byrjun" is only my third favourite entry in the band's discography behind "Takk..." and "( )". I just have a preference towards their records with a bit more grandeur and variation of sound.
Having said that, it is undeniable that "Ágætis byrjun" is a work of beauty and a monumental contribution to the post-rock scene. It is remarkable how much emotion Jónsi and the rest of the group are able to convey to so many fans around the world who can't even understand a word of their lyrics - a true testament to the band's mastery of their craft and the universal power of music.
I am very tempted to give this album a 5, because even though it isn't my favourite of their albums, it's still very close to perfection. I am however going to refrain due to my incredibly unpopular opinion that "Svefn-g-englar" slightly overstays its welcome, being a bit too monotonous to justify its ten minute run time.
Standout tracks: "Starálfur", "Flugufrelsarinn", "Ný batterí", "Viðrar vel til loftárása", "Olsen olsen" and "Ágætis byrjun"
Boring, repetitive, ugly noise. The instrumentation on songs such as "TV Party" and "Gimmie Gimmie Gimmie" would at least be tolerable if it weren't for the thoroughly grating vocals. If this is what anarchy sounds like, I'd rather just be a conformist.
Out of the 10 albums I've listened to from this site so far, this is the first I can not imagine revisiting a single track from. This particularly nasty brand of hardcore punk is just not for me.
Standout tracks: None
Before "More Songs...", I was only aware of Talking Heads from their most popular mainstream songs, none of which are present on this album, making for a pleasantly new listening experience!
After finishing the album, I can definitively say that I am a big fan of the band's frenetically quirky style. On first listen, a few tracks don't stand out as distinctly from the others as I would have liked, but the album flows with such a consistent upbeat energy that it was never boring. I suspect my opinion will only become more favourable on repeat listens.
It's also very cool to hear the obvious influence on some of my favourite modern artists like Modest Mouse and LCD Soundsystem in Talking Heads' sound. It's a style that holds up amazingly well over 40 years (!!!) later.
Standout tracks: "Thank You for Sending Me an Angel", "Warning Sign", "Found a Job", "Take Me to the River" and "The Big Country"
I'm really torn on this one. The standout tracks rank among the best of that unmistakably 90s grunge rock style, and Love's powerfully raw vocals compliment that style incredibly well (especially on "Northern Star" - wow), but there are just too many forgettable tracks interspersed throughout. This album would have definitely benefited from some trimming.
Standout tracks: "Celebrity Skin", "Awful", Malibu", "Northern Star", "Petals"
Funky sound, but unquestionably dated. The lyrics are so intentionally over-the-top that it's undeniably funny for a while, but it goes on for far too long to maintain my amusement.
I would never listen to this again, and won't remember it for long, but at least it got a few smirks out of me while it lasted. Probably the strangest concept album I have ever listened to.
Standout tracks: "The Humpty Dance" and "Doowutchyalike"
The most consistently dull album that has come up so far. A few tracks are decent (still far from amazing), however the vast majority are just boring - not bad, not good, somewhere unsatisfactorily in between.
I didn't dislike this album while listening to it, but at the same time I didn't hear much to convince me it would be worth revisiting, outside of the small handful of songs below.
Standout tracks: "Connection", "S.O.F.T.", "Indian Song" and "Waking Up"
Starts off sounding like Oasis' less interesting cousin, but grows into something much more exciting as the album progresses. This could have been an amazing album if more of the first half matched the incredible energy displayed on "One to Another".
Thankfully, the instrumentation on the back half of the album really redeemed this one for me, with some really energetic and explosive finales on songs like "How Can You Leave Us" and "Get On It".
"Rob's Theme" is an unfortunately boring way to end off the album compared to the far more engaging lead up to it.
Standout tracks: "One to Another", "How Can You Leave Us", "How High" and "Get On It"
Arcade Fire's first three albums are a holy trinity of indie rock music, and while I couldn't definitively say which is my absolute favourite, "Neon Bible" stands out as the most grandiose. It's bleak but beautiful, orchestral but modern, has something important to say but doesn't drown you in its message - a skill Arcade Fire has unfortunately lost in their more recent releases.
There isn't a bad song on this album; in fact, there isn't even a song that is merely 'good'. Every song is either great, or total perfection ("Keep the Car Running", "No Cars Go" and "My Body Is a Cage", to name just a few of the latter).
Along with "Funeral" and "The Suburbs", I still listen to this album very often, and I suspect that won't change for as long as I continue to enjoy music.
Standout tracks: Every single song on this album is a standout. There's nothing here worth skipping, from start to finish.
I can't imagine anyone adamantly disliking this kind of music - it is so simple and honest, soothing and relaxing, reminiscent of a much simpler era. At the same time, I can't imagine very many new listeners in 2022 getting really excited about this kind of music either, because it is so very simple and straightforward.
Billie's voice is timelessly beautiful, the instrumentation is classically pure, there just isn't any substance or complexity to really dig into which would make this album more of a repeat listen, for me.
Standout tracks: "I'm a Fool to Want You", "You Don't Know What Love Is" and "But Beautiful"
I had never heard of Rocket from the Crypt before this. For the most part, this album sounds like pretty generic 90s 'pop' punk rock to me, which really isn't my thing (especially the vocals), but the whole effort is at least partially redeemed by those totally unexpected horns, which saves the album from being totally forgettable.
I still wouldn't revisit this album again, but I can at least appreciate that it wasn't wholly unoriginal in its execution.
Standout tracks: "Born in '69", "Young Livers" and "Come See, Come Saw"
The kind of album that sounds like it was written for every 80s teen romance movie... and not in a good way. It reminds me of a more generic Phil Collins. There's nothing offensive here - it's even pleasant at times - but the overuse of synths and cheesy lyrics sound a bit dated to my ears.
In general, I really enjoy 80s synths, but the sound isn't working for me here. There just isn't a whole lot unique about its execution. Maybe that's unfair and this album was in fact a trendsetter at the time, I really have no idea - but listening to it in 2022 without that history, it's just not standing very strong on its own.
Standout tracks: "Second-Hand Woman" and "Night Train"
This is exactly the style of 80s synth music I go for. It's pop, but at the same time has this dark, almost industrial undercurrent running throughout. It's the kind of sound you feel like you need to take a shower after listening to.
It is held back a bit by slower tracks like "Seedy Films", "Youth" and "Secret Life" which have not aged as well as the rest, and it gets a bit repetitive by the end despite its short run time. "Sex Dwarf" definitely isn't for everyone, but I find it hilariously tongue-in-cheek. Overall, the album is an enjoyably seedy listen.
Standout tracks: "Frustration", "Tainted Love", "Sex Dwarf", "Entertain Me" and "Say Hello, Wave Goodbye"
"Hysteria" is like a good Marvel movie. I doubt it's going to be a lot of people's favourite album ever, and its not the most technically or artistically complex effort, but the mass appeal Def Leppard has crafted here is undeniably appreciable. There's just something comforting about this style of big stadium glam metal, and while every track doesn't land as strongly as 'the hits' that the casual listener would be most familiar with, I was pleasantly surprised how well the album maintained my interest with over an hour run time.
It's not a complicated sound, but not all music needs to be - this is the kind of music that is meant to be shouted along to by a tipsy audience on karaoke night at your local dive bar.
Standout tracks: "Women", "Animal", "Love Bites", "Pour Some Sugar on Me" and "Hysteria"
Great background music to throw on while working, reading, or another similarly passive activity. I would never sit and actively listen to this style of jazz, but its got a strong enough groove to avoid getting stale before the end. The incorporation of that organ really helped this album stand out from other songs I've heard in this genre (which is an admittedly small sampling).
Standout tracks: "Back at the Chicken Shack"
Of all the angry punk rock albums I've had to listen to on this site so far, this was the most tolerable by far. I will never be a fan of this style of raw and screechy vocals, but they weren't quite as grating as with many other similar sounding vocalists. There was also a lot more going on instrumentally than what I've heard from similar bands.
I will still likely never come back to this album, because its just not a genre that I resonate with, but at least it wasn't a painful experience like what I've had with other punk bands from this era.
Standout tracks: "Repeater", "Blueprint", "Sieve-Fisted Find" and "Two Beats Off"
This is an album I should have been really interested in when it was released, fitting right into the genre of indie rock music I was obsessing with at the time, but for some reason I never paid much attention to it outside of the insanely popular "Two Weeks".
Listening to it now, I realize I shouldn't have slept on this one for so long. It's not the height of the genre by any means, but its a delightfully complex, layered, rich sound that alternates smartly between catchy, optimistic 'summery' tunes and gloomy emotional 'wintery' ones. It goes on just a little too long for my liking and probably would have come in perfectly around the 40-45 minute mark, but I'll definitely be returning to this one many more times.
Standout tracks: "Southern Point", "Two Weeks", "Fine for Now", "Ready, Able" and "While You Wait for the Others", "Foreground"
There's so much emotion, passion, power and soul in Aretha's vocals. There isn't a bad song on this album - it's filled with timeless classics, and a surprising amount of variation in the instrumentation, too.
I really want to give this 5 stars, but I'm going to settle on a 4 for the sole reason that - as much as I enjoy this style of music while listening to it, and Aretha Franklin is no doubt the epitome of this genre - it never occurs to me to give it a listen on a more regular basis. I can't quite put my finger on why that is - clearly a problem with me and not the music itself.
Standout tracks: "Chain of Fools", "People Get Ready", "(You Make Me Feel Like) a Natural Woman", "(Sweet Sweet Baby) Since You've Been Gone", "Good to Me as I Am to You", "Groovin'", "Ain't No Way"
