Thoroughly enjoyed this album. Had the feel on the mid- to late-90s downtempo electronica. I felt transported back to high school with this one. Almost felt like if Röyksopp co-wrote the backing tracks with Fiona Apple, with a bit of Massive Attack mixed in for fun. The '60s and '70s era synths mixed with instruments was a welcome surprise. The overall album was pleasant, though I feel I will revisit my favorites, particularly La femme d'argent, All I Need, Kelly Watch the Stars, Remember, and Le voyage de Pénélope. Great code writing music for me.
I know that I've listened to Leonard Cohen before, but I did not know this album or any song from it. This was a wholly new experience.
While I can appreciate the stylization that he was going for - the monotone storyteller route - being a musical listener vs. a lyrical listener - much of this album was lost on me. The music itself was somewhat expected with nothing particularly standing out to me, which is not the focus of this album. This album fully falls in the category of me being able to recognize why it might be considered great or groundbreaking by others but has little in ways of connection or interest for me.
Listening to this brought back memories of the mid- to late-'80s, elementary school, hanging out with our babysitter who was probably playing this constantly, but nothing here truly stood out to me. I did enjoy it though, so I'll probably need to give this one another few plays to see if I can find the truly incredible parts of it.
An absolute banger of an album, especially for a debut.
I can appreciate the music here, but, much like any jazz music, I need to be in a certain mood, and sadly was not in the mood yesterday. However I will be adding some of these songs to my jazz collection that weren't already there.
Talk about whiplash. I had no idea who The Sonics were, thought I was going in blind, and ended up knowing the recorded versions here, or covers/remakes, of most of the songs on this album. There is something gritty about the rawness of the album and I enjoyed most of the songs here. While not something I'd seek out, it was still a great album, especially for something past its jubilee.
There is solid music here. It's definitely a mood, and one that I'm not in currently to appreciate, but this is actually a very solid album. I need to revisit this in the right mindset.
I was actually surprised by this one.
I wanted to like this album more than I did. Cheap Trick is a very hit-or-miss band for me, and really, their live albums are the only ones I've even given a second thought to (I truly dislike their studio recordings; such a different energy). The set played Nippon Budokan was a little too jarring for me. Not bad, but not my thing.
I grew up listening to this album and 30+ years on, still listen to it on the regular. This is one of those albums where if I hear one song, I feel compelled to listen to the entire album. I don't even need the music to be playing for me to get Speed Demon, Dirty Diana, Man in the Mirror, or Smooth Criminal stuck in my head. Even as an impressionable 7 year old when this album was released, this was one of the first cassettes that I "wore out" (tape snapped) in a Walkman from the non-stop playing. To this day, the only song I _might_ skip is Liberian Girl only because I need to be in the mood for a slower song.
An absolutely solid album. Has a good blending of rock and electronic and si definitely something I'll jam out too again.
I've never listened to Can, but I love the experimental nature of this album. It's definite 70s arsed 70s, but man, the whiplash that some of the songs have - like Peking O - are awesome. I liked this way more than I thought I would.
This album continues to be a "go to" for me. There isn't a track on here that I skip, and it was an album of a place and a time that was perfect for me. This was my introduction to Hole as a teen.
