What a record - I felt paralyzed during the entire run! The instrumentation is great, it’s bursting with humor and energy.. And then it’s catchier than the songs most hit-songwriters could even dream of composing. This is everything I want in a punk record.
Elvis is obviously more of a phenomenon than he is a recording artist. Genuinely didn’t truly enjoy a single track. Elvis said of himself: “I don’t know anything about music. In my line you don’t have to.” I’m a firm believer that this would have been more enjoyable had he just known a tiny bit.
From the first sound of the gong you are aware that you’re about to witness greatness. Jones’ cymbal washing and later use of timpani is breathtaking, but it is nonetheless Coltrane that stands out as the main character in what can easily be described as his magnum opus. Another milestone by Coltrane that still stands tall almost 60 years later.
It’s fair to say that these doctor’s orders weren’t meant for me. Neither is the humor - if you can actually call it that. The production is solid and there’s some interesting scratching. Not that impressed by most of the rap in itself… And the record itself is just way, way too long! This would’ve gotten an extra star if not for the non-stop jokes and skits.
One of the best sounding records to emerge from the 90’s. I genuinely can’t comprehend how Shields produced such an intense and dense wall of noise while managing to maintain dreamy vibe and pop sound of the songs. I think it’s fair to assume that a decent amount of my favorite records of the late 90’s and forward wouldn’t exist without Loveless. A legacy almost as massive as it’s sound.
En håndfuld vanvittigt stærke sange; særligt Dancer, Lost in Music, titelnummeret og Easier to Love. De taber mig med Somebody og One More Time, der simpelthen ikke er stærke nok. Ikke nok til at ødelægge oplevelsen fra Rodgers guitar, dog. 3,5
Jeg kan ikke nævne ét moderne britisk punkband, der ikke har skamhørt Stranglers.
Best: Rain When I Die / Rooster / Would? Worst: God Smack / Hate to Feel
I’d completely forgotten how great Di’Anno sounds! Best: Remember Tomorrow / Phantom of the Opera / Strange World Worst: Running Free / Transylvania
Elvis is obviously more of a phenomenon than he is a recording artist. Genuinely didn’t truly enjoy a single track. Elvis said of himself: “I don’t know anything about music. In my line you don’t have to.” I’m a firm believer that this would have been more enjoyable had he just known a tiny bit.
Songhoy enters the legendary Mali music scene and somehow finds themselves at home from the very first strum.
Just enough good tracks to keep this boat afloat. I can’t comprehend that a group who can produce a beat like the one on Ms Jackson can also produce something as ridiculous as Snappin’ & Trappin’. Also contains 7 interludes too many. Best: So Fresh / Ms Jackson / B.O.B. / Humble Mumble Worst: Snappin’ / I’ll Call B4 I Cum / Toilet Tisha Low 3, borderline 2.
The unlikely love child of Pixies and Dinosaur Jr. Doesn’t really bring anything new to the table. But everything kinda works nonetheless. Includes the 2nd best “Man on the Moon” released in 1992. Best: Changes / Helpless / The Slim Worst: If I can’t change your mind / Slick
Compared to both albums of Cohen’s discography surrounding this one, Songs From a Room seems like the weaker option. I understand the sentiment of a record as sparse as this, but more than a few times it doesn’t quite hold up. Bird On a Wire and especially the Partisan more than makes up for it, but it seems like something is still missing altogether.
Lennon said after hearing the album: “It sounds just like Yokos music.” What a weirdly backhanded compliment… Nothing really does anything but slightly bore and annoy me until Rock Lobster kicks off - always a fun thrill. The last two songs are just plain ridiculous and unnecessary. Why on earth are they included? Possibly the world’s most heavily sedated party band. Best: Rock Lobster Worst: 6060-842 / Downtown
3rd times the charm. 1st and 2nd time was great as well.. But it doesn’t make for a great review start. What an awesome record from start till end. The mix is great, Kiwanukas songwriting is it great, his blend of genres is more than great… And there’s a Womack-like quality to his vocal! I’m on the verge of handing this a 5. But I feel like I need the final nudge. Maybe it’s one or two interludes too many that does it? Because overall there isn’t a bad song on this thing. Consider this the biggest possible 4. Best: You Ain’t the Problem / Piano Joint / Hero / Final Days
A couple of really great tracks like Kicks, Steppin’ Stone and Take a Look at Yourself keeps this record fun throughout. A few fillers here and there is almost unavoidable on a record like this, so I’m really not that bugged about that; even though it’s a shame that two of the weakest tracks, Get It On & Louise is right next to each other. A fun record nonetheless!
Not sure I quite get the almost surreal hype that, apparently, surrounds this album. Sure, for the most parts it’s a thrilling and enjoyable ride, but the first half feels slightly too long. The second half picks up the pace nicely but unfortunately ends on a lackluster note. Best: Trouble Down South / Hard to be Human Again / Last Dance Worst: Darkness and Doubt / Lost Highway
Unbelievably strong start. As in I genuinely don’t believe how great the first half is! With more than 100 songs recorded during this session and a runtime of more than 50 minutes, I don’t understand the inclusion of the Jimmy Hickey’s Waltz. A filler on an album that most certainly don’t need fillers. Steve Wickham’s violin proves to be the secret weapon on a record that is already loaded with great musicians. Blown away! Best: We Will Not Be Lovers / World Party / Sweet Thing / The Stolen Child Worst: Jimmy Hickey’s Waltz
Listened to this album the other day. Listened to it again today. Will most certainly listen to it again soon. The cover also prominently features Lennon with a fake beard. Very cool. Best: Eleanor Rigby / I’m Only Sleeping / She Said She Said / For No One
It’s been years since I last listened to this. And I forgot that the singles are really doing some truly heavy lifting on this thing. Especially Tears Dry… Jesus Christ is that well written or what?! The Spectoresque sound is ridiculously well produced, Winehouse’s voice is obviously incredible and the lyrics are at times hard hitters. Nevertheless my interest slowly fades away during the songs filling out the space between the album singles. Best: You Know I’m No Good / Back To Black / Tears Dry On Their Own / Worst: Just Friends / Wake Up Alone / Some Unholy War
Somehow this isn’t in my Radiohead top 3. With most other bands this ranking would’ve meant a good but not GREAT album. That isn’t the case here. I would have liked for a couple of the tracks to be a bit more focused, but with Pyramid Song, Knives Out and Life in a Glasshouse appearing on this thing… Who actually gives a shit? Best: Pyramid Song / I Might Be Wrong / Knives Out Worst: Pulk/Pull Revolving Doors / Hunting Bears
I mean, if you really, really, really like Blitzkrieg Bop this is great. Because it’s literally just 30 minutes of the same inane song. No amount of attitude and cool leather jackets can change the fact, that Ramones is one of the most overrated bands to ever release a record. Best: Blitzkrieg Bop Worst: Blitzkrieg Bop (the next 13 times)
From the first sound of the gong you are aware that you’re about to witness greatness. Jones’ cymbal washing and later use of timpani is breathtaking, but it is nonetheless Coltrane that stands out as the main character in what can easily be described as his magnum opus. Another milestone by Coltrane that still stands tall almost 60 years later.
Balancing the thin line between hyper-tense and insane, the Mael Brothers delivers a record that is the exact opposite of the B-52’s… Festive and fun in just the right way. While a few of the songs seem to miss the mark, I never feel bored - maybe it’s the excitement and energy in Russell’s falsetto or maybe it’s the playful songwriting. I’m entertained nevertheless. Best: This Town … / Thank God … / Equator Worst: Falling In Love … / Complaints
A stark but most welcome departure from the Wham! and Faith-days! It really suits Michael’s vocal to be accompanied by less synth and kapow and more guitars and piano. Freedom of course being the huge but amazing exception. A sizable deduction for thinking that pan flute is appropriate anywhere else than in the lobby of a mid-range all-inclusive Greek hotel chain. All in all Mother’s Pride is really the start of a 2nd half that’s nowhere near as strong as the 1st. Best: Freedom! / They Won’t Go When I Go / Cowboys and Angels Worst: Mother’s Pride / Heal the Pain / Soul Free
I couldn’t imagine a more appropriate Juneteenth release. Filled with anger, sorrow, power and a demand for change. The production is so raw and in your face (especially the drums) that at times it almost hurts. Absolutely brilliant! Unfortunately I also knew what to expect when I saw the 20 song tracklist… And this album doesn’t change my mind regarding the overflow of interludes. The lyrics in general are strong enough to get Sault’s message across. There really is no need to keep hammering the same nail; even when delivered via whispering poetry. Best: Stop Dem / Bow / Why We Cry Why We Die / Monsters Worst: Don’t Shoot Guns Out / Black / Pray Up Stay Up / almost every interlude (but especially June Child)
Why this is consistently considered to be one of the greatest albums to ever be released is simply beyond me. The first half features only one great song and by “Never Had No One Ever” I’m always about to call it a day. Luckily the second half puts on a show and almost manages to save the day with a couple of extremely well-crafted songs by Marr. But in the end I think it all comes down to wether or not you find the character of Morrissey interesting enough. And I just don’t. Best: The Queen Is Dead / Bigmouth Strikes Again / There Is a Light That Never Goes Out Worst: Frankly, Mr. Shankley / I Know It’s Over / Vicar in Tutu
Van Morrisons voice is such an incredibly powerful instrument. They could’ve stripped the record of instruments and it would still sound intriguing. The songwriting is beyond incredible (especially on Beside You), even though the scarce instrumentation is beginning to wear out towards the very end. It’s feels like one cohesive stream of consciousness - and what a journey it is.
More than a decade after its release MBDTF still stands as a monolith of modern hip hop… Fuck it, modern music in general. If released today it would be just as fresh, progressive and impressive as it was 12 years ago. Best: Dark Fantasy / POWER / All of the Lights / Runaway
An album by Cubans, recorded in Cuba, sung by Cubans, written by Cubans… And now selected for preservation by the United States National Recording Registry. What a milestone!
Novocaine and Susan’s really did a great job getting my attention with unusual songwriting, structures and production. I like the simplicity that seems to haunt the entire record… Even though it at times also turns out to be its greatest weakness. Especially regarding the lyrics. A solid 3 for having My Beloved Monster appear in Shrek.
Rio is one of the greatest album openers of the 80’s. The energy, the composition…. THE SAXOPHONE…. Jesus! The songwriting is beyond great, Le Bon sounds amazing and the band plays their hearts out. I almost cried due to the sheer emotions on display in Save a Prayer. It’s worth noting that ⅗ of the band is surnamed Taylor. Without being related. A British band if there ever was one!
Deep Purple is certainly at their best when they allow for their songs to build up. They possess a skill for grandiose songs but unfortunately they only really showcase it on the magnificent Child in Time. Apart from Gillan’s singing, Blackmore and Lord are the absolute highlights of the record. Blackmore seems to overshadow Lord on this record, but when the organ gets to shine it’s always a joy. While a shocker in 1970 for sure the more classic blues and jam heavy parts don’t quite hold up today. In the end, while having some excellent and timeless moments, it just doesn’t hold my attention throughout.
The lo-fi approach almost feels like a direct attack on the growing grunge sound of the same era. Still noisy as hell, but with absolutely no obvious attempt at writing something even resembling a hit. Also the fact that Billy Corgan of Smashing Pumpkins was genuinely furious at the band for referencing them in Range Life is hilarious!
Music For the Masses is ironically the record where Depeche Mode really embraced the darkness and minimalistic approach... And in this gloomy realm the band truly seems to shine. Gahans vocal is haunting and the compositions are, for the most parts, incredibly subtle yet powerful. Pimpf is not an ending though. Feels like the introduction to an epic album but somehow only leads over in a hidden interlude. Just plain ridiculous. Best: Strangelove / Little 15
An almost surreal successor to Astral Weeks. What a musical journey Van Morrison undertook in those years. An incredibly impressive track list with a few minor misses.
Opening with "Zero" and "Heads Will Roll" is really setting the bar high. A brave move that doesn’t always pays off. Especially when you drastically change direction right after. The subsequent nosedive into despair manages to calm my excitement a bit. While containing great songs that aren't as danceable as the lead singles, the massive "Runaway" being the prime example, it just doesn't manage to keep me truly engaged all the way through. I actually think that just spreading out the lead singles would have earned this another star. Tracklists are an artform.
It’s fair to say that these doctor’s orders weren’t meant for me. Neither is the humor - if you can actually call it that. The production is solid and there’s some interesting scratching. Not that impressed by most of the rap in itself… And the record itself is just way, way too long! This would’ve gotten an extra star if not for the non-stop jokes and skits.
Without a shadow of a doubt Nirvana’s strongest record. Grunge really peaked with In Utero and everything grunge beyond this release is slowly fading into alternative rock to be honest.
I’d forgotten how much this album at times screams Ibiza! Quite often it sounds like a band struggling to realize wether they are a dance or rock-band. I mean - going from “Love Less” to “Round & Round” is a surreal move. But at the same time it never fails to keep me engaged entertained. Maybe Hook’s melodic bass-lines are making me feel generous!
One of the best sounding records to emerge from the 90’s. I genuinely can’t comprehend how Shields produced such an intense and dense wall of noise while managing to maintain dreamy vibe and pop sound of the songs. I think it’s fair to assume that a decent amount of my favorite records of the late 90’s and forward wouldn’t exist without Loveless. A legacy almost as massive as it’s sound.
I don’t dig the reggae influence on this record at all. And I absolutely adore reggae! Is it a good thing if one of the best track on a trip hop album is the closest thing to a classical piece; “Weather Storm”? I was gonna hand this a 3 until I was reminded of the horrendous cover of “Light My Fire”. How on earth this was included on the original track list is beyond me.
I was lucky enough to experience Prince live twice. Two of the greatest musical moments I’ve ever witnessed! Listening to his albums doesn’t quite bring out the same magic though. It sounds like no one told Prince no in quite some time (and why would they think to do so, he’s a genius)… It might have been healthy once in while. Enduring tracks such as Housequake and Forever In My Life makes this feel way too long… Prince is simply better with a band than stripped down; as beautifully showcased on I Could Never Take the Place of Your Man. At least 20 minutes could easily have been cut.
This is the most Björk album ever. A horrible start for anyone new to the singer and the perfect album to test wether or not you really like Iceland’s most adventurous musician. Claustrophobic, haunting, devastating but still stunningly beautiful. A unique album to be sure; but what a thrill. This is THE Björk album I would love to hear performed live.
This is obviously good. The musicianship is great, Waters sounds great… And still it does little to nothing for me. Straight up blues just isn’t my thing. And I’m not really particularly sad about it.
Led Zeppelin at the peak of their creativity. There is an abundance of legendary tracks on this and side two (Houses through Kashmir) is absolutely ridiculous. It might have proven better had they left the 4th side blank, but this is nonetheless a show of sheer strength. Also, how beautiful is Page’s playing on “The Rover”?
This sounds like a collection of theme songs to movies I’ve never seen. I feel strangely emotionally severed from this record and despite beautiful moments I need to remind myself to keep focused on the songs… Quite often in fact. Pretty sure I’ve heard “Oompah Radar” in RuneScape at some point.
I feel fru-fru-fru-fru-frustration listening to this. How is this a serious record!? The lyrics sound as if improvised a lazy afternoon. The production is equally lazy and just plain boring. Also Almond's vocals are horrendous. He almost seems to deliberately avoid hitting any tones on the entire record. This is the sound of the high school singer you all applauded out of pity and then talked about behind his back. Imagine being this bad and still have the courage to release "Sex Dwarf".
Absolutely insane that this is a debut album. And released in 1969? I mean... Side one is non-stop perfection with an absolute highlight in "Dazed and Confused" (inspired by Jake Holmes). Side two is not quite as strong but still contains incredible tracks such as "Communication Breakdown" and "How Many More Times". Even when the record gets almost too close to just being blues Plant's voice comes roaring in and saves the day. This is not on the verge of being handed a 5/5 but it's definitely not a 3/5 either.
How is this the first time I hear this record in it’s entirety? GZA’s vocabulary is insane and his flow likewise. Surgical precision; nothing less. While not flashy the beats are the perfect backbone for GZA and his guests often rough, harsh and honest storytelling. The focus on extremely lyrically heavy songs ends up being almost physically exhausting. But with lyrics like these it takes a lot more to actually grow tired of it.
The one album that really makes Soundgarden deserve their spot in grunge history alongside Nirvana and Pearl Jam. Super unknown is the first truly great Soundgarden album; it’s heavier and more harrowing, it’s faster and more experimental and it’s the absolute peak of the band’s songwriting - especially when it comes to range and complexity. It’s greatest strength, beside from Cornell’s awesome vocal, is the variety in genres. The heavy stuff is great, the ballads are great. But I’ve never truly understood the brutal 70 minutes playtime. While there are few actually weak tracks you feel full when it’s over; and I would have loved being left wanting way more!
Is this a contender for best 25th album by an artist? One of rock’s greatest comebacks. Incredible to return to the stage and deliver this after 10 years of absence. Like so many of Bowie’s records this is best when he steps away from the conventional road and experiments. And while I still find the first album to be strong it’s the second half that really shines!
It might have been a brave and important step for a folk singer to use a rock band as backing… But ending on an 11 minute folk ballad? Dylan at his best! There are so many excellent tracks and Dylan’s storytelling is as good as it ever gets; “Ballad of a Thin Man” and “Desolation Row” being prime examples. If you rate Dylan-albums by the sheer volume of harmonica (and you should), this is quite good.
I’ve never quite understood the appeal of Elvis Costello. I’ve listened to a couple of records but I was never blown back. So imagine listening to this record for the first time… And still don’t care. “Alison” is great and there’s some great breaks and musicianship. And knowing the popularity of this guy it doesn’t please me one bit that I still feel totally indifferent to Costello’s discography.
There’s no way three guys in Newcastle Upon Tyne could have predict the mayhem (pun intended) this would cause in Norway half a decade later. “Buried Alive” and “Raise the Dead” are absolute highlights on the first side while the harrowing tale of “Countess Bathory” dominates the second half. The artwork and lyrics are almost comically extreme and the production on especially the drums leave some to be desired.. But this is just, almost surprisingly the cover taken into consideration, an extremely fun record! For the sake of my sanity I try to ignore the fact that the album closes on a teaser of the first song of Venom’s next album… Because… Who in hell would actually do such a thing? Nobody, right? Nobody.
Tusk is a legendary album - especially due to its absurd cost. It feels more evident than in previous and later albums, that the three main songwriters (Buckingham, Nicks and McVie) wrote these tracks individually. Especially Buckingham’s songs stand out.. But often not for the better. “Not That Funny” and “That’s Enough for Me” are totally misplaced and it’s clear that he had wanted the band to go in a whole new direction - not an easy goal to achieve when the songwriters are given almost total individual freedom. Nicks’ provides some of the best songs, “Storms” and “Sisters of the Moon” while McVie offers both great moments and easily forgettable ones. At almost 75 minutes this is filled with both classic Fleetwood and a glimpse into a new direction for the band. In the end neither are pursued all the way and the result is, though most often great, somewhat incoherent.
Considering the fact that Billie Holiday's take on "Gloomy Sunday" was so depressing that it was once banned for decades on BBC, I am not surprised that this record didn't exactly lighten the mood. At the age of only 43 it's remarkable that her voice sounds like it has already lived a full life - and then some. It's not as vibrant as in earlier recordings and while Ray Ellis (and his Orchestra) provides a beautiful tapestry Holiday paints almost every song with the exact same emotions as the ones before and sticks to the same vocal formula through every song. The end result, beautiful and emotional as it surely is, simply isn't enough to keep me invested.
Ending on “Cry Baby Cry” and only 28 songs was a really good decision by the Beatles. Really, really, really, really, really, really, really, really, really glad nothing comes after. You can almost physically sense the creative overflow of the Fab Four on this record. You never sense the turmoil going on behind the scenes; on the contrary actually. In many ways this is back to basic compared to Sgt. Pepper. Simply just expertly written songs one after the other.
For someone who starting smoking at the ripe old age of 9, Mitchell sounds stunning. The complexity in her vocal schemes, the innovative sudden changes in keys and the sheer mastery of the songwriting is beyond most recording artists of the early 70’s. Her relationship with James Taylor becomes apparent on a couple of tracks; and we’re all the more lucky for that. Taylor’s playing suits Mitchell’s voice perfectly. Mitchell is one of the most important songwriters of the 60’s and 70’s. And there’s really very little to debate right there.
Quite the debut album! Knopfler (the not David one of them) is a laid back frontman when it comes to vocals, but on the guitar he’s a living legend. His picking style out of this world! There’s a few almost misses, but overall there’s nothing truly bad to find here. I completely forgot how fun it is listening to Pick Withers. Especially his work on the hi-hat and ride is intriguing while he still manages to stay well in the background just sitting tight in the pocket.
I was honestly surprised at how good the first half is. The interludes didn’t bother me, the productions and beats are killer and there’s a fair amount of bangers. Then the second half kicks in and I slowly lose interest. I don’t particularly care for their vocals when they rap and the songwriting is simply more boring. Just as I was about to almost defend the inclusion of interludes, “Sexy-Interlude” kicks in. Oh how I love me some potty humor; just what I needed.. Fuck you whoever thought of this. The last interlude is likewise about 2 minutes too long. Luckily André 3000 swoops in and saves the day on the awesome last song - this offers just enough redemption, along with the first class production on this whole thing, to deserve a 3.
I mean… This had some fun songs on it, but as a whole I didn’t really care much for it. I don’t remember a single chorus or hook just hours after listening. It’s not a bad record, but I don’t actually see the point of it being on here. Maybe I would’ve been blown back in 1980? Or maybe it’s an album that needs some time to grow on you? But as of right now it didn’t do much for me.
Eagles’ strongest card by far is the fact that they’re all solid vocalists and their ability to write strong vocal harmonies. It shines through on almost every song alongside the joy of just playing together. There are obvious low point, such as “Chug All Night”, where they let straight up rock have the upper hand. Everything sounds more in place when they take it down a notch and let the melodies lead the way; as on “Take the Devil”. This is a great template of everything that was to come for one of history’s best selling bands!
This, and its sister album folklore, was were I first really understood the hype surrounding Swift. Working with Dessner did wonders to her songs; this sounds like an artist finding her true calling and potential. Lyrically this is by far the peak of her career with her storytelling beating her contemporaries by quite a few miles. folklore is more immediately available, containing a few more upbeat songs, but after listening a to both a few times I’m starting to be convinced this is the superior twin by a hair.
I doubt you find a folk artist or band in the last 20 years who isn’t massively inspired by Drake (the one with a first name). While all of Drake’s albums are emotionally sublime, there’s something deeply ominous about this, his last album. The production fits the tone of the compositions perfectly and both his guitar playing and vocal is haunting and eerily beautiful. Undoubtedly one of the best albums to clock in at just under half an hour.
Legendary record. Ridiculously over the top, way too grandiose and at times it feels almost like a straight up spoof on rock operas.. In other words; it’s just perfect. Steinman’s songwriting is incredible and the feeling of impending doom is perfectly supported by one of the most impressive bands ever put together and Meat Loaf’s almost absurd vocal. What a performance from just everyone involved. Few albums are as much pure fun as this. And while it contains every recipe to be well over an hour long, the fact that the runtime is just over 45 minutes is almost a miracle.
Dust stands as a monument to what a beast of a singer Lanegan was. Scrappy and hoarse yet fragile and beautiful. An absolutely unique voice mainly comparable to singers such as Waits and Cave. While a bit more polished than earlier Screaming Trees records this still sounds extremely raw at points. And while the string section delivers it is Barrett Martin's exceptional drum and percussion work that earns Dust the last star for me personally.
There are some good intentions on this record. I understand where most of it comes from and I can even sense, what Bee Gees were trying to accomplish. But it just doesn't work. You can feel the concept album that this was supposed to become in the title track and the instrumentals. But instead of a grandiose concept Odessa is strewn with half finished and often lazy songs without much weight behind them. It's obvious that there was turmoil behind the scenes when this was recorded. I truly think that Bee Gees could have done something great here channeling all that energy. It's just not the case at all.
I don’t know where I went wrong in my high school obsession with the 60’s, but I honestly don’t think I ever heard of the Beau Brummels. And if I did, they didn’t do that much of an impact. But this time they did! “Only Dreaming” really caught me off guard and from there on I was blown away by their grasp of melodies. Among the best examples are “Painter of Women” and “The Wolf of Velvet Fortune”, where especially the latter should rank along the best choruses of the 60’s. I don’t care as much for the fast driven “Nine Pound Hammer” and the pub sounding “Old Kentucky Home” but luckily they don’t tend to stay long with those sounds. Glad to have found the victim of my next vinyl hunt.
There are few singers out there capable of conveying despair and helplessness in the same way as Robert Smith. And rarely is he more present than on this record. And oh my, does his guitar sound absolutely amazing as always? If you’re used to only listening to The Cure’s more uptempo and (used with quite a bit of restraint) “joyful” later material, Pornography is extremely bleak - as perfectly illustrated by the brutally sparse “Siamese Twins”. This is by no means their most accessible or easy album; but I think that actually makes it that much greater.
First; Igor is an absolute beast behind the kit. Few combines the incredible speed and sheer power that he puts behind every hit. Arise is where I really start paying attention to the Sepultura discography. Venturing further away from their death metal roots (get it? lol) and experimenting with latin instrumentation and industrial really suits their take on thrash metal. I say this with absolute no knowledge of the subject whatsoever, but this is one of the greatest records to come out of Brazil in the early 90’s.
This is peak dad rock if there ever was one. Even though I was nowhere near being alive when this released I feel weirdly nostalgic listening to it. Like reminiscing about a sweet memory. There’s no reason this is as good as it is, but with an opener like “More Than a Feeling” you have no other option than to give in. Scholz is the perfect classic rock guitarist and Delp was one hell of a singer. Banger after banger and great choruses followed by even greater ones. Had B-side been as strong as the exceptional A-side this had been an easy 5. But this is a thrill nonetheless.
Few albums actively defined a whole genre like Black Sabbath. But even fewer albums contain songs that lunged more than one genre almost a decade out into the future; as is the case with “Black Sabbath” and “N.I.B.”. It’s unbelievable that this was recorded in just half a day from just the band playing their live set. Jesus, what I wouldn’t give to have seen an early Sabbath-show. The whole band is as good as they ever were - which is almost surreal considering this is their debut. Especially Ozzy’s vocals are mixed to perfection. The panned production on “Behind the Wall of Sleep”? Holy shit. It’s hard to fathom that this record is actually more than half a century old.
Let's just address the elephant in the room right away. Yes, "Brown Sugar" is icky as hell lyrically. But musically it's as strong an opener as the Rolling Stones ever delivers. After the disbandment of the Beatles the previous the year, Sticky Fingers feels like the Stones proving, that those hyper popular 60's bands would continue to have a voice leading into the next decade as well; with the Stones later proving that they would still have a voice even some 50 years later. This also finds the band venturing further into both jazz and country which really suits the frantic sound the Stones is equally capable of delivering. Also a review of Sticky Fingers without a mention of the absolute pinnacle of this record: "Wild Horses". So here goes. "Wild Horses"? Wow.
If you’re expecting another ABBA album for your nights of partying, you’re sorely mistaken. Like the title suggests, this feels like an alien that tries to blend in with the ABBA discography - in the best way possible. I mean, who would’ve thought of an ABBA record containing lyrics about nuclear war in 6/4 and strong Cold War references? While not being their most catchy album it is by far the most interesting album by the group and it solidifies Andersson and Ulvaeus’ exceptional songwriting partnership.
What a voice; absolutely surreal that it took 10 albums for her to finally strike some much deserved success. It really sets the bar high opening with “Respect” and while the A-side continues to deliver solid songs, it’s not until Franklin herself gets songwriting credit on “Don’t Let Me Lose This Dream” and “Baby, Baby, Baby” that I can really sense her full presence accompanied beautifully by her sisters on backing vocals. I would’ve liked for the drums and guitars to be a bit more present in the mix, which is heavily dominated by bass and the horn section. But with Franklin’s vocal in front, it doesn’t bother me that much.
While the rest of the world was falling head over heels over the White Stripes, I always had a harder time fully understanding the hype. I don't really care for Meg's simplistic drumming and Jack's heavily blues-inspired songwriting rarely hits me. That's not to say that there isn't a lot of things I really appreciate about the band and Elephant in particular. Jack's absurd guitar sound is as always a thrill (especially on "Ball and Biscuit") and there's a fair amount of great songs on this thing; not only counting the of course legendary "Seven Nation Army" and the banger "The Hardest Button to Button". In the end it all feels a bit to sparse, even with White's ear for production. I get the idea of dropping the bass, but the lack of it makes an otherwise explosive chorus as the one on "Little Acorn" feel like it was ripped directly off an early demo. A big 3. But a 3 nonetheless.
This is just booming with variety! I was okay with the first couple of songs, but starting at “Fall at Your Feet” things really started moving fast. The chorus on “Tall Trees” is amazing, “Four Seasons In One Day” touches something Beatles-esque, the harmonica on “There Goes God” is just incredible and all of a sudden they hit you with vocal harmonies on the powerful “Fame Is”. Australia (and NZ) are really capable of some great things musically.
Started listening to this in my car but quickly realized that it truly deserved being played on my actual hi-fi system instead. The production is insane! I had absolutely no expectations going into this… If anything I wasn’t that hyped. But I genuinely really enjoyed both Baker’s incredible tone and range and the extreme smoothness of the production. Everything single detail stood out clear as day - especially the bass. I probably enjoyed this way more than I should have; but what a voice and what a collection of musicians. I almost gave this a 4 due to the taste of red wine during my listen and the fact that it sounded incredible on my speakers. But on any given weekday I don’t think there’s quite enough memorable moments for it to actually deserve it.
I really want this to be good. But it just isn’t. Let’s start of with the wrongs. Only few of their early songs really benefit from the addition of a string orchestra and while some tracks off of Load and ReLoad benefit quite a bit, I still don’t really care about many of songs in the first place. Which might be why the second half of disc 1 seems so long. Just an overload of the (Re)Load-era. Who’s honestly happy to see “Devil’s Dance” here? Dishonorable shoutout to a hopeless rendition of “Fuel” by the way. Who got the idea of adding strings to that? I also don’t enjoy the tone the often obvious autotune adds to Hetfield’s vocal. It always feels kinda off. Just listen to “Wherever I May Roam”. Jesus… On the other hand the new song “No Leaf Clover” is among the best post-Black Album 90’s stuff Metallica did - absolutely incredible. The same goes for the S&M-rendition of “The Memory Remains” and “The Outlaw Torn”; possibly one of the most underrated Metallica songs ever. Would I have loved to have been there? For sure. The atmosphere in the room must’ve been awesome. But listening to it at home? Except for a few tracks, I’d much rather listen to the original studio recordings once again.
I really need to get this off my chest before I dig into the album. This would have been under an hour an, had it not been for the skits and “Last Call”. Just putting it out there. I was pretty underwhelmed during the first songs, nostalgia telling me, that I should expect more. Then “All Falls Down” happens and my curiosity awakes. Kanye’s strongest card is his productions and beats and while most of the album isn’t as experimental and progressive in its ideas as his later material, there are still tracks that ranks among his best in this. I’m of course talking about the insanely great duo of “Jesus Walks” and “Never Let Me Down” (and the later on “Through the Wire” as well). On the Pablo-track “I Love Kanye” West exclaims: “I miss the old Kanye”. Personally, with the exception of a few tracks, I actually prefer the newer Kanye.
While everything about this is wholeheartedly enjoyable, I might not be built for this much mamba. The legendary Tito Puente and his band play their hearts out and I truly feel like being transported to the Americas during “El Cayuco” and “Llegó Miján”. I’ve got nothing really bad to say about this; in the end I’ve just had enough mamba for the week.
There’s no getting around it; Karen was an incredible singer and Richard really knows his way around arranging vocal harmonies. The obvious highlights are the title track and “I’ll Never Fall in Love Again” (both originally by Burt Bacharach). The cover of “Help” on the other hand adds very little new. And while there’s no getting around the talent on this record, it just never actually moves me. In fact, I’m quite bored when we reach the end. All respect to the Carpenter’s - it’s just not my jam.
I remember stumbling into this when I was about 14 - and I really liked it. But for some reason I never returned to it after I listened to my friend’s CD 2-3 times. And I think that might be the reason, that I don’t care that much for the record today - because this has all the elements of a 90’s record that require some nostalgic attachment for you to really appreciate it. At times it’s quite fun and I like their jangley sound, but it often feels monotonous and without any true emotions. It’s a shame.
Released in 1975; how is this Nelson’s 18th record?! While I never grow tired of listening to Nelson’s timeless vocal, the same can not be said of the instrumentation. No one plays badly, and Bobbie Nelson’s piano and Jody Payne’s mandolin are especially beautiful - the mixing of the backing vocals are spot on as well. But as everything goes on in almost the exact same tempo it all becomes rather dull in the end. I don’t get the big picture of the concept album that this should be either; but putting together an actual concept having only written under half of the songs yourself is everything but easy. The first time I feel that the band puts something on the line is during the wonderful instrumental “Bandera”. And by then it’s already time to wave goodbye for now to the Red Headed Stranger.
I’ll never be the big Aerosmith fan. They’ve got a handful of bangers, but other than that I just don’t care that much for one of Boston’s horniest and most cocaine sounding bands - quite an achievement by the way. For some reason I didn’t dislike this as much as I would’ve thought going into it. I don’t love it, but I most certainly don’t hate it. “Young Lust” was a surprisingly strong opener almost sounding like the Toys in the Attic-era. “Janie’s Got a Gun” and “The Other Side” are highlights as well, the first being one of the band’s absolute greatest songs. While most of the record still falls victim to many of the Aerosmith cliches I don’t enjoy, I wasn’t nearly as annoyed as expected. I actually rather enjoyed most of their antics. Well done, Aerosmith. I won’t give you a listen for the next many months. But quite well done, nevertheless.
It’s been possibly years since I last heard this, and I always remembered this as perhaps the greatest Rolling Stones album; maybe in part due to the almost universal consensus that Exile is one of the greatest albums ever made. There’s no denying the fun and greatness of “Rocks Off”, “Let it Loose” and “Shine a Light”. And while few other songs are as bad and boring as “Shake Your Hips”, “Casino Boogie” and “I Just Want to See His Face”, the rest is not particularly great or interesting either. Most of them are just… Kinda there. I found this 2003 quote from Jagger concerning the record: “I'm not too sure how great the songs are, but put together it's a nice piece. However, when I listen to Exile it has some of the worst mixes I've ever heard.” It’s harsh, but he’s not completely wrong.
What a show of power Kendrick Lamar enters the mainstream music scene with. That I’m able to call this my least favorite of TPAB, DAMN and Mr. Morale feels almost surreal, considering just how great good kid, m.A.A.d. city is. Possibly the greatest album streak in hip hop-history! Lamar is an extraordinary storyteller and matched with his unique vocal, masterful flow and ability to convey a full range of emotions, you are left with a rapper that easily ranks above the rest of the game. It takes a few tracks, but by “The Art of Peer Pressure” it feels like Lamar has fully moved on from his earlier efforts and emerges as a fully developed artist. From there on there are no missteps. By the time of the overwhelming masterpiece “Sing About Me, I’m Dying of Thirst” I’m ready to just hand this a 5 star-rating. Maybe it’s knowing where Kendrick takes his sound from here or maybe it’s the few songs I’m not fully invested in, but i gently lower the 5 stars and saves it for Lamar for a later time. Also includes the unlikely, but nonetheless extremely popular, party song “Swimming Pools (Drank)”.
You have to dig deep to find a 70's rock band with more theatricals and sick humour - even though they do their best to hide it behind very competent and serious musicianship. Musically Alice Cooper is best on the great title track, the classic "No More Mr. Nice Guy" and the violently graphic and tongue in cheek "I Love the Dead". At times I reach a point where the gimmicks and humour is almost overwhelming, especially on "Unfinished Sweet", but in the end Cooper wins you over by way of antics and simply just being one of rock's most iconic individuals.
You might not expect a French/Spanish singer armed with an acoustic guitar, sound collages and the ability to sing in French, Spanish, English, Portuguese, Arabic and Greek (just to mention a few) to be one of the world’s foremost figures when it comes to progressive musical thinking challenging a variety of political and humanitarian causes globally. Nevertheless, that’s exactly what Manu Chao is as he encapsulates the spirit of punk way more than most contemporary bands of the genre. Recorded in Estudio Clandestino (basically his laptop) I’m amazed at how alive this album sounds. Being recorded on the go and whenever the opportunity and creativity allowed for it really works wonders for the songs. Whether he sings of the King of Bongo, welcomes you to Mexico or challenges the state of the world in enough languages for at least a couple of world leaders to understand, time just flies by when you’re in the great company of Manu Chao.
I guess I like my Queen progressive, dark and more conceptual. Sure, I like the band’s Greatest Hits as much as the next person, but I’ve rarely enjoyed entire Queen studio records. Queen II isn’t exactly an exception but it comes closer than many of their later efforts. I’m hooked during the first tracks of the White Side until May and Taylor takes over vocal duty; then I quickly lose interest again. Overall Black Side is way more interesting with “The March of the Black Queen” as the grandiose centerpiece setting the tone for many of the band’s later masterpieces; I mean, this is straight up the prototype for “Bohemian Rhapsody”. In the end Queen’s 2nd effort doesn’t stand out as much as I would like it to. As with most of their albums: A genuine but underwhelming effort from one of the most overwhelming bands of all time.
Firstly; big shoutout to 50 for not plastering this is skits and interludes. He’s got something to prove and demands for the name 50 Cent to be respected. I appreciate that. I haven’t heard this album in it’s full length since… 6th-7th grade maybe. And I fully expected it to be horribly outdated, silly and maybe even just plain bad. And while some of the aspects of the album hasn’t aged that great and the strange balance of seriousness and fooling around is a bit crazy, i was a bit surprised that this is by no means a bad record. Quite the contrary. Among the outdated things, some of the lyrics really hasn’t aged that great; “P.I.M.P.” and 50 rapping about a fax machine and a Subaru in “High All the Time”. The production and beats are most certainly a personal preference; but somehow I actual came to enjoy the nostalgia of something sounding like it’s straight outta Los Santos Radio. 50 Cent you bona fide legend. I feel a strong 3,5 / 5 on this.
There’s electronica that’s for me. Then there’s electronica I don’t care for. And then there’s this. Am I simply not fashionable enough to understand this? I almost skipped “My Mate Paul” when I checked the playtime for the third time and realized I still had 2 minutes 30 to go. As background music at a trendy NYC club this would probably be fire. But at home this gets really tedious, really fast. Put it in a movie and count me in.
This album contains a song about beautiful people written by one of music’s ugliest personalities.
There was an entire year during the early years of high school where I didn't listen to anything but this and Demon Days. And while Demon Days still receives heavy rotation I don't listen to Gorillaz half as often as I used to. 2001 is quite late for Albarn to dive head first into trip hop. But the once leader of the past decades most prominent british music genre nevertheless resurfaces as strong as ever and ready to spearhead music for many years to come. There's the obvious classics: "Tomorrow Comes Today", "Clint Eastwood", "Rock the House" and "19-2000" (the far superior Soulchild remix is unfortunately only available on the deluxe edition). And while later Gorillaz records further developed the sound of this record, songs like "New Genius (Brother)", "Sound Check (Gravity)" and "Latin Simone (Que Pasa Contigo)" passes any Gorillaz vibe check. The inclusion of the "Clint Eastwood" remix as the last track almost made this a 3 / 5. But the absolute insanity of being so proud of your own ability to write a riff in 5/4 that you name the song just that.. Well if that alone doesn't deserve a 4 nothing does.
“Turn To Stone” is a great opener and “Across the Border” is a fun closing bit but im not terribly invested in side 1 as a whole. Right out of the gate “Night in the city” makes it feel like there’s more on the line on side 2. It’s more progressive (as progressive as soft rock ever gets) and more experimental on whole. Everything comes together on the excellent side 3, perfectly titled “Concerto For a Rainy Day” and “Mr. Blue Sky” is the culmination of everything Lynne tries to do with ELO. In the end everything becomes a bit repetitive with a runtime of more than an hour, but there’s nothing I actively dislike on this record as well. A shorter runtime and this might have gotten an extra star!
When Odessa disappointed me earlier on this list I was sure that the pre-disco Bee Gees still had something great to offer. Surely, Odessa was just a failed concept? Now I’m quite adamant that they don’t. There’s absolutely no joy to be heard in neither the songwriting, singing or musicianship. Everything is rather dull and somehow uninspired. It’s not all bad, but I just don’t particularly care for any of it. Starting with “When Do I” and culminating with “Lion In Winter” it’s as if the three brothers embarked on a quest to see who could deliver the most ridiculous vocal performance. I honestly burst out laughing at the vocals on “Lion In Winter”. How is this not a parody or sketch? I was ready to really love the early 70’s Bee Gees. But I simply don’t think they want to be loved.
There’s absolutely no denying the songwriting ability of Carole King. Tapestry is filled with hit after hit, the musicianship is excellent and King always feels extremely present in every song. I don’t feel the same emotional connection with the songs and album in general as I do with Joni Mitchell’s outstanding Blue from the same year. There’s just something lacking here that makes me feel more like a bystander to a great experience than being included in the ride of the album itself. With that said it’s hard to actually dislike anything about this and with both James Taylor and Mitchell featuring and songs like “I Feel the Earth Move” and “You’ve Got a Friend” it’s no wonder Tapestry is still considered a true classic.
Pink Flag is by no way an easy listen. The production is extremely raw and bleak. The songwriting is uncompromising and the length of most tracks forces you to be bombarded by new impressions almost every minute. What a ride! I am not as blown away as I was the first time I listened to Pink Flag almost a decade ago; maybe I’ve just been exposed to more (and more extreme) punk since? Nevertheless there’s no denying the influence this would’ve had 45 (!) years ago - and still has to this day. And while its the few longer songs that lingers after, it’s the shorter ones that truly binds it all together. This is also the first appearance of “Strange” on this list. Already looking forward to listening to it again when Document appears.
This is not exactly as strong as some of their later albums; but it’s stills quite an impressive start! Byrne is still in the progress of really finding himself, but you still get occasional glimpses of why he’s one of the greatest front figures in music; “Psycho Killer” is the perfect example of that. The rest of the material is pretty solid as well but the distinct expressiveness of Talking Heads still needs that finish polish before they (only a few years later) emerges as a world class act. I’m starting to repeat myself so I’ll let Byrne have the last word: “Say something once, why say it again?”
A truly legendary live album; not only because of its release just months before Duane Allmans tragic death. The first side, consisting solely of covers is only fine and feels more like a warm up compared to the rest of the record. 'Cause this record doesn't really start until the songs start to break the 10-minute marker. By "You Don't Love Me" there's no turning back and especially Duane Allman's guitar sound and the drumming of Johanson and Trucks is par excellence. You can just feel the energy from the band in a way that was just uncapturable in a studio setting - somehow the fusion of blues, rock and jazz just didn't blend together anywhere but live. The last 35 minutes in the company of "In Memory of Elizabeth Reed" and the legendary rendition of "Whipping Post" just flies by. They might not be as critically acclaimed as improvisers as the Grateful Dead.. But on At Filmore East they are just as fun.
Finally! An album to convince this website that I don’t hate post-punk; only their shitty choices of the genre so far. I simply can not praise the guitar playing of McGeoch enough. “Spellbound” easily ranks among the best guitar tracks of the 80’s and for the rest of the album there’s never a track where he doesn’t deliver something truly unique and interesting. Siouxsie sounds as great and gloomy as ever and the songs seem as fresh today as they would have done more than 40 years ago. An absolute masterpiece!
Probably the most Irish-sounding band consisting almost solely of people born in England. There’s a huge amount of simultaneous drunken charm, punk and folk to be found on this album and for the most parts you find yourself in excellent company when Spider Stacy gets going with the tin whistle. It all starts out great and the playfulness is equally present on “A Pair of Brown Eyes” and “And the Band Played Waltzing Matilda”. At the same times I find myself losing focus along the way. Had this been a few songs shorter, I think I would have found myself entertained for the entirety of the ride. Unfortunately this is pushing the limit ever so slightly.
I actually wasn’t that keen on this after the first listen. I somehow didn’t know what I was going into and simply wasn’t ready. But I had a feeling that I was missing something. So I gave it another listen. And BANG. There it was. I was totally blown back the second time around. The grandiose orchestration, the wonderful songwriting and Hannon’s raw and honest emotions. Especially the four songs starting with “Everybody Knows (Expect You)” and concluding with “If I Were You…” stands out as phenomenal. How have I wasted 25 years not listening to this sooner?
55 years after its release this sounds as incredible, fresh and progressive as ever. What is there to say about Sgt. Pepper’s that hasn’t already been said a million times? A landmark in music history.
Such a weird album. And definitely one of the most off the mark The Who concept album. A few of the radio interludes are quite fun but mostly it just feels distracting. At the same time the idea of writing songs as commercials often makes for not very interesting songs. In fact there’s only one really great song on side 1; but the fact that “I Can See For Miles” is as good as it is almost makes up for it. With “I Can’t Reach You” and “Rael” on side 2 it’s a bit more approachable but even with the band’s heavenly musicianship most of the songs on this album is just forgettable or plain boring.
First of all. Shout out to D’Angelo for playing essentially all instruments himself and naming a sexy R&B song “Shit, Damn, Motherfucker”. Apart from that this record really bored me. D’Angelo is obviously extremely talented but the songs are way to long and tends to just be mere repetitions after 2 minutes. I enjoyed “When We Get By” and I didn’t hate the other songs. This just isn’t for me.
What the hell just attacked me? I feel completely run over by the sheer amount of feedback, heavy bass and noise. Hidden underneath it all is a palette of punk, hardcore and garage rock that works perfectly on itself; the overlaying elements of aggressive noise just further adds to the experience. Especially the guitars are extremely well mixed almost slapping you in your face every time a solo is about to start. Towards the end I feel like more and more of the songs start blending together and I’m left wishing that this would have been cut to 11 songs. Quite the thrilling ride nonetheless that left me exhausted and my ears pleading for some smooth jazz.
I found myself thoroughly enjoying the album from start to finish. Unfortunately I couldn’t recall a single track half an hour later. And a full day later I barely remember listening to it. Not half bad but not memorable either.
Am I somehow not white enough for this album? Rarely during the 70 minute playtime does Ryan Adams display any true emotions while at the same time trying his hardest to sound like he’s playing and singing with only half an interest in the songs. There are highlights in the delightful “La Cienega Just Smiled” and “When the Stars Go Blue”, but songs that were obviously considered centerpieces, by length alone, like “Nobody Girl” falls flat through. If this is Adams’ Gold I’m not looking forward to his coming silver and bronze albums that are to appear on this list.
I’ve never listened to anything by Burke other than his 2002 release Don’t Give Up On Me - so traveling back almost 40 years from that is quite interesting. Solomon Burke is a powerful singer and delivers a great performance on this record. But while there are no bad tracks nothing ever sticks out as truly extraordinary either. I don’t think that this would have been as out of the ordinary for 1964 as the person placing this album in this list would like us to believe. But nevertheless I feel entertained by Burke’s company.
I doubt you’ll find a more accessible and groovy look into life in the inner cities, the African-American communities and political injustice in the 1970’s than this album. The partnership of Scott-Heron and Jackson as as if blessed by a higher power. What a unique and fresh approach to the whole genre. Scott-Heron proves his mastery of the spoken word on the entertaining “H2Ogate Blues” while I am truly moved by “Your Daddy Loves You”.
What an insane trip Daydream Nation is. Sonic Youth grips my by the first notes of the extraordinary “Teen Age Riot” and doesn’t let go until after “Trilogy”. Shelley’s drum and Gordon’s bass goes together perfectly and provides more than just the backbone of the songs, but it’s Moore’s and Ranaldo’s whirling, disorienting and unorthodox guitars that stands out as the main characters of the album. Even after dozens of listens I’m still blown back by “‘Cross the Breeze”, “Eric’s Trip” and “Hey Joni”. There’s simply no denying the greatness of this entire thing - even though they’re probably pushing the limit with the 70 minute runtime.
The debut album from mbv is not quite as strong as their later efforts, by there’s still plenty that works wonders and you can definitely see this as the pillar on which they build their future sound. Especially Shields’ amazing and truly innovative guitar and Butcher’s dreamy vocal are highlights while Ó Cíosóig’s energetic, erratic and snare heavy drumming (I mean, “Nothing Much To Lose”?!) provides just the right amount of insanity to the front persons’ ethereal tones. I played this at a level where my neighbors wouldn’t kill me. Maybe if I decided to fully turn up the volume, as is mvb etiquette, this would have received the last half star.
Elbow is one of those bands that manages to be praised universally by reviewers while flying just below the public’s radar. And that’s, to put it mildly, a shame. Guy Garvey’s emotional and heartfelt vocals haunts every minute of the album and it’s as if his presence fills up the entire room. The Seldom Seen Kid is both intimate and at times truly grandiose - and Elbow manages both equally perfect. It’s one of those albums where you just kick back and enjoy the entirety of the ride completely.
There’s a charm and immediacy to Bolan’s music that’s hard not to like - it also makes for extremely approachable and catchy songs. I like the tone and production a lot but as time passes I start to grow tired of the repetitive nature of the songs and lack of change. I start to get into the record again with the powerful “Chariot Choogle”, but I think this would’ve been better had Bolan just kept this as a short 35 minute album.
Few bands hit me in quite the same way as Dinosaur Jr. As noisy, screeching and hysterical as it may be - the amazingly tumultuous “Don’t” being the prime example - there’s always raw emotions and a feeling of honesty hiding just beneath the surface; most often in the form of Mascis’ delicate and bare vocal and brutally beautiful guitar. While I love their older material there’s a special vibe about their post-reunion albums that isn’t quite present here. Maybe it’s because they matured along the way or maybe it’s the heavier focus on their punk aesthetic on the early records? I nevertheless enjoy the ride every bit of the way!
Roxy Music have always been hovering around in the outskirts of my musical interest. I have a couple of their records but I never truly made a deep dive into their discography; and I don’t think I ever heard this album in it’s entirety before.. But being a child of geniuses, Ferry and Eno, I’m a fool for not have done it earlier. Ferry’s vocal is absolutely breathtaking throughout the entire album; especially on the haunting and stunningly beautiful “In Every Dream Home a Heartache”. But even with a vocalist as strong and unique as Ferry every other aspect of the group has plenty of time to stand out. The presence of Eno is obvious throughout, while Mackay’s saxophone and Manzanera’s guitar never misses the mark. “The Bogus Man” is obviously way too long and “The Beauty Queen” does nothing for me, but with songs like “Strictly Confidential”, “Editions of You” and the title track I really don’t care that much.
If you’re only listening to Elliott Smith’s songwriting and recordings you might find, that he’s just quite the talented singer-songwriter. But when you get the chance to dive deeper into the lyrics behind the songs - that’s when you find out just what a genius Smith truly was. The songs are extremely fragile and combined with Smith’s shivering and shy vocal they’re almost threatening to crumble beneath their own weight - but somehow they never do.
Listening to The Dreaming is very much like experiencing a play. Bush is extremely theatrical in both her songwriting and production incorporating sounds effects as easy as if it was just another breath. Her vocal performance is, of course, beyond belief and ranges from impressive dephts to full on screams and something almost resembling avante garde metal on "Houdini". The instrumentation, relying on an array of experimentation with the list including didgeridoo, bouzoki and uilleann pipes and a sound ranging from baroque to avante garde and Irish folk music. This is such a bizarre piece of work. Brutal as on "Get Out of My House" yet wonderfully beautiful as on "Night of the Swallow". But under the careful command of Kate Bush everything works and comes together. Also - is it any wonder TIDAL went straight into Björk after this?
Is it new wave? Is it punk? Is it pop? I don't know and I honestly don't care if the product is as fun as The Only Ones. Peter Perrett is terribly British and half the time it sounds like he's only half invested in recording the songs - but somehow it only adds to the experience. Songs like "Another Girl, Another Planet" and "Language Problem" are especially fun with Perrett really showing off on the latter. On the other hand I'm not quite as interested when they go for a more straight on punk(ish) approach like on "City Of Fun". Huge praise for keeping this at a length of barely more than half an hour. Thight and with absolutely no time for bullshit.
Whoever told Kiss that it would be fun if "Detroit Rock City" opened the album with a minute and a half of car sounds and radio noise need to be fired. It's especially a shame since it's actually quite a powerful opening song. While I'm initially intrigued by "God of Thunder" Simmons' vocals doesn't do anything for me and follow-up with "Great Expectations" is simply dreadful. I can sense what the hype is about on Destroyer with songs like "Detroit Rock City" and the anthem "Shout It Out Loud". But even after seeing the band live I simply have to admit that Kiss just isn't for me. Fun side note. "Beth" is Kiss' biggest commercial hit in the States. Boy, would I've liked to the fly on the wall to experience the disappointment in the face of whoever bought this album expecting more orchestral ballads.
How do you not instantly love an album that opens with “Sympathy For the Devil”? From the sound of the initial congas there’s no turning back. Beggars Banquet is stuffed with some of the Stones’ best 60’s work like “Street Fighting Man”, “Salt of the Earth”, “No Expectations” and “Jigsaw Puzzle”. The band itself is vibrant and almost seem destined to play with each other. What a powerful return to their bluesy roots this is!
I've got exactly two problems with this record. The exhausting length and the amount of covers. Had they cut the covers to only include "Little Wing" the sole musical output from Derek and the Dominos would have stood that much sharper. Also... Taken into account that this is essentially a love letter to a friend's wife... Covers? Not really that romantic. Musically there's absolutely nothing wrong with anything though. Clapton is as good as he ever is when he's in his bluesy mood and Whitlock provides the backbone of it all. There are too few truly memorable songs but "Layla" almost makes up for anything problems I have with the album. Jesus Christ, is it possible to ever get tired of listening to Clapton crying his heart out and Duane Allman almost playing his guitar to shreds? I think not.
This is basically all I want from my alternative rock/punk record. To the point, without any real filler and just filled with energy and great musicianship. The only time I almost lose interest is when the band focus too hard on their punk roots on “Tommy Gets His Tonsils Out” and “Gary’s Got a Boner”. Other than that I really enjoy Westerberg’s vocals and the first trio of songs, ending with the amazing “We’re Coming Out”, and the middle section with “Androgynous”, the great Kiss cover “Black Diamond” and “Unsatisfied” is unbelievably good.
It’s impossible not to have a good time when Pet Shop Boys are playing. Somewhat presented as a party and dance band, there’s actually (lol) only a few tracks that wouldn’t be a mood killer at any ordinary party. The production on hits such as “What Have I Done To Deserve This” and the extremely dramatic “It’s A Sin” is absolute perfection but there’s so many more excellent songs to be found scattered around this record. Especially the goosebump inducing Rent”, “I Want To Wake Up” and “Heart” is just as good as any Pet Shop classic.
This is such a difficult album to review. First of all - at 100 minutes, it's too long. The runtime of most tracks is excessive and I could have done without songs like "Adrift". On the other hand... I just might have listened to this under the right circumstances. I listened to the title track at home and felt that it was, of course, too long but I was drawn in by the atmosphere and Diane Charlemagne's vocal. The rest of the album I listened to while driving on the freeway at night during a light rain. And then everything just made kind of sense. I mean it's excessive and too ambitious and some of the choices I can not defend. But I think I enjoyed this way more than I expected too.
How is this released in '67 and not '63-'64? It sounds really outdated and I'm sure it must have done so at its release as well. There's a few fun songs, "I'm So Happy Now", "A Place In The Sun" and "It's Love". But mostly it just sounds like discount Beatles.
Tina Turner might just be the most powerful Swiss (say what now?) singer to be alive. Her gravelly voice and attitude is prominent in every aspect of the album and you’re sure to have a fun time while it lasts. The iconic “What’s Love Got to Do With It” might be the song to go down in history, but the incredible “I Can’t Stand the Rain” and “Private Dancer” is where Turner really shows off. The two covers at the end are fun but altogether I don’t particularly remember them shortly after. Some aspects of Private Dancer are a bit dated, but on a whole you’re always in safe hands with the Queen of Rock and Roll.
Now That’s What I Call Bongos Vol 1. Having the word “incredible” in your band name is like North Korea having the word “democratic” in its name. It doesn’t necessarily make it true.
Ambient 1/Music for Airports is exactly as breathtaking and innovative today as it was when it was first released. Time simply flies by as you lose yourself in both the ethereal music and your own mind. This is genius. Pure and simple.
Ocean Rain is one of albums I return to once or twice a year without ever being disappointed. It’s dramatic, melancholic and incredibly grand. The accompanying orchestra does wonders to the songs. “Nocturnal Me”, the beautiful title track and “The Killing Moon” are especially breathtaking with the latter being one of the absolute peaks of the entire post-punk genre (just listen to Sergeant’s solo). Looking forward to join the Bunnymen’s gloomy gondola trip once again.
You just know you’re quite an early group, when that name was still available. The Band is fully able to distinguish themselves from the sound of Dylan even though this is basically from the same period as the Basement Tapes. Everything is fresh and alive and you can tell how dynamic the process of writing and recording this album must have been. There are plenty of highlights; especially “The Weight” still sounds absolutely brilliant.
What a weird, weird collection of songs. Ranging from the serious to the almost silly, the Kinks somehow captures the essence of the late 60’s better than most contemporaries and manages to not sound dated whatsoever - even when held up against the Beatles. Truly not a feat most bands accomplished. This is simply pure fun and imagination from start to finish.
I'm having a really hard time rating this album. There are certain parts that are deserving of a 4 / 5. And then there are parts that I get bored of really quickly and deserves a 2 / 5. Phair's songwriting is quite unique and she's great at sounding innovative - even as the album progresses. But on the other hand I'm having a hard time coming to terms with her vocal.. It's really not that good, is it? The lo-fi approach to production really has its positives; the excellent "Dance of the Seven Veils" and "Fuck and Run" being prime examples. On the other hand I find that the album is 6-7 songs too long for it to still be interesting as the guitar fades away on the otherwise great closing track, "Strange Loop?". I'm going to listen to this again; for sure. But the next listen is just as likely to make this lose a star as it is to make it gain one.
What an absolutely uncompromising album. By no way a clean and easy listen but it’s overflowing with complexity, ideas on the verge of collapsing under their own pretentiousness (a few exceptions actually falls flat) and creativity. Dirty Projectors are fighting to keep their avant-garde thoughts inside the framework of ordinary pop structures - and somehow they manage to get away with it. One of the few exceptions is the middle break of “Useful Chamber”, which consists of a weird beat and misplaced spoken words. The rest of the song is just explosive. This really had a hold on me from start till finish even though I never fully knew where I was about to be taken to next.
There are few artists that I could listen to for days without end. Bob Marley is one of them. The first album to not feature original Wailers Bunny Wailer and Peter Tosh proves that Marley was fully capable of not only carrying on without the others - he was able to do it just as well. Family Man provides one perfect bass line after the other and the spiritual and politically charged lyrics are mesmerizing - especially on one of my favorite tracks of the entire discography, “Them Belly Full (But We Hungry”.
It’s almost impossible to fully comprehend the names that appear on this record. Shorter, Zawinul, Corea, McLaughlin, Cobham and of course the main character, Davis. This could just as well been a random listing of greatest jazz musicians on their respective instruments. Mind blowing! There’s something about Bitches Brew that feels almost illegal to listen to. Like you’ve ventured into an area where only a select few have set foot before. This must have sounded extremely revolutionizing back in 1970. And the reason I know that is because is still sounds just as groundbreaking 52 years later.
One of those albums that deserve to be heard in one sitting. Oldham’s songwriting is haunting and longing and I See A Darkness only makes use of sparse instrumentation. I feel moved with almost every word uttered by Oldham and while the first listen made me consider a 3 / 5, the second listen won me over.
Spin’s Album of the Year 1991. That’s the same year Nirvana released Nevermind. Talk about setting a high bar! It’s no secret that I love me some jangle and noise - and Teenage Fanclub delivers a great blend of exactly that and fun song writing. The R.E.M. and Dinosaur Jr. influence shines through; and when “Is This Music?” ends of the album I’m left with nothing but a smile.
Extremely polished and a dramatic shift from her debut, Lorde is battling a broken heart and the lust for partying on Melodrama. I absolute love the first couple of tracks and while there are a few lesser lows along the way, I was really entertained and quite frankly a bit shocked about the quality pop songwriting on this.
I went into this on high alert. Then I started letting my guard down after the extremely fun sped up rendition of the single “United”. A question came up: “Why do I not actively hate this?” Then it dawned on me. Nothing really overstays its welcome. The krautrock influence is apparent but this is still something completely new and groundbreaking - especially for a ‘78 release! I was equally curious, horrified and alienated - just as I believe was intended.
So... That's the entire MBV discography, huh? That was quick. After 22 years of album silence from My Bloody Valentine they returned with a self-titled album that somewhat honored the legendary Loveless and somewhat went in an entirely new direction. Shields is still masterful at creating beauty in noise and the first three tracks really blows me back. The following "Is This and Yes" and "If I Am" then suddenly stops the freight train of sound that was set in motion by the opening songs. And although the rest of the album is in no way bad or boring, I don't feel like we're moving at full speed again until the closing "Wonder 2".
There’s no denying that Pulp was the grown-up in the room regarding 90’s britpop. There are more Oasis and Blur albums that I listen to a couple of times a year, but there’s a certain charm, confidence and (the keyword here) ability to convey social stigma in Cocker that neither Gallagher nor Albarn possess. Different Class is unfortunately too long - I think maybe cutting it a full 10 minutes would have done wonders. But it’s nevertheless one of the quintessential British 90’s records.
I don’t particularly care for Murdoch’s vocal or songwriting. I also think the instrumentation is rather bland - especially considering the fact that Belle & Sebastian have strings and horns. There are a couple of fine tunes on Tigermilk. But other than there’s nothing truly memorable on this record.
I can not fathom the amount of times I’ve listened to this in my teens. There’s barely a bad track on it (some of the heavier funk stuff, “Get on Top” and “I Like Dirt”, I don’t care for) and the band is amazing - too put it mildly. Especially the return of Frusciante is evident and much welcomed! Most of the lyrics are plain awful, but at this point it is by far Kiedis’ best vocal performance. Californiacation is just pure fun and nostalgia - and I can easily look past the lyrical mess.
“When our third album comes out, our place as the quintessential English band of the '90s will be assured. That is a simple statement of fact. I intend to write it in 1994." - Damon Albarn, 1990
Pleasantly surprised to see Adele on this list - I have absolute no idea, why I didn’t expect that, when she so obviously belongs here. Adele, for me, is clearly at her strongest when the piano is at focus and everything is grandiose and a tad dark. Obvious highlights are “Hello” and “When We Were Young”, but “I Miss You” really is the one that takes my breath away. What a powerhouse of a track! On the other hand I don’t get the hype about “Send My Love (To Your New Lover)” which I find totally misplaced and heartless. I really don’t need that much radio-pop on my Adele album. Nevertheless; on 25 Adele once again proves that she just might be her generations greatest singer. And that’s saying something.
I will never grow tired of Nick Drake’s haunting and beautiful vocals. Simply beyond comparison when it comes to singer/songwriters. In this matter his debut album is no exception. Somehow Five Leaves Left might still be my least favorite of Drake’s three albums. Some compositions overstay their welcome by just a bit and nothing seems as eerily close and personally important as on Pink Moon. Being my least favourite Nick Drake album is nevertheless far from bad. It’s like being my least favourite gourmet chocolate. At the end of the day the quality is still in a league of its own.
The full force of Paul Simon’s creativity and ingenuity is on full display on Graceland. The controversies regarding his trip and work in South Africa taken aside, the mbaqanga influence is what makes this album - and there’s no way that could’ve been this successfully recreated in a US studio. For such a rather complex album it’s impressive that it managed to create singles in the scale that it did - everything just works here. Looking forward to re-listen to some more Paul Simon later on this list.
I was not looking forward to this. Entire Queen albums generally aren’t my vibe. Then “Brighton Rock” and “Killer Queen” opened up the record - and for a moment I thought to myself: “Huh, I really underestimated Shear Heart Attack!” Spoiler: I didn’t. Most songs from here on feel half finished and Side B is especially horrendous with only Stone Cold Crazy at least trying to do something. “Dear Friends” is plain boring, “Bring Back That Leroy Brown” sounds like a parody and everything finally collapses with the May-led mess, “She Makes Me (Stormtrooper in Stilettos)”. The production is killer and the vocal harmonies and exceptional understanding of mixing these are par excellent. Enough in itself to deserve at least a couple of stars.
Honky-tonk, beer and candle light. This might just be how you’re supposed to listen to this. It worked for me at least! I’m not that familiar with Buck Owens, but I’ve listened to a fair share of Merle Haggard, so I’m quite familiar with the charming, foot-tap inducing Bakersfield Sound. Everything works without overdoing it but nothing truly stands out - it just flows and does its things… And with that I’m rather content.
Easily my favorite U2 record. How can it not be with that trio of opening songs? Slow down guys! Bono really developed as a vocalist leading up to this record and while he’s still emotional as ever his technical abilities much improved. The Edge must’ve heard his fair share of talk about his guitar playing over the years - and while he’s by no mean a flashy guitarist every single thing he does on The Joshua Tree just works. His use of effects is magnificent and the general feeling he creates is the glue that binds this album together. U2 was never better than on The Joshua Tree. And, given their recent releases, they probably won’t surpass it any time soon.
How does an album with this amount of repetition sound this varied? It’s like it’s never standing still! Everything on Remain In Light is just peak innovation and creativity. Talking Heads was already one of America’s most interesting rock bands. This is just showing off. Byrne delivers career highlights in almost every song while Frantz’ pulsating drumming breathes live into every second of runtime. Peak lyricism, peak new wave, peak post-punk, peak dancable rock (side one at least), peak Talking Heads. Remain In Light is simply peak music.
This caught me completely off guard! Apparently South Africa’s been hiding a true jazz classic - without ever mentioning it to me. Nothing is rushed as every track takes its time to fully develop and unfold its potential. The production is stellar as well with Makhaya Ntshoko’s drumming blowing me away. I didn’t know that I needed this. But I did.
Arguably one of the most 90’s-sounding records ever. I’ve tried to get through Screamadelica earlier but never made it in one sitting. I’ve always opted out at some point. Now is the chance for Primal Scream to live up to the hype. First of all - this actually contains more elements that I was genuinely interesting in and wanted more of. “Movin’ On Up”, “Higher Than the Sun” (the The Orb mix, that is) and Loaded are all great. And there are ideas of pure genius spread across most tracks from the kaleidoscopic track list. The unfortunate part? The band rarely manages to catch their own ideas as they come flying towards them. Releasing an album as a remix album from the get go? Interesting. Does it work? No. A great deal of songs greatly surpassing the 6 minute mark? Not when it includes the ridiculous “Come Together”. But at least I’m able to dance and throw a party to this 62 minute acid dance album, right? Once again the answer will disappoint you.
Let’s get it out of the way: “There She Goes” is one of the greatest pop songs ever written. Had the rest of the album been as good, I’m sure I would’ve heard this album earlier than this. Unfortunately it isn’t. I really love me some jangle rock and I was really into the first half, where especially the incredible backing vocals wowed me. It all seems to slip toward the end and I really don’t care for “I.O.U” and “Failure” at all. This isn’t bad; it’s just nowhere near as good as I’m sure it could have been.
There are some really great tracks on this; let’s get that out of the way straight ahead. “Mother’s Little Helper”, “Lady Jane”, “Under My Thumb” and “I Am Waiting” especially! I appreciate that this is the first album containing only self-written material; but I can tell that they just aren’t capable of writing almost an hour of memorable music yet. How is most of this written at the same time as “Paint It Black”? And how is this the version NOT containing that absolute masterpiece? I live to wonder. I was contemplating giving this a 3 for a moment. But I think the Stones really suffered some sort of megalomania when they recorded the catastrophically long “Going Home”. I’m not a huge enough Rolling Stone or blues fan to enjoy that… Cause let’s face it: they are not exactly The Grateful Dead or Phish when it comes to improvisation.
This is pretty cool, Miles. Pretty cool indeed.
There are few, if any, voices as powerful, raw and at the front as Chuck D. The man is an absolute powerhouse, his technique is perfect and at times it seems as if he’s on a mission to include the entire dictionary on this album. The beats are mostly insane as well and especially the idea to sample “Angel of Death” on “She Watch Chanel Zero?!” gets me every time. But - and it’s a big but - if I have to listen to Flavor Flav yell “yeah, boyeeeee” one more time right now I will lose my shit. Everything starts to blend a little too much for me on Side Black and my mind slowly starts drifting; I mean this is extremely dense lyrically. But most of I I’m just tired to the bone of listening to Flavor Flav. Who thinks this would’ve improved drastically with just half the amount it Flav? This boyeeeeee!
Legendary debut by notorious New York proto-punkers. Tightly packed with interesting takes on the quickly evolving punk scene with “Personality Crisis” being the perfect opener for what’s to come. Other highlights include the insane “Vietnamese Baby” with its heavy use of panning and “Frankenstein” being almost an epic. The synergy between Sylvain Sylvain and Johnny Thunders is as if made to be and David Johansen delivers one powerful performance after another. This might not be perfect. And there might be better musicians to be found in New York. But this? This is just damn effective.
I’ve always enjoyed the Barlow-led songs of Dinosaur Jr. I don’t enjoy him any less in Sebadoh. Bubble And Scrapes ranges from the frantic and hysterical, “Fantastic Disaster” and “No Way Out”, to absolute pieces of beauty like “Soul and Fire” and “Think (Let Tomorrow Bee”.
Jesus Christ, 1987 George Michael was one horny man. The production is simply incredibly and crystal clear - both when it comes to the softer pop approaches and the more rock/funk inspired songs such as “Hard Day”. I fully appreciate the songwriting and the mix of grand and breathy vocals.. It just rarely hits me emotionally.
I never really known Tori Amos for anything but her name and a few songs. But if any of her other albums are just remotely like Little Earthquakes that’s a mistake. Amos possesses an incredible vocal and an ability to write complex, intriguing and almost theatrical songs. Just listen to the breathtaking “Crucify” and “Precious Things”.
I know how monumental this record is. I still can not fathom that is was released 1988. This really paved the way for a lot of artists and genres throughout the 90’s and 00’s. Still; there’s something I’ve never been able to put my finger on. Something that just doesn’t sit right with me. Farrell’s vocal somehow works. Navarro is great. And there are some incredible stuff on this. As a whole I’m just not vibing as much as I would’ve hoped. It’s not you, Jane. It’s me.
Equal parts shitty punk and prolific jazz band. What a feat! Exceeding 70 minutes I am amazed how fun this entire thing is. Time simply flies by in the company of Minutemen. Sidenote: "Political Song for Michael Jackson to Sing" might be the greatest song title ever.
How can you not love an album that includes both “American Pie” and the incredibly beautiful “Vincent”? Aside from those stellar tracks this is packed with great folk songs reaching a climax on the haunting and breathtaking “The Grave”.
Yet another great U2 album - a perfect transition to the 90’s. Some of the tracks are among the greatest ever written by the band; “One”, “Mysterious Ways”, “Ultra Violet (Light My Way)”.. What a collection of songs. The leaning into more industrial territory, especially on the drums, doesn’t sit that well with me though. I’ve always felt rather alienated by “Zoo Station” for example. That being said, I don’t hate it. It just doesn’t hit me in the same way as the sound on The Joshua Tree does it - even though Brian Eno and Daniel Lanois once again did an awesome job producing this.
If The Beatles had an evil twin. This is unbelievably noisy and aggressive for a 1965 release. I do like the straightforwardness and early lo-fi/garage aesthetics of a lot of the songs. I can also hear many bands, especially the grunge sound, finding some inspiration in this. I probably wouldn’t spin this record that often though.
It’s difficult to define the influence this album has had on rap. The two opening tracks alone are legendary. Quite a few tracks unfortunately feels somehow dated today; and that’s without mentioning the deeply misogynistic lyrics. There’s no doubt that N.W.A. is here to deliver a message. There is barely no messing around and I get the idea that no one showed up in the recording room in order to just have fun. I sure didn’t have as much fun as I thought I would.
Tremendously beautiful and mellow output from the Boss. It’s no secret that I’m not a huge Springsteen fan - even though he has arguably delivered his fair share of great hits. The intimacy created on Nebraska shows a more delicate and extremely personal aspect of Springsteen’s exceptional songwriting skills and I always find myself almost spellbound listening to his storytelling on this. Sometimes it pays off to take it down a notch and let the E Street Band sit back and relax.
This was the first Bowie album I ever owned. Looking back, it might not be the obvious place to start the journey into this vast discography. But it worked perfectly. Low is packed with an emotional baggage so heavy, that at times it feels like an almost unbearable load. Side one is great, delivering sharp and shorter songs at great pace - but it’s when the almost completely instrumental side two sets in that I drop whatever’s in my hand and dives head first into the world of Bowie. I always forget the impact the end of Low leaves on me. It might not be what you expect of a Bowie album - but if you went into this expecting a certain formula, you probably don’t know Bowie that well.
Not only did this album resurrect Faithfull’s career - I’m sure it might just have saved her life as well. Her raspy and emotional vocal suits the rock/punk/new wave aesthetics, but we have to reach “Guilt” before everything really starts paying off. The following “The Ballad of Lucy Jordan” and the closing “Why’d Ya Do It” are the absolute highlights with the tom toms and the guitar sounding especially great. There are highs and barely any lows on Broken English. But there’s a bit too many mids where I’m just not that invested.
If you don’t think Christmas is quite stressful enough already, Spector might just have the cure for that.
Fear Of A Black Planet is one of those quintessential rap records and quite the step up from their sophomore album. Chuck D delivers once again but the real surprise is that Flav is not only WAY less annoying… Most of the times he’s actually almost great! The sampling is on another level and easily outsmarts not only their contemporaries but almost all other hip hop artists. This being a Public Enemy record it is quite lyrically dense and you feel a bit exhausted after more than an over; even when I’m Chuck D’s capable grasp. If just a few of the outros had been shortened or a skit or two been omitted this might have deserved a flat 5.
“I’d like to hear some British music, please.” “Absolutely. What genre and age could I interest you in?” “Why not all of them?”
I honestly don’t know how, but this worked to some extent. Not the The Rolling Stones and the Doors covers; those were absolutely horrific. But I was quite impressed with “Snow Flower”, “Sagar (The Ocean)” and “Dance Indra”. I don’t know exactly why, it just worked. That being said, I hope we’re not getting another sitar album the next month.
Listening to Sigur Rós feels like you’ve been granted access to a world where you were never meant to set foot. I started writing down songs to highlight, but quickly stopped as I became aware of the fact I was just listing the tracklist one by one. Ágætis Byrjun might easily be one of my all-time favorite albums and I feel completely overwhelmed every time I listen to it. Nothing’s meant to sound this good. Somehow Sigur Rós just do.
The start of Eliminator is like being run over by a V8 engine. At this point ZZ Top began using synths and drum machine more heavily, and the result is an extremely tight and tempo filled album. Most of Eliminator is just pure fun with the band fully acknowledging that they are here to party, show off and have a good time - and nothing else. My interest fades away on the way too long “I Need You Tonight” and side B isn’t as exciting as the beginning either. But this is nonetheless still extremely fun to rock along to.
I fully understand, why someone would fall completely in love with New Order. Their sound is haunting, desperate and still quite danceable at times - a feat. This is the album, where New Order emerges as a complete band after Joy Division. I find myself fully emerged in the sound and I’m almost lulled into a trance. Then it’s all over. And I have a hard time pinpointing standout tracks. It’s all just kind of there. When I’m in the mood this is easily a 4. But in general I think this grading is more true to my gut feeling.
An absolute masterclass in heavy metal. The power that Bruce Dickinson brought to the band on this, his first album, can not be understated. Harris is to no surprise an absolute beast and Burr does an outstanding job on his last record with the band. Side A is great, but it’s side B that really steals the show. “The Number of the Beast”, “Run to the Hills” and “Hallowed Be Thy Name” is one of the greatest collection of metal tracks on such short space ever. It’s a shame that they ended up including “Gangland” instead of the FAR superior “Total Eclipse”. Still, The Number of the Beast is an insane record. And it’s not even Iron Maiden’s best. It might not even be their second best!
SOMETHING ABOUT LISTENING TO BEASTIE BOYS MAKES YOU WANT TO WRITE THE REVIEW IN ALL-CAPS. I will abstain from it, though - mainly because I’m afraid I am not the first to make that joke. Beastie Boys paints a vivid tapestry through their work of sampling more songs than I dare guess. You could spend a week just trying to decipher the specific samples of each song. The B-Boys balances on the edge of insanity. They might even cross it on the brilliant “B-Boys Bouillabaisse”. But who cares? This is pure fun.
Only ever heard of Laura Nyro in the context of Monterey. Her voice is quite incredible ranging from the beautiful and emotional to an almost screeching high pitch. The band delivers one heck of a performance, and their ability to rapidly and precisely change tempo and incorporate multiple genres almost makes this seem like Captain Beefheart gone jazz pop. This might grow on me in the future but after just one listen there are too many loose ends, that I don’t know how to tie yet.
It’s not only a wild musical trip Todd Rundgren provides us with A Wizard, A True Star. I dare not even consider the trip the man must have been on himself making this. The first half simply flies by in a flash of drug induced creativity and you’re never allowed the chance to even stop and think if this might not be for you. It’s only really when Medley hits that I fully snap back to reality. From there I lose some of my initial interest and also start becoming a bit dizzy from the many impressions so far. Then “Just One Victory” ends it all and Rundgren manages to pull himself out of his maniacal frenzy and produce one of the greatest pop songs of the early 70’s. What a way to end a thrilling yet somewhat disturbing ride.
I’m in shock. Where did Baaba Maal emerge from? And how am I only hearing of him this moment? With Djam Leelii Maal and Mansour Seck have created one of the most hauntingly beautiful albums I’ve ever heard coming out of Africa. Maal’s vocal is both powerful and full of emotional range while Seck’s guitar playing will haunt my ears for days - not to mention the effect kora and balafon has on this record! Djam Leelii might easily end up in the top 5 of African records for me.. Until I’m sure I’m going to dive deeper into Baaba Maal’s discography and look forward to the March release of his upcoming album, Being.
Apparently, Win Butler shares the same feelings towards the USA as he does consent. That being said, Neon Bible is an incredibly strong record that showcases almost everything that makes Arcade Fire a great band. I’m not hooked on “Black Mirror” but soon after the album really takes off and with the exception of the Régine Chassagne-led part of “Black Wave/Bad Vibrations” (a part I actively dislike) the band almost hits just around the mark. Especially the grandiose “Intervention”, “Ocean of Noise”, the closing “My Body Is a Cage” and of course the song that inspired White Lies to write their entire discography, “No Cars Go”, are extremely well written and shows just why Arcade Fire receives the praise they do.
Brothers shares some of the same problems I found with The White Stripes’ Elephant. It’s too long and I find myself losing interest in the similarity of the bluesy garage rock. There are undoubtedly some great tunes on this, the streak of “Ten Cent Pistol”, “Sinister Kid” and “The Go Getter” for example, and Auerbach’s vocal and guitar playing is really good - I just need more variation. It gets a bit too monotonous and the songs almost blend together after a while. Brothers is in no way a bad album. It just doesn’t live up to the hype.
A lot have already been said about this. So I won’t waste too much time. Everything about this record is just Pink Floyd at their best - which automatically makes The Dark Side of the Moon peak rock as well. I could listen to the four songs starting with “Us and them” and ending on “Eclipse” for the rest of the year and never grow tired of it - absolutely, astoundingly beautiful. Also, the 30 quid spent on Clare Torry might be the wisest money ever spent.
There’s no guitarist quite like Hendrix. A virtuoso with a sound unlike anyone else. Electric Ladyland opens strong with a brilliant Side A with “Voodoo Chile” as the centerpiece. But then it dawns on me, why it’s been so long since I last revisited this album. Side B is almost completely unnecessary taken into consideration that this is almost an hour and 15 long. “Gypsy Eyes” is good but it might have been wiser to cut the side all together to avoid the sense of fatigue towards the end. Hendrix picks up the pace again on “1983…” and more or less keeps everything interesting from there on out. Everything is forgotten when “All Along the Watchtower” and “Voodoo Child (Slight Return)” kicks in though. Especially the first of the two final songs is an absolute masterpiece and easily one of greatest covers of all time. It sounds almost surreal, like nothing else on the record. I’ve heard it countless times and every time I hear it it still sounds fresh, new and exciting. What a way to end what turned out to be his final album alive.
My French is so good that I immediately, upon seeing the MC in the name, knew that this was hip hop. The lyrics? Not so much. This is an extremely strong record. Solaar’s flow is great, the jazzy beats are catchy and there’s something about the French language and hip hop that’s a match made in heaven. Hip hop made for looking cool, smoking and drinking red wine. I’m doing neither but I like it no less.
Time flies when you’re having fun. And Ice T is just extremely good fun. He manages what most rappers don’t; to deliver serious messages while maintaining his humor. Hell, I even enjoyed the skits. Ice T truly is the O.G.
Def Leppard is by no means big art. But it sure is helluva catchy and it leaves you smiling. Imagine putting on Side B for the first time and “Foolin’” is the first thing on? Good times! Pyromania is also the birthplace of the legendary Gunter Glieben Glauchen Globen. So there’s also that.
The priests have the same feelings toward guitars as most people at a party have when someone strikes the first chord of Wonderwall. My feelings toward this album is the exact opposite of that.
The Byrds were able to write some mighty fine pop tunes; "So You Want to Be a Rock 'N' Roll", "Rennaisance Fair", "My Back Pages" and more. Jangly, pretty and solid. But nothing groundbreaking og breathtaking. When they try something new and different, as on "C.T.A. - 102", The Byrds seem to break their wings. Younger Than Yesterday is fine, it's short and there are plenty of great tunes. It's just not remarkable.
Last time Elvis appeared on this list it prompted a 1 star review. That is not the case with From Elvis In Memphis. At all. Elvis sounds absolutely incredible on this record. His powerful vocal performances on “Only the Strong Survive”, “Long Black Limousine” and of course “In the Ghetto” blew me back. But even with Elvis delivering one great performance after the other, this wouldn’t have been nearly as good as it is if not for The Memphis Boys - ditching RCA Studios for this one was a genius decision. The band is just incredible and especially Gene Chrisman’s drumming left me stunned. I was ready to dismiss Elvis’ discography and stick to the hits after Elvis Is Back! God, was I in the wrong.
Gary Numan is one weird musician. And I’m all here for it. Released in 1979 this is truly ahead of its time. The lyrics are really fun to dive into, focusing on robotics and “modern” technology with Numan at times sounding almost like an android himself. Especially the surprisingly heavy “M.E.” (I had no idea this is where Basement Jaxx sampled from) and the hit single “Cars” are standouts, but The Pleasure Principle is just a parade of well crafted beep boop-sounds and tight drumming.
Not the album I would’ve picked for the last of the three Talking Heads albums on this list - but that doesn’t make it any less great. Byrne is on fire throughout the entirety of More Songs About Buildings And Food (A+ title by the way) and Frantz and Weymouth are equally amazing! There’s not a bad song on this; but there’s a couple I would have loved for them to dive deeper into. The length is almost perfect - but for once I wouldn’t have minded this being a bit longer!
The fact that I find this to be the superior of the three albums spanning “Everybody Knows This is Nowhere” to “Harvest” just proves Young’s incredible ability for songwriting. His voice is as beautiful and emotional as ever on this record and Crazy Horse delivers just what’s needed of them. And while having two songs fill up almost half the record might seem daring for the genre, Young knows just what he is doing.
“I sure love pop, but I just can not stand the sugarcoated productions.” Jesus Christ and his mother Mary, are you in luck!
Let’s say you are completely unaware of the existence of the genre. If sat down to listen to Beach House and you were to take a wild guess at the genre, dream pop would probably be your first guess. Legrand’s vocal is mesmerizing and haunting. The tracks are extremely well crafted and there’s just something about the sound that takes you on an emotional journey for 50 minutes straight. I might later regret not giving this a 5/5. But at the same time, I always feel like the bubble bursts some time after listening to Teen Dream and you realize that there’s just this tiny piece missing. I might never find that piece though.
This is somehow an improvement of Gold, the first Ryan Adams album to appear on this list. Note; Heartbreaker is not good. At all. But there are a few excellent songs such as “Amy”. Ryan Adams is nonetheless still the epitome of quantity over quality and quite the shitty singer. But I’ll hand this a 2, simply because I wasn’t as angry as I was the last time he was here. I sure hope this was the last of Ryan Adams, though.
For whatever reason, I was not expecting two Buckleys on this list. I get while some might lose interest along the way of Happy Sad, but my curiosity was already piqued when I saw that this album only contained 6 songs. I don’t get “Gypsy Woman” (which of course is more than ¼ of the album). I mean, what was he thinking? But “Buzzin’ Fly”, “ Love from Room 109 at the Islander (On Pacific Coast Highway)” and “Dream Letter” are all excellent and I truly enjoyed the tone David Friedman’s vibraphone. What a sound! I could imagine listening to this again later this year. But not often.
There’s simply no denying the pure genius that is Wayne Coyne. The man might not have the most flashing vocals, technically speaking, but that is exactly what makes Coyne the perfect pop singer. His emotions are always on full display and it’s as if he could break down in front of you every second. It’s quite astonishing. The Soft Bulletin is easily one of the Flaming Lips’ greatest records, where the band’s understanding of intricate songwriting, instrumental layering and balance between delicate and noise is on full display. It’s too rare that I remember to let myself get lost in the Flaming Lips’ universe - and listening to this I’m reminded that that’s a damn shame. Please, let Yoshimi show up soon.
Another 1001 album with barely a Wikipedia page - always exciting! Oasis if they were from Liverpool. How come I’ve never even come across the name Shack before? This is great! The opening trio of songs are extremely well written and for a moment there I almost thought this might be a hidden masterpiece. There is some heavy R.E.M. vibe going on and I’m all in on Mick Head’s vocals. Unfortunately my interest starts to fade along the way but after just one listen I was still quite taken aback by this. Well hidden, Liverpool. Well hidden.
Megadeth is, if nothing else, just Dave Mustaine showing off his technical prowess. That’s plenty enough for me. Everyone’s playing as if their lives depended on it in this record; apparently letting two, though greatly heroin addicted, jazz fusion-musicians into your thrash band wasn’t that bad an idea. The only songs that disappoints and feels unnecessary is “I Ain’t Superstitious”. But when your album already contains songs such as “Peace Sells”, “My Last Words” and one of the greatest thrash songs of all time, “Good Mourning / Black Friday”, one miss is completely allowed.
Talking Heads, but no one know how to sing or play any instruments.
Tommy is arguably one of the greatest rock operas to ever be recorded. And it was released only a year and a half after the ridiculous The Who Sell Out. What an evolution! The Who is easily one of the greatest individuals on each of their instruments with especially Moon shining ever so bright; there’s barely a minute where he doesn’t show off some energetic fill. The story itself can feel slightly rushed at times (“Pinball Wizard” and the sudden emergence as a cult leader), but aside from that I simply have nothing bad to say about this masterpiece.
A Tribe Called Quest, and Q-Tip in particular, really paved way for a new era of hip hop with The Low End Theory blasting it’s way into the 90’s. The beats are kept to a jazzy minimal with Q-Tip and Phife Dawg providing almost flawless lyrical performances one after another. When it comes to hip hop, Quest truly is something else.
São Paulo Confessions is an obvious traveling-at-night-album. In that regard I was quite lucky, as I got to experience this during an hour long train ride at night - there was even a woman that got arrested next to me. Couldn’t have asked for better circumstances for this album. Sometimes you got to learn about the true nature of a place through the eyes of foreigners. And Serbian-born Suba sure does his absolute best at providing us with a glimpse into the city that he somehow fell in love with. It’s excellent in glimpses but I still feel that it lacks in certain parts - maybe just like São Paulo does? But in conclusion… Where is that Suba biopic?!
What a record - I felt paralyzed during the entire run! The instrumentation is great, it’s bursting with humor and energy.. And then it’s catchier than the songs most hit-songwriters could even dream of composing. This is everything I want in a punk record.
There are days where I prefer The Band’s sophomore effort over their debut. Especially considering songs such as “When You Awake”, “Whispering Pines” and the three closing songs. Today is one of those days.
Al Jourgensen, you terrifically weird man. Everything about this is pure chaos and insanity; from the bonkers album title to the production and general songwriting. This feels utterly inhuman. And, somehow, we’re all better for it. I still don’t get how Bill Rieflin went from drumming on this to semi-joining R.E.M. in 2003. What a career move!
Starting the record off with “Strange Brew”, ignoring the sleep inducing “Blue Condition”, and ending the streak of perfect songs on “We’re Going Wrong”. This album is almost pure perfection. I really enjoy “Take It Back” as well and the runtime is remarkably short. Had it been 2-3 tracks longer the more purebred blues songs would’ve annoyed me a bit. But this still stands out as one of my favorite 60’s releases. And that’s saying something.
If you come here expecting nothing but “Take On Me”, you’re to be disappointed. Kicking off this debut album with one of the all-time greatest pop songs, a-ha soon takes a sharp turn and turns everything down a notch. It may not be as danceable as you’d think it would, but tracks like “Hunting High And Low” and “Here I Stand and Face the Rain” are nothing but outstanding. Then there’s of course “The Sun Always Shines On T.V.” opening the B-side - the only song on the album that’s actually able to withhold side by side comparison to the opening track. This doesn’t quite deliver on it’s initial promise of head bopping, feet tapping 80’s pop. But it’s a great record nonetheless.
It’s as if whenever Mark E. Smith opens his mouth he is possessed by post-punk itself - also amphetamine - but mainly post-punk. The album opens perfectly with the hauntingly great “Frightened” that really helps set the tone for the entire record. Throughout I was mesmerized by Karl Burns’ erratic drumming. It really encapsulates almost everything I want in a punk drummer. Nothing short of phenomenal. There are a few misses along the way, but not once did I lose interest. What a stroke of luck that Mark E. Smith fell ill during the first days of recording. Being limited to only one day of recording must’ve been the main factor in the frantic vibe on this. And for that I’m glad.
While there is no denying Booker T (the non-wrestling one) & M.G.’s excellent work on Otis Blue, it is Otis Redding himself that steals the entire show. Otis Redding possessed a voice like very few before or after his untimely death. Powerful, emotional, raw, pained and in total control. I get goosebumps just thinking about it. For me personally, songs like “Shake” and “Rock Me Baby” keeps this from being the perfect album it is often made to be. But looking at the rest of the track list I am almost inclined to ignore those songs and just go with it. Almost.
Jerry Lee Lewis stint to this German club sees him hitting the piano almost as violently as he was hitting his underage cousin-wife. Bet let’s try to set that aside for a while and focus on the music. JLL is in the zone on this live recording and the band plays focused and almost aggressively fast-paced. The main character delivers a powerful vocal performance and it’s evident from the cheering and shouting that the audience got exactly what they came for. Almost 60 years after I don’t feel half the effect that those people did back in the club. But I can’t help to admire the sheer force of entertainment that is Jerry Lee Lewis either. Did I mention that he married his 13 year old cousin?
This is really 1999. And somehow I just dig it. This isn't quite nu metal, not quite funk, not quite rock. Incubus' breakthrough album sits somewhere in between it all. Mike Einziger's riffs are interesting, José Pasillas' is on fire - but it's Brandon Boyd's vocal that impresses me the most. Not when he semi-raps on "Pardon Me" but his understanding of melody just hits me. There are some incredible songs on this that turns the nostalgia all the way up for me. Of course there's also stuff like "Battlestar Scalatchtica" whis is horrible and dumb - and I don't care that much for the turntables in general. I never noticed that this was almost 50 minutes long. And that's something.
Did I really need 3 hours of Ella Fitzgerald on a Thursday night? Apparently, yes.
The 80’s saw progressive rock groups exploring radio friendly material, leaving the 20+ minutes suites and incorporating more elements from pop music. Yes - 90125. Genesis - Invisible Touch. Pink Floyd - … Maybe not Pink Floyd. For Rush that album was Moving Pictures. A perfect collection of songs that I am nowhere near growing tired of. I begin smiling at Pearts first beat on “Tom Sawyer”. And that feeling doesn’t leave me until “Vital Signs” has faded completely.
It’s hard to fathom that this was released in ‘67. It’s even more unfathomable to what extent The Velvet Underground & Nico influenced not only future bands but future genres altogether. Lulling you into a state of false safety with “Sunday Morning” everything involves into a state of frenzy the further the album progresses. In the end you don’t even know what hits you as “The Black Angel’s Death Song” and “European Son” collapses into sonic dismay. I’m not always sure that this record wants for me to stay. But long ago I firmly decided against it’s possible wishes.
Peak Marc Bolan. Even better than the follow-up, The Slider, containing more than a handful of really great tracks - and then of course the anthem that it “Get It In”. As with most T. Rex records I start to lose interest toward the end as the songs slowly start blending together; simply just an effect of the Bolan signature sound and tempo. I really enjoyed this nonetheless.
Endtroducing… contains a song called “Why Hip-Hop Sucks In ‘96”. Endtroducing… sure as hell isn’t why.
Imagine the nightmares this must have caused back in 1984. Who was ready for this?! Almost 40 years after its release Treasure still sounds completely otherworldly. An ethereal journey from start to finish. Glad this isn’t the only Cocteau Twins album on this list!
I was surprisingly happy about Pyromania when it appeared on this list. I found it quite fun and charming. With Hysteria Def Leppard removes most of the fun, cuts down on the charm and for some reason most of the songs far exceed their allowed runtime. Who the hell thought of all these intros, outros and frustratingly long middle sections? There are still some highlights in "Rocket" (minus the outro), "Armageddon It" and its catchy chorus (minus the length) and of course the amazing title track. But the length is just plain silly and the charm, which is normally where Def Leppard is strongest to me, quickly wears off.
Selling England By the Pound will probably always feel like a first love to me. I have listened to this countless times, own multiple editions and never grow tired of anything about it. It contains everything I love about the Peter Gabriel-era. Amazing prog-suites in "Dancing With the Moonlit Knight", "Firth of Fifth", "The Cinema Show" and the monster that it "The Battle of Epping Forest". Beautiful classical inspired pieces like "After the Ordeal" and enough British references to scare off almost anyone. This is also Hackett, Rutherford and Collins at the absolute height of their career, delivering one awe-inspiring performance after another. I know many people insist on The Lamb Lies Down On Broadway being the better Genesis record. But they are wrong. Plain and simple.
I could probably have lived a good life without listening to this. But I’m glad I don’t have to. I was never completely blown away by this, but I quickly fell into a trance-like state where only Callahan’s voice and compositions existed. The songs are rather sparse, emotional, a bit droning and often gives off a feeling of existential dread. This had somehow avoided me until now but I’m certain I’ll look into more releases from his hand.
This is a semi-bumpy ride. The first side is quite forgettable but still shines on tracks like “Orange Skies” and “The Castle”. Then there’s the B-side - entirely made up of one single 19-minute song. Where on Earth did that suddenly appear from? An absolute beast of a track. Luckily it takes up half the album and completely overshadows the somewhat lackluster first half.
What a voice. What an absolutely stunning voice. The atmosphere on this live album is sublime. You can hear every clink of glasses, every laugh and even the microphone stand fall over at some point. It’s almost like you can smell the dense cigarette smoke that must’ve filled the air. The only thing missing from this being a five star experience is being there yourself.
I generally like the overall vibe on Soul Mining. There’s also a couple of really killer tracks. And Matt Johnson is undoubtedly a genius. But in the end this simply becomes too monotonous and I am never completely hooked.
Easily one of the greatest debut albums ever. R.E.M. emerge on the music scene with a sound that came to define entire genres and influence many of the biggest bands of the 90’s. Mike Mills’ bass lines are innovative and melodic, almost taking on the traditional role of the guitar. Bill Berry’s drumming is extremely tight and playful. Peter Buck’s guitar is wonderfully expressive. And Michael Stipe is just a once in a lifetime singer - even when mumbling his way through anything but the choruses. “Radio Free Europe”, “Pilgrimage”, “Talk About the Passion” and “9-9” are some of the absolute highlights of Murmur. And by “Perfect Circle” it’s hard not to tear up - just a bit.
If you were ever in doubt about whether Morrissey or Marr was the true genius in The Smiths. There are very few songs I love on Morrissey’s debut album, “Every Day Is Like Sunday” and “Angel Angel Down We Go Together”. The majority of the other songs I simply don’t care much about. But then there’s also absolute dog shit like “Little Man, What Now?” and “I Don’t Mind If You Forget Me”. Not a huge The Smiths fan; definitely not a Morrissey fan either.
This is a review of the original UK release of Hendrix’ legendary debut album. Jimi plays a mean guitar as always and Mitch Mitchell plays an even meaner set of drums. One of the greatest drum performances of the 60’s. I understand “Can You See Me”. But as to why they decided to include the twelve-bar blues “Red House” and the plain boring “Remember” over the singles “Hey Joe”, “Purple Haze” and “The Wind Cries Mary” will never cease to amaze me. I’ll give the US version a 5/5 rating. This is slightly worse.
Reviewing The Chronic is not as easy as it may seem just after finishing a record filled to the brim with some of the best beats and hooks hip-hop has ever delivered. The positives: The beats are beyond terrific. Dre never fails to deliver and it's astounding how many classics fills up The Chronic. I'm especially surprised at how awesome Snoop Doggy Dogg is as well. Not that I should be. It's not my first time listening to this, but I somehow always forget just how good he is in particular. The skits are kept to a minimum as well - something I always appreciate in a rap album. Then there's the negative: The amount of misogyny, homophobia and unsettling violence is - maybe not shocking the era of hip-hop taking into consideration - but at least unnerving. Times are a-changing and yada yada yada.. But still. At times it feels like a party dedicated to degrading women and shooting people. Robert Christgau negatively described The Chronic "sociopathic easy-listening". I tend to agree. For that reason it's quite an accomplishment that I after listening were able to take a step back and come to the conclusion that I enjoyed it 90 % of the time. Maybe I should feel somehow bad about it? But I don't.
I genuinely love Slipknot. Let’s just get that out the way. The live theatricals, the antics, the excessive and monstrous percussions, the energy and the wall of sound provided by the sampling and scratching. It’s all too much - and it’s great. But the thing I love most about the Iowa nonet is their blend of aggressiveness and melodic choruses. And I’m missing a lot of that on their eponymous debut album. It’s mainly just aggressiveness and then some. It starts of strong with everything from “(sic)” until “Spit It Out”. Everything I like about the group is present in almost every moment of that part of the album. Then “Tattered & Torn” kicks in and I lose my focus somehow. I need those strong melodies in order to not get overwhelmed by the hate and anger of the songs. And a lot of the time it’s not present enough on the second part of the record. This is a great blueprint of the monster that Slipknot was to become. But they weren’t quite there yet. It would still be worth a listen because of, if nothing else, the percussive overload. Anyone saying that it’s just a gimmick is lying to themselves.
I adore Jorge Ben (Jor). He’s a legend in samba and South American musical in general. He’s always capable of delivering catchy tunes and África Brasil is no exception. I felt drawn towards the majority of the songs and the inclusion of the electric guitar brings an extra element of funkiness to his music. I was gonna hand this a four star review, but at the end of the album I had grown so tired of the relentless use of the cuíca that I found myself giving up every time it reappeared.
Ray Charles must have recorded this through a series of tin cans and managed to sleep his way through it as well. The true genius of Ray Charles was him somehow getting this album included on the list.
Balances elegantly on the line between painstakingly beauty and extremely demanding. Rufus Wainwright is pretentious as fuck. And it doesn’t bother me one bit.
Let’s get it out of the way. Warehouse: Songs And Stories is obviously too long. You can sense that neither Mould nor Grant were willing to give up any of their own songs. The result is a bit unfocused at times due to this and their are songs that could have been easily cut. I feel mainly drawn toward Mould’s songwriting which is way more melodic and interesting than Grant’s - not to say that Grant doesn’t deliver. Mould is just more consistent. Especially on “Ice Cold Ice”; what a track!! Cut at least 15 minutes and Hüsker Dü had gotten an extra star.
Truth be told. I have never listened to this album in full before. I know the hype and all. I just didn’t jump on the train. Sue me. Now I have. And my expectations were high. But I leave disappointed. The production is stellar. Most songs are beautifully written. Solange is a great singer. But this whole album is going nowhere. The songs have little to no room to evolve and after a few seconds of any given song you’ve heard the entire thing.
Pretzel Logic was one of the first records I owned on vinyl - so this is easily the Steely Dan album I’m most familiar with. I won’t try to even begin analyzing Becker and Fagen’s obscene lyrical universe but I’m always intrigued by the vague hints of obscure meaning in the songwriting. Steely Dan might come across as just a 70’s pop rock band but the jazzy complexity of the songs, air tight instrumentation and warm production makes the duo anything but ordinary. If this is dad rock then I’m ready to settle down with a wife and a couple of kids.
I understand that this is highly influential. Unfortunately I’m not a huge fan of a lot of the bands that Hanoi Rocks influenced. Most of this just sounds plain silly and it only really shines at times on “Tooting Bec Wrecked” and “Beating Gets Faster”.
I was getting ready to get groovy with Earth, Wind & Fire. But while I still mostly enjoyed this record I never truly felt the legendary groove of EWF. The instrumentation is (of course) great, their are some funky tracks and those vocals rarely fail to deliver. There just seem to be something amiss. A lack of soul (this is a soundtrack, keep in mind)? A lack of that one big, phenomenal hit EWF are known to deliver? Maybe it’s the overall lack of cohesion as the band delivers soul, jazzy grooves, funk and African rhythms all in one? Whatever it is I just don’t feel that impressed.
It’s only been a couple of days and I’m once again presented with a Steely Dan record. Countdown To Ecstasy opens with one of Dan’s greatest blues-inspired songs. After that it moves into heavier jazz territory as is the case with Steely Dan records you’re never completely sure where you’re being taken. It might be due to nostalgia but I’m leaning heavier toward Pretzel Logic than this record. But that being said - Steely Dan proves, on this album as well, that almost nobody wrote more intelligent and refreshing pop music in the 70’s than they did.
I don’t mind the earlier The Kinks, but Face to Face feels like a transition album where they’re trying to master their own sound. There are a few great songs like “Rainy Day In June” and “Sunday Afternoon”. The rest of the record feels like Beatles-leftovers. That is, of course, rarely a bad thing. I just don’t feel any particular connection to it.
If you’re new to country, Waylon Jennings is not a bad place to start the journey. Honky Tonk Heroes is approachable, at times both raw and melodic and Jennings’ vocal is country at its finest. The record clocks in at just under half an hour (which I like) but I never feel any connection to most of the songs - and for me that’s the most important thing in this genre. Then, right at the end, Jennings gets me with “We Had It All” and I end up leaving Honky Tonk Heroes a little teary eyed.
Nick Cave possesses the unique ability to create works of insurmountable beauty when faced with great personal tragedies and sadness. In many ways The Boatman’s Call was the first album to truly show this ability in full scale. It was also the album where Nick Cave & the Bad Seeds took the definitive move away from their early post-punk sound and stepped into a new era. The Boatman’s Call deals, in large parts, with Cave’s faith diminishing and taking on a new and more questioning form. It is in his search for answers that Nick Cave is at his best - and this album finds Cave frantically searching for answers like never before.
And Nile said, “Let there be funk,” and there was funk. - Genesis 1:3
On Bossanova Pixies combine the unapologetic sound of Surfer Rosa with the more melodic approach of Doolittle. It just never reaches the heights of either of those records. Not bad but not great.
L. Cohen could have used up the entirety of the record telling knock-knock jokes for all I care, as long as “Avalanche” and “Famous Blue Raincoat” were featured. Fortunately, he doesn’t. Nevertheless it wouldn’t have altered my score significantly. What an emotional ride.
Who the hell opens an album with a 10 minute guitar solo with little to no backing band? George Clinton, the genius madman, that’s who! When that solo is Eddie Hazel’s legendary “Maggot Brain”, without a doubt one of the greatest solos ever recorded, I’ve got nothing to complain about either. The rest of the album is a weird mixture of dark, gritty funk and Clinton’s LSD-trips come to live. There’s a lot to love but it doesn’t hit a home run.
The Who really enters the music scene all guns blazing. Their debut album is incredibly hard hitting for its time and it feels like a label representative is standing by, telling Entwistle and Moon to take it down a notch once or twice a song - everything sounds like it’s on the verge of explosion. Then the sides end with “My Generation” and “The Ox” respectively and the label has apparently gone home. Everything is off the rails and The Who makes it clear that they are the most ferocious of the British mod bands.
What I find most fascinating about this record is that the instrumentals were recorded in a single eight hour sessions. How well rehearsed and disciplined did the Magic Band have to be in order to achieve that and be able to play these extremely complicated songs like that every time? What an achievement! Captain Beefheart delivers one of the most challenging records of the 20th century with Trout Mask Replica. It’s polyrhythmic, polytonal and at times almost incomprehensible. Spoken words, free jazz, dirty blues, progressive rock and avant-garde is thrown together in a seemingly random order. The product on the other hand is not random at all. The sheer discipline of the band points toward that. There is a great amount of humor but the album is not a joke at all. “Moonlight In Vermont”, “My Human Gets Me Blues”, “Ant Man Bee” and the closing “Veteran’s Day Poppy” (a song that almost displays a certain beauty) are what this album is all about. Horribly demanding but nevertheless extremely well thought out. Nothing tops the legendary opening that is “Frownland”. It’s not rare that I find myself singing parts of the song alone at home. Despite all its complexity. Despite the weirdness. Despite of the fact that it seems that the song itself wants me not to like it. This is genius in its purest form. Or maybe it’s madness? That’s not for me to decide. And I don’t care.
When reviewing Blue earlier on this list I called Mitchell one of the, if not the, greatest songwriters of the 60’s and 70’s. Maybe ever? I was right then and after Hejira I still am. Other than Joni Mitchell herself that fretless bass is the true winner of this entire album. What a sound!
"Greetings To the New Brunette" opening this album had me hooked. I felt fully encapsulated in the universe of Billy Bragg. Then the horrendous "Train Train" followed and I was pulled back to reality. Billy Bragg is a great songwriter and I appreciate his no-bullshit lyrics - to some extent. The in-your-face style of his writing with an almost complete lack of metaphors at first felt refreshing but soon I found myself bored by his sheer bluntness. There's some great tracks on this. There's some really stupid track on this. The cover is great though.
The first truly evol record in the Sonic Youth discography. EVOL is gritty, discordant, eerie - but most of at it’s dark. It’s just really, really dark. And Kim Gordon is standing at the center of it all omitting a strange, seductive light. I believe Ranaldo to be a genius and one of the most innovative rock guitarists in the game, but he comes close to bring Side A to a full stop with his only lead song on the album, “In the Kingdom #19”. Luckily Sonic Youth picks it up again on Side B and ends on a high with “Expressway To Yr. Skull”. This right here is where Sonic Youth embarked on their road to greatness.
My favorite jazz fusion turned hardcore punk band. There’s some really great songs on I Against I. There’s some really weird and borderline terrible stuff on it as well. This is just all over the place. But it never fails to entertain.
I love the adventurous, complex and experimental sound of Grizzly Bear. Rossen and Droste’s vocals blend perfectly and their songwriting never fails to leave you emotionally overloaded. Veckatimest drags on just a bit too long (maybe just a song length) and I lose some interest halfway through the record; only to be regained at the end. But how can you not feel joy at the end, when a record features a track like “Two Weeks”? What a masterpiece!
Blue Lines is way ahead of Protection in terms of quality. But while I adore trip hop there’s just something about Massive Attack that I never quite get. The reggae feel of “One Love” and “Five Man Army” does nothing for me. It’s really only on “Safe From Harm”, “Unfinished Sympathy” and “Hymn Of the Big Wheel” that Massive Attack proves their true potential. But boy oh boy, what a potential!
The Bends is not one of Radiohead’s greatest albums. And it’s still a 5/5. This band is just plain ridiculous.
Hole is obviously a better band when they get others to write their material. Especially the Corgan-written title track and “Malibu” are instant classics. When Hole take the reins themselves toward the end they threat to bring everything crashing down on “Boys on the Radio” and “Heaven Tonight”. In conclusion I will, somehow reluctantly, say that…. Hole is actually pretty cool.
A work of immense beauty. In many ways a straightforward pop album - but it’s never that simple when John Cale is involved. Paris 1919 is one of the more accessible albums in Cale’s discography. And yet it’s hugely innovative and challenging at times. An absolute genius, this man is.
This review contains 21 words. The same amount as the minutes of this insane sole record by Minor Threat. Fuck yes.
I went into this record with high expectations. I’m quite aware of The Afghan Whigs but never really dived into them. I like the raw production and shift in intensity. The layers are somewhat intricate and Greg Dulli explores multiple genres on this, his defining work of art. On paper I love this. But in reality I leave disappointed. It’s hard to put my finger on what it is exactly. Is it the vocals? Is it the lyrics? Maybe it’s the feeling of emotional distance on an album that’s supposed to be all felling? Maybe it’s just me. But I don’t care half as much about this as I expected I would.
You can hear that this album was recorded in the span of five years. There’s absolutely no cohesion musically or production wise. It says “Story of Soul” in the top right of the cover. I first read it as “Story of Sad”. I feel the latter is more appropriate.
I ended up being pleasantly surprised with this. I wasn’t enjoying the first three songs but then “Countess’ Caper” and “Naag Devta” turns up to the party. I might actually go watch to movie after listening to this.
It always takes some time for Marquee Moon to fully open itself up to me. I’m never fully invested on Side A (with the exception of the behemoth that is the title track). I like the sound but I have the feeling that I’m not allowed to enter Verlaine’s universe - at least not yet. Side B is the complete opposite and I lose myself in every second of it. Maybe it’s because “Marquee Moon” opened everything up just moments before? This is one impressive debut that helped pave the way for so many bands to come.
Following the success of Different Class, Jarvis Cocker pulls Pulp in an all new direction on This Is Hardcore. It’s bleaker, bolder and more daring. It’s as if we’re experiencing Cocker’s midlife crisis and the end of britpop firsthand. On “Dishes” JC (the non-Judean one) comes as close as possible to comparing himself to Jesus Christ. A move that, considering the other JC’s popularity, must have been quite huge for Jesus. I was close to handing this a 5/5. But having to sit through the droning ending, that is 1/7 of the album, never sits well with me.
Whenever I think of country, Haggard’s voice is one of the first to pop up. Iconic, warm and with an emotional depth to it. He’s really all you want in a country singer. This quintessential American sound brings back memories of cruising down the lonesome highway, heading West towards the sunset, an arm around my girl, evergreen upon evergreen bursting from the stereo. Memories that aren’t mine, to be honest. But memories that live well within the music of Merle Haggard.
How the hell did Pavement go directly from this to Crooked Rain, Crooked Rain? I actually had to go back and listen the other album, just to be sure I wasn’t temporarily deaf when handing it a 4/5 when it showed up on this list earlier. I wasn’t though. Slanted And Enchanted just isn’t good.
Opening with “Running Up That Hill (Deal With God)”, easily one of the best songs ever written, immediately puts a record on course to a 5/5. On the rest of side A, Hounds of Love, Kate Bush once again delivers some of the most intricate and intelligent pop ever written while remaining fully accessible. The true masterpiece, though, is side B - The Ninth Wave. A story in seven parts where Bush demands full attention in order to fully grasp what she’s trying to accomplish. But when you sound as mesmerizing as her it’s an easy task.
For a group named after Wudang there sure is a lot of Shaolin references on this defining hip hop release. Spearheaded by RZA the legendary Wu-Tang Clan are among the most notorious hip hop groups out there - and when listening to their debut album you can understand why. Every single member brings their a-game and deliver punches that reach far wider than the genre itself. A few misses along the way and some dated lyrics here and there (this is 90’s hip hop) but the influence of Enter the Wu-Tang (36 Chambers) is hard to ignore.
Red Snapper? More like Bread Frapper… Or something. I don’t particularly care.
Jeff Beck, Rod Stewart, Ronnie Wood, John Paul Jones, Jimmy Page, Keith Moon, Nicky Hopkins… The list of legendary musicians appearing on this debut album is legendary in itself. The product not so much.
Really excited to see an African album from the 60’s on this list. Miriam Makeba is a great singer and her incorporation of Xhosa musical traditions brings this debut album to life. But what the fuck is “One More Dance”? This train wreck of a song almost makes the entire album collapse. It’s one of the most ridiculous things I’ve ever listened to. Who in their right mind allowed that to happen!?
An incredible voice. Joan Baez was already the voice of Woodstock almost a decade before it actually took place. Her debut album is mesmerizing but the sparse and beautiful arrangements of traditional folk songs aren’t quite enough to keep my interest from start to finish.
Ray Of Light is obviously too long. There, that’s out of the way. Madonna is a musical chameleon proving time and time again that she’s still somehow relevant in the world of pop. Nowhere is that more evident than Ray of Light. Incorporating techno, trio hop and new-age, this album feels decades away from her previous efforts. There are misses, I don’t particularly like the title track for example, but taking risks and adapting also brings forth something brilliant from time to time - the brilliant and beautiful “Frozen” being an example of this. I’m not exactly an avid Madonna fan. And I’m not really a fan of techno either. But on Ray Of Light Madonna proved her longevity once and for all.
Last time Dylan appeared on this list I rated the album based on the amount of harmonica. This is perhaps his most insisting and loud harmonica playing to date. Excellent! The Freewheelin’ Bob Dylan almost feels like a compilation. There are no bad songs on this record and even after tons of listens I’m still equally surprised by the quality every damn time.
If you’re not into progressive rock this album is a nightmare. Opening with an 18+ minutes title track in four parts, odd time signatures, eccentric and extended instrumental sequences, lyrical material concerning literature and mysticism. There’s a lot to swallow here. Which is exactly why Close To The Edge, and Yes in general, is among the greatest 70’s music you will ever come across. Anderson is arguably one of the genres best singers and the rest of the band delivers incredible performances with every note. You can literally sum up the idea of progressive rock with Close To The Edge.
Skepta hits hard on this Grime-reviving album. His flow is on point and the deep bass demands you to listen to this at high volumes. I was pleased to see that there were no interludes or skits on the track list - only to find out that Skepta cleverly hid them at the end of songs. Not cool. Not cool at all.
The opening track is one of the finest tunes ever written. I can not help but smile through the entire thing. Absolutely wonderful! In general I can’t help but feel good as The Crusaders gently take me by the hand and lead me through their street of catchy and charming jazz-funk. Is part of the album borderline elevator music? Sure. But it’s an elevator I wouldn’t mind taking a couple of extra floors every time.
Some 30+ years after its release (wow, that felt weird writing…) their debut album is still as relevant as it was back in 1992. The fact that de la Rocha is able to even deliver lines with this amount of rage and fury is beyond belief. Rarely, if ever, have straight up content and anger been delivered with his power and passion. Wilk’s hard hitting playing, Commerford funky yet aggressive bass lines and the unique and innovative nature of Morello’s guitar style puts Rage Against the Machine in a league of its own. Well done for really hitting a nerve back then. And shame on us that we still allow it to hit those same nerves today.
White Ladder really starts out strong. Especially the very late 90’s sounding “Babylon” is a truly fantastic song. I understand why this inspired a lot of British artists in the early to mid 2000’s. The rest of the album is not as strong as the opening and at times I feel as if it’s just background music. I enjoyed it and never once got actually bored. Also - did anybody tell Bono that a man from Cheshire recorded the best selling album Ireland of all time? Anyone?
On this, their second album, I still have a hard time fully understanding Jane’s Addiction. Their sound is great and innovative and they are good songwriters (“Been Caught Stealing” and “Three Days” are the peak of this album) - there’s just something that never seems to get to me. Ritual De Lo Habitual starts of pretty strong but as we move into the conceptual b-side I quickly lose interest as both “Then She Did…” and “Of Course” drag on and on and on. There’s a lot I would like to love about Jane’s Addiction. But I end up just liking it instead.
A masterclass In modern songwriting. Beautifully drawing inspiration from Prince, Stevie Wonder, David Bowie to OutKast, drum and bass, orchestral scores and even big band and Afro funk. Janelle Monáe is truly one of a kind and just makes everything work on this epic journey. Also - “Cold War” is easily one of the greatest pop songs of the 2010’s. Also also - how fun is “Wondaland”?!
James Murphy makes me dance and weep at the same time. A feat to behold.
I was worried Destiny’s Child would’ve exhausted themselves starting off the album this strong. While they sure seem less inspired along the way Survivor still manages to keep me rather involved throughout - mainly due to Beyoncé’s pipes.
Whoever approved this horrendous album cover was hopefully fired immediately. I adore the three members of Trio as much as the next person. Legends each in their own right. I’m sure they had a fun time recording this together. I just don’t see the point in it.
Despite the generic title, Vol. 4 delivers highlight after nightlight and remains one of the most overlooked albums in the Black Sabbath discography. Sabbath clings to their trademark heavy riffs and Ozzy’s mesmerizing vocals on classics such as “Wheels Of Confusion”, “Supernaut”, “Under the Sun” and the coke-induced “Snowblind”. Then there’s also the perhaps most beautiful Black Sabbath song ever, “Changes”. Often overlooked but up there with the rest of the early records.
Come for the title track. Stay for the title track.
Let’s for a moment do something Lynyrd Skynyrd never quite got around to doing - forget about the confederate flag. “Tuesday’s Gone” is a treat and “Simple Man” is a great tune. But the only real reason this debut album is on the list is because of its legendary closing track. Not quite enough in itself. But almost.
Energetic and varied rock album with nothing particular exciting about it. It’s just kinda there.
Easily one of the greatest rock albums of the 80’s. Pixies really mastered their dynamic songwriting on this milestone of an album. love how they play really quite AND THEN REALLY FUCKING LOUD!
First and foremost, post-rock needs to move me. That is why I love the genre. The way it affects you emotionally. Tortoise rarely moves me at all. There’s some interesting ideas along the way, but I’m never really engaged. I understand how influential this album has been to some of my favorite artists. It doesn’t change the fact that this blueprint has been improved time and time again.
A quite psychedelic album from a man called Country Joe. Country Joe and The Fish and their band coincidentally named Country Joe and The Fish delivers some nice tunes and while I’m never over the top, I’m never bored.
While Ram was the first indication of the longevity of McCartney’s post-Beatles, Band On The Run was the album that cemented the fact. There’s a handful of legendary tracks, McCartney’s vocals and musical playfulness is fully intact - and opening and closing with “Band On the Run” and “Nineteen Hundred And Eighty Five” is just pure magic.
Ladies Love Cool James? Nah. Men Love Cool James.
Considering the significant airplay a lot of these songs received, 21 feels almost like a best of. A collection of some of the greatest pop songs of the last 20 years. There are bangers such as “Rolling In the Deep” and “Set Fire To the Rain”, beautiful piano ballads in “Turning Table” and “Take It All” and then there’s the funky “Rumour Has It” and “He Won’t Go”. The piece that finally convinces me that this is as good a pop album as they come is the cover of the Cure’s “Lovesong”. Once in a while a cover comes along that sounds so convincing that it could easily have been the original - take the Johnny Cash cover of “Hurt” as an example. Adele’s “Lovesong” is one of those.
The first album where Led Zeppelin truly embraced the folk nature behind their sound. John Paul Jones emerges as the multi-instrumentalist he would be known for later on. In many ways LZIII is almost his album. While not remaining as interesting as their previous efforts all throughout, kicking things off with “Immigrant Song” is extremely iconic - and Led Zeppelin is just always fun.
The father of afrobeat puts on a phenomenal show accompanied by one of the greatest drummers of all time! Ginger Baker also appears later on.
The Chemical Brothers take you on a journey of their electronic home planet on this, their almost soundtrack-like debut album. I find it hard to stay engaged through it all, but my head keeps bobbing and their sound is just classic.
Oh, you wanted “Smells Like Teen Spirit”? Well, here’s “On A Plain” and a bunch of songs by the Meat Puppets that Cobain can barely sing. This unplugged live album is the essence of Nirvana. Heck, it’s not even unplugged. There are glimpses into what Nirvana could have been in the future. Where they were heading. Of course, we’ll never know. All we have is Cobain screaming: “Where Did You Sleep Last Night?” I take some kind of comfort in that.
A constant reminder that while Collins was a great successor as a lead singer, Gabriel brought along much more than just his unique vocals. So is filled with great rhythms, grand ambitions and all-round complex pop. “Red Rain” is as great an opener as they come and you just feel overwhelmingly safe in the arms of Peter Gabriel. There’s a few songs that doesn’t quite live up to the heights of the highs. Nevertheless, So is still an album to be reckoned with.
There’s absolutely no cohesion on this schizophrenic Moby album. Starting with the glorious “Porcelain” the album reveals its qualities for a while and I start to think that we just got off on the wrong foot after the horrible opening tracks. But after “Bodyrock” and “Machete” I’m forever lost and just kinda waits for the album to be over. There are glimpses on light shining through the cracks of the tunnel along the way. But Play ends up being quite a long walk.