I totally forgot how blues, americana folksy this album gets at certain songs (and then early heavy metal with Helter Skelter??? Amazing). The fiddle in Don't Pass Me By, the lyrics in ballad of Rocky Raccoon. Besides the fireside tunes, there's so many other catchy, goose-bumping songs on the White Album (While My Guitar Gently Weep, Dear Prudence). I get why it's always quoted as one of the best Beatles albums. I think it is, too. One of my favorite Beatles songs actually, Happiness is a Warm Gun, is on this album. On this listen, my standout song was Martha, My Dear. The White Album to me is like a pizza from your favorite place. It's always amazing, but you forget how so because you've been eating it for so long. Also, like tomatoes on pizza that came to Italy from China, and the pizza from Italy that made its way to the greasified USA version, the Beatles talent was taking the components of something already great (Chuck Berry's guitar, Motown records, etc.) and churning them into popular smashes. The White Album is a hit machine.
Underwhelming. It reminded me of Tarantino movie score, but forgettable. I've heard better ballads from the Avett Brothers. I didn't think the lyrics were all that spectacular either. If anything, they felt like parody of ballads. I audibly laughed at parts of O'Malley's Bar. This album stunk of a modern man trying to cosplay as an edgy, rugged cowboy. No real stand out songs from me... but I did think it was cool PJ Harvey was on some songs.
I just wanted to listen to My Bloody Valentine or Nirvana after Ten. Sorry, Pearl Jam. I'm remembering why I never got into you, even back in high school when I thought it was very ~important~ to listen to "the canon" albums, which, much like these albums so far, were mostly rock albums by white guys (or at least what I discovered on music blogs in the early '10s and Reddit). Pearl Jam, I think your songs sound the same. Well most of them... I liked the intro and outro songs on this album, mostly because they felt different. I really could feel the concert lights rising and dimming with each. The outro song, Release's, bass line transition was ethereal. But all in all... Ten made me want the grungy, mystical guitar sound of Loveless and the lyrical intensity of Nevermind instead of Pearl Jam's version of both. Yeah... don't know why I never could get into Pearl Jam. There are great guitar shredding moments, of course, which I did appreciate. I recognize this as a good album. Just not my cup of tea. I'm sorry, Eddie Vedder, I think your voice might just annoy me.
This was my first time listening to Highway 61 front to back. With how iconic Bob Dylan is, I went in with a higher expectations than I think this album delivered, but it was still a great listen. It felt like having a companion... comforting in a soft introspective way. I listened while biking down Banks Street and the twang and melodies flew perfectly with the wind and light around me. There's really nothing like the guitar-harmonica partnership in Bob Dylan's music. It gets you in that "my life is a coming of age" mood. It's tough, because I'm comparing this album to the rest of Dylan's discography, and for that, I'm not head over heels for Highway 61.
This is such a sensational concept album. The story of Pink isn't anything crazy new in rock operas... a disillusioned, addicted (to women, drugs, usually both) star trying to find peace. The Wall smashes the archetype straight through with some of the most iconic songs and storytelling in rock. On this listen, I played the change up from Empty Spaces into Young Lust over and over again. I found new meaning in the Nazi fever dream. As uncomfortable as it is, I see how it's perfect to how Pink sees himself: the ultimate evil, self loathing state... into a place where he becomes what his father died fighting against. Speaking of bad places, I can't imagine what type of black hole this album sent Syd Barrett spiraling into it. They say truth is stranger than fiction. That's what I think gives life to this album, what allows Roger Waters to make such an unbreakable classic... the realities he witnessed. Of course, that's mixed with Waters' genius musical visions. So much of this album is ahead of its time. Don't Leave Me Now is a haunting, sad boy song that could have come out today in the alt rock world. Comfortably Numb is one of the most distinctive rock songs in existence. The Wall is still a classic, still holds up, still has meaning to be found within.
Now THIS is the type of music I've been listening to this summer... southern, 60's rock. It's one of my favorite genres of rock, mostly because of its heavier blues influence and twang. This album's a classic, and I still really enjoyed it. The perfect thing to play biking along the bayou here, or any summer day really. Green River was my standout song for this album. It's not my absolute favorite southern rock album, but its still a good one!
