Frank
Amy WinehouseOnly Amy can make an album full of one song reorganised into several different and make say "You go girl"
Only Amy can make an album full of one song reorganised into several different and make say "You go girl"
Classy
This style fits Alex Turner so well he even forced it onto Arctic Monkeys too.
Stunning classic
Eric twanging his guitar sloppily with the same vocal expression for an hour straight. A classic of grill diners the world over.
As far as pop-punk goes, it's solid. It's just not quite my thing
Fun and dancey. I came to this not quite realising the roots or spread of Madonna's popularity. Now what I know. This is great.
The forever difficult-to-nail-down Zappa and his instrumental monsters have here for us a most intensely head-scratching and fun album.
Living Color bring funk's swagger to the at-the-time dreadfully unstylish swamps of hard rock.
A bunch of hits, a bunch of hidden gems, and a bunch of filler stuff
The bedrock for the people to complain of music from proverbial "back then" being better.
Wow, a whole album that created a generation of to-be-cranky about new music dads.
Classic Cave
For as much of a non-fan as I am of country music, Merle Haggard's freewheeling delivery had a lovely infectious bite to it. His melodies are earworms and his lyrics can also be quite smart.
Whichever way I shake it, SZA just sounds to me like easy approachable pedestrian music. It is superficially catchy, with big features, flashing mild hints of personality enough to satisfy the disengaged, and not be irritating.
It's fun, not the smartest, but fun
the beat does go-go dum-dum
Certainly an album whose enjoyment largely seems to depend on you "being there" in a particular age in rock music. Coming into this now with fresh eyes, unfamiliar with Jane's Addiction as a musical entity, nothing stands out in either song-writing, instrumentation, and certainly not in production. Then again, this was a definite "timely" album that meant a lot in its age and now to newcomers will likely just sound painfully dated and corny.
Oh the naive rusty sound of 80s punk, so soft, so plain. It feels me with warmth almost.
The absolute style and showmanship that King displays is enough to visualise even through this audio-only album. Damn right he's called the King of Blues at the start.
A whole bunch of infectious and clever tracks full of character. Not a single miss on this album.
I hate being a contrarian, I really do, but the general confusion to the Smashing Pumpkins' success and popularity has always been nagging at me. Their unnecessarily long, bland alt-rock that was so terminally 90s seemed more a contemporaneous fluke rather than a testament to some musical prowess. Listening to 'Siamese Dream' and comparing that to any of the much maligned recent releases, it does feel like the band has not changed at all, but the sudden clearer production shows that their music has never been good to begin with. Basically, I am not eloquent enough to properly describe my dislike of the band and the album, but it does feel like I am not getting "it" for the same reason I could give a shit about Tagamotchis. I am not a 90s baby, nor do I hold some nostalgic hard-on for 90s stylings. For that, the album sounds to me utterly lacklustre, bearing all its emotional weight in its lyrics (those too can be quite dumb, though), rolling on with some exceptionally weak writing, practically non-existent hooks, godawful unfitting vocals, trite production that makes each song like a bleached monotone mess, and unjustified runtime. And I feel bad for feeling this way, because it seems like I am missing out on some amazing masterpiece everyone else figured out and I am just some Debbie Downer scratching his head.
This is very fun indeed, a lot of carefree energy interspliced with a lot of outta nowhere heavy subjects that just stick with you.
Cerebral and distinctly ugly in a raunchy way, where songs are unnecessarily drawn out but impactful nonetheless.
On Pulp's arguably most mature release they move a little away from in-your-face catchiness for a more cerebral, sensual, sweaty play. There is some distinctly nasty tone to everything and that makes it all just oh so much more voluptuous.
Some absolute classic pop bangers on this one, but people forget that the deep cuts are often just as powerful. That said, some of the deep cuts are also rather forgettable. Less \"Listen\" and \"Working Hour\" and more \"Mothers Talk\" and \"Head Over Heels\", please.
I get the history and the influence of this album, but I have also heard an overwhelming amount of significantly better black metal or even bm-esque albums. This is ugly and messy, but I get what it means for the development of metal. Doesn't mean I like it tho.
My inner 90s white girl is a little too stuck up on softness and Fiona Apple to ever give Alanis Morissette her due time. Now that I am going through it and am finding a lot of pretty solid, crushing 90s cuts. Although her vocals can be grating, but they also portray the torn asunder emotionality perfectly.
Really, the album the Rolling Stones started displaying all of their sexy swagger and provocateur demeanor. That said, for every other undeniable hit, the album hits you with a breather or two that only break up the pace, meandering about, being somewhat lacklustre.
Neil Young is to me an entity easier to appreciate tangentially and enjoy casually than really love andcrave deeper dives into. I find so much of his music appealing and easy to like, but never that easy to love. That is mostly due to his too loose a song-writing technique that mostly leaves a lot of room to want a more satisfying tune or a melody or a hook or sth.
Portishead's biggest and most celebrated release feels like floating through shark infested waters, but like the sharks are on your side or sth...
The album that at one point was Bowie's great return, as well as a return to form, shows a plethora of experimental leanings that would go on to shape his next album three years later. That said, 'The Next Day', being a slightly tongue-in-cheek reflection of Bowie's career (even the cover is a blunt callback to 'Heroes', sometimes suffocates in it's own nostalgia, as well as its insistence on being hip and modern. That is also something that has plagued Bowie's 00s output generally. But 'The Next Day' still stands as a powerful, albeit somewhat rough late career blossom.