Ethereal but grounded. Incomprehensible but clear in their messages. The Cocteau Twins are one of the most antithetical bands I've come across, and this may just be their masterpiece. Elizabeth Fraser is such a unique talent.
Albums like these are the most unfairly affected by the method in which I consume them: at work. I can't always focus on lyrics, which I think is likely where this album would shine. Musically, sure, it was soulful, even groovy at times, but it's often pretty barebones too. Ms. Badu has a lovely, smooth voice, but I'd have appreciated more active instrumentation. The songs (and the album itself) also go on just a little too long without much diversity to break things up. I acknowledge the album as an R&B classic, but it didn't do all that much for me.
"Two plus two is four / Minus one that's three QUICK MATHS"
Once again, I will be unable to be impartial about Joni. She's fantastic, and this is another one of my favorites of hers. Songs like "Amelia" and "Coyote" have so much feeling to them. Her jazz influences continue to be more strongly felt than on her past works, maintaining the trajectory that she had been on, and due in no small part to Jaco Pastorius' fretless bass playing. This is maybe her last "perfect" album, but it's a perfect closer to an incredible run.
I loved quite a lot about this listen. It brought forth the electronic sounds of the '80s while having been released in 1977. This is really one of those pioneering albums. It was perfect for working to, because the leitmotifs were just repetitive enough to settle me into a groove without growing boring. Catchy, well-crafted music that isn't just one of the best as what it does -- it wrote the book. This is a 4.5er to me, and it was hard to decide which way I'd swing it. I'm feeling generous today.
A top 3 Bowie album for me, without a doubt.
With only cursory knowledge of Cooper's music and stage persona, I wasn't sure whether I'd enjoy this listen. But this collection of tunes is fun, weird -- and at times, even beautiful.
Joni's voice is one of the beautiful sounds in this world. Her gift for melody, her ability to effortlessly blend pop with jazz and elevate the singer/songwriter genre to high poetry is why she is still being spoken with with such reference today. Blue is a shining moment in her discography.
The bridge between early and late Beatles albums. The sound of discovery. Always a great listen. I don't even dislike "Run For Your Life".
A good overview of why he's considered one of the greats of his time.
While I have heard and enjoyed a few of PJ's earlier albums, none left much of a lasting impact on me. This one had me from the start.
Never been a big fan of Spector's "wall of sound" production style. But hard to deny the talent of the artists he's assembled here, as well as the quintessential recordings of these classics that they produced.
Nu-metal was never my thing, though I understand the influence this album held for the genre, and for music in general at that time. Chester was a voice for the misunderstood, angry youth, and as such was beloved by many. The lyrics here strike me as borderline juvenile, and the music, while powerful, belongs to the early '00's. An important album, but just an okay listen for me.
As Rubber Soul proved to be a transition period for the Beatles, BIABH is Dylan's equivalent. And equally good, at that. Some of his most rollicking tunes accompanied by some of his most profound poetry. When I found myself relating to his political points nearly sixty years later, I shivered.
A fine country/western album. The only reason why it's rated a little lower is because it doesn't seem to offer much variety from other country albums of its time. Unsure what makes it stand out amongst its ilk -- can't even find much other proof online of its particular influence.
The rap and metal combo is sorta douchey as is, but no one has ever made it douchier than Kid Rock. This album is so lame.
I mean...what's to say about this album? Quite an achievement from a band at the height of their powers -- that said, I think it's overrated. Ambitious, but overstuffed. Some of Floyd's greatest moments are present here, but so are their most excessive.
It feels almost sacrilegious to rate something so new so highly, especially after refusing several classics of that honor. But the immediacy of this album warrants it. A stunning listen from the get-go, but an album that has also grown on repeated listens. Beautifully written and composed. I don't think I could tire of this one.
I'm not too into 90's rap, to be honest. I missed that scene, and it's no longer as groundbreaking from today's vantage point as it may have been then. That said, I see what this album did for those who were influenced by 2Pac. Kendrick, my favorite rapper, regularly references him, and it's clear that Kendrick's earlier works owe a lot to albums such as these. So while I have respect for Pac, this album doesn't do much for me. Lyrically, it's strong, but nothing that hasn't been said before or after. Musically, it's pretty abysmal. An alright listen, but not something I'm personally interested in revisiting any time soon.
Gainsbourg is the epitome of cool. This album is rocking and sexy and suave, and doesn't outstay its welcome.
A lovely album that is sure to grow on me with time, as have several of the Byrds' albums. Although he wasn't WITH the Byrds by the time that band started exploring this style of cosmic country, I'd argue that Gene does it better himself here. Fantastic arrangements that evoke everything from gospel to proto-disco to western.
Lowkey might be my favorite Jimi album? Virtuosic but fragile, Jimi delivers here some of his most memorable licks.
The singles are undeniable. The rest is hit and miss. It might be shrugged off as inoffensive -- or even cheesy -- lounge rock by those less prone to letting their musical guards down, but there's a lot to groove to here.
An interesting listen! I'm not familiar with Elis Regina or her body of work, but I understand that this is a posthumous compilation (that also includes works by other associated artists?) There was enough here that I could groove to, though I wish I could understand Portuguese, as the slower songs suffered from my inability to comprehend precisely what she was singing about. But even without understanding the lyrics, the musical arrangements were enough to chalk this up as a good listen, if not one I plan to return to regularly.
The altar at which punks kneel. Loud and fast as promised, this one is packed with snarling guitar riffs and Rotten's sneering vocal delivery. It's never been an essential listen for me, but hey -- I'm no punk. And it's still pretty damn great.
I've heard OF the Mekons, but can't say I've ever actually heard them. I wasn't sure what to expect from this album, but it wasn't this. I thought they were a punk band, but this ranges from art rock to alternative country. A very interesting listen, and I have no doubt, one that could easily grow to be a favorite.
I was a little biased going into this one, as an album that I've already loved for years. But it truly is one of the high points in the discography of a creative and innovative band. They continue to push sonic boundaries here, but without sacrificing the beauty or fragility intrinsic in these compositions.
Ethereal but grounded. Incomprehensible but clear in their messages. The Cocteau Twins are one of the most antithetical bands I've come across, and this may just be their masterpiece. Elizabeth Fraser is such a unique talent.
Well this is a fun little pop album, isn't it? I might be off-base, but sounds a bit like a 90's Sgt. Pepper's. I'm really into this on first listen, I'll have to make a point to revisit it soon, because it sounds like it'd be a lot of fun to sing along to. Plenty of hooks, which is how I like my music.
Look, I have nothing against this album. But by today's standards...it's quaint. There isn't much showmanship. Frank didn't write his own songs. It's just a fella doing crooner karaoke. The songs are lovely and easy listening, but it just doesn't move me the way I'm told that it should.
A dang good 90's alternative album. "Drive" remains one of my favorite R.E.M. tracks, and is a great, dark way to enter this album. Exiting on the one-two punch of "Nightswimming" and "Find the River" is a beautiful, classy goodbye. Sure, some of the hits like "Everybody Hurts" and "Man on the Moon" have been played to hell over the past 30 years, but the rest of the album overshadows them. I always enjoy a listen of this one.
Cohen's storytelling is second to none. This album was my introduction to him, towards the end of high school -- his lyricism is so vivid and cinematic that I couldn't help but love him. Musically, I was initially bored, but there is so much more going on than it may appear at first glance. The horns and strings and guitars that embellish his poetry and guitar playing can be subtle overdubs, but make all the difference. Truly a Canadian legend, and songs like "Suzanne", "Master Song" and "Hey, That's No Way to Say Goodbye" will always hold a place in my heart.
What's to say that hasn't been said?
Yeah, some of it is a little corny. Some of it doesn't age well. But I've always loved it anyways. I've probably listened to the 2112 song suite itself -- all 21 minutes or so -- a few dozen times at least. And it holds up. An early Canadian rock epic by THE Canadian rockers.
I was surprised to see this one on the list. The Killers have never really struck me as critical darlings, and I don't even necessarily think Hot Fuss is their best work. But I guess if you're going to give it up to a '00s pop-rock album, there are much worse options. "Mr. Brightside" has joined the likes of "Sweet Caroline" and "Don't Stop Believin'" as an overplayed anthem, but other tracks, like "All These Things That I've Done" and "Jenny Was a Friend of Mine" may be underrated, if anything. This album is a lot of fun, really, and as someone who was nine when it dropped, I can't NOT give it up.
They sure know how to be economical with their songs, eh? 14 in about 15 minutes...they don't come much faster than that. Fast and angry is about all these songs are giving me, though. Not much depth here, but hey baby, that's punk.
Maybe Iggy's finest collection of tunes, thanks in no small part to music composer, producer, and friend David Bowie, who also provides backing vocals and keys. He lets himself bask in the sun here, not hitting the darkness of the Stooges and some of his other solo stuff, and it suits him!
Look. The Eagles get a bad rap. It seems a lot of "serious" music fans find them corny or annoying. But I am an unabashed Eagles fan. Their harmonies, their tasteful playing...all of it, great. There are more pop-rock masterpieces on this album than most artists have in their entire discographies. It goes down SO smooth. I genuinely think this is a 4.5 star album, but as we can't use half stars on this site...
I'm not a big psychobilly guy. It always sounds borderline novelty to me -- like Halloween music. But there's no denying the Cramps do it right. This album is fun in its "twisted", silly way. Punky surf rock that doesn't outstay its welcome. I would probably give this 3.5 stars, really, but I'm going to round down because after this one, I don't really have any interest in checking out the rest of their discography.
This is not what I thought Everything But the Girl sounded like at all! I thought they were a rock band, not a drum and bass trip-hop thing! Interesting. Pleasant enough background music, but to be honest, it doesn't do much for me. It sounded very '90s, and not in any way that is nostalgic to me in any way.
CCR is always an easy listen. At under half an hour, nine songs, almost half of them stone-cold classics, this is no exception. Even the lesser-known songs here have that familiar CCR sound that grant them an air of familiarity. An album like a hug.
I just don't respond to this aggro industrial stuff. It doesn't speak to me in any way, shape or form. Repetitive noise that's more likely to give me a pounding headache than anything. A few thrashy grooves here and there that I can get behind, but the screaming and the distortion is just so unpleasant to me that I have a hard time looking past it and focusing on the more technically impressive aspects.
This album seemingly owes a lot to the Clash...err, the artists that influenced the Clash. But hey, it's fun! It sounds like a pizza party. Very skankable for sure.
I've never been a big rap fan, but Public Enemy has always been an act that I've respected. Their flow, their lyricism, their sampling, always great. Powerful yet funky. Their collab with Anthrax here is a great forward-thinking mashup.
I'm biased from years of loving this album, but I think it's Joni's masterwork. Though definitely her attempt at mainstream success, her jazz influences shine through, making it a crowd-pleaser with true artistic integrity. Songs like "Help Me" and "Free Man in Paris" are among her greatest singles, still staples of oldies radio, and songs like "Down to You" are as beautiful as anything you'd find on her perceived best, Blue.
It's a nice album. Kind of surprising that it made the list, to be honest, because it doesn't seem to be *that* highly regarded, in the grand scheme of music history. But the writing is often clever, and the melodies are pleasant, if teetering on the edge of saccharine. The lyric "if you were a horse, I'd clean the crap out of your stable" got a laugh out of me, though. That's true romance.
Like many others, I'm not particularly familiar with a-ha's oeuvre, outside of one song in particular. But I know they're a bigger deal in Europe, and as this list seems to be quite Eurocentric, I'm not surprised to see them here. This album, while very much a product of the '80s, is a glimpse at why they're more revered across the ocean -- a lot of really good tracks here. I love the title track; hearing them slow things down after years of being subjected to the sugar rush that is "Take on Me" is revelatory.
I love the Kinks. Everything they did throughout the 60's and 70's was great, and no exception here. "Waterloo Sunset" is one of Ray Davies' greatest works, and his brother's "Love Me Till the Sun Shines" is a favorite of mine as well.
It sounds like every other Merle Haggard album I've listened to. But that's a good thing. The outlaw country artists are the only ones that really resonate with me. They're storytellers, above all else. They don't fall into the same three or four clichés that modern country stars seem to. And even when they do, well, they originated it, so can't be too hard on them. This is a 3.5 star album to me, but I'm going to round down this time, because a few days after a very pleasant listen, not much about it has stuck in my mind.
Huh, this was a cool listen. Kind of like a rougher, rowdier Rolling Stones. Like, if they recorded all their stuff in a well-equipped garage. Bluesy and folksy in equal measure. I've never heard of them before, but this album makes me wonder why not.
A fantastic album. It flows so well from song to song. Some of his best are here - "Scenes from an Italian Restaurant" is maybe the best song he's written, and "Vienna" isn't far behind - but it loses a bit of steam after those first seven classics, ending with two tunes that would be pretty great on their own, but become forgettable in the context of following mega-hit after mega-hit. Imagine it ended after "She's Always a Woman"? Talk about all killer, no filler! Still, I can't really give it less than five stars.
Harry Nilsson, what a character. All sorts of styles are presented by him here, all done beautifully. His gorgeous rendition of Badfinger's "Without You" being immediately followed by the zaniness of his self-penned "Coconut" tells you all you need to know.
Good album. The version of "No Woman, No Cry" here doesn't stand up to the live version on Legend. But other tracks, like "Lively Up Yourself" and "Bend Down Low", are great little reggae tunes. Light up under the sun and and enjoy this nice, breezy listen.
I've always liked the Dead Kennedys, more than most other punk acts of their time. Their debut album is probably their best album (compilations excluded), and so this was a fun listen. Fast and riffy, with Jello's signature vocals.
Once again, I will be unable to be impartial about Joni. She's fantastic, and this is another one of my favorites of hers. Songs like "Amelia" and "Coyote" have so much feeling to them. Her jazz influences continue to be more strongly felt than on her past works, maintaining the trajectory that she had been on, and due in no small part to Jaco Pastorius' fretless bass playing. This is maybe her last "perfect" album, but it's a perfect closer to an incredible run.
Three incredible artists gather to share their talents, and their voices blend here perfectly.
Iggy's introduction to the world, and he came out swinging. The first two songs here still sound so modern. Things hit a brick wall with "We Will Fall", featuring John Cale. I have nothing against drone music per se, but this song goes nowhere. Following it, though, things pick right back up, and feature the Stooges doing what they do best.
I was an Elvis fanatic as a kid. But I only had the greatest hits collections. Hearing this collection of deep cuts (like, not a single hit here) reminds me that Elvis was just another crooner of his time. Nothing here really hits the way any of his hits do. They're just pretty well-done renditions of songs written by others.
Widely hailed as Radiohead's masterpiece, this one proved that The Bends wasn't just a fluke. As relevant as ever, and still sounds fresh over 25 years later. This is one of those classic albums that should age very well, and remain a mainstay for music fans for decades to come.
This is the kind of punky new wave music I can behind. Loud and fast, but without being repetitive or boring. This is weird shit. Devo were ahead of their time. This is probably a 4.5 star for me, and I've chosen to round down, but I could have gone in either direction on this one.
I admit to not being familiar with the works of Jean-Michel Jarre, but this is groovy stuff! Early synths sound so good to me. The sound of waves on the final part of the album transported me to a beach while sitting at my office desk. I wish I had listened to this album while lying down in a dark room.
Yeah, this is CCR. You kind of know what you're getting going into a CCR album, and this one doesn't disappoint, per se. But it's also not one of their best. "Bootleg" is a nice deep cut that I wasn't familiar with, but otherwise, this is just a decent addition to CCR's discography. Not so much something you NEED to hear before you die. I think I'd just point inquiring minds towards Chronicle, their greatest hits compilation. Outside of the aforementioned "Bootleg", it's got everything you need from this one.
I went into this album not expecting much. "Waitin' on a Sunny Day" is maybe my least favorite single of Bruce's career, and I'm not crazy about "Lonesome Day" either. But there are enough great moments here to consider this album a success. The back half of this album particularly worked for me -- the slower cuts like "You're Missing" and "Paradise" really work for an older Boss, and songs like "Mary's Place" have all the E-Street swagger and pomp that we expect from a Springsteen album. This probably gets a 3.5 from me, in actuality. But what the hell, I'll bump it up.
I had never heard of Lambchop, and don't know what I expected from this album. And, I won't lie, I wasn't laser-focused on the album for the entire running time. But what I heard, I liked a lot more than I expected to. Alt-country with chamber pop influences. Very well-written melodies. An overall "throwback" sound. I will definitely be giving this one another listen.
Part of Wonder's "classic period", and all five albums released during that period live up to their reputation. This might be one of the less notable releases of that time, and it still has absolute anthems like "They Won't Go When I Go", and funky little numbers like "It Ain't No Use". Always a fantastic listen.
I know Biggie is a legend, but I've never really been sold by his rapping style. It doesn't do it for me. And this is a looooong album, so there's a lot of him here. It's fun in parts, repetitive in others, and all the sex noises on the skits are goofy. A true mixed bag, but nothing transcendent here in my opinion.
Man, I gotta listen to more Kate Bush. Maybe it's because this album came later than the other albums of hers that I've heard, but this sounds so sonically full. Some of the instrumentation sound a little "80's", but it really works. This album sounds so good.
This is early Beatles, which has never been my favorite era of one of my favorite bands. They weren't yet breaking down walls, or writing all of their own songs. But there was a lot of potential clearly visible here as well. Some fab originals, like "All My Loving" and "It Won't Be Long", are previews of the powerhouse that is Lennon-McCartney. And even George gets his first songwriting credit on "Don't Bother Me". Their harmonies shine on all these tracks, and their playing is tight. Not among their best, but a very enjoyable sign of things to come.
This is a fun listen. I like that, as someone who isn't familiar with ZZ Top's catalogue outside of the big hits, I had only heard "La Grange". It allowed me to enjoy this as a straight-forward southern rock/boogie album, without any of the baggage that comes with ubiquity. They sound real good for a three-piece, and Gibbons is a better writer than songs like "Legs" and "Tush" ever really allowed me to appreciate.
The first glimpse of greatness from Radiohead. Coming out of the gate with the mediocre Pablo Honey, fans must have been stunned by this, their sophomore effort. Although I'm a big Radiohead fan, I came into this listen expecting to give it 4 stars. I don't think it's their best, but it's a great collection of songs. Listening again though...I can't not give this 5 stars. Every song is pretty perfect.
While I love Indian music, this album outstays its welcome by a bit. It essentially boils down to a 45 minute sitar solo, with a few educational bits in between. Honestly, the educational bits are probably the most interesting part, as Shankar explains the basics to Western listeners unfamiliar with Indian music. As a lesson in Indian music, I'd give this 4.5 stars. As an album? Maybe 3.5...and I'm going to round down.
Man...I came close to giving this four stars, as some elements of the production scream 2012, and I think To Pimp a Butterfly is overall better. But damn. His flow is unreal here, even relatively early in his career. The songwriting, while not yet at its peak, is still really strong here. And "Sing About Me, I'm Dying of Thirst" remains one of his best. Kung Fu Kenny is the best rapper of our generation, and this is our first piece of evidence.
I didn't know this was a house album, so it was kind of a weird way to start the work day. Sitting in my office but my mind is at a rave. This isn't really my kind of music to begin with, to be honest. It's very repetitive, which I guess is the point. It's very danceable, and therein lies the problem -- I don't dance. But overall, not terrible background noise either.
"The Killer"! I'm not crazy about his voice, to be honest, but there's no denying he can get those keys rollicking. And the album certainly doesn't outstay its welcome, at a tight 22 minutes (edit: I see now that the album should be 37 minutes, but it appears Spotify is missing five tracks). A decent listen, if not something I'll be rushing back to listen to.
Right up front: I went in with reservations. LS are associated with a demographic that I don't really vibe with. But this album kinda kicked ass? The songs are pretty great, and the musicians are impressive. And when your closer is "Free Bird", it's sorta hard to walk away disappointed.
I've always enjoyed the "one-hit wonder" that is "Novocaine for the Soul", so I was excited to hear this album. And it stands up to that single quite well! I'll admit that I can't remember many details about this right now, as I listened a few hours ago, but I know I really enjoyed this and definitely intend to listen to it again.
It was alright - nothing about the songwriting did all that much for me, but some great bass parts. I do appreciate that this is his first work to be fully written by him, as well as some film references that he worked in. But not sure this left enough of an impact for me to check it out again any time soon.
Well this is a fun little one, isn't it? Under half an hour of good ol' 60's psych pop. I'm sort of surprised I've never heard of this band, as this falls right into my wheelhouse. I really liked this listen.
The early countrified Eagles aren't really my thing, though I know many feel the opposite. But as such, this album isn't a favorite of mine, though even here, the Eagles show themselves as more than capable of writing a decent pop song here. Hearing Randy Meisner and Bernie Leadon each provide lead vocals on songs here is a bit jarring. But also I just watched Marcel the Shell with Shoes On this past weekend, in which Marcel sings "Peaceful Easy Feeling", and that alone bumps this to a 4.
One of Bowie's top 5 best, and the first truly great album in his discography. This is one of the Bowie albums I go back to the most often. It fits a lot of great songs into a short runtime. Nothing to complain about here.
The Smiths at their best. Morrissey is a bit of a twat but his songwriting here is impressive, and his band is A1. Johnny Marr might be one of the most distinctive guitarists, and he comes up with some of the most catchy riffs of all time on this release.
This wasn't bad. A little noisy. Some of the longer tracks went on a little too long, but the shorter ones were fun little bursts of energy. The math-rocky elements were fun to hear.
I'm not a Metallica fan in any way, but this album is pretty cool. The symphony adds such a cinematic layer to the band that keeps the songs interesting. The originals would probably only earn 2 stars from me, but the twist for this performance bumps it up to about 3.5. I'll round down for the auto-tune on James' voice.
Hard to believe she was only 18 when she dropped this album. The lyrical honesty exhibited here is far beyond her years, even if her melodies can sound a little samey on some tracks. A fantastic debut from an incredible artist.
There was a time when I would have given this a 4, and maybe even a 5. But I've grown to find the sound of Anthony Kiedis' voice difficult to handle, especially when the lyrics it's conveying are at the level they are at. That said, RHCP will always be sorta fun. The musicianship is pretty fantastic, and I've gotta appreciate a mainstream funk act. This album is front-loaded with a lot of singles and other popular cuts, but I think "Scar Tissue" and the closer "Road Trippin'" are the only two songs I can still enjoy without rolling my eyes just a little bit. Don't get me wrong, it's still one of their better albums -- top 5 for sure. But the good stuff here has been overplayed.
I'm a Coldplay apologist. I don't care for most of their new output, but I grew up with these early albums, and I still like them a lot. I really enjoyed listening to Parachutes today. The first 60% of the album is particularly strong, and "Shiver" and "Sparks" remain favorites of mine. The only songs I don't care for as much are the short transitional title track, and the closer "Everything's Not Lost". That said, really strong pop record, and a great debut for them. I'd like to see them return to a more rock-oriented sound in the future, and please, for the love of all that is holy, stay away from EDM.
I was already familiar with this album, and I do like it quite a bit. Very dreamy, very lovely stuff. But I do prefer Beach House's subsequent albums. I guess that's a downfall of some of the more recent additions to this list -- a lot of the contemporary artists on the list have since released "better" work. That said, this one is still very good!
When I got a RHCP album three days ago, all I could talk about is how much I dislike RHCP now. So they had to come back with BSSM just a few days later! Those bastards! They know this album is my weakness. This is a really good album. Funky as all hell, with even Kiedis offering some of his better songs (though a lot more of his idiocy too). Oh well, at least here we can chalk it up to age.
Parts of this reminded me of Jack White. Sometimes The Stooges. But this is a little more glossy than the works of those artists. It's got that 70's punk sheen, while maintaining that very punk spirit. A fun listen, really.
Can't be denied -- this is a classic recording. It's so much fun to hear the prisoners getting swept up in the music, hooting and hollering, and hearing Johnny mess up lyrics or start laughing. A minimalist show, as is to be expected. But always a decent listen. Just a few too many religious songs for me, personally.
A nice, breezy listen. It was cool how some songs blended into others. Also, the amount of languages covered -- I noticed at least Spanish, English and French -- was fun to go back and forth between, especially as I speak two of those! All in all, a good listen. It seems like Manu Chao is far more well-known internationally than domestically, so it's fun to be exposed to his stuff.
Whoa, this is a pretty neat piece of work that I'd never heard of. Produced by Nick Mason (who does indeed give this project echoes of early Floyd), this album was recorded in a van on a farm, shortly after Wyatt experienced an accident that rendered him paraplegic. One song sounded like psychedelic jazz sung backwards and then played forwards. The next sounded like a beautiful, trippy little guitar solo played on a wide-open beach, with breaths providing the only percussion. This album, for lack of better words, sounds like it's everywhere. It's beautiful.
This was a little bit of a snooze to me. Some songs were fairly lovely, but I can't say this left much of an impression, writing this the day after my listen.
This was decent. I'm not familiar with Doves, though I swear I've heard "Here Comes the Fear" before (but I'm unsure where). They're a fairly good early '00s indie rock band, judging on this release. I'd probably give this 3.5 if half stars were permitted.
I've grown to like Gorillaz a lot more in the past few years, and while their debut is not my favorite, it shows a lot of promise for the group. Damon is clearly excited to focus his energy in a different direction than Blur allowed him to. There's a lot of fun stuff, but I believe that Albarn learns a lot between this album and his next few works. It's really only a 3.5 star to me, but I'm gonna bump this one up.
This is a ton of fun. I was only really familiar with the Avalanches' 2020 release "We Will Always Love You", so I enjoyed getting to go back and give this one a listen. I wasn't familiar with the term "plunderphonics" before this, so this form of ultra-sampling was neat. Familiar but remixed to the point of something new. Very danceable.
I am somewhat embarrassed to admit that my first exposure to this album is James Blunt's cover of "Fall at Your Feet". But hey, that's a decent cover, and this is a decent album! Neil Finn is a great songwriter, at the height of his powers here. "Weather With You" is vaguely overrated amongst their big singles though. I don't like the group singalong vibe. Still though, this is a good listen.
This is a primo post-punk album. All herky-jerky and driving. I love it. It's a 4.5 star album for sure, but I don't quite think it hits those 5 star heights.
This is a really cool album. And I wanted to give it five stars, I really did. It's just a little exorbitant and disjointed. Both halves are enjoyable; I think I preferred The Love Below on my first listen, and Speakerboxx on my recent listen. By the time you get through both sides...this thing is just way too longgggg. And many of the tracks, particularly many of the interludes, are incidental, not really offering anything of substance, as if they're just padding out each side to make for two "full" albums. Still, maybe my favorite double album in rap.
I wish I had discovered Tom Waits at a younger age. I only got into him in my mid-twenties, and I feel as though I'm not as well-versed in his stuff as I should be. That said, I'm starting to gain some level of familiarity with his stuff. Enough to know that this isn't my favorite album of his. But it still has the captivating, clangy feel of his middle-period records. He's a great songwriter, and his uniqueness is felt here.
I love the Kinks, and this album falls directly in (towards the end of, really) their greatest period of work. The concept album kings, this one here loosely follows a carpet-layer, a proxy for the Davies brothers' own brother-in-law. The album features some of the band's most fun singles, like "Victoria" and "Drivin'". It blows me away that this album is from the '60s. The Kinks should be spoken about in the same breath as the Beatles and the Rolling Stones; they were really that good.
I am reviewing this album with a very big asterisk -- as it was never released in North America, I only have access to 6/13 songs. Those six songs, though, are pretty great. It's a shame that Madness was essentially a one-hit wonder on this side of the pond, thanks to this album's "Our House". A catchy number, to be sure, but they're so much more than that. The six songs sampled here are near pop perfection. I'm surprised to hear that they're considered a two-tone/ska band, as that vibe is minimal here, and seems to be just one of many sounds explored on this record. It's very instrumentally dense, but I guess that's a result of having seven guys in the band. I'd definitely be down to check out more Madness in the future.
While I am not that familiar with Roxy Music's catalog, I've dabbled, and always liked what I've heard. This is another great art rock album. Their last with Brian Eno, as I've read, it's a good listen. Not much to add beyond that.
This is a tough one. I generally try to separate the art from the artist, but Kanye has gone from just being an insufferable shitheel to being someone with absolutely vile views. I used to listen to him, but I try to avoid it all costs now. But...this album is still kind of good. The beats on songs like "Black Skinhead" and "New Slaves" still kind of slap. And one thing is for sure: "in a French-ass restaurant, hurry up with my damn croissants!" will always be a legendary line. I'm struggling between giving this 4 stars, or knocking it back to 3 based solely on how extravagantly Kanye has managed to ruin his legacy. But at the end of the day, I will try to separate Yeezus from the piece of shit that is Kanye West.
Muddy Waters is one of the greatest blues musicians of all-time. But I'm not really a blues guy. Three chords can only take you so far. That said, the soul and feel that he gets across through this recording really elevates the music. Still, and this might be blasphemous - I'm going to be honest with myself, and give this three stars. I'm in no rush to hear it again. After an additional sixty-plus years of musical evolution, this is a bit boring in retrospect (though the infectious two-part performance of "Got My Mojo Working" almost single-handedly want me to bump it up to four stars).
Adele is an extremely talented singer, she's beautiful, and seems to be quite funny and charming in interviews as well. So yeah, overall, I'd say I like her well enough. But I never quite want to listen to her music. This album, for example: it's a fine pop album, but it seems like the sort of thing that would be playing in my mom's car stereo. It often sounds like radio fluff, or like well-trodden territory. To be fair, I don't believe this album to be one of her best. Even the singles here are sort of boring, which is not a problem that her previous album 21 ever had. I just don't know if this is the album of hers that should've made it to this list. I've always really like "Send My Love (To Your New Lover)", though. Fun song.
This album is a much better collection than the last Elvis album we covered. And even wilder, this one's older -- yet sounds so much more vibrant. Recorded at various dates between 1954 and 1956, this is his debut, and he's hot out the gates with "Blue Suede Shoes". I've never heard him singing quite the way he does on "One-Sided Love Affair". He sounds like he's having a blast. Upon hearing this, the studio execs must have creamed just as much as the girls watching him gyrate on stage. And the album art is iconic, thanks to the Clash. Not a perfect album, but a very good one.
This was actually pretry damn cool. I'm a huge King Gizzard fan, and I can retroactively hear some of Can's influence on their stuff. It's wild to think that this album is over fifty years old now. As a proponent for shorter songs, I cannot in good conscious give this a perfect score, considering three tracks fall in the 11-19 minute range. But this was still a trip. I hope to hear this high someday. Edit: Won't lie, wrote that after hearing the first half. The second half was a little less listenable, treading into pure noise territory. But overall, still cool enough to keep 4 stars.
I'd only heard two tracks by Faces, the two that we've all heard: "Stay With Me" and "Ooh La La". But this album proved that they had more than those two songs. The instrumentation across this album is so warm. It just feels like good classic rock. Why did Rod Stewart have to go solo and ruin this stellar vibe?
The way I knew this band would have an Oasis connection from the first second I heard them...I love UK's music output for the most part, but the stuff they were pumping out in the 90's just wasn't really doing it for me. There's nothing inherently wrong with this album per se -- I'd actually say I enjoyed almost all of it. But it's very cut-and-dry, down-the-middle stuff. I don't remember much about it, despite having just listened to it two hours ago. I could give it 4 stars, but I won't. Perfectly fine album. Just not one anyone NEEDS to hear before they die.
This is the second Divine Comedy album we've covered, which is strange considering I hadn't heard of them before this. I really don't know what I think about them. On one hand, some of their stuff seems musically interesting. But a lot of their songs seem kinda cringe. I guess it's trying to be funny or clever? But trying a little too hard, maybe? Something about the albums I've heard just don't sit right with me, despite checking a lot of my boxes. It's certainly original. But at the end of the day, I'm just not interested. When I was younger, I was a big Barenaked Ladies fan -- I feel as though I would have appreciated this more in those days.
I don't like most rap, with a few notable exceptions: Kendrick, De La Soul, Outkast, and Tribe. Tribe may just be my favorite among them. They walk the line between fun and intelligence so well. You can be entertained by the cleverness of their prose, or just vibe to the beat. I think the reason why their beat clicks so well with me is that they use a lot of rock samples. Their basslines are always so slick. Anyways, I don't know where I'm going with this. I slightly prefer Midnight Marauders, but this album is deserving of 4.5 stars.
As always, let me preface this by saying that Kanye, the person, is trash. Contrary to the opinion of some, I also think that Kanye the rapper is trash. He comes up with the occasional good line, but for the most part, his lines come off like a 10 year-old who thinks he's edgy. Kanye the singer? A whole other level of bad. But Kanye the producer? I've gotta give it up to that guy. This album has some of the best production in rap history. The samples are fantastic. The features are great. Overall, it's a pretty damn great collection of songs, in spite of the artist.
John Martyn, yet another UK artist I've never heard of. But this time, it blew me away! What a great, beautiful album. Dense but peaceful all at once. I've heard some complaints regarding his voice, but I kind of like it. It's reminiscent of someone like Nick Drake. This would be a nice relaxing Sunday listen.
I used to dislike System of a Down. They were too much for my young brain to handle, but I've grown awfully fond of their unique style. Admittedly, I haven't been to the gym since before the pandemic, but they were regulars on my cardio playlist. They just get you pumped up. They're loud and fast, on even on this, their debut, they were coming out the gates with memorable hooks and deep lyrics (often related to their Armenian roots). Serj has one of the most recognizable voices in metal.
There are a few Dusty albums that I've listened to pretty consistently, namely "Dusty in Memphis" and "Dusty...Definitely". While those are late 60's efforts by Dusty, this album is from the first half of the decade. And to be honest, it doesn't hit as hard as what she produced a few years later. This one just sounds like a white woman's version of what a lot of Motown artists were doing at this time. The Supremes, Mary Wells, the Marvelettes...they were all doing this kind of thing at this time, and just as well or better. It's just not as interesting as her later output, and doesn't provide as much of a spotlight for her individual talents. That said, she's clearly a star at any point in her life, and it's still fun to hear this. It's a short listen, and a sneak peek at what's to come. Looking at it in the context of the time it was released, I can't go lower than four stars.
I've always been a Paul guy myself, but this album is no slouch. John continues his streak of being painfully honest in songs like "Jealous Guy" and "How?", and shows he still isn't afraid to get political on the iconic "Gimme Some Truth". And I find the closer, "Oh Yoko!" to be one of his finest, sweetest moments. Still, songs like "It's So Hard" are a little boring, "I Don't Wanna Be a Soldier Mama" goes on a little long, and the title track is so ubiquitous that I find it kind of hard to listen to now. Still a great album, but not quite as perfect as his debut.
I liked this more than I anticipated. It sounded VERY '80s (as I expected from Pet Shop Boys) but the songs were well-written and compelling. A lot of beautiful melodies. I think this is the type of album that would continue to unravel with additional listens.
Tina is fantastic. But this album doesn't quite match the heights she reaches here. "Steel Claw" was a fun 80's rocker, and "I Can't Stand the Rain" had some interesting 80's swagger (did I mention this album sounds very much like a product of the 80's?) I'm not a big fan of the (Mark Knopfler-penned??) title track, and the covers of Al Green, David Bowie and the Beatles were just sort of confounding. Tina's voice is incredible across the album -- smoky and strong, a true presence. But couldn't they get her some better stuff to sing?
This is some sexy, smooth Latin rock. Very psychedelic and well-mixed. A lot of fun. I could give this 5 stars, but it might JUST fall short of having that certain je-ne-sais-quoi to get it there. But I will be listening to this one again.
I'm a huge Talking Heads fan. There will be Talking Heads albums (that I assume appear on this list) that WILL hit 5 stars. I even considered giving this one a perfect rating. In fact, in the writing of this and in considering why I *wouldn't*, I talked myself into doing just that.
I had previously listened to Portishead's debut, Dummy. It didn't do much for me at the time. I remember it as being minimalistic to the point of being boring. Third, however, is a much more intriguing listen. As densely layered as it is, it makes me want to revisit their debut to see if there isn't something there that I missed.
The Dead are known as a live band, primarily. But I still quite enjoy their studio albums, and this is objectively their "best". While the second half of the album sags a little more, I wouldn't say anything here is bad, per se. "Friend of the Devil" is a great piece of folk rock. "Sugar Magnolia" is a fun little tune, full of joyous harmonies. And "Truckin'" is a great closing track, as the band moves forward on their "long, strange trip". As a semi-reformed stoner, this band and this album will always hold a place in my heart.
I think I can safely say that this album was my first exposure to Senegalese music. And it was a good listen, particularly for a busy day at work. The intermingling guitars were semi-repetitive, in a way that allowed me to zone out and focus on my work. But the melodies were very pleasant. And the xylophones on "Taara" were joyful and cute and lovely. The instrumentation in general was quite nice, even if the vocals were sort of grating -- my fault, as I don't speak the language, so it was just noise to me. My only other complaint is that the album is a little on the longer side, but I'd by lying if I said I noticed on this listen. Probably a 3.5 if I'm being honest, but I'll round up. A good atmospheric listen.
I don't think I've ever heard Sebadoh, but for some reason I thought they were metal. Their name sounds like a metal band, no?! Anyways, it turns out that they're indie-adjacent? The music ranges from soft and sweet to noisy and dissonant. Maybe atonal is a more fitting word than dissonant. I don't really know how I feel about this album. I went from loving it to being bewildered by it and back about ten times. It's good, I think? The more straightforward garage rock tracks certainly are.
I must avow that my view of what a Nick Cave album is has been warped by the tragic circumstances that have infiltrated his life. I'm more familiar with the work he released after the premature death of his young son, work which was naturally very solemn and reflective. The lyricism here is still as poetic, but with a larger dynamic range. He's always had a darkness to his voice, but it's nice to hear him get a little lighter, too. This is a solid 3.5.
Trippy, maaaaan. Or at least very dreamy. Echoes of the Beach Boys in places. The warmth of the '60s is felt like a warm blanket around your ears, both in the songs and in the recordings. The coolest part though, is that most of these songs are written by two women, not by any of the five men in the band. Progressive politically and sonically, AND a ton of fun at that? This is an easy 4 stars for me.
This is one of my favorite albums of all-time. Perfection from front to back. Stevie could do no wrong during this era, and this is proof. His grooves hit as hard as his social commentary. Hard to believe he was only 23 when he dropped this -- harder still to believe it was already his 16th album.
Big Star's original run was pretty flawless, but this is the least captivating of those three albums for me. Still, the least good of three pretty great things is, believe it or not, also pretty great.
The Kinks were real good before this, but this was the first album of theirs that was GREAT. Not as perfect as, say, Village Green or Arthur. But still, in retrospect their ability and trajectory are no more clear than here. I'm wavering between a 4 and a 5, but I'll stick with a 4 for now -- they've got other albums more deserving of the top honour.
A pretty fun, 3.5 star rock album. Doesn't stand out to me among the many other albums of the time that sounded quite similar, but it's well done. I'm gonna knock it back down to 3 just out of principle, because it's been a day since I listened and it's already wiped from my mind.
Just some piano, some bass and a little brushed drum. Very cool, very chill. Perfect for working to. I love this old jazz, man. Puts me in a headspace.
Fun, funky, fresh. Feels like a transitionary album between The Jacksons and his true solo career. "Rock With You" is still one of my favorites of his. Those muted horns are *chef's kiss*.
I mean, okay? Seems like an decent-to-good 80's hair metal album. Lots of hooks. Lots of cheese. Lots of terrible fashion choices. It's a fun listen, but is it all that revolutionary? I guess it did inspire a lot of their contemporaries, but from today's POV, I don't hear anything that makes it all that worthy of this list. Still though...fun.
Eminem is a genuinely talented rapper. He's a master of wordplay, his flow is great, his beats are good and catchy. But like...this is the most homophobic shit I've ever heard. The skits are so stupid. And the album just goes on way, way too long. A few songs here and there are great storytelling, or have some clever lines, or are catchy to rap along to, but he's just so juvenile and hateful that I'm not ever going to listen to this of my own free will. My girlfriend loves him though, so I'm sure he won't be out of my life for long.
What an interesting and strange concept for an album. Modelled after a radio station, complete with ads. Very forward-thinking for its time. The only song on here that I was familiar with prior to my listen was "I Can See for Miles". A great track of course, but there were quite a few good tracks here. "Our Love Was" is lowkey my favorite of the bunch. I need to listen to more of The Who.
I'll be honest and say that I got this album nearly a week ago. I'm only writing my review now, because I just can't decide how to score this. I come into this review very much impartial, as I've listened to it many a time. I can't not mention how repetitive it is. I can't not mention that it derives a lot of its style to its predecessors like the Talking Heads, and doesn't do it quite as well as they did. But I also can't not mention that it's catchy as hell and puts me into a near trance. It makes me, very much not a dancer, want to shake my little tush. Certain tracks even make me tear up a bit. I can't not admit that for all its faults, this is a damn near perfect album to me.
FUN! That's the word that comes to mind for me when I think about this album. Such a glam rock gem. It may take precedence over "Electric Warrior" for me at this point, insofar as which album I would put on on a random Thursday. A flawlessly-produced collection of three-minute gold nuggets of pop.
WHY does the music that England was producing in the late 90's leave me so cold? Albums like this should be right up my alley, but this does nothing for me. More off-brand Oasis, who were just off-brand Beatles. It's perfectly serviceable, but not memorable. And wow, at 75 minutes it just feels like a slog. I think this could have been a much tighter album if it was edited down by half an hour.
Hell yeah. Funky, psychedelic and DARK. What a mix. The lack of joy on this album in contrast to their earlier work makes this a much more compelling listen for me personally. There is yodelling on this album too. Crazy stuff.
I'm not sure how I missed this album. 2009 was right around when I started to get into indie music in a big way, and this album was huge during that time. But it was probably a decade later before I was properly introduced to this album. And I quite liked it. The songwriting is unconventional, the instrumentation is glitchy and strange, but it all comes together into a hooky collection of tracks that sink into you even deeper with repeat listens. Although I missed it on release, it still very much sounds like the late 2000's to me -- a nostalgia for something that I didn't experience.
Megadeth has always been my fave of the Big 4 of thrash metal. They're fun, they're fast...what else do you need? Still, though...I'm not a big thrash guy, and Rust in Peace was better.
Sigur Ros is a band I've been meaning to check out for probably 15 years now, but I regret to say that this is the first album of theirs that I've listened to. I certainly should not have waited this long, as this is a lovely listen all the way through. I don't understand a word they're saying, and would likely delve deeper into translations on further listens. But even just musically, it's enough. I will be back.
While I consider myself a big fan of Bowie, I didn't connect with most of the work he put out during the last 30 years of his career. Some of his later albums were downright bad, some were quite good but inconsistent. Which is why I was so enthralled by how much I loved the entirety of this album, and how bittersweet I felt when he passed two days later. What a gorgeous, passionate, fitting send-off for one of music's most incredible personalities. The titular "Blackstar", his second-longest track after "Station to Station", deserves that honor. I truly believe it to hold up among his best, most interesting works. Tracks like "Sue" and "'Tis a Pity..." have Bowie sounding as badass as ever. And songs like "Lazarus", "Dollar Days" and "I Can't Give Everything Away" break my heart on every listen. Tony Visconti really outdoes himself with the production here, ending his nearly 50 year partnership with Bowie with style. The horns sound incredible. All the instrumentation does, to be honest. The effects interspersed throughout the tracks give it such a cool feeling, a vibe I can't pin down but that hasn't been present on Bowie's albums since the dawn of the corny 80's. I don't know if anything I said here makes sense. I'm just ranting. I adore this album. I can't believe how perfect of a goodbye this album is. This really cemented Bowie's legacy as one of the coolest to ever do it.
I know this is a groundbreaking work by an all-time great, so I sort of feel as though I should be giving it 5 stars. But, while it was an enjoyable listen, maybe my ears aren't attuned enough to jazz to know exactly why this is the best. It's really good, though!
I went from hating Steely Dan as a kid, to developing an appreciation for them in my 20's. By the time I hit 40, they'll probably be a favorite of mine, but I'm not quite there yet. Instrumentally, they're virtuosic. Their arrangements are extremely creative, and on this album, pretty tight lengthwise too. But their music can leave me cold in some way -- it's not as heartfelt as what I'm typically drawn to. But who needs heart with music this brainy?
Never heard of this album, I wonder what it'll be like? Oh, it's the funkiest shit ever? Sounds good to me.
I've had very limited exposure to Echo and the Bunnymen, but what I've heard has been great. While the 80's was never a favorite musical era of mine, the post-punk and new wave that came out of that decade holds up better than a lot of the pop and rock. Artists like Siouxsie, Joy Division and Bauhaus were masters of emotion. E&tB are right up there, as far as I can see. The songs on this album go from powerful to fragile to downright spooky. It's a good listen.
When I started university, I remember listening to a good amount of Norah Jones. I remember thinking her songs were the sexiest, most romantic music I've ever heard. I still kind of think that. This collection of both covers and originals prove that. She's a fantastic pianist, but her gorgeous voice shines brightest here. A perfect soundtrack for rainy days in bed, but I could have this on in almost any context and feel at peace. I've heard criticisms that she sounds too "Starbucks", or isn't original among so many singer-songwriters. But she just does it so, so well...especially for 22.
I think it would absolutely break Marvin Gaye's heart that over 50 years after the release of this album, and nearly 40 years after his death, nothing has changed. This album is still as lyrically relevant as ever. Musically, it's gorgeous, with lush strings and deep, resonant bongos creating such a warm atmosphere. It's a masterpiece. Nothing more need be said.
I've gotta say, I haven't listened to many mambo albums in my life. This may very well be the first, in fact, so I don't have much that I can compare this to. Mambo always sounds similar to me, but I know Tito Puente is one of the best in the game. This album is from the late 50's, so pretty early. I liked this well enough.
I absolutely LOVE McCartney. He is possibly my favorite musician of all time. But I'm shocked to see this album make the list. It is far from his best output. In fact, this album has often felt like a collection of outtakes to me. There are some gems here to be sure -- "Maybe I'm Amazed" is one of his best tracks, "Every Night" is lovely, and it's fun to see old Beatles castoffs like "Junk" and "Teddy Boy" finally released. But as a whole, the album just doesn't come together all that well.
It's Parliament. You know you're going to want to shake your groove thang. And I did! Fantastic album. But it's not Maggot Brain. That's a 5 star, and this is close. But the Parliament-Funkadelic collective had already hit their highest highs at this point.
Why was I so convinced that Pere Ubu was a Black singer-songwriter? Suffice it to say, that is not what I found here. This is a post-punk band from Ohio. They are abrasive and loud and they sorta rock. There is a lot here than is quite interesting, particularly for 1978. You can hear their influence on a lot of music being released to this day. Some of the song here can even make you shake your butt. But I will admit that, at times, they're a little much for me. Certain tracks favor noise over melody. But even then, they're...interesting!
I've heard this album a few times, and thought of it as a 4-star album. On this listen, however, I've had hard time finding fault. Janis has such an incredible, raw, powerful voice, and the songs covered here are almost uniformly fantastic. The Full Tilt Boogie Band are perfect accompaniment, bringing smooth style to the arrangements. And it doesn't outstay its welcome at just over half an hour. I love this.
This is not my first listen, but it is the first one where I actively realized that this is kind of a weird album. Many of the songs here have a strange, almost eerie feeling to them, which is a fun angle to approach psychedelia from. Having the keyboard be so central to a band's sound almost always earns points with me, too. Morrison is certainly an odd duck, but his howl can send shivers down your spine. A few of the tracks here are sort of half-baked or simply not that good, which prevents me from considering this a perfect, 5-star album. But the highlights are real good.
This has been climbing the ranks towards becoming my favorite Dylan album. His songwriting is probably at its peak here, conjuring images with every story he tells. His band here are certainly no slouches either. Beautiful all around.
I might be more familiar with Aimee Mann as a podcast guest than as a musician, but I've always thought her to be a warm and intelligent presence. I think this is the type of album that would grow on repeated listens. The melodies are catchy if a little generic, but the lyrics I was able to parse were far more intriguing and honest. I'm typically unable to pay much attention to lyrics on first listen, focusing rather on the song as a whole, but I want to revisit this album while scrolling Genius. I think there's something here.
I really don't know how to feel about Muse. When I think of them, I think of an operatic, overblown spectacle that inevitably feels corny and over-polished. But when I actually listen to them...they're a lot of fun, really. They've managed to become one of the bigger mainstream rock bands in an era when rock isn't at the forefront of the culture, and they really do rock. It's hard for me to hate on them, as silly as they might be at times. I won't often throw them on of my own accord, but there are a lot of undeniable rock anthems here. They're hooky, and they've hooked me.
It's wild to me that this is the first I've heard of Solomon Burke. He should be spoken of in the same breath as artists like Sam Cooke, as he can croon and shout with the best of them. The soul drips from his voice, and the arrangements are often groovy. At the end of the day, he's doing exactly what other artists of his time were doing. But he's doing it well.
English acts from the early '80s really loved their horns, eh? But I must say -- they're put to good use here. The songwriting was overall much better than I expected from a band that, on this side of the pond, is often seen as one-wonders. The vocalist borders on affecting a whiny yelp at times, which occasionally got on my nerves. But beyond that, there is a lot of fun to be had here.
This album broaches some pretty dark topics, but does so with gravitas and authority -- it never feels like an artist wearing a Halloween costume, but rather a weary soul sharing glimpses at the dark corners of life that he witnesses around him regularly. It's a little too heavy to throw on at a party, but it's no doubt a great work of art.
It confused me when I heard this album referred to as psychedelic after my first listen. But after my second, I get it. While it's pop at its core, many of the songs have that same dreamy feel present on many late Beatles recordings. It's sort of all over the place, while still sounding like every song belongs to a piece. It's a great, dense pop album, if maybe a little too whimsical at times.
This album has always painted an image in my head of a depressed nightclub singer drowning his sorrows at the end of the night. This feeling might be because it was written shortly after the deaths of two of Young's friends -- there is certainly a moroseness that permeates most of the album. "Tired Eyes" is certainly one of my favorite by Young. I think this is a 5-star album, all things considered, but it hasn't quite reached that level for me, yet. I could see myself heavily disagreeing with my 4-star rating in a matter of years.
Depeche Mode are not a band that I've ever gotten into, but I have a great respect for them. The 80s brought along a lot of synth, but Depeche made them classy rather than corny. The album is beautiful and mature and interesting, textured but minimalistic. I spent many years thinking I didn't respond to this type of music, but this album is pretty damn good. I owe it some additional listens.
Whoa, this is crazy good. My knowledge of hip-hop is limited -- I like Kendrick, I like Tribe, and that's about where it stops. But albums like this make me think I should rethink my stance and explore. The instrumentals here are thick and funky, fun and creative, sometimes even a little unconventional or odd. The lyrics are thoughtful and often brilliant. I could see this becoming a 5-star after further listens.
This album moves between sweet, beautiful composition and dissonant, frenetic energy with such grace and power. Those may sound contradicting, but it's just an album that contains multitudes, without ever needing to rely on voice or lyrics. A great showcase of Mingus' talent.
I'm honestly borderline disappointed. This is a fine album, but I'd always heard that FKA twigs was a revolutionary artist, and this sort of just sounds like any mainstream pop album? Maybe she got there first, but at least in 2023, less than a decade after its release, it doesn't necessarily sound like anything that special. The first few tracks were pretty good, pretty catchy. But this type of sultry R&B is dime a dozen nowadays, and nothing here really stands out from the crowd for me. At the least though, I can say she does sound like a fully-formed artist here, which is impressive for her first album.
Oh jeez. As I write this, I'm maybe half an hour into my listen, with almost another two dreaded hours ahead of me. I think it's safe to say that this will be the first album I will not finish of the 165 that have been generated for me. I'm sure this album is very influential to the drum & bass genre, but I think this is showing me that drum & bass is not for me. It just loops ad infinitum. You just heard a decent 5-second hook? Get ready to hear it for the next 8 minutes! Did I mention this album is like 140 minutes long? I was able to get into some of the grooves for a few seconds, but they just weren't interesting enough to go on as long as they did. And the vocals are pretty bad. I feel as though I'm going insane reading all of the 4- and 5-star reviews this album has received on this site as I listen to this. To my ears, this is clearly background music, but I would need A LOT of external stimuli to ever consider having this album play in the background. I really don't ever need to hear this again, unless I find myself at a rave on a number of illicit substances. What a snoozefest. I can only pray that one day I find out what I'm missing here.
No surprise that this is The Police's last album, as they basically perfect the art of pop songwriting here. The gems on this album speak for themselves, as they've ingrained themselves into our cultural consciousness. Some of the deeper cuts are a little more forgettable, though not poorly written or unenjoyable in any way. This is a very solid 80's pop album, and I'd give it 4.5 if I could.
I had heard a Spiritualized album before (the big one), but this one may have made even more of an impression on me. Spacey and atmospheric at points, epic and bombastic at others. Very surprised to learn this released in 1992, it sounds a lot more modern than many other albums of its time. I really enjoyed this listen, and hope I remember to come back to it.
This is a fun little bit of jangle pop! Or punk? Or new wave? Or maybe something else entirely? Whatever it is, they're definitely in the same vein as artists such as R.E.M. -- a proto-indie rock, fun, energetic, and hooky, with a little underlying darkness. This is the type of stuff I'd have been listening to, were I alive in the '80s.
I'm not a fan of modern rap. We'll get that out of the way now. Kendrick is perhaps the only current talent that does anything for me...until this album. I really enjoyed this listen. Simz has fantastic flow ("Venom" made my jaw drop), and writes honestly and without ego, which is often a downfall of rap for me -- I want to hear about who you are, not about what you have, fuck your "flexing". All this over very pleasant instrumentals; thick, funky basslines, sultry guitar lines, dreamy synths and inventive percussion keep things fresh and highly listenable throughout. Another trend I've noticed among the rap albums I've explored is their tendency to outstay their welcome, often clocking in at over an hour and sometimes up to two. At a tight 35 minutes, this album presents a concise message. The guest appearances here from artists such as Michael Kiwanuka and Little Dragon are also welcome additions. I hope to explore more from Little Simz in the future.
I love this album, and I think it is maybe Steely Dan's masterpiece. That said, I can't in good conscious give something this cheesy five stars. I'm tempted to, but no. They must be punished for making something as cool as jazz sound so white. It won't stop me from playing at least one cut from this album every time I go boating, though.
Everything an AC/DC album should be -- loud, fast, and chock full of riffs. This is a decent amount of fun the whole way through. Outside of the mega hits here, though, the songs aren't that memorable, and AC/DC has a tendency to sound a little samey sometimes. Still, even when their songs are samey, they deliver that classic AC/DC sound, and what else are we here for?
Eric is a pretty great guitarist; that cannot be denied. "Layla" is a pretty fantastic composition. Beyond that, though, I've never been a fan of his music. Often relying on covers, only 30% of this album is made up of original songs. Those songs are okay, though not particularly notable. The covers here are a little better, but still feel a little aimless, and not more remarkable than the performances of a particularly good cover band. Now that I'm aware of how much of a racist Eric Clapton is, his aping of Bob Marley on his cover of "I Shot the Sherriff" is even borderline offensive. I guess I get the laid-back appeal of parts of this album, but Clapton just doesn't do much for me.
Bjork is always so fascinating to me. Is she Tom Waits, or is she Madonna? The lines are blurred here on her debut, as she hops between danceable numbers and mysterious explorations. I've grown fond of her odd singing style and the emotions she can convey through it. This was a cool listen, which, unlike the Clapton album I listened to before it, actually made me perk my ears up while working today.
Electronic music often leaves me feeling pretty cold, but I cannot deny that is fun, danceable stuff! I own this one on vinyl, and I'm waiting for the right opportunity to throw this one at a future party -- I think it could get the crowd moving. On my most recent listen, I did notice that the album sounded a little more "2007" than it had previously. But, meh. I'm nostalgic for 2007 anyways.
I love this album. It feels like a gentle breeze on a road trip, borderline spiritual in its simplicity. The melodies are memorable, the lyrics are touching, and the whole affair doesn't outstay its welcome. All in all...it's pretty perfect to me.
There's only so much you can do with just a piano. But God damn it, if Jarrett doesn't do it all here. Great improvisations that go from eclectic jazz to sweeping balladry to rocking blues. The story behind the titular concert is quite interesting too. But as I said earlier, there's only so much you can do with just a piano. As fantastic as he is at his craft, I started to get a little bored as I neared the hour mark, missing the interplay of other instruments. An extended improvised solo can be impressive, but it can also grow wearisome. After hearing this album, I now rank Keith Jarrett amongst the best pianists of his time. But I don't necessarily feel compelled to listen to this recording again.
This album exceeded my expectations. I was only familiar with "Only Happy When It Rains" and "Stupid Girl" going in, and while those are two classic 90's rock songs, I expected them to be the high points on an otherwise standard 90's rock album. But no, the quality stays consistent throughout. Shirley Manson is effortlessly cool and sexy, and the music sounds fresh even now, nearly thirty years later. This is an album of well-constructed rock that proves Garbage is far from it, and should maybe even be mentioned among the best bands to come out of the 90's.
Often seen as one of the greatest metal albums of all-time, and I'd be hard-pressed to argue. Often seen as their best album (though not personally my favourite), I can't deny it holds some of the greatest, simplest, heaviest rock riffs of all-time. Side A alone has "War Pigs", "Paranoid" and "Iron Man". I needn't say more.
I'm not sure how to review this, as I was not in the right frame of mind for it. It was much darker than expected, and I shouldn't have listened to it while I was working, because I couldn't focus on the lyrics as much as I should have. But yeah, nothing about it hooked me, really. Maybe I'll try it again one day.
What a rumpshaker! Ginger Baker sitting in alongside Tony Allen means you're in for 45 mins of rhythmic heaven on this album. The grooves are crazy. Fela is an Afrobeat legend and this album proves why. So much fun!
A favorite of mine. A true gem of psychedelic pop music.
Loud and fast and borderline grating -- yep, this is unmistakenly punk music! Surprised by how clean the guitar production is, though the music still maintains an overall grim feel. Totally forgot this was the band Pat Smear was in before Nirvana and Foos.
I rank this album fifth best among the eight albums they made as a band. You'd think that a condemnation, but no -- this album is incredible. It's just that they kept getting better. The band sounds tight here, and with their signature herky-jerkiness already in place. But while Byrne's songwriting is already very good, it is clear that this is a debut; the songs are smart and interesting, but not as catchy or danceable as the output to come. They would go on to refine themselves, both as performers and songwriters, through a prolific amount of live performances. But this is where it started.
I feel blasphemous admitting that this isn't my favourite Stevie Wonder album. But I can still say that this is an absolute masterpiece. It feels so cohesive, despite covering several genres and topics over the course of its 105-minute runtime. This is often seen as the end of Stevie's incredible mid '70s run, in which he delivered four or five near-perfect records back to back. But what a way to go out!
This is a really fun listen. Right out of the gate, with the groovin' "Wearin' That Loved On Look", you know you're in for a good time. At this point in his career, Elvis was moving away from his more traditional country, gospel, and rock sounds to a soul-infused fusion of the lot. Even the songs here that are pretty straight country -- like "I'm Movin' On" -- have some stank added to the affair. Turns out Funky Elvis is cool as hell. His backing band here, The Memphis Boys, add a swagger that his usual band, the Jordanaires, just don't have. The rhythm section on this thing just has such a warmth and a groove that compliment "the King"'s persona perfectly. The whole thing just comes together beautifully, and I'd argue might just present Elvis at his very best. 9/10.
Curtis slows it down a little here to address societal issues that still exist almost fifty years later. Thanks for trying, Curtis. The music here is as lovely as ever. His voice is smooth as butter, the instrumentation soulful and funky. And his lyrics are as beautiful as they are poignant -- tales of coping with the world you find yourself. Sex and drugs, love and hate.
Maybe their first perfect album, and my personal favourite. Such an anxious vibe! Fitting, of course, considering the title. I once heard (though I'm unsure whether this is true) that each song title is meant to represent a fear -- fear of air, fear of cities, etc. And that fear is felt across the album; sometimes it's a heavy, suffocating sense of dread, sometimes a fast, frenetic anxiety, but definitely an uneasy feeling throughout. Musically, it's pretty weird, and I mean that as a high compliment. They really gel into a cohesive unit here; the interplay is fantastic. Some of their best hooks and riffs of their career are on this album. It rewards repeat listens, but definitely deserves to be included in conversations about which Talking Heads album is best.
When I was a kid, I thought Alice Cooper was scary. Growing up is learning Alice Cooper is actually fun. Like Halloween decorations, he's not going to hurt you, but just wants to give you a little thrill. This album is pure rock fun, and actually has a lot of range -- after a few rocking numbers, the piano balladry of "Mary Ann" was quite surprising. I believe this is the last Alice Cooper album I'll be encountering on this list, and I hope I remember to come back and listen to them again. They're actually great.
I like a lot of grunge, but I'm not sure if this one was necessarily for me? It's very loud and fuzzy, definitely not short on energy. Maybe I just wasn't angry enough today to listen to this. Or maybe I just prefer the bands that Mudhoney inspired.
Although I don't know if I've ever listened to this album in its entirety in one sitting (or at least not in a long time), it looms large in my life. It's a favorite of my Dad's, so I remember seeing the album cover around throughout my childhood, and definitely hearing the bigger songs on every mixtape that served as a road trip soundtrack. That opening harmonica wail on "School" still sends shivers up my spine. Reading other reviews here, I see a lot of criticism that the prog rock here is too tinged with elements of soft rock or yacht rock. It may not be as challenging as other albums of its time, but what's wrong with that? It's damn listenable -- in fact, it sounds great to my ears. Many would agree, as several of these tracks remain staples of 70s music. Dad, I like your music tastes quite a bit.
I've always liked "This is the Day" but wasn't familiar with anything else on this album. It was really good, but I'll stop short of saying it blew me away. It's great new wave, but even within a genre that is quintessentially '80s, it sounded very '80s. If you can look past that, though, there are a lot of very smart pop songs here. I would like to spend more time with the lyrics on future listens. Also cool to learn that it's Jools Holland playing the piano solo on "Uncertain Smile".
Since having the displeasure of seeing Van Morrison live a number of years ago, my opinion of the man himself has soured some. That said...this album is undeniable to me. It's beautiful. It sounds the way coming of age feels. It is so warm, so small yet powerful. Van Morrison himself be damned, this is getting my highest marks. I can see myself listening to this for years and years to come.
I'm not a Metallica fan so my opinion is moot in these matters, but this isn't a classic for me the way it is for so many others. It's clear that this is their effort to hit the mainstream; and it worked! Good on them, but I almost cringe at the sound of James' aggressive vocals over some of the softest music I've ever heard. That said, the songwriting is solid on a lot of these songs -- not many metal albums have as high a hit ratio as this tracklist does -- and the production from Canadian legend Bob Rock sounds pretty good for the most part. The string sections on certain songs really add to their instrumentation too. But the whole affair goes on a little long for my tastes. This is probably a 3.5 for me, but in the absence of half stars, I'm going to lower it to a 3, because Metallica are sorta uncool sellouts.
The first true rock opera, you can't help but admire the ambition behind this album. Pete Townshend was only 23 when he put it together, so it's hard to be tough on him if a few sections of this are a little clunky. Awkward, exposition-laden lyrics are a fixture of musical theatre, and that's basically what we're doing here, right? There aren't many hits here, or even many songs that could stand on their own. But despite all of this damning praise, I really do think that this album is a feat worthy of celebrating.
This isn't a bad album by any means. It just goes on a little too long, sounds a bit repetitive, and, well, it sounds aged. It somehow sounds more like a product of the 90's than other albums by contemporaries like Tribe or De La. But I still enjoyed it overall! The sampling is fantastic, and the flow is engaging (even when the lyrics are a little corny). Honestly, if it was 10-20 minutes shorter, this would have been an easy 4 stars.
While this is more of a 4.5 star album, it broke my heart to consider giving it only 4. Maybe it isn't perfect, but it's real close. This is some masterful funk and soul. Beautiful when it needs to me, but groovy as hell all the way through. A great listen that I'd be happy to put back on as soon as it ends.
What's to say about this album that hasn't been said? It falls in the rare category of albums that could be a greatest hits package on its own. Every song on here is catchy, well-written 70's rock music that can be played in any situation. The harmonies are tight. The guitar solos are fiery. A crowd-pleaser of an album if I've ever heard one. And it's one of my dad's favourites, so that seals the deal. Love you Dad.
Allow me to preface this by saying that I don't think I heard the full album -- Wikipedia clocks this album in at 72 minutes, with 20 tracks, whereas the version on Spotify features only 9 songs in about 36 minutes. I didn't expect to be particularly into this, but it was a lovely listen. Sarah gives a phenomenal live performance, but not everything goes smoothly through the recording -- she goofs the lyrics near the start and again at the end, and her sense of humour and hearing the audience's light laughter gives this a breezier feel than I perhaps expected. It's quite charming, and prevents this from becoming a stuffier affair, as 50's jazz albums can become. Still, throughout the majority of the record, it is the sound of professional musicians doing what they love, and doing it well. I'm glad Spotify featured a shorter version of the album, as it may have gotten old by the hour mark, but the 36 minutes I spent in an old 50's jazz club this morning was enjoyable indeed.
They reinvented the blues and made them even cooler. The one-two punch of "Good Times Bad Times" and "Babe I'm Gonna Leave You" that kicks this album off had to feel like a major paradigm shift in the rock world. But I still don't think this is a perfect album. A few forgettable ones here. And has anyone noticed how much they rip off Greta Van Fleet's sound?
There's some interesting material on this album. It's satire at its base, though, which is regrettable. Satire can be art in its own right, but sometimes it has its head too far up its own ass, too focused on taking the piss out of something else to bring anything of substance itself. This album walks that fine line. There are moments of brilliance, musically and humoristically. But for all the fleeting moments that sound like the work of inspired musicians, far too much of this sounds like a bunch of edgy, jaded teens were given recording equipment. Zappa was clearly a visionary but his vision is through a worldview that I don't subscribe to. Still, a fun listen, just not one that I'll be rushing back to.
One of my favorite bands. Putting that right up top, because this is getting five stars from me. This is one of the greatest folk albums of the 2000s, and it may still be my least favorite Fleet Foxes album. While they continued to grow in complexity on future releases, this is folk at its most pure. The melodies are on point, the instrumentation is dense without overwhelming, and the HARMONIES! My god, those harmonies. Robin Pecknold is such a talented songwriter, and this release is where he first proved that to the world.
This was a damn fun album. Bongos galore. Which I expected based on the band name and album title, but still! Groovy!
Primarily anchored by vocals and piano, but with enough musical diversity here that it never gets wearisome. Though I recently saw her described as a "more generic, less talented Fiona Apple", a devastating insult that my brain won't seem to shake, I think her lyricism is quite complex and powerful indeed -- even when the music doesn't reach that level. This album is a very good listen, if not a revolutionary one.
I like Sonic Youth, but this is even darker than I'm used to from them. Very raw, gothic stuff. It might be the earliest material I've heard of theirs, and it's neat to see where they got their start. They sound as though they've always been cool, but they do get even cooler.
Leonard Cohen is one of Canada's greatest poets, and some of his greatest songs are here. But if I have to get critical...yowza, this is clearly a product of the '80s! Still, the songs themselves overpower the more aged elements of the production. I very much enjoyed this listen.
My personal favorite Nirvana release. That their songs -- originally loud, raucous numbers that would make your parents furrow their brows -- work in an acoustic setting speaks to the quality of the songwriting. Kurt was a big fan of both pop and blues music, and that shines through here, with their beloved covers of songs by artists like Bowie and Lead Belly. It makes you wonder what direction Nirvana may have headed in had things been different.
As seen on many other reviews on this site, I will also preface my review by saying that Moz is a dick. But it's also hard to deny his skill as a lyricist. I'm not as familiar with his solo work, and I must say that I found this album far less musically compelling than his work with the Smiths. But it was an alright listen. I don't really remember any standout tracks -- it sort of just washed over me. It's a 3.5 star listen for me, but in the absence of half stars, I'll bring my ranking down to account for the artist himself.
I remember digging through my dad's vinyl collection a few years back, and making fun of him when I found this album. I shouldn't have. It's a pretty fantastic pop record. Although songs like "Girls Just Wanna Have Fun" and "Time After Time" have been dulled by their ubiquity, it doesn't make them any less of gems. And the rest of the album is a lot of fun too. Kitschy in the best way, it keeps you bopping for the entire 40 minute runtime.
Could there be a Phoebe Bridgers without an Elliott Smith? One of the most notable in that subcategory of indie artists who sing depressing lyrics quietly, Smith is also one of the best. His heartbreakingly honest lyrics sometimes overshadow his melodies, but even those are fairly strong in their simplicity. Songs like "Between the Bars", "Say Yes" and "Angeles" are among his best and most hummable.
Now this is a live album! You can feel the electricity coursing through this recording. Sam is in good form, belting out many of his hits to a crowd that is rightfully riled up. On songs such as "For Sentimental Reasons", the crowd's voices threaten to overtake Sam's, a spontaneous choir showing their love for music, and Sam's music specifically. The details of his premature death are unfortunate, but he sure sounds alive here.
The sound of a complicated friendship reaching its bittersweet end. Even looking past the lyrical metatext that adds an emotional weight to this album, it is still the finest collection of tunes by Simon & Garfunkel, and the production is pristine. A special shout-out to "The Only Living Boy in New York", one of my favourite songs. But I love everything here; songs like "The Boxer" and the title track are among some of the most beautiful songs ever put to tape. Perfection.
I've always had a complicated relationship with Beck. He seems like exactly the type of artist I would love, and I've tried to get into his music, but it has never quite stuck with me. Odelay, maybe his most critically acclaimed record, is no exception. The biggest singles, "Devils Haircut" and "Where It's At", are fine, but have always seemed extremely repetitive to me. The rest of the album just rolls off my brain like water off a duck's back, even after multiple listens. I never find it bad or unenjoyable. It's just so...fine. There's a lot of musical experimentation here, which I can appreciate, but things like the electronic elements he often incorporates just isn't my taste. Overall, it sounds like an artist doing a lot, without any of it fully working.
They say brevity is the soul of wit, and Tim didn't get the memo. While some of the jazz elements here are interesting, and while some of his morose contemplation is touching (if undeserving of sympathy), many of these songs are far too drawn out without ever getting anywhere. It's a depressing, slow listen.
Most of the "big" albums on this list, I've already heard. This one had somehow passed me by; though I was very aware of the album, I'd never given it a full listen. Wow. I can't believe I missed out on this. I can't tell if it's funky jazz or jazzy funk, but goddamn does it ever slap!
On my previous dalliances with the screamy man, I was not quite sold on what I heard. But my ears have been opened to prog thanks to my more newfound and undying love for another King -- one of the Gizzard variety -- and upon this relisten, I found I enjoyed it more than ever before! This is epic at times, restrained at others. The time signatures shift, which is cool and good! "Epitaph" and "The Court of the Crimson King" are probably my favourites here. As the birthplace of prog, and as an iconic work of art in its own right, it would be sort of screwed up if I didn't rate this at five stars on principle. But on this listen, I finally discovered that it truly deserves them.
This was a decent listen, even to someone who isn't generally a rap fan. The sampling is great, the flow is solid. I admittedly didn't focus much on the lyrical content much on this first listen, so I hope I'm not out of pocket in saying that they seem like a "fun" group, but yeah, this was fun.
This album surprised me! I expected it to be in line with the music being put out my their contemporaries over there in foggy ol' England: Oasis, Blur, the Verve, what have you. But this was somehow...weirder? Some songs almost seemed a little more aggressive, even? Parts of it brought to mind "90s britpop but almost grunge". If that seems like an odd pairing, fear not: it works! I certainly enjoyed it more than any Oasis album that has come across my desk. Lots of energy, good hooks but without being overly formulaic. I'd listen again.
I had moments, early on in this listen, where I was a little worried about where we were headed. I don't mind my prog music getting a little "far out", but I can't appreciate when it devolves into pure cacophony. It was trending towards the latter at points, but it came back around. There were many pleasant moments here, shows of excellent musicianship that made this an enjoyable listen indeed. I look forward to future re-listens of this one.
My Neil Young hot take is that I might like this album more than Harvest. Another from Dad's vinyl collection, so I feel a connection to my Pops when I throw this one on. Beyond that, the melodies and lyricism here are just fantastic. It's a great listen, and it's in and out in barely half an hour. Canadian excellence.
I've heard of Michael Franti, but not this particular project of his. I don't quite believe it earns its place on this list, as there are several other albums who deal with the same themes much more successfully. Every song here goes on too long, the instrumentals aren't particularly interesting, and Mike isn't as technically proficient as many of his contemporaries...the whole thing just sounds lacking. I'm all for socially conscious rap, but there are far better options out there.
I thought I would enjoy this listen quite a bit. A 2020 album about black identity seemed as though it would have a lot to say, energized by what was happening around that time. But the end result is just kinda boring. Lyrically it is so surface-level that it borders on self-parody. And while some of the instrumentals are decent, they are so uniformly low-tempo that it makes a 56 min album feel much longer. I just can't figure out how a piece ruminating on such deep topics can come out sounding so soulless. Listen to To Pimp a Butterfly or What's Going On instead.
I actually enjoyed this album more than I did on first listen, a few years back. But it's still pretty meh! Samples and a few notes on a keyboard over droning synths and a drum loop. Ad infinitum. Occasionally, maybe a little guitar is thrown in for flavour. Some of it is pleasant enough, but it still sounds like background music, outside of a few notable tunes. It's just all too repetitive and goes on far too long.
Ryan Adams joins the list of shitty human beings whose music we've listened to for this project. As with the others, I will try to be impartial. I quite liked this album. Well-written alt-country that sounds like modernized Dylan. This is the part where I'd say I'm excited to listen again, but considering how slimy he is, maybe I'll listen to something else.
This is maybe my least favourite album in the Smiths' discography, but it's still a great listen. I've just never found the songs to be as memorable as those on other albums, outside of "Girlfriend in a Coma" and "Stop Me If You Think You've Heard This One Before", the latter of which I know best from Rock Band 3. Man, Rock Band 3 rules. And The Smiths rule. Except Morrissey, he's a shit.
The "Sgt. Pepper's" of 60's rock albums.
"The world is sound." So begins this album, which is far better in theory than in execution. By blending musical elements and performances by musicians across the globe, Singh is attempting to create a musical melting pot. However, the contents of the pot come off tasting a little bland, and at an hour in length, blandness is a death sentence. Electronica and drum & bass are generally not my vibe though, so your mileage may vary.
It's funny to think about prog from the '70s as being boundary-pushing, out-there music for its time. In retrospect, it has nearly as much in common with the mainstream rock of its time as it does with today's prog. Sure, the songs are longer, and the playing is more intricate, but the songs have clear melodies and are not particularly alienating to anyone with open ears and an open heart. This is probably one of Yes' top three, alongside The Yes Album and Close to the Edge. Many great tunes here, from "Roundabout" to "Heart of the Sunrise" to "South Side of the Sky", but a special shoutout goes to "Long Distance Runaround" -- I recall it was on my first "stoner playlist" in the weeks after I had first tried weed. I haven't heard it in a long time, and it brought back memories of those halcyon days. While this isn't necessarily a perfect album (a few of the transitional tracks, while spacing out the longer songs well, are forgettable), I'd probably give it a solid 4.5, and in the absence of half-stars, I'm adjusting upwards.
An emotional album, both in its contents and the story surrounding. A shame this was to be Jeff's only album, as it demonstrates his vulnerability, his passion, and his ability to craft powerful, intricate songs. I should not have been surprised, considering it was released in 1994, that it would have some rock swagger infused into it, sometimes sounding reminiscent of Pearl Jam. But it works. Certainly better than anything his father released.
How nice to get High Violet, one of my favourite albums by one of my favourite bands, on the day the band releases their newest album, Laugh Track. While LT and the companion album that preceded it seem to show the band's magic start to fade, HV is a wonderful reminder of why they were one of my favourite bands to begin with. Strong melodies, charming instrumentation, lyrics that bounce between enigmatic and revealing...this is the National that I fell in love with.
Jack White is eternally cool. I will throw on an album by the White Stripes, from his solo career, or the majority of his side projects at the drop of a hat. Despite not being a fan of most blues music, Jack brings an edge to it. The way his guitar snarls will never not be badass to me. White Blood Cells once stood as my favourite WS album. The second half of the album blends together a little more for me, but that first half...wow. While their first two albums were promising, WBC really shows just how strong just a guitar and drums can sound. This is a 4.5 star album, but there's no way in hell I'm rounding down.
This was a super cool listen. I feel bad giving this four stars when I gave Fragile five only a few days ago, but that only comes down to familiarity. I'm sure, with a few additional listens, this could easily become a 5-star record. This is a beautiful, interesting, ever-shifting listen. A few moments of dissonance that I wasn't wild about, but that is picking nits. I will be back to this one eventually.
Justin Hawkins' falsetto is ridiculous. The whole concept of a hair metal album released in 2003 is sort of dumb. But at least it's dumb fun. "I Believe in a Thing Called Love" is permanently etched into the souls of my generation, but there are several other tracks here that, while less well-known, are just as enjoyable and carry just as much energy. I thought this would be a 3, but you know what? Fuck it. This was a fun little listen, 4 stars baby.
I always thought of Rod Stewart as an old man who tries to look young and who sings boring ballads. It was a revelation when I realized that nah, dude's a rocker! While this album doesn't necessarily have any hits per se, it has some great numbers that blur the line between rock and folk. Rod's hoarse voice gets a little old in time, but minor quibble. It's fun!
A shot of adrenaline straight to the heart. Sounds like a cat backed into a corner, all claws and teeth, snarling and pissed. When the classic, romantic "Maps" comes around, it sounds like a cut off of an entirely different album, but it works. For me, anyways -- I could see this being a divisive listen, but my nostalgia for the '00s indie scene leads me to love it.
This is a pretty standard classic rock album, outside of the fantastic title track. As a supergroup, sure, these guys can play their instruments, and Rodgers has a great voice. But the songwriting is still pretty generic. It's a quick, breezy listen though, which earns it extra points with me. I'm still not sure it needs to be on this list, but yeah, it's pretty good.
I only listened to the tracks from the original LP release, and not the full, 2+ hour concert that has since been released. I'm not a jazz connoisseur, but this was fantastic. Musicians pushing themselves and each others to achieve greatness. The energy coursing through this recording is palpable. I'm sure this is a 5-star recording for jazz enthusiasts, but I will give this a 4, as I wasn't necessarily active listening throughout the duration of the album. I would like to revisit this one day, though.
It's Kanye, so you know what you're getting. Great production and sampling. Lame lyrics. Ugly ego. This album evokes memories of a time when Kanye was almost endearing, as opposed to the insufferable turd he is now. Some good tunes here, even if some are beginning to show signs of age. An impressive debut album that is unfortunately tied to a narcissistic personality.
Celtic and punk music are a match made in heaven, aren't they? There's something about the punk attitude that screams Ireland, and hearing what could at first listen be sweet, lilting Irish folk music morph into the angry, drunken wailing that makes up much of this album is a whole lotta fun. Lyrically rather funny, and a little grating by the end of the affair. Feels like spending an hour in an Irish pub, for better and for worse. 3.5 stars, probably, but I'm rounding down, because things felt a little one-note by the end.
By my usual standards, this would typically be way too long and way too samey. But this was my second time listening to this album in recent years, and on neither of those listens did I get bored. These are punk songs at their best: fast and furious, with clever basslines and attitude in spades. Sure, they could have cut a dozen songs or so and they wouldn't necessarily be missed, but the whole thing still comes together so cohesively that I'm not complaining. Good shit!
Beautiful album. I'm not wild about Anohni's vibrato, and I even find it distracting at times. But the melodies are lovely here, and lyrically, it is powerful in the truths it lays bare. Although she was known by the name Antony at the time this album released, I was surprised at how transparent she was on this album regarding her identity and the ways it was being stifled. I'm glad she can be herself now, but am also glad to learn she's been speaking her truth for decades now.
Wings' greatest album, and the only one that can stand toe to toe with the Beatles' greatest collections. Every song here (with the possible exception of No Words and Picasso's Last Words, which while both fine, definitely represent a dip in the record) is a phenomenal pop-rock number. Any album with "Band on the Run", "Jet", "Let Me Roll It" and "Nineteen Hundred and Eighty Five" on it is going to be a winner, but to be honest, I prefer songs like "Bluebird" and "Mrs. Vandebilt" now, as they're less overplayed. No matter. I could throw this album on at any time, to any song, and enjoy greatly.
I always forget that the Stones started out as a straight-forward blues band, playing down-the-middle covers of blues standards. They were proficient at doing so, with the proper levels of attitude, but it's not all that interesting, is it? If this album wasn't by "The Rolling Stones", would it be on the list? I'm not convinced it would be, and will stick to Sticky Fingers, myself.
I didn't think I was much of a Zappa guy, but this is actually pretty great! Very jazzy, groovy stuff. A little weird, as was to be expected, but that's all part of the magic. I have no immediate urge to listen to the Mothers of Invention albums again, but I'd throw this one on again in a heartbeat. Maybe Zappa at his most accessible?
I thought I had remembered being underwhelmed the first time I heard this. But now, I don't see how that could have happened. This is fantastic! Of course, Janis sounds amazing, but so does the whole band! So much blue-eyed soul in these recordings
This went a lot harder than I expected it to. Not surprised to learn that Steve Albini was involved, as it immediately reminded me of Nirvana. Not only in its sound, though...also in its raw honesty. It's a powerful record, if a little noisy.
I wanted to give this 5 stars, but there's just a little bit of sameness here that made me detract one. But as far as bands that basically make the same song ad infinitum go? The Ramones are assuredly the best. Power chords and a ton of energy are the secret ingredients here, and the recipe goes down easy. It's near impossible to not have a good time when this is on. This album is an astounding debut.
I've been familiar with this album's reputation for decades now, but I think this was my first full listen. I sure haven't been missing out. Just more arrogant raps about guns, drugs, and misogyny. It sounds like a Grand Theft Auto soundtrack, and 50 isn't even that technically skilled to my ears, mumbling half the time. He sure seems proud of his willingness to kill, but he certainly isn't a killer in the studio. The production helps, though -- Dr. Dre producing a number of tracks brings some genuine pop-rap production cred to the album, helping to get this a half-step above being the most basic shit I've heard.
If you made the argument that this was the Lips' best album, I wouldn't argue. A bittersweet experimental pop-rock record that is just weird enough to be interesting and innovative without becoming inaccessible. The lyrics, simplistic on first glance, mask a hidden depth, waxing on life's most profound emotions and experiences. The instrumentation and production are fantastic as well. I can see how this wouldn't be everyone's cup of tea, but to me, it's nearly perfect.
21 songs in 35 mins? Now we're talking! Loud and fast and doesn't outstay its welcome -- this is punk at its finest!
I liked this one more than I expected! Still a little too abrasive for me, but I get the appeal. Tracks like "Wait and Bleed" are pretty melodic to be honest, I get why it was the big single from this album. Slipknot has always seemed like a pretty gimmicky band to me, but they do what they do well, even if it's not necessarily for me. For a debut album, I was fairly impressed.
This is a mythic album that has never quite stuck with me. It's the type of thing that would normally be right up my alley, and I can acknowledge that there are some great songs here. But as a collection, I find it to be pretty good -- not perfect. All this to say, as guilty as I feel about, I will recognize this album's iconic status while denying it 5 stars.
This one surprised me! I was under the impression Tricky was a rapper, and expected a rap album, and this is not that. Learning that Tricky was (and is again) a member of Massive Attack makes much more sense, as this has more in common with that type of dark down-tempo electronica than it does with Biggie or Pac. This, I am learning, is called trip-hop. Huh! Cool to learn new things. That said, while Martina Topley-Bird's vocals are lovely, and the music at times is quite chill, chill can easily become boring when stretched out to an hour. I recommend the track "Black Steel", but as a whole, this goes on a little long. Still better than the rap I expected, so I'm choosing to round up from 2.5 stars.
Based on the other reviews on this site, safe to say this is a polarizing one. But it's been a favorite of mine for over a decade, so public opinion be damned -- I love it. It's melodic and beautiful without becoming predictable. It feels warm and familiar, yet somehow foreign and mysterious. It zigs when you think it'll zag. The harmonies are tight, the instrumentation is dense. It's ever interesting to me, and will be played in my home for years to come.
Belle & Sebastian, the epitome of twee, burst out of the gates (or rather, walked politely through the door) with this one. It is soft and sweet, with personal lyrics that I find to be rather touching, but I still find this album's inclusion on this list to be unnecessary and another instance of the list's focus on UK albums. I don't think it's Belle and Sebastian's best, and while charming, there are a lot of artists with albums of similar quality. This is still one I first heard as a teenager, so while not a favorite, I have a soft spot for it, and as such will be granting it 4 stars.
Solid storytelling, a smooth, beautiful voice, simple but effective arrangements and grade-A production. At times I was getting Prince vibes. I've heard this album a few times before but have never been a Frank Ocean stan. Maybe I should listen to him a little more often.
This one is tough, because I love Bonnie. Her music is extremely listenable and pleasant. These songs would fit on any adult alternative or easy listening radio, and seem prime as karaoke choices. And her voice is fantastic, strong and a little smoky. But it's not exactly reinventing the wheel, is it? Pretty torn between 3 and 4 stars on this one, but it's just so...competent? Damning it with faint praise, perhaps, but I'm rounding up to 4.
I previously stated that Strangeways, Here We Come was my least-favourite Smiths record. Now I think this one might be. Do I like the Smiths at all? The bass on "Barbarism Begins at Home" makes me feel like I do. The title track that follows it makes me question that. A mixed bag of tracks here for sure. I'd still probably consider this a 3.5 album but I guess I'll round down for Moz.
The Yeah Yeah Yeahs are always a ton of fun. They get a little less noisy here, trending more towards the electronic and synth sounds popular at the time. But they never lose the energy that is their trademark. This is still unquestionably rock, but it's also super danceable. It's fun!
On a past visit to Cuba, I had the pleasure of seeing the Buena Vista Social Club live. While I doubt anyone I saw performed on the album, this contains the same Cuban spirit I witnessed. Laidback and smooth but still lively, it encapsulates the feel of my visits to its home country. For that reason, I'll always love this one. It felt a little long to listen to in one go, but still -- undeniably a classic piece of Cuban music.
I'm not going to lie, I came in fully expecting to give this 1 star. I've heard Lightning Bolt, and their music is not for me. But after listening (and a visit to the album's Wikipedia page), I'm not surprised to see this described as the most accessible LB album. It's not terrible! There are cool noises on here from time to time, and even the odd riff! Still, at the end of the day, noise punk is not my thing, even if this is on the lighter side of headache fuel.
Yeah, this is 50's music alright! That's not damning praise, but it is pretty much exactly what you're expecting! That said, Fats is legendary for a reason. He did what he did well, and this is him at the top of his game, with his biggest hit "Blueberry Hill" opening this collection. A short, enjoyable, breezy listen.
I was much more familiar with Elliott's earlier albums, and didn't expect something so...composed. His earlier albums are more intimate affairs, little more than guitar and vocals, but this album feels dense and lush, with string arrangements across the album. It feels full in a way I didn't expect from Elliott. It makes you wonder what subsequent albums would have sounded like. Perhaps the expanded soundscape strips a little of his trademark gloominess from the record, but his gift for melody is ever-present. I really like this one.
I loved quite a lot about this listen. It brought forth the electronic sounds of the '80s while having been released in 1977. This is really one of those pioneering albums. It was perfect for working to, because the leitmotifs were just repetitive enough to settle me into a groove without growing boring. Catchy, well-crafted music that isn't just one of the best as what it does -- it wrote the book. This is a 4.5er to me, and it was hard to decide which way I'd swing it. I'm feeling generous today.
This was an incredible listen. Vaguely unconventional without being uninviting or remotely uninteresting. I was surprised that I recognized at least three songs here, thinking I only knew "Games Without Frontiers". This is right up my alley and I can see myself revisiting it many times in the coming years. I almost never grant an album 5 stars on my first listen, but I'm gonna do it here. Very, very cool.
I'm sorry to say I've never heard of Joan prior to this listen, but I'm glad I've since corrected that! This is a lovely record by a phenomenal crafter of songs. I've seen her compared to Joni Mitchell a lot, but this reminded me more of Tracy Chapman (I hope that's not racist). Straightforward, well-written songs that get right to the heart of it. In fact, she's a lot more reminiscent of 90's female singer-songwriters than to those of the 70's. This is one that I will be returning to in the future, and while I'm giving it a cautious 4 for now, I could see this as the type of album that would easily rise to a 5 with a few more listens.
I previously listened to Tim's album Happy Sad as part of this project, and gave it a pretty withering review and score. This one suits my tastes much better, as a less experimental affair that puts traditional songwriting first. Very pleasant 60's folk rock. Closer to a 3.5 for me, but I'll bump it up, if only because I feel I did Happy Sad dirty.
The Velvet Underground are legendary. This album, while hailed by many as one of their best, isn't a favorite of mine. I love the title track, and I think "The Gift" (which seems to be a divisive one) is incredible. But the rest of the affair just gets a little too noisy for my tastes. Did "Sister Ray" really have to be over 17 mins? Many would say yes. I do not.
Took me a second to figure out this isn't the guy who played RoboCop, but later read that he is nicknamed "The Modfather", so at least we've still got a movie reference in play! This was a nice chill listen. Sounds a little generic, but it's done well. I wasn't paying close attention to the lyrics, due to being at work, but the music is pleasant and the production sounds great for the early '90s. Not in a rush to revisit, but not bad!
I mean, yeah sure. It's fine 60's bubblegum pop. Deserving of this list, though? Not really. But it was a light, breezy listen. I'd listen again, were it to cross my path in the future. But it shouldn't be here to begin with, honestly.
Well, it's Rumours. The gold standard of perfect pop albums. Nothing else need be said.
I know how influential and beloved this album is, but I'm reviewing from my point of view, right? So I'll just say that it's not my thing. I've never been into the Wu. Some of their music is fine, but it doesn't connect with me. This is my second or third time listening to this album, and still, *shrug*. A bonus star for cultural importance, though.
Why are electronic drum and bass albums so damn long? This one neared two hours, and I was tired of it before the twenty minute mark. But I still held out and listened to the whole thing, which is better than I did on the list's last drum and bass album. Still it left me cold. Drawn out and boring, and didn't age particularly well (unless you love the 90's aesthetic). Background music, that's all it sounds like to me. Not my thing, and I don't think it ever will be.
I hadn't heard any of Frank's solo records, and honestly thought this would just sound like a Pixies record. But it sounds distinctly like a solo record. And I'm into it! Some well-written ditties for sure. While nothing in particular stuck with me a few days after listening, I'd definitely listen again. So that's a great sign.
I've always loved this album. Sure, most of it is overshadowed by BoRhap, but every song here can hold its own. "Death on Two Legs" is one of the most biting, bitter songs ever put to tape (in a good way). "Love of My Life" is one of the finest ballads ever written. Even a song about car lust is pretty solid in retrospect. What a wonderful collection of tunes.
Oh, this was kinda cool! I expected something extremely folky, but this had a little more je-ne-sais-quoi than I expected. Some cool factor. I liked the sound, very late '60s groove. The 11-min song droned on a little long, but overall, right on!
I've never been particularly drawn to the Smashing Pumpkins, but I think I'd pick this as my favourite of their albums. "Cherub Rock" and "Today" are undeniable singles, and the rest of the album is chock full of incredible hooks. It feels as though guitar-driven music isn't at the forefront of culture anymore, and so this is a joy to revisit -- a time when great, intricate playing didn't come at the price of a catchy melody. This could be a 5-star album, but I'm going to reserve it for now. I will definitely be returning though.
Of course this'll have a lot of haters here, but screw it, this deserves to be here. Tay is *the* pop star of our generation, as evidenced by the reaction to her Eras Tour and Taylor's Versions. In fact, the new Taylor's Version of 1989 is how I consumed this album. And yes, this is pop in its purest form. Incredibly catchy songwriting in a snazzy, sparkly package. Every song here is an earworm. Am I biased, being in love with a Swiftie (meaning that I've heard every song here dozens of times)? Possibly. But maybe she's just opened my eyes to the magic of Taylor.
I like the xx, and I like this album, but it's another case of being a little confused to see this on the list. The xx's music has always been gentle, sweet and pleasant, and it's been nice to put on when I'm in a soft indie mood, but I've never thought of it as groundbreaking or particularly noteworthy. In fact, it could be borderline boring to the wrong ears. I'm still going to rate it highly enough, because it's one of their better albums, and as mentioned, I like the xx. But with the paltry number of recent albums on this list...why this one?
I've been deep diving into Bruce this year, in preparation for an upcoming concert (as well as "homework" for the fantastic podcast U Springin' Springsteen on my Bean?) and this is one of his finest. For a white guy now in his 70's, Bruce's politics have stayed surprisingly respectable through the entirety of his career -- which is why this album's title track always makes me laugh, probably appealing to a clueless "'Murica, fuck yeah" demographic as much as it does to me. So yeah, this is a crowd pleaser. Beyond the title track, we have "Cover Me", "I'm on Fire", "No Surrender", "I'm Goin' Down", "Glory Days", "Dancing in the Dark"...this thing is full of hits, showcasing the E Street Band at their finest and effortlessly transitioning the Boss into the '80s without sounding too dated even now, nearly 40 years later.
Man...do I like Bob Dylan? I think his poetry is fantastic, but his music can be a little grating, particularly live. The first half of this performance, an acoustic affair, features Dylan solo, delivering his phenomenal lyrics with his trademark nasally snarl and blowing away on his harmonica every few seconds. The back half goes electric, which I much preferred, but this still felt like a rather long 90 minutes. I can't say I was super into it. I recognize Dylan's status as a music legend, but I think I prefer his music condensed into a 40 minute album -- or even better, a lyrics booklet.
A superbly important musical artifact. But I'm still going to give it four stars. As I said yesterday, Dylan is a wonderful poet. And this collection features some incredible tunes. His arresting lyrics caught me several times on my listen, and I was left in awe of the emotions he could capture through only his words and his harmonica. But at the end of the day, it's a little musically boring and his nasally singing voice is an acquired taste that I've yet to acquire.
I was only really familiar with Mike Oldfield and Tubular Bells through The Exorcist. This is a very, very extended version of that song though, and dare I say? It's sort of brilliant! Much proggier than the aforementioned version led me to believe it could be, this album veers in all sorts of directions. I'm typically not a fan of long songs, and to be completely honest, I sort of had this on as background noise. But everything that I registered sounded pretty damn cool.
As a Canadian alt-rock lover, this album is a very important document in our cultural history. It's very mid-90s, but it contains more than a few classic tracks and a buttload of energy. A refreshing approach to the breakup album -- not heartbreak but pure rage -- this is a true rocker. Emotion flows through every song. "Ironic" is sorta dumb, and has been extremely overplayed, but it's still not a skip. This is a super fun listen (with a few forgettable tracks scattered through it).
Considering this album kicks off with "Immigrant Song", I tend to forget how folky the remainder is, particularly in the latter half. It's a phenomenal listen that really foreshadows sounds that'll be explored in the back half of their catalog, as well as in Plant's solo career. I'm struggling between 4 and 5 stars here, as there are a few songs that I find to be a little more forgettable. But I can't deny how this last listen made me feel.
A fun collection of punk songs by one of the biggest names in the game. It's quite incredible that this is their debut, as nearly every song is a nugget of perfect songcraft. And they haven't reached their heights yet. In the absence of half-stars, I can't exactly give this four stars, can I?
To be honest, I didn't expect a hip hop album from a guy named Mike. But yeah, it was just ok. The jazzier influences felt here were nice, and some of his rhymes made me laugh. But the more electronic elements here didn't do much for me. And -- I've said it before, and I'll likely say it again -- why does every hip hop album need to be over an hour long?? It's too long!!
This is such pleasant, easy-listening jazz. This is what I imagine plays in the grocery store on Sesame Street. I did not mind having this playing in my headphones at all, and would welcome hearing more like it.
The top review of this album on this site says "Offspring is like Taco Bell for punk". I couldn't put it better myself. As one of the few punk bands that would tour around our barren wasteland that is Northern Ontario, I saw the Offspring live many times in my early 20's, and so many of these songs are tied to those memories for me. These songs are fast, loud, fun, not all of them are necessarily good, and I don't return to them much. This is the junk food of punk music, and it should be consumed in moderation. But oh my god, is the nostalgia ever delicious.
The Prodigy are beloved, and this album has rave reviews. So I feel bad to say that I've never been a fan. It's sorta fun, in that it sounds like the cheesy background music in a late 90's chase scene. But on that same note, it's just relentless and too noisy, and yeah, sounds like the soundtrack for a Fast and the Furious videogame for PS2. Electronic music, beyond going on way too long, tends to age like milk, and this sounds so much like a product of its time. I guess this is why I've never been invited to a rave. The crab on the cover is cool though.
Trippy, maaaaaan. Part folk album, part sound collage, part acid nightmare, I'm sort of confused by what's going on here. And I definitely didn't love all of it. But it was certainly interesting, particularly for an album from the '60s, predating even the Beatles' White Album. The small segments of pure songwriting sound great, and while perhaps not as interesting to the artists themselves as the creative chaos surrounding them, I'd have loved to hear a less noisy version of this album. But I guess that would have defeated the point.
One of those albums I just can't be impartial about. It's one of my favorite albums. It contains "Run of the Mill", one of my favorite songs. I'm not crazy about the Apple Jam that makes up the final disc of this triple album, but that's not enough to knock it down a star. The songs that make up the first two discs are among the best ever written or recorded.
This might just be my favorite album by the Beasties. It's so funky! A little too long, as seems to always be the case with hip-hop and electronic music, but alas. Still wonderful though, and creative as all hell. They're really pulling influences from every corner of the musical world. Certain tracks are a little forgettable, but besides that and the length, this one nearly got 5 stars.
Another one that is tough to be objective about, as it's been in my life for two decades as of 2024. I got this album when I was 10. These songs were unavoidable, all over the radio, TV, everywhere you'd go. This album was huge. I've heard these songs more times than I can count, to the point where I don't always want to hear them again. But they'll be part of me 'til my dying day. Is this punk? I don't think so. But it's near perfect pop/rock music, jam packed with hooks and fresh ideas. This is the definition of a modern populist classic.
Two modern rock classics in a row! This album helped revitalize the waning British indie scene in the mid-2000s, and it does sound pretty British, innit? This album, a collection of energetic guitar rockers, is pretty undeniable and is a big reason why the Monkeys remain one of the largest rock bands touring today. This album wasn't necessarily a favorite of mine for a long time, but it's definitely rising in the ranks as I continue to gain appreciation for the songcraft across this album. Alex Turner's lyrics are phenomenal. I feel this album is going to age very well. So much so, that I'm going to go ahead and give this a full five stars.
I'm not a rap fan, but Nas' flow is for real. Fully agree with the top comment on this site, that this album sounds, feels, and smells like NYC in the '90s. Or so I believe, I've never been. But Nas masterfully paints the picture, enough so that I feel the vibe through my headphones. Vibe is the right word. I know for many, this is a 5-star, but due to my limited exposure to this album, I'm going to be a little more conservative -- but I enjoyed this listen far more than I expected to.
As a rap skeptic, this is the second day in a row of rap albums that have me second-guessing my biases. This was a fine listen, with some fun sampling (the intro in particular caught my attention) and some solid energy. It didn't quite blow me away, but even at 50+ minutes, I never found myself growing overly tired of it. This is a 3.5 star album for me, if I'm being honest, but without half stars at my disposal, I don't quite know if I consider this a 4.
"Two plus two is four / Minus one that's three QUICK MATHS"
A perfectly decent Britpop record. Sort of feels a bit Oasis-adjacent, or is that my limited knowledge of Britpop showing? Anyways, never been much an Oasis guy, but I enjoyed this listen fine enough. Sounds like an album a really good local bar band would put out. This sound was probably about ready to be phased out by 1999, and as such, I'm sort of confused as to what about this album is revolutionary enough to warrant its place on the list, beyond the list's heavy UK bias.
This is a strange one! But a worthy inclusion, I think? This was a pleasant listen, one that truly sounded like the soundtrack at a penguin café! Atmospheric music that verges on the bizarre, but actually just stays pretty chill, without ever doing anything all that weird at all. Whimsical, avant-garde coffee shop vibes here, and I am here for them.
I'm almost surprised to see this one here. Don't get me wrong, I love this album, but it's sort of just the B-side to Kid A, no? A little more experimental and electronic than their earlier work, but not executed as successfully as Kid A, in my opinion. Certain tracks here like "Knives Out" and "I Might Be Wrong" are some of my favorites by Radiohead, but I don't find this album as a collection to be among their top work. Certainly not top 5. But it's still one I throw on a few times a year. And at the end of the day, it's Radiohead. It's still really, really good.
R.E.M. have always made better albums than singles, if you ask me. Green is a pretty good one, though not my favorite. Tracks like "You Are the Everything" are lovely little counterpoints to the more rocking singles like "Stand" and "Orange Crush". This is a rock band doing what they do well.
I wasn't sure I'd like this when it started. "Folk punk", eh? Odd combo, but it won me over. The folk songwriting delivered with an additional dose of energy was a fun combo. A fantastic poet, this Mr. Bragg.
The Doors made some great songs in their day, but they've never seemed to be an album band in my eyes. Their eponymous debut, I may have expected to see, but this one surprised me. It has the hit single "Roadhouse Blues" and my personal favorite "Peace Frog", but beyond that, I didn't think this album held much. And I was mostly right. Some bluesy, near psychedelic tracks that go down easy, but don't hold that "hit" appeal. Still, this album shows one of the big American rock bands at the height of their power. They sound absolutely great together, as they unknowingly near the end of their time as a band. This was such an easy listen, that I'm bumping it up from 3 stars to 4. I couldn't do "Peace Frog" dirty like that.
This album isn't even 20 yet, and I feel as though it's reputation will only continue to grow in decades to come. While its precedent Michigan was fantastic album in its own right, I believe this is the record that cemented his reputation as one of indie's most intelligent, melodic, and heart-wrenching songwriters. From the wonderful orchestration to the captivating storytelling, this ode to the Prairie State captivates in spite of its long running time. Some may find it a little twee, others too grandiose. But for me, it's perfect.
Newman is a very clever songwriter, so perhaps the fact that I was unable to offer this album my undivided attention during this listen (and as a result, assuredly missed several witty lyrics) led to my apathy. But this sort of went in one ear and out the other. Newman has never been a favorite of mine; his singing style just isn't for me. His arrangements are typically very strong, though, and what I heard here was well-crafted, but borderline dreary. I won't go so far as to say I disliked this (mercifully short) listen, but I'm not sure it'll stick with me.
This has been a favorite of mine for the last decade. It's beautiful, it makes you boogie, it's got swagger and style. Glam was a genre that could have been cringe-inducing, if done wrong. But Marc Bolan always made it classy, and more importantly, fun.
Always an album I loved, but in past years has really shot up the ranks of my favorite Beatles albums. Songs like "Here, There and Everywhere" and "For No One" are among the most beautiful songs ever written, and songs like "She Said, She Said" and "Tomorrow Never Knows" among the most psychedelic and just plain cool. This is the album where the Beatles transition from early-stage to their final form, and man, is it glorious.
A beautiful listen. Emmylou is one of the greats, with a voice like silk. Although most of these songs are covers, she's a wonderful interpreter of music. While far from revolutionary, there are far worse ways to spend 40 mins. Would that country music still sounded like this today.
My favorite review of this album here is that it sounds as though you fed an AI every 90's alt-rock album and told it to provide a representative sample. And you know what? I love 90's alt-rock. But Sugar was not in my rotation, and so the nostalgia just isn't quite there. It's fine, and maybe with some added familiarity I'd even like it, but it just sounded too generic on first go. I feel there are so many better 90's albums with stronger senses of identity, that this one could probably have been left off. Still, it's fairly catchy power pop. I can't complain too much. Came very close to giving it a 3, but the more I listen, the more fun I have with it. Ah, screw it, here's your 4.
Nerdy prog goodness. It wasn't until fairly late into my teens that I checked out Yes, because I only knew "Owner of a Lonely Heart" and that didn't necessarily get me going. Songs like "I've Seen All Good People" and especially "Starship Trooper", once I finally heard them (thanks Rock Band 3!), totally changed my mind. It's hard to be epic and chill at once, but Yes somehow does it. They get a little noodly at points, and the songs run on a little long, but hey -- it's prog, baby! This is, for my money, their best album.
This album is a lot, and that might be a problem if it was by any band but Van Halen, but it suits them just fine. Eddie's iconic guitar sound and legendary skills paired with David's powerful voice and strutting showmanship would be enough for any band to be noticed, but having musicians like Alex and Michael holding down the rhythm section only cements VH as a powerhouse. The track listing here is incredible, with hits like "Runnin' With the Devil", "Ain't Talkin' 'bout Love" and "Jamie's Cryin'" -- and one of the greatest guitar solos ever put to tape in "Eruption". And the whole affair lasts only 35 mins, a rock and roll rollercoaster that never lets you take a breath. I'm no Van Halen fanboy, but I couldn't give this less than a perfect score. This is rock at its most fun.
'80s music is often lyrically self-serious and preachy, while sounding like a goofy neon rainforest. This is that. I definitely think I preferred The The's first album, which also appeared on this list. I love post-punk as much as the next, but to quote Shania, this didn't impress me much.
This is loud and fast and just...a lot. Some say Blue Cheer beat Black Sabbath to the punch in being heavy metal, but Sabbath had better songs (and they wrote more of them themselves, too). This is just distorted blues. Still, though, this is an interesting historical document, being as fast and furious as it while having been recorded in 1968. I just don't necessarily need to hear it again.
I know the reputation this album has, and as such, I feel somehow wrong for giving it a less than perfect score. But this is meant to be a subjective review, and personally, I don't think I found this to be as transcendental an experience as I was lead to believe. I haven't quite fully grown into jazz yet, and to my untrained ear, a lot of the playing here sounded dissonant and out of sync with their fellow musicians. While it was interesting at points, nothing about it struck me as being the masterpiece it is hailed as. I believe I do owe this one a few more listens.
This was pretty great! Easily one of the better Britpop albums I've heard thus far. Sounds somewhat like younger Bowie. The playing is great, the songwriting strong and encompassing several tempos and styles. I'd listen to this again for sure.
I've always liked the Byrds. Jangle pop is fun and easy to listen to. But yeah, the best songs here are Dylan covers with jangly guitars overlaid. The rest is pretty inconsequential, consumable pop music. But it's representative of the '60s, and can be listened to at any time. This could be a 3-star on a bad day, but I'll bump it up for sheer replay value.
It's well made, but it's all a little dreary, isn't it? And the back part of the album drags on far too long...four songs in half an hour? Give me a break! That said, the singles here are great, and remembered fondly for a reason. I know this album is beloved, but though I like it, I don't know if I consider a 5-star album the way many others do.
This album is a good bit of thrashy fun, if not a little repetitive. With only 8 songs in 54 minutes, things are bound to get a little repetitive, though. I'm not really a metalhead, and Metallica have never meant that much to me, but I'm beginning to appreciate their '80s albums more in recent years. Enough has been said about the (admittedly fantastic) title track, but the rest of the record chugs along with all the intensity and aggression you'd expect from them. With intricate musical patterns and unrelenting speed, it's hard not to bang your head to this, even if you may feel like you've just taken a pounding when you're done.
This was lovely! A little folky, a little jazzy, a little psychedelic. The cover is fitting, as it seems the perfect type of album to put on while hanging out in nature, perhaps with a little buzz going. A wonderful little hidden gem of the late '60s.
Well this is awfully depressing, isn't it? These brothers have some tight harmonies, but beyond that, there isn't much here of interest to me.
The sound of 90's rebellion, though the themes are still depressingly relevant 30 years later. There is so much anger and raw energy in these songs, carefully channeled through some of the best riffs of the decade. I am so incredibly happy I managed to see them on their latest reunion, and they sounded as powerful as ever. I will never not feel like a badass when this album is on, and for that, I thank you RATM.
I'd be lying if I said that I didn't enjoy this album. I'm just sort of surprised Echo & the Bunnymen managed to get three spots on this list. This album is one I've never heard of, nor have I heard any of the songs it contains. But I'd say it's better than Crocodiles, which we listened to previously. The arrangements are wonderful, a little psychy, some great strings scattered throughout. A little dark, a little epic, a little sweet. Although I guess it falls under the post-punk label, it definitely shares a lot with the alternative music of today. It's kind of what the Cure sounded like, if we're being totally honest.
There are some great tracks here that are actually a lot of fun. "Express Yourself" is lovely. But I won't lie, as iconic as this album is, this just isn't my type of rap. Way too many hateful lyrics, sexist, homophobic and violent throughout. Some of it is beginning to sound a little dated. And not every member of N.W.A. is on the same technical level. I love the sampling and when it gets a little funky, but overall, it just isn't for me.
A gorgeous album by a gorgeous soul who left us too soon. It's not for everyone, as relaxed and gentle as it is, but with its full, intricate arrangements and introspective lyrics, I can't help but adore it. Drake is one of the great songwriters of the past century, and I wished he'd stuck around long enough to see that become common consensus. For my money, this (and his next album Pink Moon) is among the most beautiful albums ever released.
Yeah, this is yet another one of those albums that was part of my formative years and will receive 5 stars based on that alone. Even now, it's such an anthemic listen that I can't help but get fired up by it. The album has such a great flow to it (which makes sense, considering the "Neighborhood" concept that connects several of the tracks on side 1). The instrumentation is dense and epic, like a rising. Yet, they feel right at home when they slow things down too. The entire feel of the album conveys the charming nature of the band's humble roots. It feels huge, but it still feels kind of Canadian. And it makes my Canadian indie-boy heart proud to see this one on the list. A true classic of the genre, and it deserves to be.
It bums me out that this is so damn good! Clapton is a massive tool, and his solo catalogue is mediocre, but with Ginger Baker and Jack Bruce he created a masterpiece. A glorious combo of blues and psychedelia, it's the perfect soundtrack to any adventure through the cosmos.
While not my favorite album that Iggy's had a hand in, I've always liked this one. It feels dark, almost dangerous. It also wouldn't sound out of place had it been released in the '80s, so in that way it's ahead of its time. Lyrically, it represents Pop at the crossroads between eras, and you can hear him actively shaking off his demons in these songs, or at least doing his best to ignore them. If it's not his best work, well, it's certainly a respectable one.
Before I had actually heard them, I used to think Black Sabbath was the scariest, heaviest metal band of all-time. And don't get me wrong, they are heavy, but I wish the young version of me had just listened to it -- this is melodic as all hell! The riffs here are about as catchy as any other great classic rock band, and for a band as drugged out as Black Sabbath, they sound powerfully focused on their records. It amazes me how easily they can veer from some of the most rip-roaring guitar licks you've ever heard to a gorgeous ballad like "Changes". '71-'73 Sabbath really hits my sweet spot. Were it not for a few less notable tracks scattered throughout (particularly on side B), this would be an easy five stars. Hell, I'd give it 4.5 if I could.
This one is a little tougher to rank. Because, while songs like "Welcome to the Jungle", "Paradise City" and "Sweet Child o' Mine" are undeniably legendary rock tunes...gosh, am I ever tired of hearing them ("Mr. Brownstone", though, has not yet been overplayed for me, and I dig that track plenty). Anyways, what is there to say? Slash is one of the greatest guitarists of our time, and he comes up with some great riffs here. Axl is in fine form (even if the lyrics aren't so hot). The whole band sounds powerful, if a little too steeped in that 1980's cheese. This is maybe a 3.5 star record for me personally, but I'll bump it up out of respect for its reputation.
Sleater-Kinney is a tough one for me. The vocals are so shrieky that it's hard to look past. I realize that punk vocals are supposed to be a little rough, but S-K's often sound outright unpleasant to me. Theoretically, it's up my alley. Musically it's solid. I've just really got to be in the mood for their brand, and today, I can't say I was.
A lot of these songs have almost passed the point of being classics, into standards territory -- meaning they no longer sound particularly fresh. They're still fun, but music evolved so quickly within a decade of this album's release. Still, rock and roll had to start somewhere, and there's a reason these songs still sound familiar to someone born nearly 40 years after its release. While I don't see myself returning to this one regularly, it's an important and yet easy breezy listen.
I've always found this to be a gorgeous, if truly dark, listen. Cohen, at the end of the life, sounds gravelly and nearly hoarse, yet fierce and biting, as he rages against the dying of the light, disguising his exhaustion as acceptance. Between this and Bowie's Blackstar, 2016 saw multiple legends wrestling with their mortality through art, and both created achingly beautiful portraits. One of Canada's greatest poets manages to hold that title to the bitter end, giving us insight to how it feels to reach the end of a remarkable life.
This just misses the mark of being up my alley. I love the energy -- it sounds like they're having a blast -- but the vocals were a little grating to me, and there weren't many memorable songs to my mind. This would be a great soundtrack to a barfight, but for a more casual listen, not so much. To be fair, it's probably better than the glam rock it later inspired.
I first became familiar with Grant Lee Phillips from his work on Gilmore Girls, so my expectations for this album were somewhat tempered by that. But they shouldn't have been, as this is an absolutely fantastic listen. I won't lie, I just finished listening to it, and can't remember many details of what I just heard, outside of some great guitar tones -- which is typically not a great sign (hey, to be fair, I'm listening at work) -- but I still hope I remember to come back to it, because my general feeling right now is very positive. I love me some 90's alt-rock, and it sounded like they did it right.
Let me say right up front: this is not a perfect album. This, like the Beatles' White Album, is an overstuffed mixed bag that is greater than the sum of its parts. Consisting heavily of outtakes from their previous few records, this album holds some of the band's most beloved numbers, such as "In My Time of Dying" and "Kashmir", to some of my favorite lesser-known gems, like "In the Light" and ""Down by the Seaside". But though not every song here is a well-known hit the way, say, the tracks on Led Zep IV might be, this shows the band at peak creativity, exploring new sounds and taking bigger chances. While I haven't always adored this album, it continues to grow on me with each repeated listen, always finding something new within its density.
Hopes weren't high going into this one, let me tell you. This list has given me a ton of mediocre British albums, and some truly abysmal electronic music, so I nearly moaned when I saw today's album was a British electronic record. I did not expect, however, that this album would be infused with so much rock DNA. Like, it actually got heavy and rocking at points. With guest vocal appearances from the likes of Iggy Pop, Jim Reid and Bobby Gillespie breaking up the instrumentals, it made the listening far more bearable. Still, there were too many long instrumental passages that just didn't do it for me, and as I've likely lamented previously, electronic music just goes on far longer than needed. But I'd venture to say it's the best British electronic project I've listened to yet.
I love me some Tribe. They hit the scene swinging with this album, with classic tracks aplenty and an inspired collection of samples. And Q-Tip has one of my favorite voices in hip-hop -- his flow is unreal. Still, you can hear that this is a debut; they haven't fully crystallized that Tribe magic that is so apparent on albums like Midnight Marauders or The Low End Theory. This is super fun and laid-back music, and honestly might deserve 5 stars. But since they had better on the way, I'll adjust accordingly.
This album is solid enough, though not as incredible as some believe based solely on the reputation of the title track. And let's get it out of the way: "Heroes", the song, is an unbelievable piece of work. But as for the album...a mixed bag, to say the least. The second side holds several atmospheric instrumentals that, while perhaps "art", aren't so enjoyable as music. And the remaining tracks range from good to meh. As much as I adore Bowie, I really don't know if this album should be on the list.
As a fan of Queens of the Stone Age who isn't familiar with Mark Lanegan's other output, this was a fun listen! Sounds to me like a grower -- I enjoyed it quite a bit, but as a first time listener to the band, I spent most of the runtime just acclimatizing myself to their sound. This certainly sounds less intense than either QotSA or other "grunge" artists of its time. The songwriting is solid. I don't know, it was a nice listen for a morning at work! I want to hear it again!
This is my first experience with Captain Beefheart. Based on Trout Mask Replica's reputation, I expected this to be pretty out there. But you know what, it was just weird enough! I like '60s rock that isn't afraid to experiment, without becoming *too* out there. And this scratches that itch perfectly. A quirky, bluesy listen that doesn't reject soul in the search for strange. I'll be back to this one, I think.
So...this one didn't really do a ton for me. Chuck D's poetry is great, and the beats are alright. The attitude is certainly there. But the sampling doesn't sound organic, the production in general is just way too much, and things got repetitive about halfway through. From what I hear, it was pretty groundbreaking upon release, so I'll give it points for that. But Fear of a Black Planet is just a much better Public Enemy record, in my opinion.
Listen. This album dropped in my first few weeks at university, with the singles popping up throughout my senior year of high school. I was very much an indie boy at that time. So yes, I've heard several of these tracks many times. I doubt I could even separate the sound of songs like "Recover" or "The Mother We Share" from those memories. What surprised me the most about this listen was how many tracks featured male vocals. While Lauren Mayberry's voice is CHVRCHES to me, I did really like the mix. This is a fun little electropop record that I think would be hard to resist even if it wasn't tied into my halcyon days.
God, this was a rough listen. The spewings of an angry edgelord who thinks being shitty is cool. But what they produced is juvenile, annoying, talentless, inane drivel. "My Way" is borderline catchy at times, which had me almost considering a second star, but no. As the album continued, my dislike for Durst only grew. Some of the riffs here are ok, but the lyrics completely destroy any goodwill they'd generated. And how is this 75 minutes long?! The outro was the best part, because it clowned on the band (and clowns they are) and the idea that anyone could genuinely enjoy this music. I don't get it either.
While I knew the title track, of course, I didn't realize quite how old this record was. It makes more sense in the context of the early '60s. The organ and guitar combo is fantastic, and the aforementioned title track is the best to ever do it. But I don't reckon that combo would sustain an album any longer than this one is. Instrumentals are a hard sell for me to begin with. The album as a whole is a smooth listen, but more of a passive listen. Learning that Booker T. Jones was only 17 at the time of release though...that's cool enough to bump it from a 3 to a 4.
I know that this album is highly regarded within Dylan's discography, but it's never done much for me. The songs are so weary and unenergetic. "Make You Feel My Love" feels like a standard at this point, so I will certainly give that track a pass. But the stale feeling persists through every song. I recently listened to Leonard Cohen's "You Want It Darker", an album that did darkness without ever crossing over into boring. This album does not manage to walk that tightrope, in my opinion. Lyrically, it's phenomenal. But do I care enough to stick around and hear those lyrics?
If this project has taught me anything, it's that I don't care much for electronic music. There is only so much looping I can take before I go mad. That said, this is one of the more fun albums of that genre that we've had. The beats are fun, and slightly more fleshed out than just noise. But yeah, this is intended to be rave music. It doesn't serve much of a purpose outside of that environment.
This era of the Cure sort of bores me. Very few songs have hooks, and rely more on droning synths, creating a dreary sense of dread. It's repetitive and dark and sad. This is the type of music that should be up my alley, but is more "cool" than enjoyable.
King Louie! Yes, I mostly know Louis Prima from his Jungle Book role, as well as his classic song "Pennies From Heaven" (macaroni!), and in both of those appearances he is a rip-roaring good time! Surprise, he is here too! The energy felt in these tracks has me excessively using exclamation marks! While swing and jazz aren't my genres of choice, this was an extremely easy, warm listen.
I've always loved "Faith", the song, but two listens deep, I can't say I care for Faith, the album. The production is dated, and the themes range from sleazy to disturbing (what are these teachers and father figures up to?) The music often reminded me of what 90's boy bands would have produced had they hit the scene a decade earlier. It's just not for me. Still though, 3 stars for the title track alone!
KISS is weird. I know the guys behind it are capitalist assholes (the "asshole" part refers mainly to Gene), and their gimmick is just marketing. But why market yourselves as "knights in Satan's service" if you're gonna release cheery little pop-rock tunes? Nothing about this music says "scary", and it is in fact rather pleasant -- sanitized, even. "Detroit Rock City" is an incredible track, about that I cannot lie. "Beth", a lovely ballad. Beyond those, everything on this album ranges from "meh" to "pretty good". There truly are some decent riffs here and there. A reluctant 4 stars, because this is short and listenable.
On one hand, this is an overstuffed album at 15 tracks in 70 minutes, and could have been perfect with a few songs trimmed off. That said...would I actually want anything gone? With every member of the band taking songwriting credits on at least one track, it's one of those patchwork albums (like the White Album or the recent Physical Graffiti) that needs to be taken as a whole, imperfections and all. The sheer power exhibited here is wild. Between Cornell's voice, Cameron's booming drums, Thayil's snarling guitar and Shepherd's sweet bass holding things down, this is 90's rock at it's peak. The songwriting is also top-notch -- the five singles from this album are perfection. This is definitely Soundgarden's masterpiece, but I think it also stands as a masterpiece of not only its time and place, but of rock history as a whole. Going in, I didn't know if I'd give this 4 or 5 stars. But hey, 4.5 stars rounded up.
I read another review that referred to KoL as southern-fried Strokes, and I love it enough that I'm adding it here for posterity. I definitely see it in their shared penchant for a great hook. The southern influences and the garage rock sound pair up beautifully. This album is full of great hooks, all spastic and erratic. They later cleaned up their sound a bit, but the dirty, energetic sound of this debut is what I associate with Kings of Leon. And I still dig it.
Wow, my third Tim Buckley album. None of them have really blown me away, and I know he certainly wasn't big during his lifetime, so it's surprising to see so many entries with his name on them. This one was probably my favorite of the three, though. The guy himself seemed shitty, and the lyrics here seem to back that up. But the music itself is pretty groovy. Some real funky basslines, to be sure. The whole thing is almost a little much, and certainly would have been if it went on any longer than its 40 minutes. But as it stands, it was a decent listen that I bopped along to as I worked. As with the last Tim album I received, this is closer to a 3.5, but again, I will oh-so-generously bump it up because I'm having a good day.
Amy Winehouse's second album, Back to Black, cemented her as a powerhouse. This album is more like her training wheels. It's perfectly fine for what it is, but goes on far too long and has some dated lyrics. There are certainly glimmers of the star here, but for the most part, this is a kid finding her footing.
If Dark Side was their Sgt Pepper's, then this must be their Abbey Road. With the masterful song suite that is "Shine On You Crazy Diamond", the band pays ode to a former member of the Floyd in glorious style. The songs between SOYCD also rule. "Have a Cigar" was, for a while there, my favorite track of theirs. This whole record is a masterpiece, and it was one of the first albums I added to my vinyl collection. It simply belongs among the 5 star albums.
There's a certain brand of British pop/rock, produced around the late 90's to early 00's, that has just never worked for me. Music that sounds like the musicians throwing every quirky little idea they have at a wall to see what sticks, a wall of sound that only manages to give you a headache (without any real earworms). Music that sounds like it was written by guys who idolize the Beatles, but write like the Monkees. Anyways, yes, this is that brand. That's not to say that it is entirely devoid of interesting ideas. There is a lot here that I like in theory. It was just too much. Too much melding of sounds and styles, too much of an effort to sound weird or unique, and not much of it worked for me. I could absolutely see this growing on me, but it would require several more listens, and I simply don't have the energy.
Everything I said about the Cocteau Twins in my last album review still stands. Because I won't lie, I can't really distinguish between some of their music. It never feels like a collection of distinctive songs, but rather some ephemeral frequency that my head managed to tune into for a while. I'm not able to sign anything I heard, but it was unearthly and magical. Always great to start the work day with some Cocteau.
A holy grail for sensitive little indie boys like me. Full of heart, without drifting into the saccharine. I've seen it accused of being boring, and there are certainly a few tracks that drift in that direction. But there is too much nostalgia here, both for the album itself, but also for the days when I listened to it most. "Playing Kiss covers, beautiful and stoned"...yeah, I miss those days too. This is a 4.5 for me, but I'll round down, as there are a few songs here that just haven't clicked for me.
This was great! It's not an album of theirs that I go back to often, but it's got some fantastic singles like "Under My Thumb" and (one of my fave Stones songs, period) "Mother's Little Helper". And a few other tracks that I may not have paid much attention to in the past really stood out, like "Lady Jane" and "Out of Time". While their earlier, bluesier years aren't generally my preferred era of the Stones, and several tracks that I didn't mention above sort of came and went for me, but I overall really liked this listen.
This was a fairly painful listen, and based on the other opinions on this site, it seems I'm not alone in thinking so. I wish I understood what I'm missing, as professional ratings have raved over this collection of long, dull tracks that lead nowhere. And the vocals...yikes! I like modern post-punk, so I hoped I'd enjoy this, but there is minimal musicality here. "Uncomfortably hypnotic" is the best I can offer.
Their harmonies are unparalleled, and the hits here (such as "California Dreamin'" and "Monday, Monday") are flawless snapshots of the '60s. That said, there are some filler tracks in there, between covers and otherwise less than notable numbers. Overall, though, it's a cozy listen. Too bad the monster that is John Phillips is involved.
I understand why some wouldn't enjoy this album. It's certainly of its time. But that's exactly why I do love it -- it's a charming snapshot of the late 50's music scene. The musicians on this release are proficient, but it's the stories that shine. Each track tells a tale interesting enough to catch your attention. I might not always want to put this on, but I certainly wouldn't turn it off.
I get why Dinosaur Jr. gets the hate they get. They're loud and abrasive...but that's the point. They're a noise rock band, and they deliver on what they promise. And to be honest, among the noise scene, they're some of the most tolerable I've heard, with their music resembling the alternative scene of it's time, just with the knobs turned a little too far to the right. It's more musical than it has to be, a nice mix of raw but fun. There were one or two points where the noise came close to overwhelming me, but it never quite got to that point. I enjoyed it.
For the most part, I enjoyed this listen! It's certainly the best of the Morrissey solo projects I've taken in thus far, but still pales in comparison with the Smiths (or so I'd think, but I've rated them quite low as well in the past, oops). Some of the production was crap in places, but that's just the album showing age. Still though, the songs are often fun and humorous, or dark and brooding, as required. It does the trick, but Moz is still a dick.
I listened to this one twice, which I nearly never do. But I didn't feel I was offering it the proper amount of attention on first go-around, and am beyond thankful for the second chance at experiencing this album, because on second listen, I was floored. This was 1959?! The melodies they conjure up feel timeless and ahead of their time all at once. I'm unsure how jazz purists feel about this album. Do they find it sanitized, or perhaps overrated? It is so listenable, so accessible, which at its further extremes are not adjectives I often use in this genre. But this is smooth as silk, while still propelling forward with every note. What a composition. I will certainly be returning to this one for years to come, and can only grant it the highest number of stars.
Damn, this sounds so full for a hard rock album of its time. Heavy when it needs to be, beautiful when a little respite is needed. I only knew "Child in Time" going in (a track that is absolutely epic) and the rest of the album lives up to that track's reputation. The musicianship here is fantastic. While I don't feel confident enough to bestow 5 stars on this album, I'll say it did make me much more curious to explore the rest of Deep Purple's output.
Albums like these are the most unfairly affected by the method in which I consume them: at work. I can't always focus on lyrics, which I think is likely where this album would shine. Musically, sure, it was soulful, even groovy at times, but it's often pretty barebones too. Ms. Badu has a lovely, smooth voice, but I'd have appreciated more active instrumentation. The songs (and the album itself) also go on just a little too long without much diversity to break things up. I acknowledge the album as an R&B classic, but it didn't do all that much for me.
This is the third or fourth album of *this* type of electronic music that I've received thus far. And I'm running out of creative ways to emphasize how much I hate it. The whole genre. It's repetitive muzak, cold and unfeeling, only of use to soundtrack chase scenes. And the albums are always over an hour long (if you're lucky -- sometimes they stretch it out for *multiple* hours). If you're going to present us with ten seconds of music looped to infinity, can't you cut it off after like three minutes rather than ten? Full disclosure: I almost always listen to the full album, regardless of how much I dislike it, but I skipped this one after 10 mins once it had confirmed my biases. This is only for raves. Or to work to, if you're looking for something extremely repetitive that you can zone out to and ignore.
I've heard this album a few times in the past, and can't say it was an immediate favorite, but I've grown to like it quite a bit. It is quite synthy and chill, and feels like taking a walk late at night. 90's electronic often wears on me, but this is the rare kind that somehow makes the coldness of the genre feel warm.
While this was my first experience with Ali Farka Touré, I've had some exposure to his music, through a cover album called "Ali", by his son Vieux Farka Touré. I've quite enjoyed that collection, and am happy for the chance to hear the man himself. This was a lovely record. Although I don't speak the language, the music here is universal, and it sounds great. A true vibe. I have minimal experience with African music, but I saw the artist Bombino a few years back, and this recalls that concert. The guitar playing, though foreign, is smooth, intricate and intriguing, and I can't help but tap my foot to it. A chill delight, that I hope to revisit soon.
This is the definition of "easy listening", but I don't mean that as a slight in the least. This collection of tunes brings the sound of Brazil to our ears via a couple of white Americans. The sounds are cozy, sexy, and overall smoooooth. This was a peaceful listen, and I'm having a hard time justifying 4 stars when I just gave Dave Brubeck's Time Out a full 5 stars only a few days ago. They're both delightful, so average these scores out to a couple of 4.5s.
Genesis is one of the few classic bands I never got into too deeply. I'm probably more familiar with Gabriel and Collins' respective solo careers than with the band's. In fact, I didn't know that their tenures with the band overlapped at all. This, the last album to feature Gabriel, is an ambitious undertaking for sure. Listening to a double album for the first time, however, is also an ambitious undertaking -- you can't really take it all in in one listen. So my apologies to those who've loved this album for years, who know every note. But there are definitely areas I could've trimmed here. That said, it was a pleasant listen. It sounded great for an album from the early '70s. Gabriel's voice sounds awesome. It's super creative and well-crafted. This is definitely one I could see myself getting deeper into with time, but on first listen it was just a really good, overstuffed album.
I'm going through something of a Beynaissance right now. I was sure she wasn't for me, for decades. But post-Lemonade -- and especially now, after the release of Cowboy Carter -- I'm really paying attention. She's certainly a versatile performer, even when I don't love the styles she's presenting. Such as on this album. This very much sounds like a 2010's pop album, and beyond the first few opening tracks, much of the rest didn't stand out very strongly to me. Beyoncé sounds great, especially when the soulful elements of a track are being accentuated. The electronic elements don't quite form a successful hybrid though, and instead will cause this album to age quicker. I recall how big of a deal this album was on release, but I think she's since outdone herself, and retrospectively, this album is just pretty decent. This could've been a 4 on a better day.
Honestly, when this started, it was a 2 at best. But through the listen, it grew on me. Thematically, there is a lot of interesting material here. Musically, it fluctuates. The diversity helped it from growing stale, though. Still, it sounded a little bit 90's, and not in a nostalgic way. Something about it feels outdated. I think it would grow on me with repeated listens, but, meh.
So yeah, turns out I'm into desert blues. After some exposure to somewhat similar artists like Bombino or Ali Farka Touré and his son Vieux, how pleasant that this new group of Tourés has entered my life. The first song had much more verve than I expected, sounding more like rock than many world music artists I've been exposed to. This group's guitarist can sure play. While I can't understand the words they sing, they send a message through their playing. And the message is that these guys are badasses. Fantastic music, groovy and brimming with emotion.
I'm more aware of XTC's reputation than their music. I know that Andy Partridge, the group's de facto leader, can craft quite the quirky tune. And indeed, this collection demonstrates an interest in the unconventional. The 40-piece orchestra (recorded at Abbey Road, which also allegedly ate up most of the album's budget) adds significant texture to the arrangements. Although they avoid obvious chord progressions, there is still a catchiness to many of these songs. "Greenman", a neat little number that brings to mind Indian influences, probably earns my favorite of the album. Apple Venus is probably not their masterpiece (the only other album of theirs that I've heard, Skylarking, was a touch better to my ears), but it was a good listen from a creative band nearing the end of the road.
I've always liked Donovan. "Mellow Yellow" is a track I remember my dad and I singing together when I was a little kid. This album has that same groovy feel. It definitely brings to mind images of flower power. The psychedelic nostalgia is lovely, and while a few of these songs sort of came and went with minimal fanfare, the overall sentiment it left behind is a positive one indeed.
This album sinks deeper into me with every listen. On this spin though, what really resonated with me was how much this sounded like a modern indie rock album. While I associate it more with post-punk, it has an energy and a brightness that many of their peers did not. I guess the actual closest comparison I can make is to the Talking Heads, their fellow CBGB mainstays. Yet this came even before the Heads. It's kind of unbelievable what they accomplished, creating a musical template that artists continue to revere 50 years later. If influence is sign of greatness, this has to earn 5 stars.
My first impression was that Queen Latifah really sounds like an actor here. Maybe it's because I knew her in that capacity first, but something about this release does sound a bit performative. Still, the samples are fun, and you can bop your head to it. De La Soul's appearance early into the album really fits, because her style here is somewhat like a gender-flipped version of their stuff. It sounds aged, but eh, it's fun and captures the vibe of that era of rap. Don't know if I'll go back to it as soon as I go back to DLS, though.
I'm not familiar with this band at all, and when it started, I feared it was another obscure turn-of-the-century UK bar band's collection of middling rock numbers, as we've seen from a few of the author's personal nostalgic picks. But there was some serious inventiveness across this album, spanning as many genres as it did. While I can't say any tracks were catchy enough on first listen to remain stuck in my head the next day (when I'm writing this), it caught my attention enough that I'm curious to listen again. I'm a sucker for psychedelic pop, and an early 90's exploration of it mixed with shoegaze suits me quite well.
Being half-French probably made this an easier listen than it would be for Anglophones, but with all the emotion that Jacques puts into his performance, I'm sure the message gets across one way or the other. He really laid it all out there. Honestly, it almost became too much for me at times -- the theatricality on display is wild, and even at 28 minutes, I can't say I wanted it to go on much longer. But it's a great representation of French chanson, by one of the best to do it. It was a cool listen, and I'm glad I got the chance to check out some of Brel's work.
I've heard this album a few times, since "Personality Crisis" was one of our featured tracks in a History of Rock course I took in university. I didn't quite get the hype then, and I'm not sure I do now. It was influential? I guess 1973 is early, but The Velvet Underground & Nico was 6 years earlier and sounds cooler, edgier and often "punkier" to my ears. The lead vocalist here sounds kind of rough and the songs aren't anything special (outside of "Trash", I've always kind of loved that one). Todd Rundgren did a great job producing this though, it still sounds great 50 years later. In summation, yeah, I don't know. Sounds to me like the Stones meet KISS. I realize this is probably blasphemous to some, but doesn't matter. This is fine, but bland.
On this album, so dense as to be almost intimidating, Kate Bush is a force. Pop music doesn't seem a fitting enough descriptor for what she does -- she creates worlds. She had somehow escaped me prior to the resurgence of "Running Up That Hill", so I owe a debt to Stranger Things for bringing her music into my life. This album is timeless, beautiful, powerful but still full of joy and life. With the exception of a few less notable numbers on the back half, I don't have much bad to say, so I have little choice but to grant it a full five stars.
Part of the reason I commenced this project was to learn. And so I am. This style of music, called qawwali, is new to me, as is Nusrat Fateh Ali Khan, but sounds as though he'd attained legend status in his short 48 years. As I am ignorant to the history of qawwali music and cannot understand the lyrics, I can only base it on my opinion of the music, and...it was good! Interesting, and never felt it went on too long. He's a passionate singer, and the playing was intricate. Not too much I can say about it, but I liked it.
I cannot in good conscience say that I enjoyed this listen. I do appreciate the concept of a film score for a non-existent film (not sure if this is the first instance of such an idea), but this concept has been executed better in the years since. I don't find the music to be all that engaging -- if this were for a real movie, safe to say the score wouldn't be taking home an Oscar. I appreciate the effort, but I won't be listening to this one again any time soon.
This album entered my life as a teenager, through the Rock Band franchise. Though only familiar with the title track, "Lost in the Supermarket" and "Train in Vain", I decided to buy the full album, and through playing it over and over again, I have grown to love every song on the track list. From punk to ska to pop, the variety on display here is fantastic. And the songwriting is heads and tails above what some of their punk contemporaries were putting out; every song here is fueled by an easily hummable melody. This is a legendary album for a reason, and anyone who argued that it doesn't belong on this list is objectively wrong.
What an interesting listen! I expected a rap party album, and at the start, that's what I got. It was fun, cool samples, packed with energy. But then, there was a bizarre, quasi-electronic song. Wow, neat! And then, a lower-key track about dreaming about Stevie Wonder. Okay, cool! The next song, a full-on piano ballad. Alright! I mean, it was all done well -- these are some talented fellas with wide-ranging influences. It just surprised me, is all. A really neat snapshot of the early days of hip-hop, as the genre was still trying to figure out what it was and could be. Lyrically, much more interesting than much of what's being pumped out these days, and musically, it felt like it took some risks -- at least by today's standards. Glad I tracked this one down.
I'm not surprised to learn this is their first album, as they certainly sound fresh. I only know the singles (which fit the "Who" sound that I know), but some of the other tracks sound decidedly generic. That said, it's a damn good stepping stone to what they'd do in the years to come. Keith Moon is in full force from the start, though; closer "The Ox" shocked me awake from my daydreams with its raw power.
I've gone on record a number of times that I don't find Oasis as good as most people think they are. I DEFINITELY don't think Oasis is as good as Oasis thinks they are. But maybe I've just spent too much time with Morning Glory and not enough with Definitely Maybe, because this was a fairly solid listen. Derivative, maybe, but not offensive. I straight up enjoyed songs like "Columbia". Even the singles here, like "Supersonic" and "Live Forever", are among their better hits. Alright fellas, I'll give you your flowers this time around.
The Black Crowes are a band I've never explored, despite enjoying every song I've heard of theirs. The two I knew from this album, "She Talks to Angels" and their iconic cover of "Hard to Handle", are representative of their sound here: bluesy and rocking! If blues rock is what you're looking for, it's here in spades, and they do it well. As the album came to its end, I did start to feel that the songs were beginning to feel a touch samey, but I liked their sound. Yes, maybe it's "bar music", but I like to drink.
Really eh, a Suzanne Vega album but not the one with "Tom's Diner" on it. Huh. Anyways, it's a fairly pleasant singer-songwriter record, but it's also boring. Lyrically strong, but would be just as effective as a book of poetry. It gives me visions of someone playing in a coffee shop, but no one's paying all that much attention.
While I was never hugely into Belle & Sebastian, I did have one of their records, and this was the one. I haven't heard it in well over a decade, so this was quite the trip down Memory Lane. Not quite as twee as I remembered it. It's really quite clever and catchy, and I instantly see why I used to like it. Stu doesn't have the greatest voice, but his lyrics more than make up for it. Cute little indie pop album.
"It feels so unnatural, Peter Gabriel, too." That's a line from a Vampire Weekend song. But know what's really unnatural about Gabriel? That I never rate him high enough. He's pretty fantastic, isn't he? This album does so much in its running time, from big cheesy '80s numbers to truly beautiful, intimate songs. Because a few tracks here have never really stuck with me, and the album itself isn't necessarily a personal all-timer, I'd have a hard time giving it a full 5 stars. But I fully acknowledge it as a classic, and would give it a solid 4.5 stars if I could.
This is the first Arcade Fire album I remember being acutely aware of. As a Canadian indie stan who was 15 when this album dropped, it's hard to properly convey how important it was to me. The relatability of a concept album about growing up in the suburbs meant a lot to a small-town boy with limited experiences. The music, while still accessible in retrospect, pushed my boundaries at the time and activated my imagination. The strong, anthemic melodies throughout, the dynamic emotions...it felt right, like home. How funny that an album about nostalgia now has the power to evoke such emotions 14 years later. I adore this album, and I always will.
I've heard tales of the legendary pairing that is Gram and Emmylou, and was surprised to learn the story of Gram's widow having Emmylou's contributions to the album minimized. But she's all over this album, and their harmonies sound great. But beyond that...I'm sorry to say that I didn't love this one. Some fine country songs here, but the album felt a little long to me -- and at under 40 minutes, that's not a good sign. As someone who lives near the Northern Quebec border, though, it was cool to see the province referenced in a title (even if it wasn't *actually* recorded there).
Damn, I had high hopes for this one when seeing "madchester" and "psychedelia" as the listed genres. But it was certainly not the high-energy burst of sonic energy I expected. If anything, it was sort of boring and aged, particularly the production. Some of the tracks caught my attention at points, and there was certainly potential. But at no point did it ever fully crystalize. Honestly, I think I'd like it more on second go, stripped of my expectations. But alas.
This is a mixed bag for me. It's a collection of standards, performed in Frank's signature style, that defines the term "easy listening". But while it's easy to take in in small doses, I got a little tired of it halfway through the 45 minute runtime. A song like his rendition of "Pennies from Heaven" is downright boring next to Louis Prima's classic version. I don't want to diss such a classic record, but crooners wear on me after a while, as each track features the same instrumentation and follows a similar musical formula, making it hard to differentiate between numbers. Nice to hear the classics here, like "You Make Me Feel So Young" and "I've Got You Under My Skin", but I think a third of this record could have been lopped off, and it wouldn't have suffered for it.
What the hell was this? And I mean that in the best way! I hadn't heard of Weather Report, and to learn that legendary bassist Jaco Pistorius was part of the lineup has me wondering how I hadn't. This was funky as all hell. I don't have a deep knowledge of jazz fusion, but albums like these inspire me to dig deeper into the genre. This album has such a great vibe that I nearly considered giving it 5 stars, but due to elements of it sounding aged (naturally, given that it's nearly 50 years old), I will settle upon a strong 4.
I put this album off for a few days, because I wasn't looking forward to it. I found the last Fatboy Slim album to be extremely repetitive. Surprise, this one is too! But for some reason, it hit the spot today. Bangers like "Rockafeller Skank" and "Praise You" added some nostalgia to the whole affair, and even the tracks I didn't know were a good soundtrack to work to. On a normal day, I'd probably give this a 3, but it gets the "good day bump".
I know how important this album is to hip-hop. But it sounds way too aged now, and covers every cliché of the genre. I didn't realize how heavily Snoop was featured on this album, so that was a nice surprise. The sampling is often great. But it just doesn't stand the test of time in my opinion -- especially lyrically, where it is downright offensive. Got a good laugh at hearing "deez nuts" almost 25 years before I assumed it was popularized.
A lovely, breezy record of Brazilian music, as interpreted by an American. A very chill listen, no doubt, but also pretty straightforward in its approach. Only interesting or memorable within the realm of easy listening, but sometimes that's all you need.
I've always had mixed feelings about the War on Drugs. I've always dug their vibe, but it's somewhat one-dimensional. Each album seems to present a prominent leitmotif that is repeated ad infinitum across songs that run just a little too long. But the soundscapes presented remain lovely; I always say their stuff feels like curling up in a ray of sun. It's perfect for background listening, but is a little less engaging when focused. It feels a little like a dream, really, making for a fitting album title. I may have given this album 3 stars, were it my first listen, but this album has been with me since it released in my early years of university, and whether it has grown on me or whether I'm nostalgic, I couldn't give this less than 4 stars.
A lovely listen, if you can ignore the racial slurs (they're used in a tongue-in-cheek manner, so I'll let him slide). As per usual, I've got a bit of a hard time taking his voice seriously, but his lyrics tell wonderful, satirical stories. A lot of this album was low-key musically, which is I think the mode I like him in most. This album has a lot to say, but still flew by. I liked it.
Man...my hate-on for electronic music continues. Trip-hop just isn't my thing. I wish I could love Massive Attack. I know they're hugely influential and legends at what they do, but this album bored me. It was a chill listen, I guess, it just felt long even at only 45 minutes. The final track was my favourite of the bunch. But the whole thing just felt sort of underwhelming and monotonous.
I like some avant-garde music, but this ventures just a little too far into noise for my liking. There are bits and pieces that intrigued me -- it's sorta twisted and weird, spooky at times and goofy at others, which I certainly have some respect for. I'd even say it grew on me a little as the track listing went on, but I just couldn't see myself putting this on regularly. I'll bump it up from 2 to 3 stars though, for uniqueness alone.
While I've seen Van Morrison live, an experience that I never fail to mention was one of the great disappointments of my concert-going career (he was a total prick), that was over 40 years after this recording, and he's in great voice here. The band is tight, and the energy is right. My only complaint is that, at over 90 minutes, it goes on a little long. That said, it's a pretty great live double album. Perhaps not quite essential enough to warrant its place on a future revision of the 1001 Albums list, but I'm still glad to have heard it.
This worked for me. I'm a sucker for organ-heavy classic rock on the best of days, and the folk and psych influences weaved in here made for a tasty concoction. Add in a short runtime, and I'm a happy guy. I've listened to it twice in past weeks, and while I don't remember many specifics, from what I recall it was a chill listen that I could probably put on and enjoy at any time. And how interesting to hear Steve Winwood not being backed by cheesy '80s synths!
The first Beatles album made up entirely of original tracks is also their first album that is truly "great" devoid of what might be considered filler. Lennon is the star of this one, singing lead all over the album, and delivering some of the band's best tracks, such as the title track and the lovely "If I Fell". Paul brings some bangers of his own though, like "Can't Buy Me Love", "And I Love Her", and "Things We Said Today". The film that this album serves as soundtrack to is phenomenal as well. While I wish I could grant this a perfect 5-stars (it would be a 4.5 if I could), it doesn't quite live up to the heights of the band's other 5-star efforts. So, a conservative 4 stars, but I can't help but feel I'm being unfair to such a wonderful collection.
I don't know all that much about Steve Winwood, beyond his three or four major singles. So I wasn't quite sure what to expect from this listen, but I thought it might have some cheesy 80's synths. And guess what, they're here! Still, the reviews on this site sort of surprised me. A 2.88 average?! Does no one here appreciate the sleek, neon goodness of '80s bangers? Because aged as they may be, the songwriting here is on point, with Winwood and his co-writer Will Jennings delivering banger after banger indeed. The smooth and breezy collection made me feel like I was sipping mai tais on a beach and not stuck at work. That's enough to warrant a solid 4 stars.
Chill enough, I guess, but essential? Not to my ears. It sounds like if some dude showed up at your campfire with a guitar and asked if you'd ever heard a white man rap. The lyrics sound like the deep thoughts a surfer would jot down between bong tokes. If I'd found this album at age 19, I'd probably love it. All in all, the sloppy flow gets a little samey, and also just goes on far too long -- removing 20 mins from this album would go a long way.
Heavy metal from this era is the only type of metal I can get into. It sounds like beefed-up classic rock, a little more aggressive but still very melodic and listenable. This is a fantastic debut, bursting out the gates with energy and speed, and some fantastic catchy hooks. While they were still developing their identity, this is a great indicator of what's to come.
This is a super fun punk album. I tend to prefer "fun" punk to "angry" punk, so this is right up my alley. The amount of energy, melody, and heart on display here makes for a wonderful listen.
I went straight from King Gizzard's The Silver Cord into this album. Although released 50 years apart, one really provided context for the other, and gave me a greater appreciation for the electronic noise that kicked off this album than I may have had otherwise. The remainder of the album certainly gave me indie vibes at times, with the almost lo-fi jamminess seeming far more modern than its true age. There were parts of this that weren't fully my style, other parts that ranged from intriguing to thrilling, and others yet that were downright lovely. I respect the risks taken and completely see how this must have inspired the artists I listen to to this day.
While I've heard of Skunk Anansie, I can't say I had any idea about what their music sounded like, but this started out way heavier than I expected. Tons of energy, aggressive and angry vocals backed by riffs out of the hard rock handbook. Songs later on into the track listing, that ventured a little closer into ballad territory, gave me more standard 90s rock vibes, but with an undeniable edge. Probably a 3.5, but meh, I'll be nice.
A neat little psychedelic curiosity, forgotten but still fun. A little bluesy, a little druggy; it doesn't quite push any boundaries but it's a fun listen nonetheless. It's pretty forgettable though, and I'm not sure it needs to be on this list. The Marvel references were cool. Wish I could give it 3.5 stars.
This album, released near the end of Billie's life, doesn't present her at her best, in my opinion. Her voice can no longer hit the highs it used to, due to a life of rough living. The songs aren't particularly strong either, blending into one another without much to differentiate them. I can't say I enjoyed this listen all that much, but because it's Billie Holiday, I can't quite give her two stars. Let's settle on 3?
A legendary album, and it deserves that title. The way it melds Afrobeat and funk influences with art rock and post-punk music is masterful. Byrne is a visionary, and his lyrics are simultaneously thought-provoking and occasionally funny. The rest of the Heads are great in their own right; Jerry Harrison might be my favorite. I'll be honest in saying that it took many years for the back half of this album to grow on me, but grow it certainly has. I can probably mine more from those songs these days, due to not having played them out the way the hits have been. But even though this album might have a stronger A-side, I cannot fathom granting it less than a full 5 stars.
I've always had a big of a tough time with Beck. Theoretically, he falls right in my wheelhouse, but his music often leaves me cold. It doesn't help that this album kicks off with "E-Pro", a song whose repetitiveness annoyed the hell out of me when featured in the video game Rock Band 2. That said, there's a lot of fun material here too. And I can't deny that he's an interesting writer, bouncing between styles while remaining cohesive. This is probably a 3.5 starrer in my eyes, but screw it, I'm rounding down.
Fun fact: for probably close to a decade, I've thought Sepultura was Canadian for some reason. Turns out they're Brazilian. Huh. Anyways, this was quite the aggressive listen! Tons of energy, no doubt, and some of the earlier tracks had some fantastic riffs. Some of the more tribal sounds on display were kind of neat too. That said, 72 minutes is a long-ass record when it's this heavy. And what was that last track? 13 minutes of instrumentation that sparse isn't for me. I didn't hate this listen, but I just don't see myself ever listening to it again. If it was half as long, it would have easily earned 3 stars.
My intense hate-on for electronic music continues! I just don't get it. It's so repetitive and boring. Potentially great for soundtracking a DVD menu or a call center queue, but not for active listening. Bits like the James Bond sample were fun for a while, but went on too long. The dialogue samples were sort of neat. But all in all, these cycled and recycled beats aren't for me, and other than the list's obvious UK bias, I have no idea why the author included this.
I've heard this album before, but it wasn't until this listen that I noticed the overt country influence on many of its songs. It works for them, country and the blues are siblings. Anyways, I don't think this is one of the Stones' greatest efforts, even though I find it extremely listenable. Only the two hits stand out, despite having heard this a half dozen times over the years, but the rest is pleasant in spite of its forgettability. It's probably a 3.5 for me though, and I'm willing to round up.
Phenomenal musicians, and a killer live recording. The band are in conversation with one another throughout, extremely in tune with the songs they're playing and their bandmates. If I were a bigger Deep Purple fan, I might enjoy hearing them jam on these songs for 10 minutes a piece. But as is, 7 songs in 76 minutes is recommended to hardcore Deep Purple fans only. There's only so much improv one can take. I'd probably give this 3.5 if I could, but because I'm only just starting the 20-MINUTE final track and I've already grown tired, I'm going to round down.
Whoa, I'm into this! The Fall is a name I've heard many a time, but I've never dove into their stuff. Considering this is their 15th album, I have a hard time believing its among their best, and I still found it to be a refreshing listen. It sounded ahead of its time, instrumentally interesting and lyrically muscular. And though the vocals appear to be polarizing, I did not find them distracting or strange in the least. I wasn't paying full attention, however -- I might like it less next time around.
A great little funky listen, but it's hard for an album not to be great OR funky when Nile Rodgers and Bernard Edwards are behind it. Lyrically, pretty inconsequential, but that's not what this is going for. This is dance music to shake your ass to, and it succeeds very well in that regard.
I've heard this album only once before, a few years back, and I recall immensely disliking it at that time. So imagine my surprise that it's really not that bad, and in fact is even sort of...cool! Certainly a divisive listen, but undoubtedly ahead of its time. I really enjoyed the way the songs felt as though they were building, without really going anywhere. Parts of the album -- namely "Frankie Teardrop" -- are pretty disturbing, but the amount of tension they conjure up more than justify their inclusion. Overall, don't think this will become a regular listen for me, but you can't say it's not atmospheric!
I understand why some wouldn't like this album. It's a little schmaltzy, and several of these songs have been played to death over the past 50 years. But Karen just has such a lovely, warm voice that it's difficult not to settle into it like your favorite cozy blanket. It seems that many of these tracks are covers, and they're a mixed bag -- some are unnecessary, while others may be the defining versions of those songs. Overall though, a pleasant listen for all but the most cynical and jaded. The Carpenters were sickly sweet, yes, but also tremendously talented.
Motörhead have always been interesting to me. Lemmy is painted as the biggest badass in rock history, a tough motherfucker who'd bite your head off if you so much as look at him the wrong way. But their music, by today's standard, isn't as heavy as I ever expect it to be. It has as much in common with any classic rock album as it does with any metal album, with riffs and hooks a plenty. It's downright listenable, and I sure did enjoy this listen. They've got lots of energy, no doubt about it, and they play fast and hard. But you could put this on while having a few beers on the deck on a sunny day. And that's exactly where my metal tastes lie.
Dire Straits are so chill, man. A couple huge hits here, but a lot of the deep cuts were just as good. The vibes are immaculate, soft synthy rock that makes you sit back in your chair. Mark Knopfler is a fantastic guitarist, in no small part due to the fact that he doesn't overplay or show off -- he gives the song exactly what it needs. This is probably a 4.5 star album in my eyes, but I'll round down -- because some of these songs have been just a little overplayed. At no fault of the band's, though!