The title doesn't lie here. I can hear the devotion in Khan's voice, and it's a major reason why the music is as good as it is. This is a deeply passionate collection of songs that shouldn't be overlooked by any fan of world music. Ali Khan's voice is an emotional beckoning.
*groan* Dad rock. This was rough to listen. I thought I would be pleasantly surprised with lead track and UK single "So Far Away," but that was as good as it ever got. "Money for Nothing" is a rough listen because of not one, not two, but three F-slurs in the second verse. I've heard "Walk of Life" many a time in my youth, I could go without it now. The rest is mostly pop rock elevator music. No.
Extremely soft, it's rich with smooth and nice melodies. Most songs take their time but almost all of them reward with substantial dividends. There's an icy, mournful and timeless quality to Orton's voice, particularly when the tracks are more natural sounding. I don't think there was a weak moment, save for my opinion of the ending of "Devil Song" being slightly unfulfilling. Beth fits my tastes, and I blame my ignorance for letting her early efforts pass me by.
An all timer. From the opening chords of "See No Evil," it's clear that Television was forging a new, unique sound that blended elements of post-punk, new wave, and art rock. Side A leads up to the iconic title track, a showcase of guitar excellence. Side B is no slouch, despite perhaps lacking a heavyweight track. “Elevation” opens the second half in a moody fashion with its minor key never letting go of a somber demeanor in addition to that angular, off-tempo guitar recording multiple times in each chorus. "Guiding Light" is surprisingly direct and heartfelt, which hits harder now given Tom Veraline's recent passing. "Prove It" provides some light-hearted fun but is still wound tight as a corkscrew. "Torn Curtain" is an appropriately weighty, minor key closer. Perfection. This album just turned 46 years old two days ago! I even have an enamel pin of the album cover's back. RIP Tom Veraline.
Interesting classic. I found the post-punk/jangle pop hybrid to combine well with Morissey's dry humor. Great album to kick off the 1001 album journey!
In his "classic period," so naturally it is a masterpiece.
"Smack my Bitch Up" is still a definite rager to this day. Despite the varied crossover, the album dulls out a bit near the end. It sounds like a product of its era.
This album's effectiveness is wholly elevated from "Broken Heart" onward; really feels like a transition into emotional weightlessness. Much of it leaves me feeling cold, however.
Undoubtedly, my favorite aspect of the album is the atmosphere it invokes. For a record with scant lyrics in a standard sense, Moon Safari is quite romantic. Cuts like "Remember," "You Make It Easy," "All I Need," and "Le Voyage de Penelope" all have a strangely intimate sound to them. However, this resonance may be what defines this album and it rockets Moon Safari from great to amazing.
I only initially recognized "Wild World" from the tracklist. Enjoyed this one far more than I expected (and quite enjoyed it, at that!). This a beautiful collection of acoustic songs that offers impassioned performances about spiritual discovery. It may not be ambitious for envelope-pushing, but this kind of sincere songwriting is more than enough to leave a lasting impression.
A solid album. It wasn't even a foundational album for settling into the catchier, rougher sound they would be associated with later as it sounds more like a continuation from frontman Josh Homme's band Kyuss. The tune "Walkin on the Sidewalks" is very industrial-era Swans with its repetitive riffage to close the track. They would only improve from here.
It's OK. It's a mood. More of a "time and place" kind of record.
A first time, pleasant listen. Only recognized "Blue Eyes Crying in the Rain" from the initial runthrough. Some of the phrasing in the lyrics ("screamed like a panther in the night," etc.) is amusing. The combination of solid guitar playing and generally enjoyable tracks makes this a worthwhile listen. Willie's voice is palpably poignant and sentimental. With that said, the country legend's music still doesn't motivate me to further engage interest in outlaw/classic era country music willingly.
This one starts very strong with the funky disco "She's Fresh" to ignite the party. Love the Tom Tom Club sample on the follow up "It's Nasty" as well. Unfortunately, the album's rating goes down a full star with the rather kitschy and tacky "Scorpio," hilariously out of place. Both "Dreamin'" and "You Are" are lyrically absurd, mediocre slow burners. The self-titled track holds up well...I guess, though I just wished it would end after "You Are." Reflecting on the whole, even though the runtime is nowhere near a marathon, it is inconsistent and not that impressive. My least favorite listen so far.
My least favorite Badu LP. It's merely just OK for neo-soul, which is too bad since I have Baduizm as one of my top50 all time. The short stretch from "My Life" to "Cleva" elevates it a smidge.
It's a mixed bag. This album isn't sure of what it's trying to be. Is it new wave? African music? Synthpop? Sample-based hip hop? I can't even try to pin it down. I should clarify that there are plenty of albums out there where genres can merge and coexist very well. In the case of Duck Rock, the problem here is that there's no rhyme or reason to the genre choices. It's like emptying the refrigerator and hurling the contents at a wall and hoping some of it sticks. The last song is a particularly dated attempt on novelty country pop; it leaves a rather sour aftertaste.
First time listening. Is it fair to say that this is among the roots of pop punk? Catchy with an edge...just accessible enough to non-punk enthusiasts, but without having to sacrifice its authenticity. Rock solid consistency from start to finish, especially the closer. No question that my favorite track here is "Moving Away From the Pulsebeat".
My first time listening. I don't typically enjoy live albums much, even from artists that are in my top50. This was enjoyable. I noticed here that the performances are noticeably more up-tempo than I remember from his studio recordings. The audio quality of the audience applause/cheers is rough on the ears. I initially found it strange that "San Quentin," a song that he had written the day before this performance, was performed twice in succession. Given the lyrical content/proclamations made within the song and with The Man In Black performing to a crowd of prisoners, it resonates.
First time listening. It's fine. It may just be that Britpop rubs me the wrong way. I don't deny that it's well-performed. Lead vocalist Gaz Coombes sounds like Billy Corgan at times, especially on "Richard III." The track "Late in the Day" stood out most.
An all timer. A consensus top10 jazz record by most, for good reason. Not merely just an accessible jazz record, but one that those with more wild preferences in jazz can also appreciate. Transcendent, generational, divine, all that.
First time listening. I recognized many more tracks than expected...I guess I've heard "King of Pain" and "Synchronicity II" several times in my youth, not knowing that Sting's group was behind those tracks. The last half of the album backloads this record, "Synchronicity II" to "Tea in the Sahara" are all varying levels of enjoyment of good to excellent. Not to say that Side A doesn't have any merit, I enjoyed "Walking in Your Footsteps" and especially "Mother" for its musical discordance and absurdity of going against what I thought Sting's musicianship was capable of. If black midi made it, not a single zoomer would be complaining. Someone should ask or suggest 'em to cover that track, they did cover "Roxanne" after all!
Listened to this one before, but it has been several years. The three songs to ignite and close the album are equally strong, including "Drive" as a stellar, ominous opener. Of course, "Everybody Hurts" is an important one for compilations of unfortunate instances and for meme circles, as well as being a neat ballad outright. I will say that there is a drop in quality in the middle section of this album spanning from "Sweetness Follows" to "Star Kitten" even though the songs are passable. Perhaps you could argue that the aforementioned drop starts as early as "Everybody Hurts" depending on your stance, though I enjoy it myself. The highlights are shining stars. Totally understand of how this could be viewed as R.E.M.'s best.
An all timer. A dense, energetic, and witty record packed with personality. So many ways to approach this record from a listening standpoint; almost all of the songs have a polyrhythmic composition, with the only song that doesn't being the lumbering closer "The Overload," which still has the band enacting their take on Joy Division's cold and bassy structures. "The Great Curve" is almost sensory overload...there's so much going on by the final minute that it is perplexing how the onslaught of rhythms courses through you and yet functions cohesively. And with this being from the mind of David Byrne, you can expect a plethora of innovative, clever, and groovy musical/lyrical passages on the entire record. Perfection.
Illinois is lush with instrumentation and literate lyrics. Without demystifying the breath and depth of topics Sufjan covers, often grandiose anthems about petty statehood historical trivialities, it would be neglectful to not mention "Casimir Pulaski Day". The song offers a heart wrenching tale about a girl with bone cancer, augmented with only Stevens' raw emotion and a banjo. "John Wayne Gacy, Jr." which is a ballad about a serial killer, is performed with somber finger picked guitar. Its muted narrative offers no defense for this murderer's exploits. But suddenly at the end of the song, Stevens muses, "And in my best behavior/I am really just like him," a heart wrenching admission. With that said, there is the unshakable feeling that those song titles, as long as they are, come off as a pretentious artist decision. I can't give it a perfect score singlehandedly because of it. In addition, the 74min runtime is a fair endurance test. Both are minor nitpicks. But it remains amazing. A singer/songwriter achievement.
Not much to say. This album did more than kickstart a whole genre, it provided a voice for a generation. Outside of the particularly mediocre "Territorial Pissings," it holds up superbly.
Extremely soft, it's rich with smooth and nice melodies. Most songs take their time but almost all of them reward with substantial dividends. There's an icy, mournful and timeless quality to Orton's voice, particularly when the tracks are more natural sounding. I don't think there was a weak moment, save for my opinion of the ending of "Devil Song" being slightly unfulfilling. Beth fits my tastes, and I blame my ignorance for letting her early efforts pass me by.
For one (lol) reason only, I need to highlight Achtung Baby for at long last allowing me to realize why U2 don't really elicit any meaningful reaction from me: it's Bono. No, not his obnoxious persona or politics, as I'm one to separate art from artist in a majority of instances, though he does come off as a special and pretentious brand of prick. No. It's his voice that really irritates me. It's so breathy, warbly and imprecise, as if he's intently circling around every note he sings without ever quite hitting it. It's so distracting to me that all the technical skill in the world couldn't really make me interested in most of these songs, and I'm sure it can be found in spades on this LP. I think Brian Eno's involvement is the saving grace here; probably what makes this album sound more ethereal than it should (a good thing).
The title doesn't lie here. I can hear the devotion in Khan's voice, and it's a major reason why the music is as good as it is. This is a deeply passionate collection of songs that shouldn't be overlooked by any fan of world music. Ali Khan's voice is an emotional beckoning.
An all timer. From the opening chords of "See No Evil," it's clear that Television was forging a new, unique sound that blended elements of post-punk, new wave, and art rock. Side A leads up to the iconic title track, a showcase of guitar excellence. Side B is no slouch, despite perhaps lacking a heavyweight track. “Elevation” opens the second half in a moody fashion with its minor key never letting go of a somber demeanor in addition to that angular, off-tempo guitar recording multiple times in each chorus. "Guiding Light" is surprisingly direct and heartfelt, which hits harder now given Tom Veraline's recent passing. "Prove It" provides some light-hearted fun but is still wound tight as a corkscrew. "Torn Curtain" is an appropriately weighty, minor key closer. Perfection. This album just turned 46 years old two days ago! I even have an enamel pin of the album cover's back. RIP Tom Veraline.
A brave album that Brian Wilson completed unexpectedly considering it was unfinished from the 60s. I don't particularly love that the other members on this record are other musicians not from the original Beach Boys, but Brian Wilson still has a strong voice here. Enjoyable overall.
I think classic rock radio stations are required to play any or all of this record's side A twice a day. In defense of Boston, "More Than a Feeling," "Peace of Mind," and "Foreplay/Long Time" are all standards of AOR. Still enjoy these singles when they come on. Side B however is not even close to as memorable, kicking off with the MotorcycleDadCore "Rock & Roll Band" which comes off as generic rock filler. "Smokin'" is handily the best of the cuts on the flip side, with upbeat riffage and some bizarre organ soloing that I found very amusing yet engaging. The band pivots to more of a balladry angle on both "Hitch a Ride" and "Let Me Take You Home Tonight," with the latter comprising something far too reminiscent of The Eagles or maybe even Chicago. "Something About You" is like part II of "Peace of Mind" with the musical composition being almost entirely too copy & paste. Still, I can't fault this album for providing a perfect opening trio of songs for the encyclopedia of classic rock.
A pretty standard mid-00's indie rock album. "Take Me Out" is a great lead single, but since it's the most iconic and appears early in the tracklisting, it sort of sets the bar high. The rest of the album is all more or less the same musically. Poppy, fun bass and guitar lines, oddly sexual lyrics. It's as if it was a sort of post-punk revivalism that took place without the "talk-singing" that appears to be the trend among modern groups. It's an enjoyable, but rather passive listen.
OK, I get that this is not one of Bowie's exemplary works. Despite that, I couldn't help but enjoy a majority of the LP. Soul and funk is a different angle for Bowie, and some of it doesn't quite work out ("Can You Hear Me" and "Right" were fairly average inclusions), with the backup vocals throughout the LP being a question mark. Bowie himself assessed it as “Plastic Soul,” and his assessment is mostly correct. In most senses, this album is a poor interpretation of American soul music. Needless to say, the title track is a fun intro, "Across the Universe" is a quality cover, and "Fame" still goes hard. I would return to this, despite enjoying it probably more than I should given Bowie's labeling of his own work.
An all timer. Maybe the best jazz fusion record ever? It's a daunting 1hr 34min for the uninitiated, and not one I'd recommend when sliding headfirst into jazz, but it is a labyrinth of wonder.
Never heard of this before. It's pretty gushy and over the top. This is akin to Scott Walker's early era of numerical releases (Scott, Scott 2, Scott 3, Scott 4) of baroque pop and chanson, but Walker executes it with far more conviction. It's more than fine and perfectly listenable, but I see this as second fiddle.
First time listening. I recognized a lot of these songs from classic rock radio and usage in film soundtracks. There are a lot of influences here...rhythm and blues ("Before You Accuse Me," and "My Baby Left Me"), soul ("I Heard It Through the Grapevine," "Long As I Can See the Light"), country ("Lookin' Out My Back Door"), rock and roll ("Ooby Dooby," "Travelin' Band"), and also psychedelia ("Ramble Tamble"). The variety is excellent. However, I wasn't too big a fan of how "I Heard it Through the Grapevine" turned into an 11min extended jam session. Despite this small nitpick, this album is incredibly tight and a fantastic first go-around. Those singles still hold up strong.
First time listening. "Le Freak" is the choice cut here, "Savoir Faire" is a smooth instrumental and "Happy Man" isn't too shabby. Classic disco/boogie maybe, but serves better as background music when you get to side B; the ballad "At Last I Am Free" is absolutely dire, and surely one of the most boring songs in the genre. This seems a smidge overrated to be considered bucketlist listening.
First time listening. Uninspiring. Nothing overly terrible, just very monochromatic wallpaper-like. Might be a classic to some but not to this millennial, no sir.
First time listening. I will say that both "Walk On" and "See the Sky About to Rain" are neat tracks. However, for my enjoyment's sake, it was downhill from there. Well...maybe except for "Ambulance Blues." My biggest gripe here is that I wish Neil was more varied and that he would change the blues vibe in at least a few songs. I get that this is a supposed all timer of 70s singer/songwriter musicianship. Ultimately, you're not going to convince me to become a Neil Young fan with this album.
For many people, this was their entry into the music world, so I thought it had to be an interesting listen of some sorts all these years later. But I would have never thought that I would dislike their debut album to the level I do now. Time has done Hybrid Theory no favors. If there's one positive takeaway, I truly respect Chester Bennington's (RIP) effort on vocals giving it his all, even if comes out as forced and rough on the ears. However, I have no respect for Mike Shinoda's amateurish rap verses and the really gnarly metal guitarwork is consistently gross. Rap rock should stay in the past. Like 99% of its brethren, it's bad. But it's not totally unlistenable even if almost all of the songs are indistinguishable from the others.
First time listening. From the get go, no question that this one is a grower. Lyrical content is pretty bleak. Production is a smidge over the top throughout. Didn't hate it, didn't love it.
First time listening. Serviceable hard rock. But, I have a take... KISS is a pre-boy band. Think about it, it's all there. You see it in the individual personalities of the members, the constant merchandising, the obsession with image over music, all of the band provides vocal contributions, it fits perfectly. Except that it's not marketed towards preteen and teenage girls, it's marketed to dudes of my father's generation (and maybe even before that). On this record is particular, no individual member's musicianship overshadows the other. "Detroit Rock City" is fun, but the album doesn't really retain that intensity much at all afterwards. They remain a singles band to me. Maybe some other time.
First time listening. This one is lively and joyous. Afrobeat music mixed with sharp horn sections, making for a lively and colorful journey. The lengthy track times are very necessary to sustain the festive atmosphere. Some sections did come off as easy listening at times, like the intro of "Frustrations." The thing is, would you reach for this over a record of his father's? I will earmark for later. A very enjoyable experience overall.
Haven't visited this in a long while. While it is recognized as an iconic classic rock staple, "Immigrant Song" is a bit irritating, and one of my least favorites here. I must have overlooked "Friends" since last listening...what an incredible track. It may be Led Zeppelin's least representative album, yet it is one of their most eclectic for certain, with much of the album emphasizing their roots: folk music. Being several years older since playing this last, I can appreciate the efforts of what the classic rock group achieved here far more. Perhaps still not my favorite, but it is a high quality entry in their discography.
All time for many, just shy for me. There's a palpable difference in energy here compared to their seminal follow-up Loveless; the post-punk and no-wave influences are clear as day. I flat-out don't enjoy "Sueisfine." The songs don't venture past 4min except once, which matters to me when the layering of guitars evokes a dreamlike atmosphere for one to reside in. But ultimately, these are minor nitpicks. Still near-perfection.
Beautiful songs, beautiful performances. Billie's singing is very intimate and meandering. Her vocal timbre is that of smoke and honey, with an earnestness that encourages the listener to take heart to her stories and how she sings them. Again, an all-timer for some, but not me. A wonderful listen regardless. Happy 65th to this record.
st time listening. What am I missing here? I recognize "Hello It's Me" and that's it. This is an almost 90min slog of humdrum 70s pop rock with one uninteresting song after another. A half-day after listening, I can't say I recall a single melody, lyric, or chorus outside of the aforementioned "Hello It's Me." Perfectly fine and inoffensive background music, kind of like how the artwork functions akin to your grandma's wallpaper. Unless I hear something by Todd Rundgren that really blows me away, I'm skeptical about pursuing his works any further. Not a fan.
Fun album. Catchy songs with elegance, even if Britpop still isn't for me. Modern Life is Rubbish overstays its welcome for a few tracks.
First time listening. Perhaps no instantly recognizable songs, but lush melodies, funky basslines, sweeping guitars and keyboards aplenty. Had an enjoyable time with it overall, but I'm unlikely to seek this out for more plays.
One of my top50 all time. Indie rock landmark, in a genre that I have been growing more and more tired of as the years go on. This one has somehow, through thick and thin, stayed with me all these years later. I've never cared to listen to a different Wilco album.
I'll preface by saying that I am not a fan of live albums. All the versions of their material Nirvana performed here are just as good as their studio counterparts or better. The cover of Lead Belly's "Where Did You Sleep Last Night" is chilling. This is an all time great live recording.
First time listening. Found myself enjoying a handful of the tracklist, but LOATHING much of it. Stronger lyrically than instrumentally. Yes, the wildly frenetic guitars and rhythm section can fluctuate on a dime, but it sounds very unpolished; the intentional lo-fi production is a turnoff. A no for me.
First time listening. A quick listen at just over 29min. This is a good and consistent album. The Byrds combined country, psychedelic, rock, pop, and jazz into a profile all their own. There's a sophistication in their instrumental interplay that I find enjoyable. It sounds fairly simple at first but a closer listen reveals it to be pretty intricate. Doesn't mean I'll revisit often.
First time listening. Very smooth, comforting, soulful late-night music. (Art) Pop music that moves at a pace of ambient without becoming overly repetitive. It has a distinct sound better reserved for the night hours, I'd say at any time other than between midnight and 5 AM.
So, so close to being perfect. It is distinct from their previous two studio records in that this is not quite a trip hop LP, but rather a unique experimental, claustrophobic monster of its own. Beth Gibbons gives a showstopping performance on vocals as usual, but the way this whole album was produced and put together is so ominously but greatly arranged, it's truly beautiful and haunting. Not one of my all timer records, yet it is very deserving on this list. I'd give this 4.5 stars if the site had the option.
*groan* Dad rock. This was rough to listen. I thought I would be pleasantly surprised with lead track and UK single "So Far Away," but that was as good as it ever got. "Money for Nothing" is a rough listen because of not one, not two, but three F-slurs in the second verse. I've heard "Walk of Life" many a time in my youth, I could go without it now. The rest is mostly pop rock elevator music. No.
There are albums out there that I enjoy more than Songs in the Key of Life, at least 50 for me, in fact. There are albums I return to more often through the years. There are artists and other albums that bear greater personal value to me. But through all that, if you were to profess to me that you didn't find Songs in the Key of Life to be a good album at the very least, it would cause me to immediately distrust every opinion you held on anything regarding music ever. And there are maybe only a handful of other albums I can say that about. This is masterclass. Don't mind the the 100min+ runtime; there is not one wasted moment on this breathtaking excursion through this musical celebration. It's in the National Recording Registry for good reason. It remains my favorite record of the soul legend.
Hoo boy, another pile of OK. Not to mention another instance of reflecting on teenager me and inquiring to him "what was wrong with you?" While yes, there are still a couple of songs on this outing that I enjoy (namely "Scar Tissue" and "Otherside"), and recognize that Frusciante, Flea, and Chad Smith are talented musicians, Anthony Kiedis is the anti-X factor. Bluntly put, I cannot stand his herky-jerky brand of talk-singing, especially for over 50 minutes. Californication is absurdly uneven in quality, and it unloads mostly all of the choice numbers into the first half and seems to go on forever, with the passable closer "Road Trippin'" signifying the end. I didn't particularly enjoy listening to this for the first time in full since the early college days. Didn't loathe it either. I'd give it 2.5 stars if possible, but rounding up for the musicianship.
Synthpop and dance-pop bops...sorta. To me, their earlier albums bore the moody, cold magic that I look for in this field of pop music. More of a specific mood listen as it, for better or worse, sounds of the time where Eurobeat/Eurodance began crossing over into the mainstream. A harmless, fun listen overall, but you can do better in the realm of synthpop.
First time listening. Enjoyed this far more than I expected and, at the very least, enjoyed every song. I love the variety overall, and the rocker "Cinnamon Girl" as the opening cut is mighty impressive. However, some of these guitar solos on the longer tracks are overindulgent, though still very good tunes overall. I don't hear as much emotional variation in Neil's singing on Everybody Knows This is Nowhere as I do with the actual melodies he sings...even with his vibrato in "Round & Round" sounding almost guitar-like. Pleased with this one.
First time listening. The singles were fine. Felt like a chore at times; songs like "Sick Things" drag for what seems like an eternity. Is this one of those "you had to be there" albums? It sounds dated and hokey too often. Not a fan.
One of his finest moments. Kicking off with the all time singer/songwriter classics "Tiny Dancer" and "Levon" is wonderful. The title cut is never given enough love (so it seems) and the last two tracks are some of my favorites in his discography. Elton's singing is great throughout the record.
One of my favorites from 2019, and yet I still left it out of my top10. This is a revealing, vulnerable, introspective album that came from a musical mind with little to no ego. A work of profound tenderness and emotional rawness. Would give this 4.5 stars if possible, and rounding down for now. Although I can't give it a 5 yet, I think it very well could be in time.
First time listening. Upon the very first song, I can see why this album has detractors; I am among the detractors. This is prog rock with zero teeth. Floundering hard rock songs with a handful of folky interludes. Although not terribly offensive, I don't think I found a single song to stand out in the bunch. I'm close to filing this under SteelyDanCore. Not a fan.
It's wonderful how this isn't one of my top3 of Madonna's but still a fantastic record. It rockets to a very strong start, with the tender ballad "Promise to Try" sandwiched before the iconic "Cherish." A couple of the slow burners don't go over as well the aforementioned one ("Oh Father," "Pray for Spanish Eyes"), and the second half falters somewhat noticeably as a result. While True Blue was easily more sophisticated than her first two records, this one pushes it further. Madonna's more pronounced interests in religion, feminism, LGBTQIA+ activism and all that mean that she's way more potentially tiring for people who just want to enjoy the music without her views being overbearing. Truthfully, I don't think that prevents Like a Prayer from being a marvelous pop album. Ultimately, it's still among her best studio achievements.
First time listening. This is one of the best modern country/pop crossovers I've heard possibly ever. Kacey has really pretty vocals, particularly gripping on the opener "Slow Burn," sounds like leaves falling in autumn. The ending run of "High Horse" to "Rainbow" is godtier, and amplifies my impression/score considerably. I do think the middle of the record has a few tracks that didn't stick out to me, but may have just been my then feeling after a pair of listens. You're not going to get me to be a country music believer, but this one is a wonderful marriage of two worlds. I've noticed that sticking to women in the genre bears better results overall for me. Would give a 3.5, but rounding up as I feel this album deserves it.
Haven't listened to this in a few years. One of the quintessential blueprints for the pristine punk-rock album. A tight, toned torrent of thrashing cynicism and exuberance. It is joyous, reveling in nasty sneers and perhaps fun in a nihilist manner. Classic for many, but not to me. Still enjoy it.
Post-punk immortality. Cold, callous, cunning, claustrophobic. Perfect.
Another case of ending up in a situation where I’m left evaluating whether an artist's shortcomings as a person invalidate their art. But in this case, I kind of felt indifferent overall. Truth be told, a few of these songs in the beginning of the album are okay but there's such a commitment to keeping any one quality or song from standing out. Sorry, but I don't think I'll be revisiting.
It is very one note and doesn't sustain its 47 minute runtime. It's generic at its best, but often it's just plain annoying for my ears. Were it up to me, it probably gets thrown in the recycle bin.
An all-time great. This isn't just a hip hop staple, it's a historical document.