I remember distinctly hearing about the Arctic Monkey's debut through a Neil Young mailing list when it first came out and being immediately in love with it. I think I was just surfacing from being less focused on music and more on raising little ones at the time, and it was just what I needed with its urgency and brashness. Plus being from Southern California it gave a real insight into experiences that were completely unfamiliar to me. On the earlier albums especially the Arctic Monkeys displayed a talent for putting you in their moment.
Enjoyed the album and the history, but I do think the history of Miriam and where this album takes her outweighs the album itself. Taken on its own merits it seemed a product of the time (outside of the context of history).
I haven't listened to this all the way through in years. Appreciate the prominence of the bass in the mix and how its treated as a lead instrument. Exodus itself is a great track with the syncopation and horns that I think provide great musical accompaniment to the message of the song. And I'm a sucker for a People Get Ready cover, so those two tracks would be my highlights. In general though, it's a little too slow for my tastes. I'd rather pull out a live album or Songs of Freedom.
Love, Love, Love this album. It's all ambiance and atmosphere for me. Same reason I love Iron & Wine I suppose, delicate and complicated fingerpicking and whispery lyrics you can get lost in.
If you like this, John Martyn's Solid Air is a good listen as well, the title track is dedicated to Nick Drake.
2nd day in a row where I get to say Love, Love, Love this album. It showcases a sense of maturity and hope in the face of despair that very few bands could pull off, let alone try to capture. Wayne may be the frontman, but Steven Drozd is definitely the key on this album with his growth in songwriting and composition. 4.5 out 5 as there are a few weak tracks, and Soft Bulletin is arguably a better album.
Looking forward to my Yoshimi Deluxe box set arriving. They amount of b-sides/collaborations released during this era was amazing. One of my absolute favorites is their collab with Sparklehorse covering Daniel Johnston's "Go".
Unfamiliar with this album. Stream of thoughts:
Dance or Die is a jam.
Singing on Faster is a little timid.
More passion on Cold War, she lets go.
I can see why Tightrope has the most listens. Great beat and breakdown with the horns.
I dig the intro on Oh, Maker. Retro folky-soul. Would love to hear a full stripped down version of it.
Oh, Maker --> Come Alive --> Mushrooms & Roses is a very impressive run of songs showcasing different styles.
Don't like Make the Bus
Gets a little same-y at the end.
Overall enjoyed it. 3/5
Did not kick off like I expected, I dig the first song (Needles in the Camel's Eye)
Uh, the second one (PawPaw Negro Blowtorch) gets weird but I like the instrumental breakdown and pretty much all the parts where he isn't singing.
Baby's On Fire - Wow, this gets dark quick.
Driving Me Backwards - Again, like all the parts where he isn't singing. Like the droning background and guitar effects.
On Some Faraway Beach - The piano chord progression reminds me of Bob Seeger - Still The Same
Black Frank - Not gonna lie, thought this was They Might Be Giants at first.
Dead Finks Don't Talk - Oh no.
Some of Them Are Old - Sounds like we are hitting a Pink Floyd end of album crescendo.
Here Come The Warm Jets - nice close out.
2/5 on my "Will I listen to it again" scale. I can definitely see it's influence though.
Listened to this a few weeks ago as part of my album play through. The main memory I have is that Jamaica Jerk-Off did not age well. Otherwise it's Elton doing what Elton does best
Haven't listened to a full Little Richard album before, but I'm really digging this. So much energy, and the piano playing is off the charts. 5/5.
This is right up my alley. Love the driving guitar and percussion, it exudes joy. 4/5.
In Tidal I hear the sound of someone who is forced into maturity and into seeing the darkness that can exist, and still being able to claim their place and power in that world. 5/5
Doesn't really do anything for me. Good grooves, but too samey. Obviously not meant for a first thing Wednesday morning listen while you sip coffee and catch up on emails so maybe I'm not in the right headspace for it. Maybe I'll put it on the headphones this weekend when I go to Costco and see if it improves. 2/5
Surprisingly unfamilar with this album, besides Alone Again Or. The first few tracks after that didn't catch me, but when it hit Red Telephone I started to pay closer attention. There's some serious immediacy and darkness here, reminds me a bit of a Summer of Love version of On The Beach. Immediately started listening to it again once it finished, and thats the first time I've done that for any album on this list. 5/5.
The hits outweigh the misses. A defining album for VH for sure. 4/5
Dig the pedal steel and stellar musicianship. Definitely evokes a vision of bars of ill repute, the very best kind. 3/5.
Not familiar with this PJ Harvey album in particular, but I did enjoy it. The production / volume changes didn't bother me, and I find the album cathartic and almost demanding of your attention. 4/5.
So much music comes from the experience of youth. This is one of those rare albums / artists that speaks to different points in life that you can appreciate more the older you get. 5/5.
Some great singles and responsible for bringing Captain Lou Albano to the masses. But essential as a whole, doubtful. 2/5.
Enjoyed this very much, especially the percussion. 3/5.
Enjoyed this, the percussion really drives the songs forward and is equal to the guitar. Washer and Nosferatu Man are highlights for me. 4/5
A few tracks that caught my ear, but nothing spectacular. 2/5
I think I have to go w/ 5/5 on this. The strength of the songs, arrangements, and the fact that Stevie plays just about every instrument on the album pushes into the 5 range.
Nice change of pace. 3/5 on the relisten scale, but 10/5 on the double bass kick drum scale.
Interesting to hear the Cure at the beginning of their career, really only previously familiar with the 'hits' off this one. Very atmospheric, and A Forest really pops out from the rest of the album in terms of songwriting maturity. My favorite part might be the heavy bass that hits at the end of At Night, will definitely revisit this on late night walks in the neighborhood. 4/5
I would have rated this 5/5 in any case, but given I just watched the Muscle Shoals doc the other day about the background musicians at Fame, it was already top of mind. And I'm a sucker for any version of People Get Ready, and this one is stellar.
Really wanted to like this based on everyones comments, gave it a few spins this weekend but it just couldn't find an emotional connection to it. 2/5
The bass lines might have been my favorite part, some solid grooves.
As a child of the 70's/80's Alice Cooper was not my jam back then, and that hasn't changed. 1/5.
Some great guitar playing here and surprisingly well constructed songs
I was excited to see this album come up, its been a favorite since it was released. I enjoy the overall production on it, taking the distortion of grunge but putting putting some clear edges on it made for a very distinct sound at the time if that makes sense, and there is enough going on with layers of instruments & vocals to really keep my ears interested. Great hooks throughout - like the bassy-synth line on "As Heaven is Wide".
I never heard the Shirley Manson / Beth Gibbons comparison before - while they both went in a 'cool' direction, I think Shirley's delivery is much more aggressive and she's definitely a captivating front woman. 4/5.
5/5, easy.
Everything great about Neil in one succinct album. Gentle acoustic songs combined with full out rockers. Thrasher is a personal favorite, one of those great long form Neil songs that you can just get lost in lyrically and musically.
"It's better to burn out than to fade away". The older I get the more I disagree with this particular sentiment. Better for who? Certainly not for those that burned out. I don't mean that to come across as crass or insensitive, what I mean is that its better to remain 'forever young' from a marketing perspective but thats about it.
As I've said in other places one of the things I love about Neil is catching up with his later albums when my life hits the marker his was at when he made it and it speaks to you that much more. To remain viable as an artist - or keep the rust from forming since 'Rust Never Sleeps' - takes a lot more work and makes for a much more interesting and satisfying journey.
No thank you. 1/5
Was only familiar with Epic, surprised that its an outlier on the album sound wise. Woodpeckers from Mars I really like as a soundscape, and Zombie Eaters might be the standout track. Is the keyboard player using a Hammond B3 on at least some of the tracks, sounds like it? Bonus points for that. Does get a little same-y, 3/5.
5/5 easy, both for the album itself and the memories it resurfaces from having it in my parents record collection.
This is the only Chemical Brothers album I own, and I really enjoy it. Its interesting to hear it with a critical ear after reading some of the valid criticisms here - especially that it's consistently loud.
The collaborations work the best for me. Setting Sun is their take on Tomorrow Never Knows, but the real highlight is the combo of the last two tracks - Where Do I Begin (w/ Beth Orton) and Private Psychedelic Reel. They are a great pairing, I love the buildup and can easily drift off for the full 15 minutes or so that it takes. Rest of the album would be probably a 3/5 for me, but these tracks bump it up to a 4/5.
I'm digging the weirdness of this pick so much. What the hell makes something like this get conceived and played consistently on a tour. I mean, beyond drugs.
In high school I went through a ELP deep dive, but I don't think I spent much time with this particular album, more with Trilogy and Brain Salad Surgery.
the Baba Yaga parts are pretty fantastic and out there, but also surprisingly well orchestrated/coordinated with the synth/drumming. And I love me some Hammond B3.
I haven't listened to LL Cool J since college, when my friend Josh - yes, he called himself LL Cool Josh - was obsessed with him and played him incessantly. Really wish I'd stayed in touch with him to get his take on this album today.
My only notes are that Mama Said Knock You Out is a great single, and the MTV unplugged version of it is iconic. Jingling Baby has a great bass line and groove. Everything else is ok but not memorable imo. And why is 6 Minutes of Pleasure only 4:35? 2/5.
First thought on opening up the page. Alright! Led Zeppelin! Wait, it's another sepia album cover. Not one I've listened to though.
Good Times - There's a reason this has 146 million plays and the rest of the album doesn't. The bass line & guitar. 8 minutes is too long, but I can see how you'd want to keep that groove going on the dance floor.
Rest of the album is forgettable as others have mentioned. Some nice bass lines and guitar playing, but nothing I'd revisit.
Lyrically stunning, and love the delicate instrumentation that feeds on the cadence of the lyrics. Didn't know until reading the wiki on it today that David Lindley was one of the musicians on the album.
Behind CSNY, lots of Simon & Garfunkel got played in young ImTheOceans house and the 70's socal hippie church we attended. That being said, I find most of their albums have great singles and some overpretentious filler. While the same can be said here, even the weaker tracks have great moments.
The horn section on Keep The Customer Satisfied, Garfunkels vocals on the title track, The Boxer all make this 5/5.
Enjoyable listen, and some classic tracks and guitar work.
I do love Steely Dan. I grew up in LA in the 70's & 80's so it seems like most of the songs raise some sort of memory or another. That being said, I do find that most of their albums have some great songs, but filler - except maybe for Aja. Can't Buy A Thrill is no exception, I'll give it a 3/5.
With (most) of the rest of you. 5/5. I remember when it came out and it sounding like nothing else out there. Still holds up.
I don't listen to this one as often as other Waits albums, parts of it are a challenging listen for sure and it requires your full attention. That being said, the percussive nature of the more challenging tracks pull me in, Goin' Out West is a monster groove. And songs like Who Are You and Jesus Gonna Be Here keep me coming back. 5/5
Too smooth 2/5
I'll give it a 3/5. Not sure how often I'd revisit this, but I could see pairing some of these tunes with guys like Townes Van Zandt in a playlist and having a laid back afternoon.
First spin didn't do a whole lot for me. Enjoying it more the second time around - particularly the heavier tracks - Thrill of It All, All I Want, and Casanova. The middle songs - If It Takes All Night, Bitter Sweet, and Triptych - while being good examples of different musical styles really end up distracting me. 3/5
Not heard this before and conflicted based on the subject matter. Musically 5/5. Concept 1/5. I'll give it a 3/5.
Agree with the takes - too much to listen to at once, but brilliant regardless of where you jump in.
Seems derivative and repetitive. I doubt I'd pull this up again. Preemptive 1/5
I find it funny that I rated the Eno album so low early on, but really dig the Eno / Bowie Trilogy. 4/5 for Heroes, Joe The Lion, Blackout, V2 Schneider.
Such a german album from my perspective, and I mean that in the best possible way. I don't know how else to explain it, other than the fact that it reminds me of my college roomate who was from Germany, and used to iron his pillowcases and jeans
Not familiar with this band. Not paying attention to the lyrics at all, but instrumentation is pretty great. Does run a little long, but will definitely give it a relisten as background music while I'm working. 3/5.
Eh, wasn't memorable to me. I know I owned the cassette back in the day, and nothing came back to me besides the title song. 2/5
Enjoyed it, especially Breakdown, American Girl, and Anything that's Rock & Roll. 3/5
Lovely way to start the day. Love the restrained vocals and arrangements, they really complement one another. Just a gorgeous voice. 4/5
What a great album. Awesome bass, and just so much going on with horns, synth, guitar, and vocals sliding in and out and arrangements going from restrained delivery to all out funk. 6/5
Love it. Might be the only Green Day album I've ever bought actually, definitely a maturity to it that I wasn't expecting from them at the time. Playing is tight, and it holds a consistent theme throughout. Not a weak track IMO. 5/5
Sarah's voice and vocal control are lovely on this. And the instrumentation / arrangements on the tracks are excellent.
There's enough hooks and earworms on this that keep my attention. It does get same-y as it moves along. I don't know that I've ever listened to another Moby album. 4/5.
I'll just leave it to Thom to review it with some out of context lyrics:
"Oh, it's the best thing that you've ever had
The best thing that you've ever, ever had"
5/5
I rarely listen to my copy of this all the way through because of the packaging. 4 10" records at 45 means pretty much constantly flipping. Some killer singles, but it does get long. The percussion is amazing, as is the bass playing - just wish some of the more intricate parts were higher in the mix. 3/5
5/5 just for the bass grooves and buildup that hit intermittently. So good.
Wow! This is a gorgeous album. Been meaning to listen to it, glad the issue finally got forced. The first half is 5/5 easily, especially Sexy Boy and Kelly Watch The Stars.
It is what it is. Fun in the moment, but mostly forgettable. 3/5.
While I do have a lot of Peter Gabriel and Post-Peter Genesis in my collection, I haven't spent much time on their time together. That being said, I enjoyed this more than I thought I would, especially The Cinema Show, which is very Genesis regardless of lineup. 3/5
Is this Jeff Tweedy singing on the first song? Sure sounds like him.
The album is strongly rooted in 1996-era smooth grunge. Not doing anything for me. 1/5.
Listen To Me........
Love how prominent and well recorded the drums are on this. Not only a great album musically but also production wise. Document came out when I was in college and and when I had just broken up with my high school girlfriend. The One I Love hit just right at the time for sure, such a bitter song.
5/5
Love this album. Agree that it's a bit long, but I really enjoy the vocal delivery on this, moving between so many emotions and putting you right in the moment. 4/5.
Rock / Pop with the rough edges taken off. Good production and I can see why it had a big audience. Not for me though. 1/5.
I remember listening to it in high school in the late 80's.
Any album that could make my 1975 pinto wagon feel like a sports car gets a 3/5.
Melodic, and I enjoy the percussion. Nothing that is really going to stick with me though.
I really enjoy it when I listen to it, and I can appreciate the musicianship. That being said it's also very forgettable to me and not something I reach for.
I dig the rhythms and syncopation. Don't know enough about the genre to really rate it though
New discovery for me. Familiar with other Joni, but not this one. A little more adventurous and stylistic, which I appreciated. And the way she wraps her voice around all the instrumentation is top notch as always. 4/5
Wow, that was fun! What a great discovery 4.5
Two great songs, so two stars. The rest of it is basic or dated.
For me it's like Aftermath - a few good singles and the rest is a band finding / building their classic sound. You do get a taste of later Pete guitar playing on the fills in Out in the Street.
3/5
Stretches on a bit long, but he's a hell of a bluesy guitar player. 3/5
The fact that they recorded this ~6 years after their debut is mind boggling and big credit to George Martin. Bands don't show that growth in 20-30 years. Come Together used to scare me as a kid and keep me from listening to this. And the ending - Golden Slumbers --> Carry That Weight --> The End!
Carpenters takes me back, definitely one of those artists / albums we had around the house when I was a kid and a staple on SoCal AM radio. Mostly forgettable IMO, with the exception of the hits, and the covers were defintely whitewashed versions of the originals. That being said, Karen had a beautiful voice, and was a badass drummer.
Mentions of the Carpenters always take me back to the line from My Morning Jacket ~ Librarian:
Looking for a lesson in the periodicals
There I spy you listening to the AM radio
Karen of the carpenters, singing in the rain
Another lovely victim of the mirror's evil way
