Definite method man tide rising the ship that is this album, but GZA is great at meshing some crazy samples together to make an exceptional rap album. I am not a huge Wu Tang follower but I absolutely enjoyed some tracks on this record and will revisit it at a later date. I can comprehend the gravity of wu tang and the effect the group had on rap music. Powerful and lyrical.
This is one I’ll have to sit in and give another listen later. I’m not super up on my Brit rap, it’s a different style, different rap scheme. I never cared for some of the other Brit rappers, but I do like this guy. The American rap influences are present with talks of gangs, bitches, drugs and arrogance. Themes I think are week and cliche, but Skepta makes up with a lot of this with nuanced skill and expertly crafted beats. I really liked Numbers. I think others would grow on me.
It’s like the postal service made some trippy acid pop. Excellent electronic composure but the falsetto harmonization can get a little tired. Lord of half hashed ideas that sometimes stick, and sometimes don’t. That’s the beauty of music after all, they’re being creative and sometimes something fresh and wonderful can be created. However, only some of it hits for me. As the album progresses it resembles new age sea shanties where the harmonies float on waves of consistent rhythms mixed with well placed instrumentals. Nothing captured my attention, but I did enjoy a few songs. Overall, a bland record for my taste, mostly due to the vocals not taking any chances.
Without being over-dramatic- I had a really hard time even wanting to pay attention to this. It was so slow and is not something that I personally enjoy or would ever suggest to others. I like slow music, but I like it to have something interesting in it. This is slow for the sake of being slow. Boring as hell. It has not ability for relisten and would not suggest.
Nina sings with a very airy, vibrato effect. Her voice is raspy, and delightful to listen to. Her songs are centered around romance and elicit some feelings of longing and affection. The music is simple and stripped back, with accompanying keys, horns, and soft drums brushing. It starts off with some tempo, but ultimately resolves to softer and less ensembles tracks that feature her unique singing style. The audio specifically is lower fidelity, but not enough to distract from the passion of the music. No songs in particular stood out to me, but if I had to name a few that I enjoyed more than the others: I love your lovin ways, Lilac Wine, Break down and let it all out.
2 track, jam album. This is the kind of stuff you want playing when you walk into a dimly lit bar for cocktails. It doesn’t command your attention, but it does make you happy that you have ears. As the first track suggests, “Shhh / Peaceful” the music is just casual trumpet blows with some spacey keys and jazzy drums, great as far as background music goes. “in a silent way” is a little more swingin than the previous track, and has a little electric guitar riff or 2, but is very much the same laid back jazziness. Overall, just a fun, simple little Jam session.
Oddly enough, I had never listened to this complete album. This is wild to imagine given that the 90s rock era is what I grew up on, and I’ve heard half of these songs more time than I care to guess on the radio. The latter perhaps being the primary reason I have not gone from start to finish. That being said, I would give this album 5 stars just because of the nostalgia bump. Thinking of the album critically and neglecting the subjective tidal wave is nearly impossible, so I’ll just give my opinion at face value. Starting with the hits: Longview, Basket Case, and When I come around have always been songs to turn up when the local radio station spins. Welcome to Paradise is less of a favorite, but still great, throw She into that category as well. The rest of the album definitely doesn’t stray from this tried and true pop-punk formula so as a generalization, the power chords and infectious choruses are what make Green Day shine. I won’t say this is a complete album that must be listened to from start to finish, but the presence of the flagship songs is enough for me to recommend this album to anyone. Sassafras Roots, and in the End are honorable mentions.
It’s wild, fun, electric, and just plain interesting music. Some songs are better than others, but this album deserves a listen in its entirety.
Very fun and electric UK punk. Many great songs and a common tempo throughout. Will listen more often!
Ahh. The original teen-angst music. As someone who went through the phase hard in the 00’s, I can hear many stylings that have probably been used countless times, by any number of soul-searching emo and pop-punk bands. I can definitely hear the influence in Blink 182s music from how Tom and Robert both sing. As to how this music speaks to me personally, I can’t deny it’s a solid album. However, it tends to drone on for more than I would care to re-spin this album. I can appreciate the lyrics dripping with sadness and melancholy and the simple guitar, keys, and drum beats that convey the emotion of the tracks. Although, this music doesn’t necessarily resonate with me as much as I would believe it would. I enjoy many Cure songs, but this album is ultimately not the poppy Cure that I’m used to. Perhaps it could grow on me.
Anyone can smell a pig from a mile away… They fucking stink! Just like the majority of this album. I remember this was a big deal when it was released and was the white trash anthem, I appreciate that it is true to its roots. The music is creative as far as country and rap go, because it is unlike the other 2 and has interesting heavy guitar rifts and other instrument parts. It is not a bland album, either. The problem I have is the tired rap lyrics that constantly talks about having sex and doing drugs, only it’s not particularly good rapping. Overall, the album is a genre definer, but it is not good music. The auto tune on Only God Knows Why is especially bad. Cowboy itself is a fun song and I do remember liking it when I was a kid. So for the minor nostalgia hit, genre influence, and of course his part in Joe Dirt being his shining moment I suppose a 2 is the least I can do. Also, fuck Kid Rocks ideology. Despicable person…. After finishing the whole album, and with the shitty last song. 1
I can understand that this would be ground breaking at the time. With the way pedals and heavy distortion guitars shreeking and groaning. The vocals are mostly conversational and commanding. This is definitely reminiscent of early Rolling Stones and you can understand why British rock reused this formula for decades. It works. For me personally it became repetitive and droned on for more time that I could engage myself in it. 1969 and I wanna be your dog were personal faves, but unless the album kept on like this I am resigned to a middle score. Perhaps if I had been born in a different time.
With his unique voice and interesting musical composition, it is not hard to get into the groove of Elvis’ music. The jostling flow and cornucopia of instrumental interjections do tend to make the music hard to vibe to. To me it is intended for intent listening and not for moving your body to. I always begin to think the songs or going to break into melodic chorus and tie everything together, but it never quite gets there for me. Intriguing and distinctive, but not my choice for spinning.
I always enjoy some Blues Bob, not quite as great as the Folk Bob, but still a solid collection of songs. His voice is vastly different than when he was younger, but I enjoy the raspy curdle. He sounds like a Dr John, and mimics the Louisiana dialect. All of the songs are your standard bluesy sorrow, and I enjoy it for what it is.
Heavy Pink Floyd vibes on the first track School which melts into a funky jazzy breakdown of interludes. Great start to an album. Then Bloody Well Right throws you right into the fun and quirky Supertramp that you’re used to. It’s wild how melodic this band can be while also still throwing the theatrical instrumentals of a Steely Dan, or the magic of a Styx rock anthem. Broad generalizations, but I can really understand how much of an inspiration these guys must have been to others exploring their sound. There are multiple Jams then the album mellows out for the middle section, which I don’t mind. Problem is that it ends with a proper saxy showdown, and that is enough for me to ask myself why have I never listened to this album before? Beauty.
As far as large orchestral jazz bands go, I really don’t mind listening to this type of music. However, it is not my go to for casual listening. Mostly, I feel as though I’m playing fallout 3 and exploring the dystopian landscape. Nothing wrong with this music, but the situation has to be just right. The music blends well together and you could listen to this whole album without really realizing that there are too many individual songs. The mastering is good for the time.
Elvis is of course a talented guy. His discography and works are of course impressive and expansive. He is also, of course, a unique voice which defined a genre. In my preference of music these songs hold a place for casual listening in the background at a dimly lit bar. Not quite something that I would put quality headphones on and get lost in. However, maybe if I were born in his time I would have jived more with this music. Hard to say, but short of a few good songs: I am only slightly interested in his grand works.
It’s The Band. THE Band. I’ve seen Last Waltz a few times, and I appreciate Levon’s voice too much to give this album a half assed listen. With the exception of the biggest hits, this album is full of excellent melodies and great instrumentals. Great Americana rock. These guys toured with the best and created some absolutely iconic tracks. The album flows so well together. Maybe not the strongest 5 I’ll give, but this album deserves it, all the same.
The flaw with this album is that it starts off with their biggest hit ever, by a mile. It’s hard to appreciate anything else on the album, even though the talent is there. The Verve throw together some interesting tracks, some slow, some poppy, some rockin, some absolutely space and time affluent. Nothing here is bad. It’s just average; and the contrast to Bittersweet and the rest of the album is just too great of a divide to appreciate anything much more than a forgettable track here and there.
They say that BB is the king of the Blues which is very much the truth. However, they also say that he is the king of phrasing, and that he can make his guitar talk. That is absolutely the truth. What could be a tired and boring, just another blues record, becomes a passionate homage to sadness. You can feel the emotion in his words, the power of his melodies, but most importantly you can hear another story just from his guitar. His playing style is magical and entrancing. It’s wonderful to absorb the joy and pain that his playing style emits. While this may not be my absolute favorite music. The man himself displays so much with such a straightforward genre and exhibits it’s complexities with incredible artistry.
Power cords, unique riffs, powerful solos, a medley of instruments, and a resonance od rebellion. All things that I enjoy in a typical record. However, this album doesn’t stick with me. I appreciate it, I just don’t love it or even particularly like it. I suppose it’s fun enough, Ana I can understand others’ enjoyment. Just not for me.
Slow and thoughtful. To say this the music bores me is not to say others shouldn’t find it enjoyable. However, I equate it most closely to Conor Oberst, and then closely beside a more composed Jose Gonzalez, or iron and wine. All of which are talented and deserving. They just never sat with me. Not a voluntary rotation for me.
Takes me back to some PS1 games where I’m driving a jet ski off of ramps and catching big air, while the high tempo drumns n bass are blasting me into a futuristic state where nothing else matters except the water and waves. Therefore, younger me would probably give this a higher rating considering it also reminds me of the original Killer Instinct soundtrack, which I absolutely loved as a 7 year. So merely for the nostalgic kick I will treat this album a little more fairly.
Just wailing guitars and off key singing. Every time I though a song was decent it failed to reach the point where I would normally say. “Hey, not bad!” Forgettable. Chapel Hill is passable.
Electronic vibe music. Kinda like Mobey. It’s better than that Goldie nonsense. Doubt I will re-listen but I wouldn’t say it’s bad.
Definite method man tide rising the ship that is this album, but GZA is great at meshing some crazy samples together to make an exceptional rap album. I am not a huge Wu Tang follower but I absolutely enjoyed some tracks on this record and will revisit it at a later date. I can comprehend the gravity of wu tang and the effect the group had on rap music. Powerful and lyrical.
Yes yes. It’s everyone’s favorite. I get it. Epitaph is the strongest, schizoid man is decent, court of the crimson king is wild but also alright. I dig the instrumental in I talk to the wind. I fully understand how this would have been groundbreaking when it debuted, it is creative and very intriguing and takes some crazy risks with the wild horns, rock licks, and jazziness. For me it lacks the overall cohesion and is not set on a coherent direction. I got lost and bored, but ultimately enjoyed some portions.
I floated between a 3 and 4 all the way through this album. It’s ambitious, it’s wild, it’s… odd. Which I usually like. I dig the ripping riffs and unique mixing of instruments, as well as the chances taken on lyrics and delivery. I can’t quite bring myself to fully embrace and enjoy the music though. The last song was enjoyable.
The music is fun, and comes with the energy. I recognized the first track immediately but kind of spaced out in the middle. The electronic mix with the drum track is a pleasing type of vibe music. Overall, it’s not something I would seek out growing up in the EDM age molded my tastes for better or worse. Where Do I Begin was a pleasant surprise near the end of the album, reminding me that I should be cautious to write these summaries until the end. Regardless, my rating never changed throughout.
I’m conflicted. It’s weird and noisy and oddly irrelevant. This does not conform to anything, and I think some could argue whether or not this is even music. Hell we have story about a dude mailing himself to a girl and getting stabbed through the box, and we a 17 minute power jazz record about sucking on a ding dong. Meanwhile, there are synths and guitars whaling all over the place. I wouldn’t say I vehemently hate this record, but I would have a hard time telling someone that I like it. I would just say this shit is loud, sloppy and strange. I just don’t know what to do with myself.
Honestly, didn’t start off with high hopes. Smooth Operator was always a fringe song in my mind that lived somewhere between a cheesy Jimmy Buffet song and Faith Hill. However, i really listened to it instead of passing it off and I was pleased with the song itself. What’s more is that as this album went on I really grew to enjoy Sade’s voice. The tracks are minimal and backed with simple drum tracks that appear to come from an electric piano, but are saved by some beautiful sax. Ultimately, her voice is what carries the album and conveys thoughtful lyrics and style. I enjoyed this album.
No one ever said that Beck didn’t take chances and make some unique music. Some of it sticks, some of it falls short. Yet I’ve never met anyone who told me that Beck is their favorite. Sad thing is that many people seem to love DMB to no end, but I can’t understand why Becks uniqueness doesn’t draw a similar cult following. Some things just don’t make sense, but what makes sense is that Beck makes very interesting music. If it were 4 songs on this album and some decent accompanying tracks I may keep this is rotation, but it just doesn’t have unanimous draw.
Buttery, silky voice. Immediately reminded me of Sam Cooke. I have never heard Solomon before and while these may just be your standard love and loneliness songs, he executes them so well. Lots of guitar licks, with some horn, keys, and backing vocals to carry this album to a wonderful place. I loved it.
It’s strange. So many elements of this music appeal, his voice is excellent and interesting, I love the fun backing vocals, guitar licks, acoustic accents, and soft rock vibes. It’s more that the music never fully hits a stride, it’s like a shadow of a good song, on repeat. So many foundations to make a hit, but they lack a certain element.
This is one I’ll have to sit in and give another listen later. I’m not super up on my Brit rap, it’s a different style, different rap scheme. I never cared for some of the other Brit rappers, but I do like this guy. The American rap influences are present with talks of gangs, bitches, drugs and arrogance. Themes I think are week and cliche, but Skepta makes up with a lot of this with nuanced skill and expertly crafted beats. I really liked Numbers. I think others would grow on me.
His voice is silky and the reverb is key. While this may be simple music, his passion shines through and creates emotional response. His story telling is captivating to absorb. I think this is excellent pre-country music and the outlaw mentality is just a fun, extinct music style. Would love to work in casual music.
MIA is excellent at creating interesting tracks. The music is fresh and includes unique accoutrements. The rap and lyrics are unfortunately boring and the flow is weak. Paper planes is a cool song but doesn’t save this album for me.
Soft vocals, talk singing. Some of the songs have more action than others, but overall Lou has a knack for composing a rhythmic compilation. He has created interesting lyrics with uncommon story telling and fun choruses. He employs some various instrumentals including keys, horns, and strings. The quality of the album is adequate.
It’s like the British blink 182. There are certainly some fun tracks on the album. The sound is well balanced but the hooks aren’t as often as I’d like them to be. Overall, the music is pop punk and I was surprised to enjoy the album more than anticipated.
It’s like the postal service made some trippy acid pop. Excellent electronic composure but the falsetto harmonization can get a little tired. Lord of half hashed ideas that sometimes stick, and sometimes don’t. That’s the beauty of music after all, they’re being creative and sometimes something fresh and wonderful can be created. However, only some of it hits for me. As the album progresses it resembles new age sea shanties where the harmonies float on waves of consistent rhythms mixed with well placed instrumentals. Nothing captured my attention, but I did enjoy a few songs. Overall, a bland record for my taste, mostly due to the vocals not taking any chances.
This will get a 5 regardless, however I want to give it an updated chance to be absorbed into my developed musical tastes. I grew up thinking this album was one of the coolest things ever. It was rap rock, but never did I feel it was corny. Chester had exceptional talent and the rapping always fit nicely. Dj + rock instrumentals were fresh and eye-opening for a genre defining sound. I relistened intently to see if I could get some sense of that rush, like chasing a drug high. Chester was unbelievable, so melodic but damn the scream can just convey so much angst and pain at one time, while still being enjoyable. With you is a passionate and powerful song, love to hear it through s refreshed lens. Crawling is a great mashup of electronic overlays on a rock track, beautifully melded. The chorus is electric and the emotion is visceral. So many great tracks in this album, so much expansion of rock into new spaces. Other tired to copy but paled in comparison. Linkin Park were supreme.
Good as background music while you work on something, but not something that I would just sit and listen to. It has some intriguing mixes and the music is fun.
Certainly, some very strong tracks here. While there are also a few fillers. I think the overall sound of the band is ambitious and well balanced. Lots of tasty guitar riffs, piano Melodies and synchronized voices. The lyric writing is fun and the singing style commands attention at its best parts. There are some songs where all the weirdness, pop, and rock come together properly, but it appears they threw a little too much quality on this record and there’s no real need to stay spinning past the flip unless you’re a true fan on the jazzy, folksy, bluesy jams. Shanghai Noodly Factory is fun though.
Highly experimental. Not fully fleshed out. Perhaps that’s why some like it. Bluesy and folksy. Poor quality. Some interesting sounds. Otherwise ehhhh. All instrumental in backhalf.
It’s a type of music that I would like, but somehow don’t. Spacey and airy vocals, interesting music styling and choices. It’s like and Indy-folk. There are a few songs I enjoy, but ultimately forgettable.
Well constructed R&B songs with some indisputable bangers. I would say this music was constructed to be the background tunes for many a saucy night, but includes some deeper consciousness tracks to explore culture. Overall fun music, and well processed and mastered tracks. The rating simply reflects my perception of this genre. Not something i seek to play regularly.
What an incredible voice, and a generational talent. I researched a few of these mega hits to see if Otis had written them or another band and it appears to be a mixed bag. The fact that he wrote respect is an accomplishment on its own, but that he also covered Sam Cooke and The Rolling Stones is wild. This album is just an exploration of the genre on its own. It’s like a best hits of soul. Otis can take you on a journey with just his voice. Truly incredible stuff. I would buy this album.
Incredible! Hooks you immediately and doesn’t let go. The album has so much fun rhythm and instrumentals that transport you into another world. The lyrics are thoughtful, the percussion is smacking, and the bangers are banging. All around a great album that I would like to own.
As a fan on the slower stuff, this put me to sleep. I’d call this spoken poetry with some pretty piano and modulation in the background. Not something you’d play at a party, or on a road trip for risk of falling asleep at the wheel, or a friendly gathering for similar reasons, or even a funeral for that matter. Perhaps I could listen to this while I take an afternoon nap, but I’m not eager to.
I didn’t expect to like this album as much as I did. I have never been into Alice, and I had heard one album prior to this one, which I don’t believe I rated very highly. But hell… this guy can sing like Paul McCartney and then scream with authority. The guitars rip and the chorus’ have excellent balance and catchiness. Overall a very solid album with some solid hits. I will re-listen.
Good ol country n western. Sad songs that make you want to drink a few cold ones and hop in a pickup.
It has the elements for a good rock record. You can tell it birthed some hair metal. It’s like the Beatles could r dubs a good hook. Too much discombobulation.
It’s as if someone told Bowie that indie music was in, and the the kids these days were mixing interesting arrangements together with simple lyrics that had emotional gravity to them. Then Bowie said, “hold my beer”. This album is so cutting age that I would think it came out early in his career. He doesn’t hold anything back; he just delivers really interesting music. I was very impressed!
Perhaps the rawest Eminem album, before her came to understand his flow. This album is still super ambitious, we learn how messed up this guys life is/was and the dark comedy that he wants us to believe is or isn’t a joke. It’s very clear from this album how talented the man is, but you can tell there is some room for growth. The content is extremely dark, which I think is absolutely fascinating. His rap game is sinister and well thought out. White trash rap certainly took of with this album, and he became the hip hop Elvis. I prefer his work that follows this, which is more balanced and mastered, but that’s not to say that this isn’t incredible.
2 huge hits and a bunch of strong pop-rock songs. Certainly not the worst thing to come out of the 70s and I can assume the influence this had on other artists was huge. It’s not something that I would casually listen to, but I won’t turn it off on the radio. That feels like a 3 to me.
It’s like the Doors took the wrong drugs, or no drugs at all. Too many instrumental interludes. Doesn’t mesh well.
Some really solid folksy-Americans. There are some truly excellent songs on this record and the powerful vocalists do a great job of sharing the singing responsibilities. I teetered on the edge of a 3 and 4. The first half has some really strong songs but it seems to lull in the muddied. However, it ends strong with some strong melancholy.
There are some hits here, but also a lot of hap-hazard Jazz. Obviously these guys are classically trained, and unafraid to take chances on some licks, but the guitar gets a little out of control at times. I respect the melding of instruments and genre bending.
This was a good prequel to Pet Sounds, seems like they’re finding their sound. Overall a little more melancholic than what I expected.
It’s similar to Sonic Youth. It’s the super yelly side of grunge that never quite clicked with me. It’s not terrible, it’s just not good either.
I liked this album more than Funeral, but I’ve determined that I’m just not drawn to this music. It has its positives: it’s got that indie soft to rocking buildup, the harmonizations are key, and it has creative inspirations. However, it just doesn’t connect for me. Perhaps the ideas are too large and just don’t land. They have a very large sound that just gets too messy. No Cars Go was a great late album addition. More songs like this please.
Runk-gugga-gunk-gugga-gunk! Headbangers ball, through and through. Not my casual listen of choice, but the presence of One on this and the overall sense of rock n roll/ metal gives it a middle of the road score for me.
Absolutely infectious music. I chose to listen to this while commuting into work and I wish that I had blared it at home and given into the rhythm to dance. Blasting horns, scratch boards, maracas, more horns, drums, acoustic boxes, and even the glockenspiel! Great music to dance to, if I knew the salsa.
Very fun and peppy music! There are some jazzy flairs and really interesting singing styles. I enjoyed it!
I love grunge, and this is grunge! However, I came to a realization while listening to a band that I always knew of, but had never heard much of. I love Grunge with an exceptional lead vocalist: Chris, Eddie, Kurt, Scott, ….fucking Layne! This has all of the elements of good grunge, minus the very important bit. Otherwise, hey… not bad!
2 many hits 4 me to not give this a 5. The guy rips on guitar and composed some extremely solid tracks that have birthed so many spin-offs and likely shaped pop into what it is today. It blends rock, soul, and pop together seamlessly, and when you add a finisher like that, you have s truly remarkable album.
Joni is an excellent story teller, and an exceptional poet. Her music is more than just music, it’s truly and art. I believe this album has songs that take time to digest though.
It’s creative, it’s unique, it sufficiently rocks, and it has Indy vibes. I think some of the music could grow on me with a few listens or so, but it doesn’t necessarily pique my interest off the bat.
Is creative She absolutely influenced a new age of pop and electric blend. I love the Celtic tones. The music is a like spacey and sometimes loses the concept. Overall I enjoyed it but did not love. One more hit and I would give it a 4.
Can’t you hear me knocking is an automatic 4, the question is whether or not the rest of the album fills in the gap. With a rocking start and passionate singing Mcjagger, Keith, Charlie, and the other guy put together a powerful message to all rock n roll wannabes. That shit better rip! But also to say don’t be afraid to throw some sax and sadness into it, it yangs out the yin. Rolling Stones have always been an enjoyable band, but have never been a favorite. That being the case, I can objectively say this album is wonderful and inclusive of some genre defining sounds. Love it! The gaps are filled in by brown Sugar, wild horses, kinda Bitch, kinda dead flowers and a strong finish with moonlight mile. Long live Brit rock!
Slow folk with a repetitive style. Not something I would relisten to. Jose Gonzalez vibes.
I’m surprised. Her voice is wonderful and I’d call this country about as soon as I’d call kid rock rap. Only difference is that this doesn’t suck as much as that fucking guy. Although I don’t have the estrogen levels to relate to the feelings in this sign, I can relate to its passion as I hop off my misogyny horse. Great music. Great writing!
Boring pop-rock. It’s not particularly bad, but one could also say that it’s not entirely ground breaking or creative, either. It’s like you take the powerful electric guitar away from Lenny Kravitz and you’re left with this.
Did I just become a Bruce fan? It’s such a crazy mix of melancholy sadness with Americana rock. Then it throws in some sax and keys. Need to give it a couple more listens to confirm, but I’m looking forward to them!
It’s ambitious, but it takes the part of Metallics that I think we all love, the metal, and washes it out with this disjointed accompaniment of strings and horns. The thought was likely that you take the grandness of an orchestra and it would somehow expand upon the large sound of Metallica, but it has the opposite effect. Nothing really stands out. It’s boring. A for effort, D for execution.
Clint Eastwood saves this from being a mediocre concept. Unique songs with no flair. Forgettable.
What an incredible blend of rock, funk, and soul blended with pop. Truly one of those albums that deserves the recognition. So many classic songs that catch your attention as soon as the music starts. Hard to believe something like this can just be created by someone with that much talent. Just thinking about the dancing that accompanied this is mind blowing, because the music stands out so much by itself. I would love to own this album.
A unique blend of prog rock, indie pop, and electronic accoutrement. The French female vocals are such a welcomed flair to the music. This record would not be a casual-listening choice, but it certainly has a place for making some food or chilling with friends and making some drinks. Pleasant vibe for this medium tempo jam. The instruments do not fight one another, and the music is very well mixed and arranged. Some songs are fuller than others, however the good ones shine!
Certainly interesting reading about the founder, John, and of his escapades… but with that aside we are left with some classic 60s pop folk rock. There are some cataclysmic hits on this record, with some slower gap fillers. Overall, the male and female harmonization and lead singing hand offs come across with receptive enjoyment. The music is not highly mastered or having the highest fidelity. The music is reminiscent of Beatles, and beach boys, and I would generalize them by calling them fleetwood from the valley. But seriously, the founding member was a troubled human.
Stripped down country western music. Honestly this is the melancholy and sadness that I look for in the genre. Plus you’ve got Willys unique silky and raspy voice. It’s a gem!
It’s got all of the elements of a solid Kanye album. The rap is tight and the flow goes hard. The mixing is fantastic and the beats go. I just don’t enjoy the lyrics in this one. Feels like an experiment, half polished. He’s very creative, and he takes chances. The buck stops there. Bound 2 was a banger 4 sure.
Without being over-dramatic- I had a really hard time even wanting to pay attention to this. It was so slow and is not something that I personally enjoy or would ever suggest to others. I like slow music, but I like it to have something interesting in it. This is slow for the sake of being slow. Boring as hell. It has not ability for relisten and would not suggest.
It’s very apparent that it’s un-finished. I just didn’t appreciate the music like I see that others do. Too many slow sad songs, but not in a good way.
I am becoming a Bowie fan. Very creative compositions. Excellent mastering, and apparently a lot of drugs went into perfecting this album. On the listen to relisten! Stay is a great song!
Certainly a unique band. The vocals are well written and the voice is easy to listen to. The music is creative and the hooks can hook. I have never been an REM fan and frankly I can’t say why. Good casual listening, though I’m not gonna add it to my collection.
A glimpse into the streets of NY in the 90s and a portrait of a hardened rapper who has grown up in conditions that I cannot imagine. One of the primary reasons I enjoy rap is the storytelling aspect. No other genre is more-equipped to convey so much raw truth, so quickly, and so vividly as rap/hip-hop. The truly special rap can make you feel like you are a part of that life, if just for a moment, and Illmatic falls in that camp. Nas has a great flow, I can see the bridge from old school to new school, I can see the birth of a more intimate style which speaks to the struggles of life in the rougher areas, and I can see the passion flow through the words making up these stories. A genre defining album, a time capsule, a solid hip-hop album.
I have always had a soft spot for Missy, and that is partially because she is a funny rapper, and partially because she makes bangers. I would say this album has some interesting songs and the music itself is fun to listen to. It doesn’t appear that it will quite make it into my rotation, but I now know a little more of her catalog, which will make the bangers band just a little harder. Missy pushed females forward in rap and deserves the credit for her style.
She’s talented, and the music is unique. Orchestral hip-hop is a fun combination. I’m just not sure it was executed with much more than 1 or 2 songs coming away with a compete sound. The rest is kind of boring and tame considering the grand ambition of the mash-up.
It’s kind of like a three hit wonder. As if they blew the wad on the first album and sold their souls to the devil to get absolute rock ballads. The rest of the album has the same energy, and the same tired pop-metal; not quite hair metal, not quite MJ, but somewhere in the middle. Of course the 3 big boys are infectious classics that make even the most hardened rockers wail out in unison after a beer or two at the local saloon, and for those tracks alone this is a remarkable record. I just think it’s the toughest sophomore follow up ever… the put themselves in a huge hole. Other than that, I’ve heard these songs sooooo manyyyyy timesssss. Subjectively not something I want to hear again.
Funk, soul, a little pop, and some ripping blues Bobby’s got the ingredients and has a sprinkle of the passion to create what appears to be a soulful, rhythmic love record. It’s nice to listen to. If I were on an elevator and this came on, I would probably sway to the tunes, and if I were at a bar with a few beers then more of the same. With the exception of a few lackluster songs, the record is a complete groove. I think it misses the connection with me a bit, but I would give it a high 3.
Powerful voice and power-pop, it’s a combination made for the 80s. 3 absolutely massive songs really speaks to the magnitude of this record. The remaining songs aren’t necessarily forgettable drub from the 80s but they aren’t memorable either. To me this is a fun record, but not a regular rotation. However, the magnitude of the music and voice carry it past the 3.5 mark. This would be a 7/10.
Gritty guitar, with clear and precise vocals share a solid drums network, and produce really solid rock songs. I’m surprised that I’ve only ever just heard of PJ, but am happy to have finally experienced such a unique sound with this album. She definitely has unique quirks and definitely takes some risks on odd mixing of instrumentals and vocals, but she is super controlled and has a great ear for music. This is as if Hole was able to make a coherent record, just as punk, just as rock n roll, but without the trash instruments fighting one another for the limelight. Proof that you have to have a method to the madness. PJ is a true musician, and this is a true compilation of art.
Religious hip-hop. Slowish with interesting timing and instrument choices. Sometimes it hits its stride, but most of the time it’s just preach-rap. I think it works for some casual listening, and perhaps with a small group playing games to have on in the background. Otherwise, not my first choice.
The instrumental first track is off to a great start. I could imagine this as a musical score, and by the time the vocals start on the second track you are absorbed into the music and ready for action. The flute and bass really drive the funk train out of the station and by the time we get to Empty Pages, that train is chuggin’ along. I absolutely love the keys blending in with the walking accompaniment. The flute sticks around as the electric guitar is traded for acoustic and the yelling fades to lullabies, a welcomed bit of continuity. The album unfortunately putters out from here and the funk gives way to a bluesy resolution, which they do well enough, just not as quite as good as the magical funk factory presented at first. I dig the organ work, contrary to others’ opinions. I think it adds some depth to the whole thing. First 3 songs are Jamz.
First Zep record of the list. What a fucking treat! Starts off with some of the Jimmy Page dirty crunch and by the time the harmonica hits - the game is fucking on and it’s time to dive in! Following up with the Rover is another hard rocking hit and I’m noticing some audio compression on the digital track, aside from that the ripping solo puts this song in the appreciation zone. The arpeggio backing guitar kinda gives this track a punk note, unusual but not unwelcome from the Zep I’m used to. Then you’re smacked in the face with an 11 minute power house, that would have you believing you just finished a record, but no this is just the beginning! What’s this? Houses of the Holy on Physical Graffiti?! It doesn’t make sense, but be damned if this song doesn’t rip and fit right in on this record! The riff and organ-keys in trampled under foot are cosmic and the guitar flying into accent them just pumps everything up! Hitting Kashmir I’m realizing it’s not my favorite Zeppelin track, and realizing how long these songs really are. The second half of the album takes a beat and the tempo slows, by the time you arrive at bron-yr-aur you begin to think you’re at a concert and Robert is resting the vocals, hopefully for some powerful closers. Nope… down by the seaside is an interesting song for the album, and then Ten Years gone seems to be when the record begins to amp it back up. Still some slow, departures from the rock with Night Flight and we get a glimpse into how the sound is progressing into a new type of rock, perhaps they were trying to reinvent their sound and take a note from the Beatles. The Wanton Song brings back some of that wonderful Jon Bonham drum work and we are back in business, baby! Boogie with Stu and no we’re in the ragtime saloon, strange. The first half of the album is a solid 5, the second half is not bad, but it doesn’t quite fit with classic Zeppelin or this new progressive rock. Overall, the album has some serious power and is a remarkable highlight to the later years of the rock gods. One an only imagine where they would have ended up without Jon’s passing, but perhaps the second half of Physical Graffiti reminds us that the first half isn’t always followed up with an equal second.
It’s something that I can imagine people would like, but I’m not one of them. There’s too much chaos, especially in the vocals. They singing is all over the place, lots of tremelo, pre-emo. The music is well done, with some cool blends and that classic 80s drum-beat. I can tell this pushed the genre into new directions, just well past my preferences (I imagine the couple from family vacation that hate the griswalds are avid fans of this music.)
Orchestral-funk. The lyrics are political and an introspective look into Nigerian culture. The music absolutely kicks in and the largeness of the band is very present. The music makes you want to dance and move. Femi has a great singing style. I would pair this music with the other dancing international tracks like Tito Puente when I’m feeling adventurous and want the tunes to move my body. Loved the big bad sound here.
Electric and soulful. James Brown has an excellent voice when he broke on the scene, but I think I liked it more when it matured. The mastering isn’t fantastic on this and the fidelity is lacking, but the music is fun.
It’s like Diarrhea Planet wanted to cover R.E.M. some of the guitar riffs absolutely shred, and could have fooled me as something that came out in the 2010s, but I guess that’s the beauty of music. There were some songs I enjoyed, but the record is very chaotic and doesn’t necessarily flow into strong standalone songs when the sound comes at your in a messy wave of yelling and dueling instruments. Mastering likely has a part in this.
Not gonna lie, when I read “White Panthers” I assumed they we some clan boys. I’m glad I was wrong. As for the music, I can see that at the time this was punk rock heaven, I would have likely geeked out on it, but the fidelity of the live album and lack of polish on songs impacts my perception. Overall, I enjoyed the fun atmosphere of it, and the passion certainly flows through. I’d give it a high 3.
Honestly could confuse this for Beastie Boys. The flow is dead-on and even the mix sounds like something they would rap over. I like the composition of everything, but like many fathers of hip-hop the music hasn’t aged as well as you’d hope. The genre is constantly evolving, and the origins are to be revisited, if seldomly.
Very advanced indie. Slow, with very unique arrangement. The vocals are great, and the songs go down some adventurous paths. Sometimes it works out nicely, others are less so. I really likely the style and would listen again.
It’s got some of that funk. Some of that bass that’ll droop your face, some of the drum that’ll move your bum, and some of that sauce that’ll… make you wonder what it was like to be in a disco club when this was dropping. Odd genre, but the funk is why it remains relevant.
It’s Bob. He’s jammin’. It’s good easy listenin. Keep on jammin’!
Long songs, golden pipes, organ, strings. Bring on the soul. This is good casual listening, but not a regular rotation. If I owned a record store this is what I would work in.
Ahhh, the days of Fuse TV. Watching music videos for hours on end and Take Me Out always popping up in the rotation. Honestly, one of the more influential moments in my musical journey. While that song may have been ground down to a numb sensation, I still vividly remember it’s part in how I felt back them with the new age sound. I have never listened to this full album, and I’m surprised at just how different all of the songs sound. How each one is in its own space and makes its own sound. I love it. What a magical pop-punk-indie collection of songs.
I’m conflicted. Her voice is an absolute 5; Susan Tedeschi mixed with Sara Watson. It’s gritty and really becomes ethereal. The 80s synth pop is what gets me, really takes from what could be a raw soft rock singer-songwriter album. I suppose I like some songs and dislike others, but I would own this and rotate it. Truly a 3.5
Sad and slow. Nice for a song or two. Very poetic. The voice isn’t necessarily impressive. Very casual and boring. Like this paragraph structure.
The Zeitgeist of grunge. What all other west coast 90s rock aspired to manifest. The culmination of the pain and suffering couple with the inexplicable angst that we all know to be true in our late teens and early twenties. Nirvana captured powerful emotions, mostly angry-ones, and bottled them into a more powerful album. One that defined an entire genre and changed much that came after. Is it a perfect album? No. There are certainly songs that infect you with the spirit of rock n roll, but then there are others that are just kind of… noisy. The sheer volume of innovation here makes it a 5. Kurt was a maverick. His guitar skills were made for power chords, and were adequate for his vocal-tracing solos. The drums were always tight. And can you even make our Kirst through the static? Tough to say! It doesn’t matter! It fucking rocks!
Reading the other reviews you would think this album is terrible, people on this are seriously deluded so maybe I shouldn’t concern my self with their opinions and try to be as unbiased to my own tastes as possible. Christina has extreme talent. Her voice has that grit that many female vocalists wish they could imitate. She makes solid pop songs. This album is very complete, the only oddness about it is how stylistically distinct each song is. We’re talking rock, hip hop, soul, power ballad. The work that went into creating this is very evident. Personally I enjoyed it. My main critique is the length. I think if this were a 10 song album, a 4 would be likely.
One of the first CDs I ever owned. Funny enough I only listened to it all the way through a few times. I think this is because my music tastes weren’t quite mature enough for this as a child. However, blister in the sun is easily one of my favorite songs of all time. This album defined what it meant to make Cool Music. It is the hard to believe that this came out the 80s because the stuff could have been made yesterday and people would geek out over it. What a truly revolutionary album.
Relative to other EDM albums that are likely on this list, I would have to say this is likely going to be the one that’s most appealing to me. Objectively, this album is fast-paced rage-dance. It’s catchy, and it’s action packed. It’s unique and fun and it hits hard!
Certainly the better of the Elvis Costello albums. Some of the songs are catchy and fun, I’ve just realized that it’s not my cup of tea.
The prototypical jazz-alt-rock. It certainly brings an artistic touch to that 90s sound which can appear stale at times without injections of originality like this album. Fiona is a natural writer. Her moody and poetic lyrics are accented by piano and string accompaniments that bring wonderful music forward and personally to the listener. The songs don’t necessarily resonate with me to the point where I’d listen to this often, I can see a teenager from any generation after mine benefiting from the angst and frustration, but that sweet zone has passed for me.
American Pie, the song, is a classic. It is an anthem for the USA. To be required at every BBQ. It is a 5. However, I can’t recall if I have ever consciously listened to the entire song from start to finish. I always zone out and snap awake when he sings “Jack be nimble, Jack be quick”. It always happens. It’s just too damn long. Then I find out that the entire album is just different versions of American Pie… well that just has to be immediately forgotten, and I have to pretend that the song is only 3 minutes of perfection where I chat with my friends in the sunshine, to lovely smells of smoked meats, and booms of fireworks. -Speaking of 3.
The indie influence is strong. Mostly soft and melodical. I can always hear the likes of The Vines, The Strokes, etc… To me it just lacks anything that I would be keen on rehearing.
Joni Mitchell, but way more whiny. I like it for a song, but the album is very vanilla after that.
Depressing and beautiful. This helped define the genres that I love. I really appreciate this album upon the first listen. It has a few songs I know and love, but even the others had dynamic appeal. Accompanying, whiny-guitar arpeggios and soft delayed vocals. The spacey sadness cuts right though me!
Likely groundbreaking at the time. The album is powerful and dynamic. Great singing and a fun mix of instruments. I wish I could Relax and just give it a 4, but it’s not exactly something I have to listen to again.
Buffalo Stance was great. Rest of the album was 80s rap. Didn’t age well.
She has great rhythm. The rap can kind of drone on and get a bit tedious. Certainly it is well done, but not something I would listen to again.
Soft, improv jazz. The kind that yo I would expect to hear in a relaxing spot. One that I wouldn’t visit very often because I would fall asleep. I don’t dislike the drum walks, the sax accompaniment, or the subtle keys. It’s that I don’t connect to this type of music.
Mom, can we get Michael Jackson? No. we have Michael Jackson at home! *Michael Jackson at home. To be honest, he’s talented and has a great songwriting ability. His voice is interesting. I’m not a fan of the boring song structures, but everyone once in awhile it clicked. Just a little too experimental without the ability to make it really pop.
Funky and soulful. Stevie is a great singer with a nose for the catchy verse. I was surprised to enjoy so many songs on this album. Great for casual listening!
Holy Shit. It’s sloppy, it’s noisy and the balance/mixing leaves something to be desired. However, I’d be damned to not recognize the passion and genius in so many of these songs. When you think the music is going down some sloppy, noisy path then it just throws in a tasty guitar riff. Really magical blend of quirk with tame structure.
The piano medley intro was killer, and I thought with the next 2 songs that this album would be onto something. However, it descended into pop, and while not bad, it kept on going further into the weird soul, RnB borderline appropriation crap. The rap was fitting of the decade, but not fitting of the record vibe. I was really hoping for the them to fit the exposition.
It’s a little too advanced-Bowie for me. The man was very imaginative for the entirety of his career. Gotta give him that.
Beautiful singing, and the piano work at the end was lovely. I don’t mind some easy listening Spanish music!
Definitely some corny flow that people was cutting edge at the time, it’s just that rap has progressed so much (for better or worse). The mixing is exceptional, the band really put together some dope bass lines and drum beats; the scratching is very fitting of the era. I think there are certainly some standout tracks, but the album drags on. I respect the flow and influence this had on hip hop. Considering that it is a good album.
Genius of love is a pretty decent song, the rest of the album is a little less decent. Overall, that balance out to…. Decent! Cool electronic blend with the reggae sound.
Excellent voice! She’s like a mix of Joni Mitchell and Tracey Chapman, and her music is funky with that big band feel, slightly soulful, kinda like DMB, but actually good. I really want to listen to this again.
It’s nuts. What starts off as some of the most progressive Americana that you could conceive (and from a Canadian), with the prettiest guitar licks and harmonics melodies taking you to the great open planes and the simple life. Then this dude brings out the grittiest, grungiest blues imaginable and shows you why he is a maverick. He perfects 2 genres and brings you something heavenly in the middle. While his politics have always been at the forefront of his music, and the song Alabama can make him sound like a pompous Jesus-figure trying to save the backwards people from their troubles (we get it Neil, you have all of the answers) it’s clear the he is an opinionated man just trying to spread the word. I think that’s what all good musicians should aspire to, right or wrong. But damn does he get soooo much right. Incredible body of work, just in this quick album.
I imagine having a friend, one which I’ve bonded with over the course of many years. We know each others siblings. They are always extended an invite to hang out. I then image this friend telling me to check out this wicked band The Residents, telling me they are on the cutting edge of musical innovation, that they are creating revolutionary sound and that I have to listen to them! I then imagine never talking to this friend again. This stuff stinks.
Odd concept album. Decent execution. I can tell they were just being wild dudes having a little fun, but the commercial atmosphere detracts from an otherwise decent album, but only minor-ly. This album has a beach boys vibe to it, not as much of the rockin who we come to expect.
You know? It’s kind of a travesty that teenagers only experience Bob with a mixture of weed culture. It’s like lumping a trip to the beach into the same group as Panama city beach spring break. If you have a certain mindset of something before and after you experience it, it can severely alter your perception. Bob is in his own right a virtuoso musician. He brought an entire country culture to light with his island music. It transcends weed culture in the biggest way. It is an absolute master-class album in spiritual music. You would think this thing is a few test hits, no sir, it is just greatest hits of one album. Stellar.
The rock songs are perhaps mediocre Attempts considering what it felt this album should have aspired to. This recording is regarded so highly that it’s hard to approach with an open mind. I came thinking the rock would pull me in, but I was more surprised by the slower, acoustic tracks. This is where the magic lives. These guys just spread themselves too wide, re-envisioned as a folk album this thing really shines.
If institutionalized were an LP… Im just not a punk person. I can understand why some like to jam to this stuff, but it’s all kind of the same to me. I will say that this album didn’t annoy me. So that’s something.
It’s the most complete album that I can imagine. I wouldn’t say that I would list any of the songs in my top 50, with the possible exception of He Came In The Bathroom Window (god damn that’s a good one). However, the album as a whole can be viewed as one compete work and that is what makes this special. You hear common themes throughout, guitar licks, piano melodies that reoccur in various intervals, woven into the tapestry. The magic is the dynamic rise and fall of the album into the poppy Beatles, into the rocking era, and then expanding the drug renaissance. They pay homage to their anthology, in a way that pays respect to the fans, but really helps to appreciate that they made this album for themselves. It is their passion project before the upcoming departure form one another, to escape the crazy fans but to also let them know that they appreciated it as much as us. The ones who enjoyed it get a final parting gift. The greatest album ever.
I appreciate the weirdness, but it’s not my type of weird.
It’s like Tool meets R&B, but the music isn’t very good. I appreciate his elevated intelligence. However, this gets stale quick with its attempt to be a pedantic review of current world culture and a critique of America. Perhaps it spoke to some, but I didn’t groove to it.
I agree with what a lot of people say about him being the American Beatle. He has that fun, whimsical, quirkiness to his music. I believe that is a harpsichord that I hear? Also he brings a lovely voice to the mix. I suppose short of a few standout songs, this album is something I would recommend to others with a similar taste, but would only listen to it when showing them or if it happened to be on the radio. Overall, very nicely made music. Perhaps a revisit in the future, this is only a first impression. Lime and the coconut ironically hurts this song after pop culture took ahold of it for so long. Actually, on second thought (god I’m bad at judging) I’m going to err on the side of a 4. I like this guy.
I’ll admit that In The Morning is a very strange track to throw on this album considering it is southern blues on a white-washed California rock album. The guitar work on 3/5 mile is crunchy and delicious! I really like the female vocalist and even the others sound good. Talented musicians and some good hits on this.
They’ve got a beach boys sound, mixed with a little bit of clash style punk. Starts of with a few good songs then kind of falls flat.
Slow white-soul. It’s ok. Son of a Preacher Man is of course a banger, the rest is delightful.
I appreciate this album for what I imagine it did for music. It encouraged the moody boys the crank up the distortion and to tighten those drums and hit a little bit harder. It can be seen as the mutated species that decides to step onto land for the first time and into the new world outside and spawned everything after, for better or for worse. Ozzy was a maverick. This album has some wicked guitar work and his voice shines as the premier attraction. War pigs is an exceptional song.
Folky as a renaissance fair, the vocals are the saving Grace. However, the tracks tend to drag on.
Spoken verse, strange mix, tons of delay and synth-organ. Not something I like.
The nostalgia hit is real. This was on the college freshman banger list, but in reality I only truly enjoy a few songs. And nothing that I’d really miss after going awhile without listening. This album has some unique sounds and stretches genres, but the passion behind the delivery always stuck with me. I feel like it’s just fun music, but without the true showmanship of a strong vocalist. It’s always just been ok to me.
Space sonic. It’s like Smashing Pumpkins without Billy. The guitar melody begins to make more sense as you get deeper into the album, but the indistinguishable lyrics make it tough to get attached. Perhaps upon further listens I would warm up to it. The guitar work I’m sure was very impressive as a genre definer at the time. I can appreciate that.
Angelic voice and some very interesting mix of songs. Hallelujah is obviously what makes this album standout. As far as covers go, I have no problem defending that alongside All Along The Watchtower, this is a top-tier cover. The song is brutally passionate and mesmerizing; it’s hauntingly beautiful. Lover you should come over is no less transcendent and you realize that with each listen, this album was onto something special.
The funk is strong in the first track, and the jazz certainly shines through with the hyper aggressive synth improv that hits a few too many sour notes to really hide behind the jazz guise for as long as it assumed it’s welcome. However, the clash of drums and bass hit some absolutely peak-funk grooves and the sheer stank on this album makes it a killer album to play in the background of any gathering that you’re trying to impress people with your jazz exposure. It is highly accessible entry into this genre.
Print spoken word, with some questionable falsetto gambles. Saved only by some interesting indie guitar licks. I fully intend to never listen to this again.
This is an album that you have to let grow on you. I didn’t understand it fully when I heard it as a good, but I thought it was unique and had a mystique to it. Caleb’s voice is mesmerizing to me, I think those who do not like it can consider their opinion valid, but I would credit the polarizing atmosphere of this album to the chances this album took, it’s like punk country. Small town Oklahoma boys, ripping up some guitar and laying some delicious drum fills to some expert bass lines and the vocals are not to be understood, but to be felt. It’s primal, and it’s fucking punk rock!
Absolute FUNK! Wild that this comes from the guy who made funkadelic. Love it for its tasty bass and drums, and the e-Z listenability.
Sound like Jellyfish to me, another creative band that blended multiple styles and had a spoken poetry singing style. I certainly enjoy the style here, but the music doesn’t click. The voice is kind of all over the place, the guitar riffs are pretty good. I think the 90s got a little carried away with GRAND sound and covered up the weaker parts of the song with a string orchestra.
Very smooth jazz. Excellent musicianship with very thoughtful arrangements; no instrument is aggressively stealing the light but when they do their own thing the music shines. Each song is wonderful, with the initial tracks having a faster beat, subsiding to swinging percussion lead tracks that have wonderful key accompaniment and that sax is saxin. Enjoy with a glass of wine on high fidelity headset!
Not sure what I’d call this, it’s synth-jazz with pop structure. It holds a few catchy hits hostage with boring poetry interlaced with the same drum kit and a spattering of strange instruments. Tainted love is magic, that’s it.
Can’t deny that this is about as fun as rock gets, there are some cheesy bits here and there, but why shouldn’t there be. The hits speak for themselves, and the b-sides ain’t bad either. As I move through the Springsteen records (this is the second) I think I prefer the dark and moody sight just a bit more. Dancing in the dark is a timeless anthem.
Arguably their most authentic stab at hip-hop. The boys show their talent for fast, mayhem-ic flows and well-produced tracks. While the tape-effect for the vocals may be slightly overused the music still exposes their raw talent. They were not just a novelist rap group, they effected real change in the scene and brought NYC flows to a new level!
With the presence of some absolutely genre-expanding ballads, this album was as magical as it could have been with where Cobain was heading. The other tracks are hard rock pincers, the singles were selected for a reason. This is a special band, with an excellent album, just not their best. Heart shaped and all apologies are premier.
Fun and groovy. Love the quirkiness.
It’s unrefined and that’s its niche. I’ve been a distant listener for a while, and it’s safe to say that while I enjoy the guitar work and composition of the tunes, that I’m still not going to be anymore than a moderate fan.
I can think of no scenarios where I would play this music. It’s talented, it’s unique, it’s also free form and hard to absorb. The singing style is controlled chaos, lots yelling and and chorus chants, a bit tribal. The music mixes 90s flair and r&B, a bit like a Casio keyboards backing tracks.
This album flirts a fine line between boring poppy-southern rock and a true piece of Americana magic. The harmonizations are fantastic and the guitar work can be absolutely stellar. The quirkiness fades to corny song composition when it’s not clicking, but the hits are hits for a reason. Truly a exhibition of some classic songs, and some truly forgettable b-sides.
Slows way down in the backhalf of the album, but started off very well. I think Ryan has the elements of a revolutionary singer/songwriter and he puts together some exceptional songs. However, this is quickly balanced out with passionless blueprints that span genres and lack the conceptual integrity of a good song. Coupled with his troubling background, Ryan will only ever be a mildly successful act. He tried way too hard to fit a mold, instead of being authentic. I’ll keep the classics for the occasional folk-exposure, but the rest can fade to obscurity with him when he’s gone.
Putting aside his shitty personal qualities- the dude is an absolute maniac on the keys. This stuff hits hard and it’s from the 60s. I understand from others that he claimed to have created rock n roll, and while that is highly debatable, this doesn’t sound like anything else from that era… the drummer is a fucking magician. This stuff is fast, chaotic, and we’ll arranged. Loved it!
Consistent 80s synth pop. Pretty much a proto-typical example of it. The hits are great. The rest ain’t bad.
Ebb and flow rock. Tons of grand ideas, and plenty of instruments, lacks any real motive. Just kind of dull background rock. There are songs with that spacey backing voice, reminiscent of Pink Floyd, which then fades to soft piano mono-audio singing.
I don’t enjoy REM. Boring background rock. This album has a couple of decent singles which saves it from being a 2. The one I love is possibly the best REM song, and that about the only good thing I can say.