This will never have a revival. Please let these 1980’s production techniques stay buried in the attic. Those who actually enjoyed this at the time are allowed to listen to it with headphones only. The rest of us don’t want to be a part of this. Okay, leave the video for sledgehammer for posterity.
Never heard of this. But this was great. An album pointing forward to nineties rave culture. There are way too many dismissive voices towards electronic music on this site. This is definitely accomplished dance music, with varied and surprising layers mixed into its pulsating repetitiveness. It fit perfectly for this Saturday night. Contrary to what a lot of the commentators write, I believe this is on equal footing with the more famous acts of the era. Just look past the 90’s dance rap stuff and you’ll find a good electronic record. Stand outs: “Possible Worlds: Deep PSI”, “Hyperreal Orbit”, “Lightspan Soundwave” and “Progen 91”.
Crowes can competently cos-play classic cock-rock.
Probably the most overrated album on this site. A lot of commenters obviously not liking it giving it fours or fives, because of its cultural significance and/or for fear of looking uncool. Folks, it’s ok to not like blaring lo-fi art-rock. Sure, it inspired a lot of great stuff that I like, but boy did I not have the patience for this. This is more about image than music. And that image belongs in a museum where folks can adore the counter culture heroes of the past without having to pretend they like their music. Sure it inspired a lot of bands. But everything that sounds amateurish and “real” inspires people to create. Because it lowers the bar and makes it seem possible to do it yourself. So thanks for lowering the bar and paving the way for punk and other diy music I guess.
Although I loved his 80’s stuff as a kid I always kept Springsteen at a distance. Partly because I veered towards newer music in my youth and early adulthood. But a big part of it is probably due to the complete cult of Springsteen in my home town Göteborg. Springsteen has been playing the local arena every summer since the eighties it seems like. Bruce has generations of people in this city worshipping him. Naturally, as a youth identifying with indie, punk, hip hop etc I didn’t want to be a part of that crowd. Although I’ve always enjoyed some of his songs I have never really went further into his oeuvre, because it didn’t interest me. Until the last couple of years that is. Maybe it’s because I just have few years left to 40 ;). Still, I am not completely sold on Born to run although I definitely see what people love. What struck me was that it felt less dated than a lot of other 70s rock. Maybe because Swedish indie rock still sounds like thunder road almost fifty years later. Anyway, I already have tickets to see Bruce for the first time this summer in Göteborg. Mid life surrender
Bored by the falsetto-folk of the first half of the album. Especially disliked Judy blue eyes and Marrakesh express. But when the album takes a darker turn beginning with pre-roads down I start to dig it. Wooden Ships and Long time gone are great.
Ranges from muzak to foonkeeey. Grows on me. Know the crusaders from before mainly because of the great track “A ballad for Joe (Louis)” which has been sampled excessively. Especially like My lady, night faces and carnival of the night.
I respect the craft. But where I am in my life at the moment I don’t have the time or ability to get into the exploratory mindset necessary to absorb this. It’s a bit sad that I have lost my patience for absorbing more experimental music. Or maybe this was just never my cup of tea, because I’ve tried to get into this before.
Great album that I hadn’t listened to before. Almost a five. Dub version was also great.
Well produced norm-core pop centred on a young woman longing for connection, meaning, romance and magic. Longing is one of the best lyrical themes for pop and i am cautiously curious after the first track. But it soon becomes obvious that the album is dominated by very basic and unoriginal lyrics. Tasteful but safe and boring music production. First previously unknown artist for me in this project
Although I’ve listened to a lot of 80’s and 90’s hip hop I never was especially into PE. I own “It takes a nation..” on CD but it never really beacame a recurrent play. Apart from stand out tracks “By the time I get to arizona” and “bring the noize” I hadn’t listened to this. Born in the mid eighties PE always was a thing of the past for me and I never really got into them as I did with other contemporary rap groups like Run DMC, Eric B and Rakim, Beastie Boys, De la soul, NWA etc. Still, it is abundantly clear that a lot of my favourite artists have been heavily influenced by PE. Rage against the machine, el-p, wu tang and countless of rappers. In some parts Apocalypse 91 sounds dated but in other parts it still sounds forward thinking and fresh. The brash, harsh and alarming beats are in a way singular and unique for PE. They really were doing their own thing and although they inspired a lot of artists their sound was maybe too abrasive to really become an ongoing thing. Take for instance A Tribe Called Quests “Low End Therory” which also came out in 1991. That album feels considerably less dated because their style of beats and rapping became a dominating sound in nineties hip hop. With that said, the uniquely rough and alarming sound is both the appeal and the difficulty with Public Enemy. Apocalypse 91 is a great album but it’s not easy to get through. Stand out track: By the time I get to Arizona
80’s hard rock is like kryptonite for me. Overproduced bombastic stupidity. Can be fun in very small doses.
Really loved this. I don’t think I’ve ever listened to the band. This kind of pointers in new directions is what I am here for. First album I know I will return to a lot. Clearly inspired other stuff I like.
I am late comer to Dylan. Although I’ve always loved a few of his hits I used to dismiss him for the same reasons most Dylan doubters do: weird voice and singing style, plus the annoying harmonica and the hardcore fans. The last few years I’ve come to enjoy Dylan but I never took a deep dive into his discography. This double album live bootleg may not be the most obvious starting point, but I think it’s a great way to hopefully understand his genius. The intimacy of the first half and the inspired and louder band dynamic of the second half is a testament to his greatness. Amazing stuff.
The opening track Golden Age I knew from before and love. So I had high hopes going into this. But the rest of the album is just a well produced bore.
Yesterdays sad sap album Sea Change by Beck bored me. Nick Cave on the other hand held me completely under his spell. It feels like I’ve found a new friend in this album. I had a couple favourite songs from Cave before but never listened to this. The Boatman’s call feels timeless almost. Caves sincerity and almost theatrical delivery are at odds with the 90s zeitgeist of mumbling irony. The sparse piano based instrumentation is very effective. What a great, great album.
Take out the excitement in hard rock and Bad Company is what you get. Slow bluesy classic hard rock without any edge, power or fun.
“And it seems such a waste of time Mama, if that’s what it’s all about, Then Billy Joel is whack-ack-ack-ack”
This was surprisingly good! After having the lame blues rock of Bad Company a couple of days ago, this is where it’s at. Six years earlier compared to bad company (1968 vs 1974) you can still hear the explosion of American blues meeting British electric guitar wankery. It’s two worlds colliding to create something fresh. As all great new music it’s an exploration and amalgamation of different musical origins. In this case some European white guys stealing the African American blues rock and turning the loudness up. It’s exciting music not still solidified in its form. Led zeppelin and the likes would soon come and take it further. In turn, like all music revolutions paving the way for watered-down followers. Such as Bad Company who stayed safely and boringly put in the new form of blues-inspired hard rock. Rod Stewart is great in this, I really don’t get the hate. He has a power and rawness in his voice on this record that fits the equally powerful and raw music.
I see a lot of negative comments towards live albums on this site. Personally I have come to realize the last years how powerful live albums can be. Especially during the pandemic it was a great substitute to the sense of togetherness and the energy of a live audience. I think live albums like this will have a more lasting cultural significance than many of the coveted album oriented rock albums on this list. The album as an art form had its time between the late 60’s and the early 00’s. It had about 40 years to shine. Although I still listen to the physical media of records (vinyls, CDs, tapes etc) it’s with few exceptions a nostalgic old man’s game by now. Of course a lot of great records are still being produced in the digital age but I think songs and live performances (not on record but the real thing) have eclipsed the importance of albums. At San Quentin showcases two of Cashs gifts. His story telling ability and his rapport with an audience. Perhaps an audience of inmates starved of entertainment is a grateful task, but it’s obvious Cash can talk the talk and walk the walk. Every song on this might not be a certified banger but I listened to the original release, saw the video recording and then listened to the legacy edition with the whole concert. Powerful and entertaining stuff. Cash’s delivery on A boy named Sue is one of the highlights. This is how myths are made.
Great album. 20 albums in and this is the first one I’ve previously listened to front to back. It’s both varied and cohesive. Lots happening. Jorgen Ben sings, chants and talks over a varied and fun soundscape. Not quite a five for me, i miss a real standout track that I want to come back to again and again, but a great album nonetheless.
Third live album in a short time. And another great one! Cool to debut with a live album. Seminal band just for the mix of politics, pure energy and loudness. Previously listened a bit to MC5 (love the track “looking at you”) but never listened to any albums. Electric energy but I probably won’t return to this a lot.
It was alright. Feels like an album that might grow on me. On the other hand I don’t feel I need this in my life. I’ll take along some songs I liked for further listening, school, ruby and the title track.
Second Brazilian album in a week. Almost as good as Africa, Brasil. Very enjoyable and pleasant. Perfect morning music. The kids loved to dance to it as well. I like the classic romanticism of the lyrics. Flowers, birds and love. A warm breeze of naïveté and positivity. A nice break from the male rock lyrics about wanting to love a woman that have dominated this project so far. Best tracks: Stay, The Face I love, beach samba, You didn’t have to be so nice, Nao Bate O Corocao
Chanting and drumming. The base for so much good music. A primal need. Even my two year old sung along with the Fela and the audience on the last track. At the same time that the music speaks to me on a bodily level with its repetition, chanting and jamming it is utterly complex and exciting music that tickles my mind. Fela Kutis music always feel like it’s live. No surprise that this proper live album is great.
“I am a napalm bomb for you baby”. James, you are barely a firecracker. You ain’t got an ounce of blues in you.
So much soul and warmth. It’s music that is living and breathing. Only knew the intro break of “Up on cripple creek” from Gang starrs sample for “beyond comprehension”, but what a fantastic track! I might be overreaching with five stars, I don’t love every track, but there is just something magical in the dynamic between the musicians on this album.
I probably would’ve enjoyed this more if I’d heard it as a teen. In retrospect a lot of 90s rock seem overrated to me - especially the Brit pop. Even though those were my formative years I have a hard time getting into it now. A terrible head cold might have took a star off.
Big surprise that this was more than tolerable. Fun, stupid, sleazy glam rock/punk. Thankfully closer to the Ramones and New York dolls than classic hard rock. First half much better than B side.
Knew the great track Big Iron previously. Although I like the heart on your sleeve seriousness of the songs and the storytelling , it gets a bit weary after a while. Kind of miss some humour in between, the way Johnny Cash did great.
The highs of Paint it black and under my thumb weighs up for some of the really crappy songs. A selection of pretty good tracks inbetween the highs and lows. It feels like Stones is one of the most uneven of the giant rock bands of yore. Tried both versions and prefer the American. It has paint it black and lacks the terrible “Take it or leave it”. First time I enjoyed a stones album. I’d previously listened to some of their first albums without finding anything worth returning to.
More wow screams pls
American Pie: a soaring eagle Everything else: subpar
First record that I own a physical copy of. Listened to this a lot when it came out. It came out in a time when I almost exclusively listened to rap music but this still hit me, like the rest ow the world at the time. Haven’t listened to this album or Coldplay in general for almost twenty years now. But this still holds up.
Great album. Little Simz is a technically accomplished rapper but it is the producer Inflo who really makes this stand out. Little Simz raps like it was the year 2000, and she explicitly references Jay-Z in the first track in the best line of the album. It somehow feels fresh with the old school exaggerated bragging. It’s obvious she is a fan of the turn of the century New York hip hop. Little Simz lyrics as a whole are alright but not interesting enough for five stars. The production by Inflo though is definitely five stars. Dynamic, organic and banging.
Great album. Little Simz is a technically accomplished rapper but it is the producer Inflo who really makes this stand out. Little Simz raps like it was the year 2000, and she explicitly references Jay-Z in the first track in the best line of the album. It somehow feels fresh with the old school It’s obvious she is a fan of the turn of the century New York hip hop. The lyrics are alright but not interesting enough for five stars. The production by Inflo though is definitely five stars. Dynamic, organic and banging.
Method Man often outshines everyone on wu tang tracks and on guest verses. He has charisma and a unique flow. But I just can’t get down with his records. And although I respect RZA as a beat maker I think his murky dark beats on this are a bit one note. I even own the album on CD. Sits in a box in the cellar. But I never really appreciated it. I can’t help but feel Tical is a bit dreary. It’s hard hitting classic New York boom bap, it just lacks stand out tracks and variety. Compared to other classic rap albums from 94 it doesn’t hold up (in an admittedly extremely tough competition). It lacks the poetic imagery and beat variety of Illmatic or the stand out tracks of Hard to earn. There are even albums in a similar style like O.Cs word…life that I like way better. Tical does not even make the top 10 of rap albums of 1994 for me. For all the negativity above, it’s still method man and rza. 3 stars
Beautiful album. Just a bit too long. I’ve been listening a lot to Sprawl II the last couple of years. Arcade Fire has always been a singles band for me. But this time it clicked in album form. Listened through it three times. The three first tracks are really great. New favourite: Ready to start
Incredibly defining album for rap. Opens with four absolute bangers. One of the strongest side A:s ever? Only “perfection” brings it down. Together with their debut the absolute high point of their career. The minimalistic beats are banging and the back and forth between Run and D.M.C is incredibly enjoyable. Ah, the good old days when rap lyrics was all about who is the realest rapper. I don’t care that a lot of the lyrics are basic, this slaps.
I’ve been debating myself if this deserves a five as the album is a bit uneven. Missed it when it came up and had plenty of time to listen again. And again and again. I just keep want to come back to this terribly silly but wonderful album. It just feels like they’re having a blast exploring different ways of writing songs. Beautiful stuff.
Good droning sabbath-inspired guitar work. I just can’t stand this type of singer. American power rock masculinity contest type of thing. It’s the same with pearl jam (even though I like Vedders later solo work), I just can’t get into it because of the singing style. A singing style that really plagues American rock since the 90’s. I previously stated that large parts of the 90’s Brit-rock wave leaves me cold. But I am starting to realize that the whole grunge movement (except for the aesthetics and nirvana) was complete garbage. I was a bit too young to appreciate it at the time and in hindsight it just seems terribly stale.
Came into this with a curious mindset based on the description. But left disappointed. It’s just too eclectic and lacks coherence. Music fitting different film genres stacked on top of each other. It’s also often over the top and would be a hard fit as soundtracks for most films. I’d hoped for a more coherent approach and not just a portfolio/showcase. And as history shows, Barry never became a prominent scorer of movies (although he has some tracks on the soundtrack of Lynchs great Lost Highway, I’ll give him that).
Surprisingly good! Sure, it is masturbatory guitar noodling, but its nicely accompanied by organ and great percussion. Incident at Neshabur is a stand out for me. Haven’t yet bothered to listen to the Santana-records passed on by my father. Time to do some crate digging.
Since I like some of his tracks I’ve tried before to get into Nick Drake. Just like the last time I tried I just get too bored. It’s the same with modern acts in a similar vein such as Jose Gonzales. Nice guitar picking never did anything for me on its own. The orchestration doesn’t add anything for me but annoyance. Saturday sun I knew from before and like, but the rest of the tracks won’t enter any playlist.
Skottlands svar på Papa Dee. Från ljum svärmorsreggae till rätt skönt dub-gung. Väldigt svag trea.
First listen left me cold. Had no patience for experimental, sonically challenging music with a singer who seem to be improvising. It seemed rather ridiculous at first. But the lines between madness, genious and tounge in cheek nonsense are thin here. I gave it another shot in the evening, and then another. And this cacophony of madness really grew on me. It certainly isn’t something I will listen to often, and it’s not suited for regular playlists. But when in the mood for exploring more difficult sonic landscapes Rock Bottom really does the trick.
Great versions of good songs. I prefer Dustys version to the original in many cases. Dusty’s “Twenty four hours from Tulsa” has a lot more power and heart in it than Gene Pitneys version. And “When the love starts shining through his eyes” is almost on par with The Supremes original recording. The crisp expansive production makes it such a enjoyable listen.
This will never have a revival. Please let these 1980’s production techniques stay buried in the attic. Those who actually enjoyed this at the time are allowed to listen to it with headphones only. The rest of us don’t want to be a part of this. Okay, leave the video for sledgehammer for posterity.
A revelation when it came out. Melancholic minimalism. Jamie xx is one of defining artists of the 2010s. Apart from the xx I love his Gil Scott Heron album, his solo album and his production in general. The xx are great live as well.
An album and artist i really want to like, but just don’t. I like his voice and unpretentious persona but the songs do nothing for me.
Obvious five-star album up front, but I had almost forgot just how good this album is. Marley’s best album and a likely contender for my personal top ten. Everything comes together brilliantly on this album. The band, the back up singers, Marley’s delivery and lyrics. The album has an amazing vibe. Major hits and great deep cuts. Every single track slaps and the album works as a whole.
Freudian death drive: the album.
Tasteful well-sung big band boredom.
What makes this album so great is that the full on desperation is kept on a tight leash. Constantly threatening to explode but just keeps desperately pulsating. Make sure not to miss the amazing live version of Shadowplay on the collectors edition.
Maybe it’s the laconic hedonism or the all-encompassing seriousness of the music - but once again DP fails to fully reach me. Never let me down slaps though. But so many songs feels at least a minute to long - building up to nothing.
Infectious, banging and annoying (in a good way). Pure brilliance. Listened to this a lot in 2007. Switch and Diplo really managed to create a global unique sound for MIA. They went on to create great things with Major Lazer. It’s the effortlessness both in MIAs rap and in the continuous experimentation with sounds and influences that makes this stand out.
First time I’m listening to this milestone. The main reason for me to do this project is being pushed to listen to the classics. Been anticipating my first Beatles and i guess I am starting at the end. Enjoyable but mixed bag that doesn’t really hit my buttons. Mixes total stinkers (Maxwells hammer) with amazing pop songs like Come together and Something.
Was expecting something more rowdy. This was a bit too reserved and held back to really itch the rock’n’roll nerve. But it was definitely “nice”!
Fun danceable rock.
Too misanthropic for my mindset. Obviously written from the pov of a very depressed person with nothing but hatred for mankind.
Good cop: moody folk with some decent songs not marred by 1980’s overproduction. Bad cop: no real stand-out tracks. Too many weak metaphors obscuring real emotion and the blandest instrumentation of the eighties.
First time listening through Vol 4 I thought: a testament to why even great bands need a proper producer. It sounded murky and uneven. Full of subpar sabbath-tracks. But that might in part be the 2009 remaster. Subsequent playthroughs of the 2021 remaster considerably brightened my mood towards the album. It has some real heavy hitters like “supernaut” and “under the sun/every day comes and goes”. But also some complete duds (FX, Laguna Sunrise) and some more mid tracks. And the production really is a bit murky and uneven, but the dirty sludginess is also part of the appeal.
I was previously familiar with the great title track but still struggled with this at first. But like a lot of these albums, especially the quirkier ones, it grew on subsequent listenings. New fave: Graham Greene.
I had previously dismissed Roxy music as not for me based on one of their other records. But this was such a continuous surprise of jazzy, unhinged rock music. Loved it! The biggest positive surprise of my 1001 project yet.
Going into this I had only negative feelings towards Van Halen and the type of hard rock they represent. But this was pretty fun. You can really hear eighties hard rock in formation here. It’s plastic and over the top but the guitar shredding also has some lasting power. Highlight was “Ain’t talkin bout love”
Costello comes off as a total douche. But that’s not always negative when making rock music. This album really has some great songs (the beat, I don’t want to go to Chelsea, lipstick vogue) and it is especially well arranged and produced. It still sounds great.
No rock operas for me please. Get back to the three-minute pop song format. Some lyrics are darker than black metal.
Never heard of this. But this was great. An album pointing forward to nineties rave culture. There are way too many dismissive voices towards electronic music on this site. This is definitely accomplished dance music, with varied and surprising layers mixed into its pulsating repetitiveness. It fit perfectly for this Saturday night. Contrary to what a lot of the commentators write, I believe this is on equal footing with the more famous acts of the era. Just look past the 90’s dance rap stuff and you’ll find a good electronic record. Stand outs: “Possible Worlds: Deep PSI”, “Hyperreal Orbit”, “Lightspan Soundwave” and “Progen 91”.
Too overloaded. No leaf clover is a stand out. It’s the only track where the orchestra adds something transformative to the heaviness. Otherwise it’s too much of everything all the time. For me the orchestral power doesn’t translate to record easily. I am not much for the grandiose. But in a live setting it sure can be powerful.
Feet: stomping Head: nodding Mojo: working
Dated digital soul. Although it has some fairly bopping beats now and then I don’t think this will have much lasting power. As a rap fan I enjoy clever bragging, but this is just boring braggadocio all the way through.
Great album title. A shame the best track (title track) is missing on Spotify. Well worth it to seek up the full version on YouTube. The album is uneven with some strong tracks and some weak.
There is no denying that Baez is a very accomplished performer, but this was a bit too high strung for me. Best track: Mary Hamilton
Too preachy. Basically every song is from the perspective of conceited man who has “figured it all out” and can’t wait to bless the ignorant people surrounding him with his profound life lessons.
Ah, the soundtrack of my youth. In their heydays Turbonegro had a sizeable cult of followers in Scandinavia. The die hard fans all had denim jackets with Turbojugend patches. Some friends of mine even had a tribute band. I saw them live a couple of times in the early 2000’s but most of all i remember the many singalongs while partying with friends. Turbonegro is the sound of young male camaraderie. Although i might even prefer the trashier, dirtier and even more idiotic punk rock of their previous album Ass Cobra, my pants are bulging from the riffs and shout-along-friendly lyrics of Apocalypse Dudes. When so much fast and heavy rock takes itself way to serious Turbonegro brings back a juvenile excitement to rock’n’roll with their homoerotic punk rock.
Sounds like an album intensely insipired by “The Beach” soundtrack. Completely decent but I probably won’t ever return to this.
Lupe is an accomplished student of rap. He has the lyricism and technique of his idols. He just lacks personality as a rapper. Just like J Cole he can imitate the greats but it just feels like a pale afterthought. There is no acuity, no urgency, no boundary pushing. Food & liquor has the production values of a Kanye album but it lacks the rewards. I really like the self referential world of hip hop, but some artists are *just* references. Lupes from the generation who grew up on rap, forming their whole persona. This makes him feel like an echo of the 20 years of rap that came before his debut. Sometimes Lupe successfully transforms that echo into fresh point of view, but oftentimes he comes off as an amalgamation of his inspirations. Who is to blame him though, aren’t we all?
I like The National. I even own Boxer on CD. Even then, their albums are never stronger than 3 out of 5. Same for High Violet. No real stand out tracks here. It’s nice and Matt Berninger keeps brooding. Then I go listen to something more exciting.
Funky musicianship marred by sub-par rapper spouting the most overused rap-cliches.
I would say their debut (J5 LP from 1998) is essential listening. Power in Numbers is also great hip hop record. On Power in Numbers they’ve expanded on their signature sound of harmonising rap over break beats. With top notch turntableism, a surpring amount of great flute samples and archaic record industry samples. Power in Numbers has a fuller more radio friendly sound than their previous releases. But it has also lost a little bit of freshness of the debut. Still a lot of great tracks here.
Aggressively ok. Boring like a lot of 90s rock. This is like the middle road of the era. A bit noisy and snarky with no real feelings apart from dejection and cynicism. I much prefer the romanticism and pop sensibility of the eighties (cure, smiths etc) or the more dynamic, fun and danceable rock of the aughts. This got some good lyrics though and I completely agree with the title and the thesis Damon Alburn delivers here.
Crowes can competently cos-play classic cock-rock.
80’s Cohen is all about his dark voice. Contrasts well with female backing on a lot of songs. Better than I remembered but still too eighties.
Good album. But I enjoyed The Suburbs a lot more.
The album ends on an high note with the wonderfully twee “Oh Yoko!”.
Manic, soulful, accusatory. Rhythmic but undanceable. Difficult but rewarding listen.
Interesting listen but definitely an acquired taste that I am not going to give further chances to grow.
Can’t stand this or Father John Misty which a lot of commentators compares to. It’s like a terrible time capsule to the sloppiest of beatles/Nilsson/Billy Joel songs, with the added spice of more explicit lyrics. If you think the last 50 years of music was a mistake, and just want some sassyness added to your silly pop songs of 1973, this might be for you.
Oh great. Another instalment of depressed Norah Jones.
Liked this way more than expected. More punk and hardcore than other thrash metal, which suited me. Also more fun than the other overly serious big four thrash acts, and metal in general. I like this better than every Metallica album I’ve listened to. A lot of surprising turns and speed shifts in the songs and less indulgent guitar wankery than feared. Powerful, tightly packed bursts of thrash. I also like the political lyrics and varied singing styles, especially the hardcore-styled back up vocals. Even veers into rap rock territory and does it right. Surely inspired hardcore I like. Chuga-chugg-chugg have a surprise five!
My Generation and (new for me) I don’t mind are really great. Strong non-polished jangly rock sound.
Probably the most overrated album on this site. A lot of commenters obviously not liking it giving it fours or fives, because of its cultural significance and/or for fear of looking uncool. Folks, it’s ok to not like blaring lo-fi art-rock. Sure, it inspired a lot of great stuff that I like, but boy did I not have the patience for this. This is more about image than music. And that image belongs in a museum where folks can adore the counter culture heroes of the past without having to pretend they like their music. Sure it inspired a lot of bands. But everything that sounds amateurish and “real” inspires people to create. Because it lowers the bar and makes it seem possible to do it yourself. So thanks for lowering the bar and paving the way for punk and other diy music I guess.
This was amazing. Full of rhythm and emotion. Slow but with a driving pulse and beauty. Dreamy but never boring. Varied but also really takes its time to explore sound-paths. I’ve listened a bit to Ali’s son Vieux Farka Toure. I especially enjoy his album Mon Pays (2013). But I never got around to any deeper dives into the discography of his legendary father Ali. Glad I finally took the plunge. Stand outs: Gomni, Amandrai, Ai Du, Diaraby
WOW! What a pleasant surprise. Totally new to me. Smooth jazzy pop with constant charming production surprises ‘round every corner. Obviously a lot of heart and skill was poured into this album. Still sounds insanely crisp and modern despite the eighties-tinged synths. This is what modern producers try to emulate. Reminds me of one of my favourite albums: Kaputt by Destroyer.
Iconic opener doesn’t fully save this from sounding a bit too much like a novelty act for much of its duration.
Maidens epic cartoonish heavy metal can be fun in small doses. They sure made a lot of kids metal heads in the eighties (and nineties). It’s metal palatable for pop listeners. An entry point to the world of fast electric guitars and head banging.
Never listened to the whole album before, but since I had an intense love affair with NY boom bap some twenty years ago, I’ve had around half of the tracks on mixtapes, mp3s and burned cds. The album is a great snapshot of the era of New York rap I personally like the most - 90s boom bap.
A bag of almost. Almost funky. Almost interesting. Almost catchy. There are no cracks to enter into this musical world, its too hermetically produced. It’s krautrock without edge, indietronica without emotion. But my main problem with connecting with this is probably the singing style. The song is more of an instrument than a human to connect to.
Better than the average r’n’b / digital soul of the era. Dy-Na-Mi-Tee was a minor hit in Sweden at the time and it still holds up. A mix between digital and analogue makes the production still sound ok. Nothing overwhelmingly interesting though.
Jazz-rock that is so polished that zoning out is a real risk despite its groovy, catchy and varied soundscapes.
Just like their debut, it just doesn’t stick on me. It just goes in one ear and out the other. It sounds like a lamer version of The Band.
Lyrics and delivery with pathos, soul, humour and poetry. Straightforward, elegant and poignant.