508
Albums Rated
3.39
Average Rating
47%
Complete
581 albums remaining
Rating Distribution
Rating Timeline
Taste Profile
1980
Favorite Decade
Metal
Favorite Genre
UK
Top Origin
Wordsmith
Rater Style ?
92
5-Star Albums
17
1-Star Albums
Breakdown
By Genre
Top Styles
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Black Metal
Venom
|
5 | 2.47 | +2.53 |
|
Faust IV
Faust
|
5 | 2.78 | +2.22 |
|
Tarkus
Emerson, Lake & Palmer
|
5 | 2.79 | +2.21 |
|
Vulnicura
Björk
|
5 | 2.79 | +2.21 |
|
Ys
Joanna Newsom
|
5 | 2.8 | +2.2 |
|
Freak Out!
The Mothers Of Invention
|
5 | 2.82 | +2.18 |
|
Among The Living
Anthrax
|
5 | 2.85 | +2.15 |
|
Second Toughest In The Infants
Underworld
|
5 | 2.86 | +2.14 |
|
In-A-Gadda-Da-Vida
Iron Butterfly
|
5 | 2.93 | +2.07 |
|
Peace Sells...But Who's Buying
Megadeth
|
5 | 2.97 | +2.03 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
MTV Unplugged In New York
Nirvana
|
2 | 4.21 | -2.21 |
|
Under Construction
Missy Elliott
|
1 | 3.15 | -2.15 |
|
Berlin
Lou Reed
|
1 | 3.09 | -2.09 |
|
Call of the Valley
Shivkumar Sharma
|
1 | 2.94 | -1.94 |
|
White Light / White Heat
The Velvet Underground
|
1 | 2.89 | -1.89 |
|
Gris Gris
Dr. John
|
1 | 2.88 | -1.88 |
|
Elephant
The White Stripes
|
2 | 3.85 | -1.85 |
|
The Sounds Of India
Ravi Shankar
|
1 | 2.85 | -1.85 |
|
Bone Machine
Tom Waits
|
1 | 2.85 | -1.85 |
|
A Little Deeper
Ms. Dynamite
|
1 | 2.81 | -1.81 |
Artists
Favorites
| Artist | Albums | Average |
|---|---|---|
| Beatles | 4 | 5 |
| Radiohead | 4 | 4.75 |
| The Smiths | 3 | 5 |
| Pink Floyd | 3 | 5 |
| The Rolling Stones | 4 | 4.5 |
| Black Sabbath | 3 | 4.67 |
| The Doors | 3 | 4.67 |
| The Cure | 3 | 4.67 |
| Michael Jackson | 3 | 4.67 |
| Dire Straits | 2 | 5 |
| Taylor Swift | 2 | 5 |
| Joy Division | 2 | 5 |
| Led Zeppelin | 2 | 5 |
| The Who | 4 | 4.25 |
| Joni Mitchell | 3 | 4.33 |
| Leonard Cohen | 3 | 4.33 |
| Nick Drake | 3 | 4.33 |
| Madonna | 3 | 4.33 |
Least Favorites
| Artist | Albums | Average |
|---|---|---|
| Lou Reed | 2 | 1.5 |
| Dexys Midnight Runners | 2 | 1.5 |
Controversial
| Artist | Ratings |
|---|---|
| The Velvet Underground | 1, 5 |
| Kate Bush | 3, 2, 5 |
5-Star Albums (92)
View Album Wall
Popular Reviews
Faust · 5 likes
5/5
Mesmerizing 11-minute drone rock opener, but the best section is Picnic on a Frozen River with its driving bass and weird, swirling melodies followed by the charming Giggy Smile. Great ambient sounds on Lauft, I could listen to a whole album of just this. 50 years old and still sounds futuristic.
Earth, Wind & Fire · 2 likes
5/5
The title track features a nice combination of funky bass and breezy guitar licks. Cozy atmosphere. Happy Feelin' is great as well. All About Love slows it way down and has a super cool psychedelic outro. Pan flutes feature in the intro to Africano before polyrhythmic drums come in and excellent saxophone. It's a jazzy instrumental but with a real groove, my favourite track. See the Light keeps the same jazz bass but the vocals re-enter. I would love a whole album of this. I debated not giving this full marks but the highs are high enough.
Jungle Brothers · 2 likes
3/5
Nothin wrong with this but I expected to be more into it. Beats feel very plain and the tracks mostly run together. Some funk, but I want more.
My Bloody Valentine · 1 likes
5/5
Definitely one of THOSE albums. The opening riff in Only Shallow hit me hard, but I was surprised to discover I still really like the vocals. Loomer is good too with nice melodies. It's noisy, yes, but it's a warm enveloping kind of sound. There's a crunch to the guitars too. When You Sleep is epic with good riffing underneath the keyboards. Sometimes drifts along at a gentle roar building towards a catharsis that never quite comes. Soon opens with the drums at the forefront before the guitars and vocals wash over you again. I now understand why this appealed to me 20 years ago when I was searching for the next hipster post rock band.
Sigur Rós · 1 likes
5/5
I don't know if it's just in my particular circle, but this was one of THE albums when it came out and still has legendary mystique. It might not be my favorite of theirs - I think that honor goes to the followup () - but it defines their sound and no one else quite does it like them in post rock. Dreamy, ethereal, otherworldly... whatever adjectives you want to use are probably a good start. Svefn-g-englar has that majesty and atmosphere... I was impressed this time with the power of the keyboards on Flugufrelsarinn, and the almost-bluesy bass riff on Hjartaoð hamast, before the wall of noise kicks in. There's really no bad songs, and everything flows together like one long performance, so just put it on and let yourself float away. Essential.
4-Star Albums (146)
1-Star Albums (17)
All Ratings
Electric Light Orchestra
3/5
Supertramp
4/5
Title track is excellent.
The Kinks
3/5
I liked the last song on side one (Sitting by the Riverside). Tracks 2, 9 also good.
Pavement
2/5
Moby
3/5
Porcelain stands out but there's other good ones. Liked the chilled out beats: Rushing, Everloving, Inside, The Sky is Broken.
The Who
4/5
Baba O'Riley is iconic and Behind Blue Eyes is the other hit. First track of side 2 (Getting in Tune) stood out.
Gram Parsons
2/5
Leans very country. $1000 Wedding: good ballad. Also liked Ooh Las Vegas. ** 1/2
Goldfrapp
3/5
Pleasant dream pop/folktronica. Favourites: Road to Somewhere, A&E, Caravan Girl
Cat Stevens
4/5
Gets to **** on the strength of Wild World and Father and Son. Sad Lisa also good.
Neil Young
3/5
Interesting symphonic parts among the folk rock. Heart of Gold still the highlight.
Gotan Project
2/5
Last Tango in Paris was good. Videogame menu music.
The Beach Boys
3/5
Dance Dance Dance best of side 1, She Knows Me Too Well my favorite of the slower side 2.
Radiohead
5/5
Fake Plastic Trees still beautiful. (Nice Dream) is a great deeper cut. Some iconic riffs on Just and My Iron Lung. No real misses.
The Killers
3/5
The two big hits aside, I liked the first track and Change Your Mind.
Rage Against The Machine
4/5
Full of good riffs and solos. Killing in the Name, Bullet in the Head, Know Your Enemy are standouts.
Sonic Youth
3/5
Theresa's Sound-World was the highlight, cool post-rock sounding riffs. Also liked Sugar Kane and Chapel Hill. Actively disliked some others (ex: Drunken Butterfly) - vocals not working for me. Would listen again with some skips.
The Darkness
2/5
Cool riff on second track but the vocals kill it for me. Love is Only a Feeling was good - doesn't have the same high pitched vocals.
Public Enemy
3/5
Can't Truss It still goes hard, track 5 also solid. Aggressive beats. Bring Tha Noize with Anthrax is fun.
Skepta
1/5
Wild beat on Crime Riddim.
Radiohead
5/5
All I Need is a track I hadn't paid enough attention to before - reminds me of Boards of Canada at times. JFIP is another standout. All very strong songs. The perfect blend of mournful and uplifting.
Holger Czukay
2/5
Persian Love is weird but good.
Anthrax
5/5
First two tracks are standouts, bass intro on Caught in a Mosh is killer. N.F.L., Indians and One World also very good, crushing riffs throughout.
Aretha Franklin
3/5
First side wasn't really my thing, but a couple of tracks on the second side were working for me. Come Back Baby and Groovin'. Ain't No Way as well. Growing on me.
The Avalanches
2/5
Electricity is cool, Frontier Psychiatrist also. Funky bass on Live at Dominoes.
M.I.A.
2/5
Didn't grab me at all until Jimmy. Tough to get through some tracks. ** for Jimmy and Paper Planes.
Prince
3/5
I Would Die 4 U is nice and the title track is an epic. Underwhelmed by the rest but better on second listen - great synths on Computer Blue. Still didn't connect with Darling Nikki.
Eminem
4/5
Drug Ballad is really good. Some of the lyrics haven't aged well. Loads of hits on here though.
Kings of Leon
3/5
First track is a nice intro. Sound not too varied throughout but it's pleasant. Enjoyed the last couple tracks.
Van Morrison
3/5
Caravan was a standout. There's other good parts but I think this needs more time to digest properly.
Dr. Dre
4/5
Starts really strong. Dre Day is the best for me. Production amazing throughout but the deeper cuts don't hit as hard as the singles. Bitches Ain't Shit great closer though.
The Rolling Stones
4/5
Some big hitters on here (Can't You Hear Me Knocking is a fav). Great solo to end Sway. Second side brings down the tempo but may be more interesting. Worth revisiting.
The Residents
1/5
Unsettling. Blue Rosebuds stood out, but I don't want to listen to it again.
The Fall
3/5
Nice sound, good basslines throughout. I liked A Past Gone Mad. Flirts with greatness at times.
The Specials
2/5
Catchy at times (Do the Dog, Nite Klub, etc). Good last track. ** 1/2
Johnny Cash
4/5
Liking this more than I expected. Tracks 2-3 are good, 7, etc. Liking the slower songs.
Jerry Lee Lewis
2/5
Only half the album seems to be on Spotify but I like the energy.
Bauhaus
2/5
LCD Soundsystem
3/5
Surprisingly funky beats, eg, on North American Scum. Someone Great is pretty. Fun sounds on the title track.
The Go-Go's
3/5
Tonite and This Town are good ones.
Elliott Smith
4/5
Liked tracks 3 and 5 and the piano on 7. Strong finish with Can't Make a Sound and the great outro. Dreamy stuff.
Joni Mitchell
4/5
Cozy. Title track and Help Me two of the standouts, plus the first couple tracks of side two.
Leonard Cohen
3/5
Has a haunting quality to it. His voice leans a bit monotone. I liked the more melodic tracks, ex: The Stranger Song, So Long Marianne, Stories of the Street.
Frankie Goes To Hollywood
3/5
Relax still catchy. Good 80s bass on Two Tribes (and throughout). First half not doing it for me often enough but second half picks up with Black Night White Light, emphasizing the funky bassline and a couple great keyboard riffs, plus The Only Star in Heaven with good driving bass. The Power of Love is an epic closer. Could have been **** with less filler.
Antony and the Johnsons
3/5
Some interesting stuff here but maybe not for me. First track stands out. Would give it another spin.
UB40
3/5
King was a nice track, and Food for Thought. Some good instrumental sections too, but overall fades too much into the background to be great.
Lou Reed
2/5
Standout: Satellite of Love.
OutKast
3/5
The 3 singles are all strong. Also liked Xplosion, Humble Mumble, Gangsta Shit. Second half better than expected, but too much filler to rate this very high. Skip the interludes too.
The B-52's
4/5
Rock Lobster is really good and there's enough other strong material here. Fun riffs. Deranged sci-fi soundtrack feel on Planet Claire.
Megadeth
5/5
No bad moments but Devils Island and My Last Words stood out, plus the obvious hits. Incredible leads and energy throughout, bass prominent in the mix (2004 remasters).
The Smiths
5/5
Beautiful and surprising from start to finish. A Rush and a Push... and Girlfriend in a Coma may be my favorites but that's just scratching the surface. Revelatory.
Astrud Gilberto
3/5
Immersive at times but the changes in tone took me out of my reverie. I still think I would listen to it again.
Dusty Springfield
2/5
No doubt influential, but not doing much for me. The Windmills of Your Mind is good. ** 1/2
The White Stripes
2/5
The Hardest Button to Button was pretty good. Nice riffs on Acorns and Hypnotize. Second half better.
Death In Vegas
3/5
First track Dirge is great, driving bassline. Flying as well, another instrumental. Second half falls off compared to the start.
Steely Dan
4/5
Bodhisattva strong start and enjoyed the last track too, King of the World. Clicked more on second listen.
Alice In Chains
3/5
Them Bones good opener, some nice midpaced tracks (Sickman, Dirt).
The Smiths
5/5
Unexpected chord progression on the opener. There's some fast riffing too but maybe at its best when pretty - I Want the One I Can't Have or Well I Wonder. Barbarism Begins at Home is quick paced with a funky bassline.
Culture Club
2/5
Karma Chameleon can't save this. Black Money and That's The Way kill any momentum side one had. Side two picks up with Miss Me Blind and Mister Man. It's ** overall but I would just listen to the second half.
Roxy Music
3/5
Out of the Blue is very strong with great solos but followed up by some eclectic tracks, Bitter Sweet being particularly odd. Good finish though. There's enough highs here.
Michael Kiwanuka
2/5
Some interesting soundscapes.
Marvin Gaye
4/5
Still sounds fresh in 2023. The bass and percussion drives everything forward, strings are lush. Mercy Mercy Me stands out and the 7 1/2 minute Right On.
Slipknot
2/5
Heavy but I can't get into the vocals.
Hawkwind
2/5
Fuzzy guitars and prominent bass. Backing flutes or sax. Some good solos and weird interludes. Orgone Accumulator is a highlight. ** 1/2
Public Enemy
3/5
Bring the Noise, Terminator X and Black Steel are highlights. Classic 80s rap beats.
Tim Buckley
4/5
First half is let down by Never Asked to Be Your Mountain, for me. Second half very strong though. Especially like Phantasmagoria in Two and the epic Goodbye and Hello.
Jah Wobble's Invaders Of The Heart
3/5
Listened to this in bits and pieces (wasn't on streaming as an album) but still enough here to want to revisit. Lots of good basslines and soundscapes.
3/5
The two hits are good, and Star is strong also but not enough of the rest grabbed my attention.
Frank Sinatra
2/5
The Temptations
2/5
Didn't like side one. Love is a Hurtin' Thing is pretty good.
Björk
4/5
It's Not up to You is good, dreamy stuff. Pagan Poetry one of the standouts. Love all the sparkly chimes and keys - short instrumental Frosti is beautiful. Sun in My Mouth and Heirloom also. Mix of cinematic soundscapes and tightly produced beats.
The Band
3/5
It's all a bit laid back but there's some good moments here. The Weight for sure, but also We Can Talk and especially Chest Fever with its slow burn of a riff. Lonesome Suzie is grating though - don't like the vocal.
Giant Sand
3/5
Eclectic mix. Not sure about the almost spoken vocals. X-Tra Wide has summer vibes, love the bass and flutes (?) Shiver is catchy, Astonished and No Reply are brooding, the latter with 2 beautiful solos. Surprisingly heavy slow riffs on Satellite.
Faust
5/5
Mesmerizing 11-minute drone rock opener, but the best section is Picnic on a Frozen River with its driving bass and weird, swirling melodies followed by the charming Giggy Smile. Great ambient sounds on Lauft, I could listen to a whole album of just this. 50 years old and still sounds futuristic.
The Notorious B.I.G.
4/5
The more chill beats are the best parts, eg Machine Gun Funk and Warning. One More Chance goes hard, raunchy lyrics but the beat is smooth. Effortless flow but too much filler to be ***** and lose the skits.
Neil Young
2/5
If you weren't already depressed it might get you there.
3/5
There's some good stuff here. Obviously, Like a Rolling Stone stands out. And Dylan sounds good. I want to rate this higher but it's *** 1/2
Jimi Hendrix
3/5
Castles Made of Sand and cover of She's So Fine are standouts for me. There's probably more to unpack here but this is more experimental than I expected.
Depeche Mode
4/5
It's top heavy but the synth beats are infectious.
Fred Neil
3/5
I almost get proto post-rock vibes from the last track. Some good stuff here, if you're in the mood.
Drive Like Jehu
3/5
Frenetic, quite progressive, but also very melodic especially tracks like Here Come the Rome Plows, Luau, & Bullet Train to Vegas. Lots of riffs. Not my favorite vocal style but it works for the most part.
Meat Loaf
5/5
Hard to beat for the spectacle. Peaks at Paradise By the Dashboard Light but this is worth paying attention to for the duration.
Dr. Octagon
3/5
Science fiction beats courtesy of Dan the Automator. Lyrics all over the place but the flow is good. Earth People is menacing - I like it.
Eagles
3/5
Very country overall. Take It Easy probably the best here. Witchy Woman also quite good.
Miles Davis
4/5
Not what I expected, but in a good way. I get proto-ambient vibes with the jazz instruments and guitar creating dense atmospheres. Worth revisiting.
Violent Femmes
2/5
Has some redeeming features (Gone Daddy Gone) but hard to get through at times.
Terence Trent D'Arby
2/5
Mostly inoffensive except the penultimate track with its nearly 6 minutes of acapella. Highlight: Wishing Well
Pere Ubu
1/5
Vocals are grating. Some really weird music also, eg, Thriller! The short I will wait is fairly pleasant, unlike most of this album.
The Last Shadow Puppets
3/5
Calm Like You is good. The record has a retro movie soundtrack feel, especially on tracks like My Mistakes Were Made For You.
The Cardigans
3/5
Pleasant childlike quality to many of the songs but there is dissonance also (best example is Heartbreaker). Hard to contextualize Lovefool since it's such a recognizable hit. Very well crafted though.
Eric Clapton
4/5
I Shot the Sheriff is a bop. On side two I liked Please Be With Me and especially the pretty Let It Grow.
Boston
4/5
Great solos on several tracks. Nice guitar tone and keyboards. The deeper cuts are all pretty energetic with good riffs. More Than a Feeling is overplayed and it's all a bit cheesy but it's a fun listen. I can't fault it.
Carole King
4/5
It's Too Late, Home Again and You've Got a Friend among the standouts. Interesting to hear this version of the song that she wrote and James Taylor also recorded. Strong overall.
Gene Clark
3/5
Folk but with a mournful edge running through it. Certainly worth revisiting but this is a *** 1/2 for now.
Gil Scott-Heron
2/5
It's mostly poetry or spoken word over jazz with not much I would classify as a song. Worth checking out The Bottle, though. Hard to find on streaming services.
Various Artists
3/5
Serves a purpose. I listened a week after Christmas which may have hurt the rating.
The Beta Band
4/5
I like the more electronic tracks. Some interesting moments like Dragon with its repetitive melody and glitchy beats. Broke goes further into weird sounds and percussion. There's a lot going on here but I want to listen to it more.
Anita Baker
3/5
First two singles didn't really stand out but enjoying the soulful basslines and keys on tracks like Been so Long. Mystery is a highlight - atmospheric and catchy - and No One in the World.
Wilco
3/5
Mixed bag. Far Far Away is very pretty. Forget the Flowers good too. More country than I expected, though there's variety here. Sunken Treasure strong start to disc 2. I also like The Lonely 1. There's a **** album in here somewhere.
Queens Of The Stone Age
4/5
Strong strong start with Regular John and especially Avon. Heavy, driving stuff. It's up and down after that but the good is good enough. You Can't Quit Me Baby another highlight. I listened to a reissue with extra tracks so won't fault the length. Listen on good headphones.
Jethro Tull
4/5
Epic prog rock. I don't like giving points for influence but you can see why people in Maiden, Guardian or Dream Theater liked this stuff. Feels like a complete album.
Caetano Veloso
4/5
Surprisingly chill and melodic. Lazy Sunday kind of music but it hit right for me. Great vocals throughout.
4/5
This Is Love one of the admittedly few standouts on first listen. Closing track We Float is excellent however. Listened again - Big Exit is a good opener. There's other strong tracks too and the Thom Yorke collabs are interesting. I liked the more energetic, driving songs best though.
Dire Straits
5/5
The bass on tracks like Six Blade Knife and In the Gallery combined with Knopfler's distinct guitar sound is perfect. Love the interplay of the guitars on Southbound Again and Lions is a great closer. There's a lot to unpack here - not just Sultans of Swing.
Al Green
2/5
Prefab Sprout
4/5
Bonny is breezy 80s pop rock. I'm liking it. When Love Breaks Down as well. Surprisingly poignant guitars on Goodbye Lucille. Goes a little more avant garde on Horsin' Around and slows down for a few tracks, but still melodic throughout.
Dusty Springfield
3/5
There's pleasant stuff here even if some of it runs together. Still has a nostalgic sound somehow with its expansive arrangements. Favorite track: Will You Love Me Tomorrow
Nine Inch Nails
3/5
Up and down. Great synths and weird sounds, but March of the Pigs is the first standout song. Closer is still deranged sounding, almost hard to believe it was a hit. Nice ambient soundscapes on A Warm Place. Hurt is a beautiful closer.
G. Love & Special Sauce
2/5
I like This Ain't Living and Walk to Slide smooth flow to it. Funky and jazzy. Most of the rest isn't clicking with me.
Frank Zappa
5/5
Weird and wonderful. Peaches En Regalia is beautiful. Willie the Pimp has the only lyrics on the album - and they're strange - before Zappa starts shredding. It's complicated music, but there melody everywhere as the guitars weave in and out of the other instruments. Some of the best stuff doesn't even have guitar, eg: Little Umbrellas. In the first part of The Gumbo Variations, sax and bass are just as happy to take the lead. Instant classic.
Black Sabbath
5/5
Sabbath bring the riffs here, and they're heavy as hell. Dual guitars on display in the opener once it kicks off in the last third. Supernaut has a killer main riff and some interesting drumming. Snowblind chugs along with melodic guitars and a mournful solo - top stuff. Cornucopia's intro riff is just evil. There's time to catch your breath with Laguna Sunrise before the guitars bash your head in again. Then the closer is an epic with tempo changes and a beautiful harmony section.
Nitty Gritty Dirt Band
2/5
The instrumentals on disc 2 help redeem this. The End of the World (off disc 1) stands out, as well as Orange Blossom Special which flies along at breakneck pace. Overall it's way too country but there's some folksy stuff I like.
N.E.R.D
3/5
Smooth production you'd expect from the Neptunes. Enjoying the title track and its recurring synth riff. Jump and Breakout as well. Second half is weaker, but Chariot of Fire is a pretty good closer. Overall, this is as middle of the road as it gets.
The Doors
4/5
Expansive sound through headphones. Dark and moody at times. Pace picks up with the title track, driven along by bass and piano. Slow middle section before the guitar comes back in. I like this. Ominous riff and organ (?) on L'America. Riders on the Storm brings back the moody atmosphere with guitar and keys over rainfall sounds. Very good.
JAY Z
4/5
Izzo is a classic but the production is good and varied throughout. Lots of soul influence. Nice strings on Girls. I like Heart of the City and the slower tracks like Song Cry and Blueprint. Eminem steals the show a bit on Renegade.
Arcade Fire
5/5
A symphony of strings and indie rock. At once sad and hopeful. Powerful stuff. Best tracks: Intervention, Ocean of Noise, and the climactic No Cars Go.
Bad Brains
4/5
Opener brings the speed and energy. Love the main riffs on House of Suffering and Re-Ignition. Secret 77 slows it down and goes in a different direction. Nice vocals and chord progressions. Solos too! Can't tell if this wants to be punk, or metal, or something else (new wave? last track sounds more like hard rock than anything) but it's a concise and enjoyable half hour.
Ella Fitzgerald
3/5
I listened to the Very Best of the Gershwin Song Book (2007), there's also a four CD set (!) that I haven't heard all of. Ella's voice is great and the songs have a nostalgic quality but this just isn't making me want to revisit it straight away. Can't go higher than ***
Heaven 17
3/5
I liked Play to Win and especially Soul Warfare with its pianos and prominent bass. Lots of weird squelchy synth sounds. The Height of Fighting also fun to listen to. Overall... weird... I can't decide if this should be ** or **** so I guess it's in between.
Billie Holiday
2/5
I like the music, could be from an old film. But her voice is grating and it ruins it for me. Apparently she was past her best here - I would like to listen to something older.
Marvin Gaye
4/5
Marvin Gaye brings the funk. Is That Enough stands out but the whole record is good. Chilled out beats.
Deep Purple
5/5
Highway Star is a perfect opener, hard driving with great solos. Pictures of Home also strong, interesting melodies and a big bass solo in the middle. Smoke on the Water too...and Lazy is mostly instrumental with a long intro before it picks up with some intricate lead work. Big chunky riffs on Space Truckin' to end it. Hard rock classic.
The Byrds
2/5
I don't think I'm on enough drugs to appreciate this. What's Happening is pretty good. Some grim depressing stuff like I Come and Stand at Every Door. Not one to revisit.
SAULT
2/5
Wildfires is smooth and quite catchy in a deep house kind of way. Monsters has a grimy beat and I like the vocal. There's some other good parts but it's too much filler to my ears.
Fleet Foxes
4/5
Slower first couple of tracks before the tempo (and mood) picks up with Ragged Wood. Lots of more contemplative folksy parts which don't all grab me, but Blue Ridge Mountains is charming. Overall it's quite playful and uplifting.
The Beach Boys
5/5
The Beach Boys' answer to Rubber Soul has enduring classics like Wouldn't It Be Nice and God Only Knows, but also great deeper cuts. To name a few: Let's Go Away For Awhile is orchestral with chimes and drum rolls. Sloop John B ends side one with more interesting percussion over a rock beat. I Know There's An Answer is layered with harmonies and different sounds. Essential.
Coldplay
3/5
Some iconic stuff on here like the riff from In My Place and the piano melody in Clocks, but a lot of the songs just slip by. Pleasant, but not demanding full attention. Warning Sign is pretty good though. *** 1/2
Taylor Swift
5/5
Has to be considered in the context of her previous record but this isn't folklore side B. Underappreciated by some fans, this just may be the better album. The indie era is alive and well. Favorites: Willow, Tolerate It, Long Story Short.
A Tribe Called Quest
4/5
Appropriately, groovy bass lines are prominent and the backing music is atmospheric. Flow is measured, but lyrics incisive. At times, feels like this bridges the gap between the 80s and 90s. Beat on Infamous Date Rape is particularly nasty and Jazz (We've Got It) is super smooth.
The Who
3/5
Listened to the mono Super Deluxe Version. Still not sure I love the mix. Tattoo and I Can't Reach You are nice, Silas Stingy also interesting with backing organ (?) but this isn't resonating with me overall.
Scott Walker
4/5
Stirring strings and Scott's full, round singing voice carry this. Nostalgic but not overly dated sounding. Standouts include Angels of Ashes and The Old Man's Back Again, but this was consistently good.
Beck
3/5
E-Pro is an energetic opener, nice crunchy guitar sound. Switches gears quickly into breezy rap-rock on track 2, with electronic and world music stylings. Girl starts with bleeps and bloops before breaking into alt rock. Continues to defy genre expectations or easy categorization as the record progresses, winding through folk/country with Emergency Exit. At the very least this is interesting.
Harry Nilsson
2/5
I like ballads but this is a bit sappy, eg, The Moonbeam Song. Coconut is just silly. Some of the more rock oriented songs are better like Jump in the Fire, but not enough to save it. Closes with another really slow ballad. Zzz.
The Beach Boys
4/5
Much more subdued than some of their 60s work. The last three tracks are quite magical with Til I Die being the standout. Gets it to **** but I might just listen to side two next time.
R.E.M.
4/5
Some good hooks in here. I like Disturbance at the Heron House. Couple big hits in It's the End of the World As We Know It and The One I Love. Strong stuff.
The Cars
4/5
Strong start, fourth track goes off kilter a bit but the synths do a lot of lifting. At its best when it rocks hard and lets the keys fill in the backdrop, but there are some good moodier moments as well. Love the closer All Mixed Up. The 80s are coming and The Cars are driving us there.
Destiny's Child
3/5
Some interesting keyboards, especially on Survivor and Fancy but compelling little riffs throughout. Outro even sounds like a Detroit house beat from the 80s. Just too much filler in the middle to be great but this is still a success.
Paul Revere & The Raiders
3/5
Some fun stereo effects on this one. I'm Not Your Stepping Stone is energetic with a simple but effective progression. Nice harmonies on All I Really Need Is You. Just about a three star record.
Jeff Buckley
5/5
Haunting acoustic riff sets the tone in the opener. Folk underpinnings and some angry alt rock guitars crashing through the calm to great effect. Unexpectedly pretty chord progressions with Buckley's clear voice piercing through. His take on Hallelujah just sparkles, maybe one of the best covers ever. We've covered a lot of ground by the time Forget Her fades out. Exceptional.
Fugees
5/5
The trio sound great from the first bars whether singing or rapping. Production is varied and precise with middle eastern influence on a few tracks. Ready Or Not hits hard over a stripped down beat. Killing Me Softly is warm and intimate with its backing chorus and prominent bass. No Woman No Cry takes us in a different direction but somehow doesn't feel out of place. Then Lauryn Hill saves her best rapping for the last track. Deserves to be listened to from start to finish.
The Birthday Party
1/5
Listened to most on YouTube, full album wasn't on streaming but this sucks. 0 stars
The Stranglers
4/5
Far from the punk I expected, clean sounding and approachable. Opening track is catchy with a repetitive riff and backing keys. Fuzzy bass there underneath. Princess of the Streets is more psychedelic with its bass and keyboard intro, and features two melodic solos. (Get A) Grip is another standout, poppy but with complex keyboard work, and the long Down in the Sewer. There's a lot to like here.
Kendrick Lamar
3/5
I expected to like this more than I did. Kendrick's style is unique and there are some good lyrics here but I wanted more hooks. His monotone rhythm still creates a compelling atmosphere, but it's not necessarily one I want to immediately revisit. Standouts: the title track.
Mike Oldfield
4/5
Iconic intro of course. This then goes places I didn't anticipate, covering a lot of ground over the two roughly 25 minute pieces. Both sides build to something approximating a crescendo near the end. Undoubtedly a classic. I'm docking a point for whatever those vocals are in part 2.
The Temptations
4/5
I'm digging the long, atmospheric Papa Was A Rollin' Stone with its simple bass line. On the other side, I Ain't Got Nothin' and The First Time I Ever Saw Your Face scratch the same itch. Has a certain timeless quality to it.
Green Day
4/5
Basket Case is the big hit but there's plenty of pretty iconic pop punk anthems here. One note stuff but it does it well and the album is the perfect length to keep energy levels high throughout.
Nitin Sawhney
2/5
All over the place, from chill soundscapes to drum n bass, hip hop, worldbeat and something that could have been in a Disney movie (Immigrant). Letting Go was good as well as the instrumental Tides with lively piano over ocean noises. At other times, was tough to get through.
Bill Evans Trio
3/5
Easy listening jazz. The piano is nice. Nothing in particular demanded my full attention but it's certainly not unpleasant to listen to. Would look up more Bill Evans in future.
3/5
I like Some Mother's Son and there's a nice distorted riff on Brainwashed. The longer more complex songs like Australia and Shangri-La are my favorites. Goes in a more psychedelic direction on She's Bought a Hat... Overall good but not great.
T. Rex
3/5
It's very bluesy at times. Lean Woman Blues especially, but it's good if you like that kind of thing. Bang a Gong is the big hit, but Girl is a nice one too. Everything kind of just plods along.
Digital Underground
3/5
Big time funk. Firmly in the 80s for a 1990 result but still some solid hip hop. Highlights: Freaks of the Industry and Doowutchyalike.
Bob Dylan
3/5
Gave this a couple tries but it's just not speaking to me. Nothing wrong with it, and there's some pleasant stuff so it sits at *** but it all runs together.
John Lennon
4/5
Beyond the big title track, Jealous Guy is a nice slow burner with strings out of a movie soundtrack. Then we're straight into the bluesy It's So Hard. More strings come in to make it quite interesting. The longer I Don't Wanna Be a Soldier Mama kills the momentum somewhat, but Oh My Love is another good quiet piece. Last track Oh Yoko! has a bit of Bob Dylan in it. I do want to revisit this.
Bobby Womack
4/5
Hard to listen without moving at least one body part. Bouncy, addictive bassline on the opener. The 7-minute Games is a highlight with female backing vocals and interplay of pianos, bass and sax. If You Think You're Lonely Know was the big hit, bringing more of the soulful stuff. Great, clear production throughout too.
Neu!
5/5
Part ambient, part repetitive, driving rock. Mostly instrumental, brilliant in its simplicity and effectiveness. The 10 minute closing track might be the best part. Doesn't feel old at all.
The Beau Brummels
3/5
Rock with a healthy dose of folk and psychedelia. Nice stereo effects. Only dreaming Now is good but the quiet, fantastical Magic Hollow is the clear standout.
The Police
5/5
Brilliant and eclectic, in distinctly Police fashion. Grabbing you from the keyboard intro of Synchronicity I, followed by Walking In Your Footsteps with almost Caribbean sounding percussion and barely any guitars. O My God is mid paced, built around a funky bassline. Mother is the sole low point, bizarre vocals and carnivalesque melodies. Miss Gradenko brings back the groove and a catchy vocal hook. Synchronicity II is a straightforward rocker full of memorable riffs. Somehow side two is stronger, leading with Every Breath You Take, but King of Pain and Wrapped Around Your Finger might outshine it. Essential stuff.
Radiohead
4/5
Full of interesting sounds, alien like at times. Sit Down Stand Up is haunting until the frenetic finale while Backdrifts is compelling with an unsettling progression. Where I End and You Begin is a highlight; this and There There are something approaching radio friendly, if any of it is. Perhaps just a bit too long and unfocused compared to the best of Radiohead.
Jefferson Airplane
4/5
Listened to the original version ending with Plastic Fantastic Lover. Somebody to Love and White Rabbit are the big songs, but I also like the quiet, pretty riffs in tracks like Today and Comin' Back to Me.
4/5
First two tracks are forgettable but the longer pieces are much more interesting. City, Country, City is soulful and jazzy with enough melody to keep me engaged, over some tribal sounding drumming. Four Cornered Room brings the tempo down and goes in a bluesy direction, although, for me, the vocals detract from it. Title track is much better, more soul and saxophone over a steady beat.
OutKast
4/5
Starts strong with fast techno-synth riffs alternating with slow passages on GhettoMusick. Incredibly varied beats and rapping on disc 1. Highlights: The Rooster, Bust, Flip Flop Rock, Last Call. Disc 2 starts with jazz piano and continues thru different genres. It's a wild ride, but a bit weaker than the first set. Highlights: Hey Ya, Roses, Behold a Lady, My Favorite Things. Speakerboxxx earns a *****, The Love Below *** 1/2, so we'll call it **** overall.
Joni Mitchell
4/5
Joni's singing is amazing and this is a pleasant listen, but I mainly connected with the piano tracks. The title track is beautiful and haunting, River and the closer are very good too. I'll need to revisit this. Annoyingly not on Spotify.
Pink Floyd
5/5
Crystal clear production, the guitars and drums sound amazing. The children's chorus and Gilmour's solo on Another Brick in the Wall, Pt. 2 are iconic moments. Too many other highlights to mention (but Comfortably Numb has to be one of them), it's hard to imagine not wanting to listen to the whole record and just be transported to another world for 80 minutes.
Taylor Swift
5/5
Listened to the original version. I don't know if this is my favorite Taylor Swift album but it's undoubtedly the one that launched her from stardom towards something beyond. No, I don't really need to listen to Shake it Off or Bad Blood every time but the section from Blank Space to Out of the Woods is pop perfection. The back end features some more subtle synth pop including the sleeper hit Clean to close proceedings. 13 songs, naturally.
Skunk Anansie
3/5
Opens with a d'n'b beat before crunchy alt metal riffing comes in underneath female vocals. We Don't Know Who You Think You Are has a quite heavy, groovy main riff - I dig it. Secretly goes symphonic with strings and a sweeping, melodic chorus. Cheap Honesty brings back the heavy guitars and it works. Good bass too. The album covers a ton of ground, but for me it's not focused enough to be great.
Cyndi Lauper
4/5
Girls Just Want To Have Fun is appropriately joyful, if overplayed, but the melancholy Time After Time and sparkling All Through the Night are the real winners here. The rest of the record keeps the energy levels high and the synths drive the low end. Analogue never sounded better.
Herbie Hancock
5/5
Chameleon opens with a simple, funky bassline before overlapping waves of synths come in, almost overwhelming the listener, then retreating. The bass becomes more insistent and the synths softer. The clavinet (?) comes in and the drumming is intricate, then the bassline from the intro returns. Watermelon Man is shorter, with pan flutes creating a vibrant atmosphere. Sly stays closer to jazz, with a rapid tempo and very complex rhythm section. Vein Melter is calmer, with fragments of melody over a rhythm recalling a marching band. Incredibly dense and rewarding music.
Throwing Muses
2/5
Lighter and more accessible than I expected for something punk adjacent. Hate My Way has a proto indie rock sound to it, to me. Nice intro riff on Vicky's Box. At times it leans more folk. Listening on YouTube so harder to pick out individual tracks, but not enjoying the second half as much. Last track is my least favorite.
Dexys Midnight Runners
1/5
Do not like the vocals in the opener. Weird spoken interludes too. Some good moments in the surprisingly long This Is What She's Like, especially the second half. Next track is slow and not sure it needs to be 7 minutes long either. Closes with a bizarre 8 minute folk song. Is the singer deaf? If so, this is very impressive. The parts with an established groove are better but I can't get past the vocals and there's too many parts of the album that don't make sense to me.
Germs
3/5
Fast and frantic punk, with song lengths in the 1-2 minute range except for the closer. Strange Notes has a great bassline, and it's prominent in the mix. Lexicon Devil has the same driving bass. The last track is nearly 10 minutes of mid-paced groove with dissonant, distorted guitars. This really isn't my thing, but I'm glad it exists.
The Cure
4/5
Dark, moody, and stripped down with the bass and drums driving things along. A Forest is the only big hit on the record but this is a tight collection of songs. Other highlights: Play for Today, Secrets, M.
The Pharcyde
4/5
West coast old school hip hop, this draws more from the past than Dre's brand of g-funk that would take over the scene. The MCs go hard and fast, the beats have a lot going on. Some parts are dark, some uplifting, but there's hypnotic energy on every track. Better Or 4 Worse and On the DL have the smooth keys I like, Passin' Me By brings the funky bass and horns. Return of the B-Boy is a strong closer with an infectious bassline.
Lambchop
2/5
Much more easy listening than I expected. Not enjoying the vocals for the most part. Otherwise, fairly dreamy stuff but nothing much is making me pay close attention. The Petrified Florist has a bit of a darker edge, but it's too little too late.
Marty Robbins
2/5
Big Iron is lively and fast paced but it's mostly followed by a collection of - appropriately - ballads which all blend together. If I had to pick one, The Master's Call is it.
Amy Winehouse
3/5
Rehab is overplayed but You Know I'm No Good and Back to Black work for me. The title track hits that James Bond soundtrack vibe I like, with the strings and Winehouse's plaintive vocals. There's a timeless quality to this, it doesn't sound like it's trying to be retro but it clearly draws from the soul catalogue of the past.
Talking Heads
4/5
Two playthroughs, but probably not enough for it all to click. The Book I Read is one I liked. Psycho Killer second to last is an interesting placement for the biggest song on the album. One of the best bass lines of all time. It's enough to push it up **** territory almost on its own. The rest is good enough to get there.
Dirty Projectors
2/5
Some pretty moments but this really didn't resonate with me.
AC/DC
3/5
It's AC/DC. You know what you're getting, but there's definitely some riffs here. Touch Too Much is a nice one, and Beating Around the Bush has some good leads. The closer Night Prowler slows it down which helps. I don't know. Maybe trying to break this down song by song is missing the point.
Bon Jovi
4/5
Strong start with the two big hits back to back, but it's the middle section (from Wanted Dead or Alive through I'd Die For You) that really shines with plenty of catchy hooks, solos and keyboards. A fun album, firmly rooted in the 80s, and it doesn't suffer from it.
Minor Threat
3/5
Not a second to waste on this 21:36 long album. Fortunately, the guitars and bass sound great. Credit where credit's due.
Earth, Wind & Fire
5/5
The title track features a nice combination of funky bass and breezy guitar licks. Cozy atmosphere. Happy Feelin' is great as well. All About Love slows it way down and has a super cool psychedelic outro. Pan flutes feature in the intro to Africano before polyrhythmic drums come in and excellent saxophone. It's a jazzy instrumental but with a real groove, my favourite track. See the Light keeps the same jazz bass but the vocals re-enter. I would love a whole album of this. I debated not giving this full marks but the highs are high enough.
Joy Division
5/5
Interesting drumming on the somewhat unsettling, noisy Atrocity Exhibition. Isolation then opens with an actual bass riff and bright synths. As the album unfolds, the sparse arrangements and monotone vocals only serve to highlight the drums and fuzzy guitars. It's dark, but there's an energy I find compelling. At times mechanical sounding, often dystopian, especially the keyboards. A Means to an End has a catchy riff though, and Decades is startlingly melodic as it builds to a cathartic release. Stunning.
Missy Elliott
1/5
Feels like the early 2000s was an awkward time for hip hop, these beats don't sound fresh despite some big name collabs. Production is boring and Missy's lyrics are making me cringe. Really awful opening and closing monologues too. Leave this one in the past.
Thin Lizzy
5/5
Twin guitar attack! Love the harmonies and the dueling solos. The bass is clear in the mix too. They can slow it down when needed, like Still In Love With You, complete with extended solos. The smooth transition into The Boys Are Back In Town is a ton of fun. Other highlights: Emerald, Massacre, Don't Believe A Word, Are You Ready, Suicide. Top notch hard rocking live stuff from start to finish.
Jurassic 5
4/5
What's Golden is the standout with its super grimy beat, but the whole record is strong. The tracks are varied, pulling from different genres and styles. Minimal filler, no interludes. The second half is weaker, keeping it from earning top marks, but would definitely play this one again.
The Clash
5/5
The title track is as effective as ever, but the rest is new to me. Brand New Cadillac has some real bite and an old school sounding rock'n'roll riff. Most of the first half of this double album is good. More melodic than I expected but with a hard edge. Pretty at times (ex: Lost in the Supermarket). Other highlights: Hateful, The Guns of Brixton. On to the second half, Death or Glory and The Card Cheat are standouts. I'm Not Down and Train in Vain, too. I wish this was a touch more focused, but it's probably still a five star album. So many great basslines and riffs.
Hole
2/5
Angry at times, but not very memorable.
Van Morrison
3/5
The title track has a piano bar kind of vibe with the bass underpinning everything. All of the songs are pleasant and would be great background music. Which means it's stuck in the realm of *** albums for me.
a-ha
4/5
Take On Me and the massive ballad of a title track carry a lot of weight here. Living a Boy's Adventure Tale has some luscious pads and synth bass. Last two tracks are strong too, including more serious bass on Here I Stand and Face the Rain. Pretty vocals throughout. Volume levels are uneven which is slightly annoying, but I won't dock it points.
Grizzly Bear
3/5
I do like parts of this but on the whole it's a strange, haunting album. Ready, Able was my favorite track. It's possible this would click with more listens.
Marianne Faithfull
3/5
This is largely unpleasant but very middle of the road for the most part. Guilt is a smooth little number with driving bass and backing sax. Very good. What's the Hurry is also good with nice guitar solos and Why'd You Do It has a decent groove to it (with surprisingly graphic lyrics that were a distraction!) Overall held back by the slower plodding stuff though.
Wilco
4/5
The keyboards really make some of these songs pop (eg, Kamera, Radio Cure) and Jesus, Etc remains a powerful piece of indie rock. Heavy Metal Drummer has some real bite to it. There's nothing left of the old country Wilco by now, except maybe a feeling at some points. This isn't a classic for me, but I think I get why it is for some.
Underworld
5/5
They don't make stuff like this anymore. Acid tinged, hard edged house beats on the opener with a hypnotic melody that enters in the last third. Then we change tack, and Ban style starts with ambient breakbeats. Sappys Curry leans closer to rock, but with a psychedelic keyboard solo in the second half. Dense and very atmospheric. Then Confusion the Waitress has bleepy synths and a steady kick drum. Pearl's Girl is the biggest 'hit' on the record and it makes me wish I was at a warehouse rave in the 90s. Air Towel pulls from Detroit techno. This really covers a lot of ground.
Rufus Wainwright
2/5
Oh What a World is very slow but swells to a crescendo. Curious to see where we go from here. Next track is more upbeat. Everything is very theatrical, this could be in a musical. Go Or Go Ahead is also pretty good. There's something too... overproduced (?) about this preventing me from connecting with it. Or maybe it's his singing. And Vibrate's "my phone's on vibrate for you" lyric is cringe worthy. By the second half I'm just looking to see when this is going to end.
John Coltrane
3/5
I'm realizing some things about jazz. I prefer piano to sax. And I can get down with jazz fusion, but this stuff - although important - might not be for me. Moments I appreciated: the piano driven middle section in Resolution, the drum intro to Pursuance and lightning quick piano bit after that. Less compelling: the unaccompanied bass solo outro on the same track. ** 1/2 but rounded up on artistic merit.
U2
2/5
Something about the production bothers me. It's muffled, or the instruments aren't as distinct as I'd like. The weird pseudo industrial sound they're going for sounds dated. The bigger problem is I just don't like most of the songs. One is sappy, and the rest are largely unmemorable to bad. Favourite track: Acrobat. First U2 album on the list, I hope it gets a lot better than this.
Manu Chao
4/5
Very intimate sounding recording, as if you're in the room with him. Bongo Bong and Je ne t'aime plus is a quite special and unique two part song with lyrics in English and then French. There's a repetitive melody and some instrument I don't recognize. Mentira again has a repeating riff for the whole song, but it's charming and appealing in its simplicity. Minha galera is a highlight from the second half. Overall, a compelling hour of music that defies categorization for me.
Faith No More
3/5
Some of this is basically metal, like Surprise! You're Dead, but otherwise it's a somewhat confusing mix of genres. The intro is a solid hard rocker. Hit single Epic probably sounded fresh in 1989 but I don't think it does now. There's some good moments: I liked the distorted bassline and guitar work in The Morning After. Woodpecker from Mars is an interesting track with a middle Eastern sounding riff and an extended breakdown. The cover of War Pigs is fun. I don't know what to make of this.
The xx
3/5
Intro is obviously good in a car commercial kind of way. Islands and Heart Skipped a Beat are the next songs that grabbed my attention. It's very sparsely arranged stuff with some nice melodies and a mix of male and female vocals. Not all the songs do anything for me, but it's an easy listen.
Elvis Presley
4/5
The opener sounds like what I want classic Elvis to be. After that, more poignant than I expected, from the slow burn of Fever to the melancholic harmonies on The Girl of My Best Friend. There's some very bluesy tracks I didn't enjoy as much, but I did like the piano driven ballad Thrill of Your Love. Other highlights: Soldier Boy, Such a Night. Yes, this is a good album.
Carpenters
4/5
Full of nostalgia, with the strings and pretty vocals of Karen Carpenter creating a calming atmosphere. Maybe It's You is a standout in the first half. The title track is a hit I didn't realize I knew ("why do birds suddenly appear...") There's a fantasy, dreamlike quality about a lot of this, but especially the slower songs in the second half like Crescent Noon and Mr Guder. Another Song even goes a bit proggy at the end. Uneven, but enough of this is very interesting.
The Isley Brothers
3/5
That Lady and Summerbreeze have some great distorted guitar. The second song is a slow ballad that I didn't like as much. The rest is pretty solid funk/soul. I gave this a few goes but there's not enough standouts for me to call it better than good.
Duran Duran
4/5
The popular songs are probably the best on here but there's a hard edge to most of the album I really like. Rio has a twisted bass riff and more layers to it than I expected, while Save a Prayer has a very familiar sounding synth riff that was probably sampled later. Last track The Chauffeur deviates from the formula and is mid paced with a simple repeated melody that's very effective. An 80s classic, if not quite perfect.
The Rolling Stones
5/5
Gimme Shelter is an all time Stones rocker. Next two tracks are very bluesy and for me the low point. Live With Me much better with groovy bass and a bit more drive to it. Nice backing piano and sax. The title track is another good one with the guitars and piano intertwining. On side two, Midnight Rambler is a 7 minute blues rock epic, You Got The Silver is shorter but in the same country vein. Monkey Man goes in a different direction with focus on vibraphone (?) and I like it a lot. You Can't Always Get What You Want is a classic closer, long but with lots going on. Played the 50th anniversary edition and it sounds like it's ready for another 50 years. Pay attention and listen in good headphones and this will reward you.
De La Soul
2/5
I'm sure this was influential but I'm not vibing with it. Uh, searching for positives...I liked the bass on Ghetto Thang. Unfortunately some of the tracks were just bad (ex: Take it Off, Do As De La Does). Needs a lot of editing, but even then I'm struggling to imagine listening to this again.
GZA
4/5
The first and last tracks may be the standouts to me but the whole album has great production, menacing while not being overproduced. Atmospheric stuff. Strong rapping throughout. No throwaway interludes or skits. Consistently good and one I'd like to come back to.
Frank Sinatra
3/5
I don't dislike it but it all blends together for me. Not much to say so *** sounds right.
Peter Gabriel
4/5
Red Rain is a triumphant opener, especially the chorus. Sledgehammer has nice bass and that same 80's sound but it's less memorable for me. Then Don't Give Up is a quiet duet, maybe sounds too much like a soundtrack but Kate Bush sounds good on it. That Voice Again and especially Mercy Street are very strong tracks, subtle but powerful, dense instrumentation and emotional vocals. Big Time is more upbeat but forgettable. Then we go a bit more avant garde for two tracks before the melodies return on In Your Eyes. I like this quite a bit, but it's uneven. Maybe that's the point.
The Stone Roses
4/5
I Wanna Be Adored had a classic riff, there's some aggression here but it mostly fades into a dreamy sort of atmosphere. She Bangs the Drums opens with a great bass riff and some noisy guitars, but the overall effect is still soft somehow. The chorus evokes the 1960s. The next few songs don't really hit the same heights until Made of Stone, which is as good as the first two with a catchy chorus and nice melodies. I Am The Resurrection is a strong closer with an extended instrumental second half.
Michael Jackson
5/5
Bad (the song) is pretty good but The Way You Make Me Feel is perhaps better, bouncy and high energy. Speed Demon has an awesome bass intro and lots of fun sounds. Straight into the chill Liberian Girl with smooth bass and strings. The bass is so good on most of the album, hard not to move a body part while listening. Man in the Mirror is another highlight, and Dirty Diana with its brooding atmosphere. Then the 10th track is Smooth Criminal. It's unfair to have this many hits.
Brian Eno
4/5
Brooding, unsettling but somehow compelling stuff. The tribal drumming is the backdrop for the first part. Melodies are not overt but do emerge from the chaos. On Regiment, there is a more standard groove before a striking vocal hook and warbling synth come in. This definitely leans towards fusion, and it's greater than the sum of its parts. Come With Us is maybe the strangest track, cold and metallic. Mountain of Needles, and indeed the rest of the album, continues in an ambient vein. I find it hard to rate this, but it feels impactful.
Willie Nelson
3/5
Relaxing, cozy interpretations of pop standards. I probably like the first half more, but it's all pretty pleasant stuff, even veering a bit into jazz territory with On the Sunny Side of the Street and Don't Get Around Much Anymore. Highlights: Blue Skies, All of Me, Unchained Melody, Don't Get Around Much Anymore.
Miles Davis
3/5
I might not be cool enough for this. I'm trying to trick my brain into liking jazz but something isn't clicking. I do appreciate how music from this era doesn't have that timeless quality that stuff from the 60s can have, rather it transports you to the 40s or 50s. And that's interesting. But it all runs together for me.
The Flaming Lips
4/5
Quirky, pretty, but eclectic stuff with a bunch of different instruments. Hard to pigeonhole this genre wise. Certainly lots of indie (dream) pop sounds but it really does cover quite a lot of ground. Some really beautiful moments like the sad melody on Race for the Prize or the intro to A Spoonful Weighs a Ton. Whiny vocals at times is the only negative for me, keeping it from being outstanding. Unsurprisingly, then, the largely instrumental The Observer was another highlight. Very good.
Bruce Springsteen
3/5
Strong start with Thunder Road and the title track is an all American classic. It fizzled out a bit after that, for me. Had higher hopes for the epic closer Jungleland which never really hit the heights it threatened. Parts of this album sound like if Meatloaf had shown more restraint, which isn't what I was expecting here. Good, not great, but definitely some choice cuts to come back to.
Kanye West
5/5
Feels like a momentous record, even if it all didn't click with me on first listen. Dramatic, theatrical, with a fantastic list of collaborators. Is rap opera a genre? All of the Lights is a 10/10 single, including the intro interlude. Favourite tracks: Dark Fantasy, Power, All of the Lights, So Appalled, Runaway, Hell of a Life. Not perfect, but the highs are very high. Credit where credit's due.
Fats Domino
2/5
If this is Fats Domino, I guess I don't need to listen to more of him.
Pixies
4/5
One of those big albums I'd heard very little of. Mostly short, energetic tracks. Drum sound is great. Straight away, great intro riff on Bone Machine, the bass following suit. Strong guitar work continues on Break My Body. Easy to see how this influenced Kurt Cobain. River Euphrates is catchy and fast and then it's Where Is My Mind? Iconic song with the big slow riff and plodding bass. Things get a little weird and a little more punk rock towards the end, but I don't mind the detour. Brick Is Red closes with some more of the fuzzy alt rock sounds. Verdict? Good, maybe very good.
Pulp
2/5
There's something about this that just washes over me. Maybe the production needs more bite to it, but the songs aren't very interesting either. Multiple 6-minute songs that don't need to be that long either. If I'm being honest, I don't want to listen to this again. Common People is pretty good, though.
Sex Pistols
3/5
Probably not as shocking, nearly 50 years on. Not as raw as I remembered either, and there's a nice groove to it at times. Still plenty full on though. Highlights: Holidays in the Sun, Liar, Anarchy in the UK, Sub-Mission. I enjoyed this but it's not something I'll come back to straight away.
CHIC
4/5
DISCO. If you aren't moving something as soon as Good Times starts, there's no hope for you. Later sampled by Sugarhill Gang, and probably others. The bass lines lay down a fierce groove throughout. I didn't like the slower songs as much until Will You Cry, great ballad with powerful backing strings. **** for Good Times, most of the rest is still worth a spin.
Red Hot Chili Peppers
3/5
The rhythm section is so tight and really defined the sound of the album for me. Parallel Universe is a perfect example. Scar Tissue is the first radio hit off the record, and I didn't realize how good the solos are. The title track is hard to contextualize here as I've heard it so much. Unfortunately after this a lot of tracks go by that aren't clicking for me. This Velvet Glove is a nice slow builder though. As an album I found it top heavy, too long, and not outstanding overall but glad to have discovered Parallel Universe.
The Kinks
3/5
This is pretty good, but other than the last track most of it doesn't feel essential. I wish the production or mixing was a bit better. At times it's quite a dark, even dissonant album though. And I always find it interesting when the biggest song is the last one. Standouts: Death of a Clown, Tin Soldier Man, Afternoon Tea & of course Waterloo Sunset, which is worth *** on its own.
Gillian Welch
4/5
Opening track is quite lovely, quiet and acoustic. The next couple songs are a lot more twangy but it's stripped down and her voice isn't overly country. I much prefer the folky, Americana sounding songs like Revelator, April the 14th and Everything Is Free. The long last track I Drama Highway is more of the bluesy stuff I like the highlight of the album. Relaxing stuff, but emotionally charged. Good find.
Fleetwood Mac
5/5
Sara is a special song, interesting chord progressions and a steady rhythm. What Makes You Think You're the One is more upbeat with driving bass and pianos. Vocals alternate between more agressive and then calm on Storm, completing a trio of very good tracks. The last song on the first half, Sisters of the Moon, is another driving slow builder, guitars and vocals coming together beautifully. Brown Eyes on the second half is strong again, low key with bass and vocals taking center stage. I actually can't keep listing every good song because there's a lot. Is it a five star album, 74 minutes long with its offbeat moments and all? I think so.
Charles Mingus
4/5
Jazzy and lots of sax initially, but more than that. Very interesting piano on Track C. Then it becomes a Latin sounding fusion piece. Super cool. There's some great parts in the last two pieces too. Really a mix of genres (often alternating instruments and styles in the same track) but often melodic. Not really my thing; maybe it should be.
Elastica
2/5
S.O.F.T. was my favorite, but it's Nirvana light. Never Here isn't bad either. I just don't care enough about this to give it more than **
Neil Young & Crazy Horse
2/5
Predictably, I like the parts that lean more rock, like Powderfinger. Sedan Delivery has some catchy guitars but the vocals aren't working for me. Hey Hey My My (Into the Black) opens with a surprisingly heavy, grimy riff. On relisten, the solo acoustic stuff has some merit but Neil's voice is keeping it from being good. I do like the bookending of My My Hey Hey and Hey Hey My My though. ** 1/2
Lightning Bolt
4/5
The intro had me concerned, but Assassins leads with such a demented yet groovy riff I can't help but like it. The bass tone is insane. Mostly instrumental. Weird drum sound. Dracula Mountain is more of the same. 2 Towers has a complicated intro then a heavy riff kicks in and doesn't stop. After about four minutes the riff evolves into something new and twisted. I love it. There's some pretty parts too, like the middle part of On Fire or the short title track (which is followed by maybe the most chaotic track on the album). Duel in the Deep closes things out with droning, noisy fury. I don't think I can give this top marks because it's mentally exhausting but I'm glad it's on the list.
Tim Buckley
3/5
Very calm and generally pleasant stuff that didn't stick with me. I think there's a time and place for this, and a depth to it that may be revealed through repeated listens, but for now it's middle of the road for me.
Big Black
2/5
Kerosene definitely has a great riff, it's aggressive, dirty, and industrial sounding. Nice bass sound. Lyrics and vocals are a bit weird but it works for this song, especially the chorus. Unfortunately while the rest of the album has the same sound, nothing really pops like this one. Hell of a song though. ** 1/2
The Stooges
2/5
Listened to the Bowie Mix, 2023 remaster. Search and Destroy is a nice opener, catchy and energetic. Gimme Danger is more toned down and psychedelic, some acoustic guitars in the mix. It's weird but I'm enjoying it. Then straight back into hard rock territory on Your Pretty Face. Good riffs and solos. I wish the mixing was a bit cleaner but the guitars still sound good. Penetration is... strange. Sums up this record, a bit of everything, but not all good. The second half is weaker too. It's a miss for me.
Malcolm McLaren
4/5
Pretty, mostly instrumental Obatala instantly creates a mood. World music inspired. Buffalo Gals has a quirky intro, radio DJ samples, record scratches, and an old school hip hop sound to it. Programmed drums and synth bass. Double Dutch gets even weirder, with complicated melodies, but it's lots of fun. We go deeper into the Latin or Caribbean inspired sounds next, with classical guitar featuring. Punk It Up is a highlight. Back to instrumental next with Legba and it's incredible and cinematic, percussion like maracas with multiple overlapping synth melodies. Song for Chango is good too, tropical sounds. World's Famous is a short but excellent track, jazzy hop hop. I was hoping for another instrumental but the outro sounds like line dancing music. Never let them know your next move.
Hole
3/5
Not as raw as I expected. Title track is first. Awful is a catchy rocker and Hits So Hard is smooth with a simple repeated riff. Malibu is along the same lines, and it's growing on me. Almost shoegaze at times but there's an edge to it. Later on, Northern Star goes in a more acoustic direction, possibly overstaying its welcome. I think the album overall is too long but the closer Petals is worth it. Not sure how to rate this, nothing is unpleasant but it also seems to play things very very safe.
Billy Joel
3/5
Title track is good, and I liked the sax in Just The Way You Are. A bit too sappy from the Piano Man at times, but when the pace picks up it's better. Vienna is the biggest song off this? Another ballad and it doesn't really connect with me. She's Always a Woman is more interesting, albeit yet another ballad. Just not enough here for me to get excited about.
Emerson, Lake & Palmer
5/5
Twenty minute title track. It sounds like demented boss battle music in the best possible way. You could drop parts of this into Chrono Trigger and it would work. I think it's the organs and the bass. The Moog synths do a lot of work too. Super fucking cool. Eventually, we fade out, and then back for a dramatic finale. On side two, Bitches Crystal is more of the same from the title track with aggression and delicate keys. Sounds like ragtime piano. The Only Way and Infinite Space is a interesting two parter with a moody instrumental. The last two tracks don't hit the heights but it doesn't matter.
The Cure
5/5
The singles may be the catchiest tracks but there's so much other good stuff here. In an album full of haunting atmospheres, The Same Deep Water as You is a 9 minute track that really leans into the brooding, mournful theme. The title track is another entrancing piece that doesn't feel as long as it is, Homesick too. The album can be divided in two halves - the shorter or more radio friendly songs and then the deeper, longer songs. I questioned the runtime of this initially, but somehow it works, even feels essential. Probably their crowning achievement?
The Jesus And Mary Chain
2/5
Not enjoying this. Was hard to get through some tracks like In a Hole and Never Understand which are just noisy. At least most of the time there's a song underneath the noise and feedback, but this still isn't likely one I'll listen to again. Favorites: Just Like Honey, The Hardest Walk. Tempted to give 1 star because some of it's so obnoxious, but I'll be kind and round up. * 1/2
Stan Getz
3/5
The Girl From Ipanema, with two versions included here, is definitely a good one but nothing else here really stood out. Good calm background music nevertheless.
The Jesus And Mary Chain
3/5
Okay this is something different than the last one. Much much more gentle and approachable. Maybe too much so. But I'm nodding my head at some of this and it's all quite nice. Not great, but good.
Dolly Parton
3/5
Title track is pleasant and Travelling Man is a bit of a bop. Then it gets a bit too country but there's more stuff in here I like in the second half: Early Morning Breeze in particular is a great song that leans more folk than country to me. The Way I See You is strong with nice piano backing, and Here I Am has pretty melodies and powerful vocals. Cool bassline too. I can't rate this higher but the second side is worth listening to at the very least.
Hugh Masekela
4/5
Maybe some of this jazz stuff is starting to stick. If I had to describe this in a word: cozy. Sunday morning coffee kinda music. The trumpet (sorry, flughorn!) and piano are great. Bass has a supporting role but still sounds good. One to play again for sure.
The Soft Boys
3/5
Much more immediately engaging than I expected, with driving bouncy bass and sing a long choruses. Very melodic guitar work and there's what sounds like a sitar at one point. Captures some of the 60s rock sound but with a sharper edge to it. Insanely Jealous of You is less neo-psychedelia and more post-punk, to me, but it works. There's some misses (Old Pervert) but this is solid. Favourites: Kingdom of Love, Tonight, Underwater Moonlight.
Emmylou Harris
2/5
Boulder to Birmingham is a brilliant, sad tune. I like Before Believing as well, with more quiet guitar and piano. Emmylou's voice certainly takes center stage. Most of the rest is probably too country for me, although I like her versions of Coat of Many Colors and For No One. I'm stuck on ** because I don't really want to listen to this all the way through again, but glad to have found Boulder to Birmingham.
Motörhead
4/5
I should like it more but Motorhead have never been a huge favorite. Once you've heard Ace of Spades you feel like you've heard a lot of this. Some really good solos though (eg, on Overkill) and the energy is obviously there. I'm digging the more midpaced groove on Metropolis too. Can't give it less than a 4 for sheer energy.
Beatles
5/5
Listened to the 2022 mix in stereo. Eleanor Rigby continues to be one of their most beautiful songs but I'm Only Sleeping might be better, carried by the delightful bass melody. There's some eastern sounding instrumentation which segues into Love To You. Here There and Everywhere is another hit with pretty vocal harmonies. There's quirkier stuff here, like the tongue in cheek intro Taxman, and certainly Yellow Submarine, but the latter is undeniably catchy. She Said She Said closes the first side with the most guitar driven track so far. The second half maintains the same rhythm of ethereal, charming songs, with For No One and the slightly unsettling I Want To Tell You two of the standouts. It's an incredible blend of styles and instruments. It feels like every note is precisely placed, a tour de force.
N.W.A.
4/5
Title track and Fuck Tha Police epitomize classic rap, full of samples but with brutal lyrics that were ahead of their time. Really good 1-2 punch. Gangsta Gangsta isn't as good but If It Ain't Ruff is another strong one, Ren rapping solo over a simple beat. Then we have a couple of slower tracks with funky bass and interesting percussion. Something Like That and Express Yourself come close to hitting the heights again, but the second half is weaker and I'm torn over the final rating. Still a really great sounding album and undoubtedly a classic.
Talvin Singh
2/5
Lush ambient soundscapes, drum n bass and traditional Indian music. I'm trying not to make an "OK" joke. I actually kind of like this, but struggling to see how this is more consequential than any of the other electronic albums I listened to from the 90s or 2000s.
Pink Floyd
5/5
It's almost hard to pick individual songs out because it feels like one single piece. Ebbs and flows, masterfully trapping us under its spell. What more can be said about this album? In terms of moments, though, I really like how the disorienting, psychedelic keys of On the Run segue into the intro of Time. Money has its iconic bassline, but it's the guitar and saxophone leads that really shine. Any Colour You Like is another instrumental, keyboard heavy section, bringing us gently back down after the high of Us and Them. Brain Damage and Eclipse blend together, one more climax before things finish as they started, with a heartbeat and empty space.
Bruce Springsteen
4/5
Good start with straightforward rocker Lonesome Day. I also like Waitin' On a Sunny Day with its dense, almost maximalist production. Nothing Man follows, country rock but pleasing to my ear. This is polished stuff compared to earlier Springsteen but the formula works. Radio ready rock with an orchestra full of instrumental backing. Not everything is a hit, and there's some forgettable tunes amongst the 72-minute runtime. Strong finish though, You're Missing being the standout of the back half for me, downtempo and melancholy with cello and organ. Paradise is another stripped down slow one, and My City of Ruins is a decent closer featuring a gospel sounding refrain. Cut a few songs from the middle and this is really really strong - as is, still very good. Glad this came up.
Silver Jews
3/5
The half-spoken vocals are taking some getting used to, but I can get behind the country/indie sound in theory. Very pretty guitar harmonies on Room Games and Diamond Rain. Short instrumental Transylvania Blues is my favorite track, with driving bass and distorted guitar. Strays too far into country at times. The lyric in Tennessee is really, "cause you're the only ten I see"? Nevertheless, there's an earnestness here I appreciate.
The White Stripes
2/5
There are some riffs in here, but the garage rock aesthetic isn't working for me. Neither are Jack White's vocals which can get a bit too strained. Overall more misses than hits unfortunately. Offend In Every Way is my favorite song, a vaguely country rock sounding riff with the right amount of groove. Some others like Aluminum or This protector see just weird. It's not good.
Jungle Brothers
3/5
Nothin wrong with this but I expected to be more into it. Beats feel very plain and the tracks mostly run together. Some funk, but I want more.
Buena Vista Social Club
3/5
Played the 25th anniversary edition. Chan Chan is good and I like the jazzy, piano driven tracks like Pueblo Nuevo, Murmullo, and the title track. Most of the rest sounds like generic Latin music to my ears. Still an easy *** for Chan Chan and the piano pieces.
Steve Winwood
4/5
Spanish Dancer stood out, breezy and warm. Night Train opens with funky bass and guitar licks, then kicks into gear with piano and an anthemic chorus. I'm digging this. I relistened to the first half and the first two tracks aren't doing much for me but Second Hand Woman is another nice one. Dust is a pretty good closer. I like 4 of the 7 tracks quite a bit, good enough for ****. Also impressed that Winwood plays all the instruments on the album!
Fishbone
2/5
Weird and hard to categorize. Some ska here for sure with the horns but other genres too, mostly high energy stuff. I don't particularly care for a lot of this, but One Day has very cool riffs and a stop start rhythm to it. Subliminal Fascism is interesting too.
David Ackles
1/5
Opening title track is very theatrical, the piano dominating and horns in the background. Love's Enough is a quiet piano ballad. Things continue in the same vein, if anything leaning more into the musical theater sound. There's some interesting atmospheres here, but I still feel like I'm listening to a play. The last track, Montana Song, is so long and such a chore to get through that it dragged down my already low opinion of the album. Really bad lyrics too.
The Flaming Lips
4/5
They achieve a cool sci-fi aesthetic in the first couple of tracks with the retro future sounding synths. Very dense sonically. Fight Test is a good intro but One More Robot is great, atmospheric with sad sounding melodies and a beautiful orchestral coda. The two parter title track is full of weird sounds but never really gets going. At its best in the more energetic tracks like Are You a Hypnotist?? Vocals hold the album back for me though, he gets whiny at times. Nevertheless some great soundscapes. Hard to describe, but one of those albums you just need to listen to.
Iggy Pop
4/5
If I had to describe it in a word, it's cool. Instruments sound great, the bass tone especially. I don't like all the early songs, but Funtime works for me and China Girl is exceptional. Followed by another strong one in Dum Dum Boys, built around a bluesy but quite heavy riff. The last track Mass Production is slow and also heavy, gradually building with pounding bass and psychedelic effects. It's a trip.
The Beta Band
3/5
Bit all over the place, often changing mid song. Assessment is light and poppy until a grungy riff enters in the second half and it builds to a frenetic finish. Space is more psychedelic with acid bass and Lion Thief is chilled out and atmospheric. The next few tracks mostly stay in this dreamy space and then Out-Side is back to alt-rock/grunge, until a pretty acoustic riff and piano come in at the end. Really like the riff and drums on Liquid Bird. Not sure this feels a cohesive album. I wish more of it resonated with me. Favourite songs: Lion Thief, Liquid Bird.
Deep Purple
3/5
I know this is a classic but it's a bit of a slog. Some really great versions of songs in here along with a lot of extended guitar noodling, drum solos and crowd work. The best part is probably the first half of Space Truckin before things go off the rails a bit. 3 stars because of the material but I'd rather listen to the studio versions for the most part.
Buzzcocks
3/5
Punk but very melodic with a lot of good riffs. Nice interplay between guitars and bass on Fast Cars and the guitar tone is great. You Tear Me Up has a neat double time section, and Get On Our Own even has a solo. Fiction Romance is another catchy one. The drum intro to Autonomy bears a striking resemblance to Run to the Hills - coincidence? It's another strong song in any case with the dual guitars shining. Loses momentum with the long Moving Away From The Pulsebeat followed by the somewhat cringeworthy Orgasm Addict. I still liked this overall.
Shivkumar Sharma
1/5
I don't care if the Beatles liked this, I don't.
The Triffids
2/5
Opener is uninspiring pop but I like the piano on the second track. Gets a bit (maybe a lot) sappy sounding on tracks like Blinder By The Hour or Save What You Can. Overall, not one to revisit but a couple good moments. Favourites: Kelly's Blues, Open For You.
Beastie Boys
4/5
There's a really dirty bass riff in Shake Your Rump that was great. I quite like the beats but some of the rapping takes a bit of getting used to. Constant sampling. The Sounds of Science started off weird but gets going in the second half and 3 Minute Rule has another real grimy bassline, digging it. First verse is particularly good. Looking Down the Barrel of a Gun might be the best track here, menacing heavy stuff. Car Thief also good and the multi part finale is a pretty strong finish. Not everything hits, but this is important stuff.
Nick Drake
5/5
Lively mix of acoustic folk rock with orchestral arrangements. Beautiful instrumental intro. The vocals didn't click at first but by the third track I'm feeling it. Great riff and soft backing sax. There's a melancholy feel to everything without it ever sounding funereal. One Of These Things First is another good one with intricate guitar and piano. On Poor Boy, the music leans more towards jazz but the backing vocals could be gospel. Maybe the best track. Northern Sky challenges it with more piano and sparkling chimes. Evocative and nostalgic album, but still sounds fresh. Timeless.
Cocteau Twins
5/5
Soundscapes alternating between dreamy and vaguely unsettling. The layered female vocals are largely unintelligible. Mechanical sounding programmed drums. And yet, the overall effect is organic and beautiful. Ivo and Lorelei are pretty, but Persephone is better; built around a dark, driving low end rhythm. Pandora and Aloysius are melodic again and uplifting. Strong closer in Donimo. Nothing else quite sounds like this. A treasure indeed.
Tom Petty and the Heartbreakers
3/5
At times bluesy, others more hard rocking. It's a concise record: 10 tracks at just over half an hour, but not a great one for me. Luna with its quiet organ playing is the most interesting song. Other highlights: Breakdown, Strangered In The Night.
Bonnie Raitt
2/5
There's some good licks here but not enough is making me sit up and pay attention. Real Man has a bit of actual drive at least. Too many slower tracks that meander around and don't get anywhere. Middle school slow dance isn't an aesthetic I need to revisit. The rest isn't good enough either. Too country, or too bland, I don't know.
Gorillaz
4/5
Not what I expected, starts off very alt rock and then goes through a whole bunch of different genres. Clint Eastwood is the big hit. Some really nice laid back beats in the middle section. I think I'd have to be in the right mood to listen to this all the way through, but the production is so good I'm tempted to bump it up a notch. Other highlights: Tomorrow Comes Today, Double Bass, Rock the House.
Nick Cave & The Bad Seeds
2/5
Bit of a weird one. Straight to You is the best by far and some of the rest was bad. Not awful, but I don't want to listen to more of this.
Radiohead
5/5
It's hard to describe how this sounded when it first came out. It's lost none of its appeal and aura since then. Everything In Its Right Place sets the tone with the first few notes and stuttering vocal samples. The title track has a subtle groove and music box motif, recalling Boards of Canada. It's never quite straightforward rock, but there's riffs to be had in tracks like National Anthem and Optimistic, then full on ambient in Treefingers, and the sweeping epic sadness of How To Disappear Completely. The climax is surely Idioteque: mesmerizing vocal melodies and synths over broken up, glitchy beats. But there's something here for almost everyone. Play this to the aliens when they contact us.
The Mars Volta
3/5
It doesn't suffer from the cardinal sin of being boring. This may be too avant garde for me, but there's plenty of more melodic sections I liked. Lots going on and I probably didn't absorb the majority of it, but I'm not up for an immediate relisten either. Best songs: Roulette Dares (The Haunt Of), Eriatarka, Cicatriz Esp.
LCD Soundsystem
3/5
If the Talking Heads or Bowie made am LCD Soundsystem album it might sound like this - this was intentional apparently, at least the Bowie influence. I do like some of the songs, I Used To on the first half and Call the Police and the title track on the second half. There's lots of good bass and the production is slick. I'm left wanting more though. This feels derivative and a bit empty.
Led Zeppelin
5/5
My interest is piqued. One of the biggest albums of all time but not one I'm very familiar with. Black Dog is a decent opener with some good riffs but not as memorable for me as Rock and Roll, which really turns up the speed and heaviness. Insane rhythm section. The Battle of Evermore is totally different, with mandolin and no drums at all. Stairway is Stairway. Still one of the all timers that builds to a hell of a solo and finish. The next couple of tracks are more subtle, Four Sticks in particular standing out with its dense layers of sound and riffs. Going to California is a pretty acoustic folk number and a highlight for me. Finally, When the Levee Breaks opens with thunderous drumming and then a heavy blues riff. It rumbles on at a mid pace with an incredible groove. Eight tracks that all bring something different to the table and the quality of the playing is immense. Complex arrangements. I might be a convert.
Elton John
3/5
Tiny Dancer is sure a strong opener. We have a couple of less memorable piano tunes next, but the title track made me sit up and take notice. Much more bite to it and very cinematic. Indian Sunset has some good moments too and Holiday Inn leans more prog rock than I expected. I don't like everything though so it's hard to give this an overall rating higher than ***.
Bob Dylan
4/5
Not everything clicks with me but the best parts are so good it carries the rest. If I had to choose, I like the acoustic second half better. Has a momentous feel to it. By the time we get to the quiet closer, I'm sad but happy it happened. Favorite songs: She Belongs to Me, Love Minus Zero, Mr Tambourine Man & It's All Over Now, Baby Blue.
Ice Cube
4/5
Lots of good tracks on here. Angry, both the beats and the lyrics. I really like When Will They Shoot and Wicked to start things off. It Was a Good Day is obviously a banger but We Had To Tear This Motherfucka Up right after goes hard. Wasn't familiar with a lot of this record. Gangsta' Fairytale 2 another deep cut I vibed with. Check Yo Self isn't as good as the remix but still a solid addition. I don't know if this is the best Cube record but you could do a lot worse.
Nick Drake
4/5
More stripped down than Bryter Later but there are still plenty of parts with backing strings. I liked River Man, and Day Is Done is especially poignant, a beautiful mix of vocal melodies and acoustic instruments, all melding with the strings. Man In A Shed us another excellent song with the piano and bass taking center stage. I'm rating this lower than Bryter Later but it's an easy 4-star. Interested to hear Pink Moon when that comes up.
Soft Machine
3/5
Hoo boy. We're getting really jazzy with this one. The first side doesn't work for me. Too avant garde. Slightly All The Time is a lot better. Is this a rock song? I don't think so. But there's a discernible rhythm for much of it and I like the saxophone and psychedelic keyboards. Moon In June actually has vocals! Even if the lyrics are weird. Good keyboards again, and there's some nice guitar in the middle section. The last track has an extended ambient intro before the bass and sax really take off. The end is slower with the drums more prominent. This is a weird one because I enjoyed most of this, but it's on the long side and the first track didn't resonate with me. After playing it again, I get a bit more out of the first side but I still think it's a bold move opening with this piece.
New Order
5/5
I love an album that starts with heavy hitters and builds, it feels like any of the first four tracks could be the strongest one yet. Tons of energy, amazing bass sound and keyboards. The instruments are clear and distinct in the mix. After Sunrise it's the perfect time to slow things down with the instrumental Elegia. The rest of the second half is upbeat again, with Sub-culture being my favorite on the side and maybe the record. Very nostalgic synth sound for me. 8 songs, 40 minutes, perfect length. Everything's good so I can't help but give this top marks.
Sebadoh
2/5
The first couple songs are pretty good but I didn't like the next couple after that. Somewhat bizarre change of dynamic, much more dissonant and harsh sound with an off key harmonica in Fantastic Disaster. No. It's certainly an eclectic mix of styles. I generally don't like most of it, whether it's lo-fi, garage rock, punk, alt rock or indie or whatever. Sacred Attention is a bright spot, I like the riffing. The acoustic Think as well. Overall, too many songs too, felt incredibly long for only 46 minutes. Not for me.
Peter Gabriel
4/5
Super interesting percussion on the first couple of tracks. No Self Control is a big track, difficult to describe. The synths do a lot of work. I Don't Remember has really cool bass and it builds to a melodic chorus. Family Snapshot is a power ballad with pounding drums in the second half. Games Without Frontiers is more understated but the vocals, percussion and synths continue to be excellent. Lead a Normal Life is built around quiet keyboard melodies. Biko is stranger with tribal sounding drums and bagpipes. This stuff feels ahead of its time. I just can't decide if I really like it or not. It makes me want to listen again though.
The Associates
2/5
There's enough here I didn't mind (ex: Gloomy Sunday) that keeps me from rating this lower, but the misses are truly weird. After side one don't want to listen to this ever again. Side two may be changing my mind. I do like the bass a lot on the first two tracks. The high pitched vocals ruined Party Fears Two though. Short instrumental Nothinginsomethingparticular is a strong finish. I can't give this more than **
Roni Size
2/5
I ended up liking some of this, especially the second disc which had a lot more ambient, jazzy vibes. But the audacity of putting a 2 and a half hour long drum n bass album on the list. Can't go higher than **, I think just disc 2 on its own would have been a *** or better.
The Smiths
5/5
It's The Smiths at the height of their powers. I Know It's Over is great, especially the second half. Cemetry Gates is a lively short one with great guitars and bass. The energy levels stay high as it transitions into Bigmouth with its memorable, jangly riff. The next riff, coming in with the verse, is even better. It's a frenetic, breathless track. There Is a Light That Never Goes Out must be the best song here, gloomy even for Morrissey, but with incredible vocals and strings bringing everything together. Some Girls is a brilliant closer too. Their best work? Maybe.
The Offspring
3/5
Lotta riffs here. It's a little bit more punk than later Offspring I've heard. Two big singles in Come Out and Play and Self Esteem. Kinda one note otherwise but it doesn't overstay its welcome and I appreciate that.
Beyoncé
2/5
Production value is unsurprisingly high but I'm not sure many of the songs justify the extended run time. Largely very slow paced. Drunk in Love still meanders on a bit but has a pretty good hook. I was about to write off Angel until a cool synth riff came in in the middle. I wish there was more of this. Rocket is 6:31 (!) long and unfortunately one of the most boring songs here. XO is pretty good, and the last few tracks are shorter, at least, but still so slooow. I might like this more as instrumentals, which kind of defeats the point of a Beyonce album. At least I get to skip the second disc of extra tracks and remixes.
Run-D.M.C.
3/5
The beats are pretty stripped down and the rapping definitely sounds dated, but you can hear the hard edge here that would inspire the next gen of hip hop. Rock Box is where it's at though, with its big guitar riff underpinning it. A preview of Walk This Way. The single It's Like That is still good. I'm not in a hurry to listen to all this again, but I respect it.
Stan Getz
3/5
Okay, we haven't had any jazz in a while. I'm ready for this. Beach house vibes. I like it, it's quite calming. You can let it fade into the background if you want, but there's detail here to unpack. Entrancing. Favorite tracks: Desafinado, Samba Triste.
Kate Bush
3/5
Took me a while to get into this, but The Fog has some powerful violins which play nicely off Kate's distinctive voice. Interesting song. Didn't connect much with the rest of side one. There's some good slower stuff on the second side like Never Be Mine, probably my favorite track. Lots of different backing instruments, mystical vibes. Rocket's Tail is more guitar based with a surprising groove to it once it kicks off. Dramatic piano ballad This Woman's Work closes the album, but it didn't quite work for me. I listened to this twice and got more out of the early tracks this time but this is just good overall, not great.
MGMT
3/5
Three big singles here, but a lot of the rest of this just washed over me. I had higher hopes. I'd revisit this, but sometimes the hits are the hits for a reason. The closer was pretty decent though. Best tracks: Time to Pretend and Kids.
David Bowie
4/5
Opens with straightforward rocker Watch That Man, then the title track is built around some very cool piano and a repetitive bass riff. Liking this a lot. Panic in Detroit also has a great main riff and some unexpected progressions. More good bass work and it's prominent in the mix. Cracked Actor is a strong upbeat little number too. Onto side two, Time is theatrical and glam with an emotional feel to it, I'm engaged and waiting to see where it goes next. Maybe my favorite track so far, but The Prettiest Star is good too with nice guitar work. Then we have a Stones cover and after that The Jean Genie, which for me feels out of place with its bluesy riffs and harmonica. Back on track with the piano based Lady Grinning Soul, and its slightly unsettling melodies. I think there are Bowie albums I'll like more but we're still in **** 1/2 territory. I'll be strict and round down.
Nick Drake
4/5
On first listen, I'm underwhelmed. I knew what to expect: acoustic guitar and vocals are the only instruments apart from a piano on the opening track. What I didn't realize is how truly bleak and sparse it would be. Favorites after one play are Things Behind the Sun and Parasite. At only 28 minutes, this deserved another listen. Place to Be and From the Morning stood out this time, but there's still parts that just don't do it for me, like Horn and Know. ... I keep coming back to this so I guess there's subtlety here to unearth. Can be quite beguiling.
Marvin Gaye
4/5
Soulful and deep. The title track is the big one but I'm enjoying Please Don't Stay, especially the drumming. If I Should Die Tonight slows things down more and walks on the edge of sappy, but doesn't cross it. The backing strings help. Keep Gettin' It On is next with the tempo brought back up and the rhythm section is impeccable again. On the back half, Distant Lover is a standout, slow but moodier. You Sure Love To Ball as well with the interplay of bass, strings and sax. There's no real duds here. The basslines never stop. I can't decide but if you want to give this 5 stars I'm not mad.
Magazine
4/5
Much more synths than I expected, in a good way. Definitive Gaze is a nice opener and My Tulpa as well with good keyboards and a bouncy rhythm. Shot By Both Sides ups the energy more and brings the riffing. Catchy stuff. Then Recoil goes much more punk. Lots of variety here. Difficult to categorize but I like most of it. Motorcade is maybe the best song, a six minute epic with some moody passages and a super fast middle section. It all feels very fresh.
Leonard Cohen
5/5
Dark and moody indeed. The title track sets the tone, a groovy bassline and Cohen's distinctive gravelly half-spoken vocals, with backing chorus emphasizing the religious feel. Leaving the Table is slow and bluesy and another strong track. If I Didn't Have Your Love is even better, emotionally charged with backing keyboards. It Seemed the Better Way is my favourite, though, with a captivating melody and tribal sounding percussion. Steer Your Way is a touch more upbeat, driving bassline and melodies underpinning a strong vocal performance. During the outro I'm left considering that this was recorded so near the end of his life. Maybe the depth of these pieces owes something to wisdom gained through the years. Anyway, a special album.
Astor Piazzolla
2/5
Playing the live album recorded at Montreux - hope it's the right one. It's mostly pleasant and easy listening to start. Gary Burton steals the show a bit on Vibraphonissimo. Little Italy is quite pretty as well. It all started to wash over me after a bit, although Operation Tango had some good parts.
The Verve
2/5
It's fairly middle of the road stuff. Dragged down by longer songs that don't really go anywhere. The title track is a bit better, with a heavier groove, and at least Brainstorm Interlude is trying to do something different with a more psychedelic sound. Overall, too long and not enough here to warrant a repeat listen. Highlights: On Your Own, History
Kendrick Lamar
4/5
First track hits hard with an eerie funk groove. Sick. King Kunta is next, a big track with a catchy hook. Institutionalized is more low key, but I like These Walls, a smooth beat and an old school sounding chorus. Not vibing with 'u', but we're back with Alright and its stop-start beat and aggressive rapping. How Much a Dollar Cost and Complexion are other standouts for me. The Blacker the Berry is even better, a dark rumbling beat matching the angry lyrics. By the end, I'm feeling the weight of this album, there are parts that are harder to get through but the artistry is obvious.
Black Sabbath
4/5
The title track is a slow burn, doomy and heavy until the tempo picks up at the end. Hell of an entrance. The Wizard is built around bluesy harmonica and heavy riffing. The guitar tone is insane considering this is 1970. The punishing riffs continue into the long multi-parter next. There's a great bass part about halfway through and then some surprisingly melodic harmonies and soloing on N.I.B. Wicked World is again focused on drilling the bass riffs into your brain. Another multi-part suite to close and it really starts to chug along two thirds of the way through. Geezer Butler's bass is again stealing the show for me. Then we have a bit of a rambling collection of solos but it does come together for one last set of riffs and vocals. As influential as this is, it's also extremely listenable in its own right. I'm not giving 5 stars only because I know there's several albums of theirs I'd reach for first, but it's close.
Madonna
4/5
William Orbit's production takes us through a variety of different EDM subgenres. There's particular emphasis on trip hop and downtempo beats, but some of my favourites are the more uptempo ones like Skin with its driving four on the floor beat. I also like Nothing Really Matters and especially Sky Fits Heaven, with its dreamy keyboard melodies and acid tinged synths. Amongst the slower songs, Frozen is a high point, featuring soaring strings and broken up beats. The Power of Good-Bye is another symphonic anthem and maybe the best pure pop song here. Not all the tracks hit, but the good ones are very good.
Michael Jackson
4/5
This is pre- Thriller MJ with a definite disco sound to it. Two biggest tracks right off the bat, of the two I prefer Rock With You. It's lively nonstop action after that with great basslines, Get on the Floor and the title track are another solid 1-2 punch. We slow it way down for She's Out of My Life, which transitions nicely into the smooth I Can't Help It. I would definitely reach for this again even if it doesn't quite hit the heights of what's to come in the 80s.
Christine and the Queens
2/5
There's some good beats here, I like The walker with its dream pop vibes. The English vocals are a bit weird at times. Maybe I should have listened in French... Some of the tracks I dislike but it's mostly inoffensive. This was a brand new artist for me so happy to have heard some of it, but I won't be going back to this except for maybe The walker.
Iron Maiden
5/5
The start of a golden era that produced 5 stone cold classics in a row. With Bruce at the helm Maiden are ready for the big time and boy do they hit the mark. Hard for me to go track by track with songs I know so well already. There's some lesser known stuff on here that are some of the best Maiden tracks though, like the power ballad Children of the Damned and The Prisoner. If I have to be critical, Hills was never my favorite and the title track is overplayed too. Invaders isn't their strongest opener either. But we have Hallowed Be Thy Name to right all wrongs. The classic Maiden closer. In terms of complexity and songwriting, just a cut above what most metal bands were doing in the early 80s. Or any time in the 80s really. Steve's bass playing, the twin guitar attack, what can you say? And this isn't even the best of their classic albums.
Bill Callahan
3/5
I like the quiet, indie-folk sound but most of the vocals don't really work for me. Hard to rate. Favorite tracks: All Thoughts Are Prey To Some Beast, Faith/Void
Kate Bush
2/5
Weirder than I expected. I can't decide if I like some of this or not. There Goes A Tenner appeals to me as do parts of the second half, but a lot of it was a chore.
Thelonious Monk
3/5
Music that makes you feel like you're too dumb to understand it. Maybe I'm just not in a jazz mood today. I do like the atmosphere and it sounds great. So I won't dock any points but I'm having trouble justifying going higher than *** either.
The Pogues
3/5
Fun and catchy overall. Wild Cats of Kilkenny is a nice atmospheric instrumental. Surprisingly emotional at times, eg the female vocal led ballad I'm a Man You Don't Meet Every Day. Followed by A Pair of Brown Eyes, strong also. The Band Played Waltzing Matilda is a great closer. Not really feeling all of this, but there's always a time and place for Celtic drinking songs. *** 1/2
Queen
3/5
It's quite varied. Killer Queen is great. I dig the three-part suite Tenement Funster / Flick of the Wrist / Lily of the Valley. Now I'm Here with its disctinctive vocal harmony part is another standout. Gets quite hard rocking in songs like Stone Cold Crazy. As an album, I wanted to like this more but it's messy and I found myself wishing the production was clearer. The second half is also weaker. I know this isn't their best but still interesting.
Donald Fagen
4/5
I didn't know what to expect but I like this. The bass is the star of the show. I.G.Y. sets the tone and Green Flower Street leans further into the smooth basslines and R&B vibes. Ruby Baby has pop vocal sensibilities with jazzy backing piano. Neat. Maxine is more emotional and nostalgic sounding. The second half is just as good, The Goodbye Look in particular has a super cool keyboard. It's giving calypso. Jazzy outro. Easy 4 star.
Snoop Dogg
4/5
Gin and Juice is a fun song but I enjoyed the darker beats on Murder Was The Case and Serial Killa. Who Am I (What's My Name?) brings Dre's big G-funk bassline to the forefront and heavily samples George Clinton in the chorus. Ain't No Fun is another great funky track. It's overall just smooooth, Snoop's flow is distinctive and there's some good collabs. There's a couple of duds (Lodi Dodi) and we have the usual weird 90s rap bits but it doesn't hold it back much. On another day this could be ***** but it doesn't quite get there.
The Mothers Of Invention
3/5
I like some Zappa but this is a bit off kilter. Interesting lyrics, lots of short tracks. If psychedelic rock and freeform jazz had a baby? Not many toe tappers in the first half, but Mom & Dad is a good one. Absolutely Free is also something approaching a pop song. There is some weird stuff on here. Nasal Retentive Calliope Music is basically noise - great title though. There's some pretty moments in the second half, often interspersed with disturbing sounds. By the end I find myself entranced and wondering what's coming next. And it's a noisy 6 and a half minute ambient track with maniacal laughter. That's the end. I think this record might genuinely haunt me. ***
Mariah Carey
2/5
Honey has a cool squelchy synth beat which I dig, although there's no real vocal hook. The title track is a bit too middle school dance for me but it's not bad. My All is another slow one. Mariah has the pipes, obviously, but I need more. The Roof samples Shook Ones Pt II which is cool. Whenever You Call was another standout, albeit a ballad again. Fly Away has a bit of edge to it with good bass - better! The production is very tight and it sounds good but I'll leave these songs in the 90s. Why is the album so long too?
Talking Heads
3/5
This album doesn't really have any pop hits and it does all blend together a bit for me but I like the chunky low end and gradual progressions. I could see this getting better with repeated listens. Highlights: Memories Can't Wait, Heaven.
Beatles
5/5
Remastered 2009. The big guitar riff in Come Together sounds so good, and so does the rumbling low end in the coda. Something has a riff that could have been on a Pink Floyd album. It's slow and purposeful, with real weight to it. In general I appreciate the stero effects and little details. It's the kind of clear mix I like with all the instruments distinct and punchy. It's not all quiet and proggy either, Oh! Darling has an aggressive chorus and heavy drumming and I Want You (She's So Heavy) is true to its name with a crushing riff (ok, it's still 1969!) Side two starts with a change of pace but another heavy hitter in Here Comes the Sun, and Because features the Moog synthesizer to great effect. The rest of the album is a medley winding its way through 8 tracks over 16 minutes. There's lots of good parts, but Golden Slumbers might be the prettiest bit and has a perfect transition into Carry That Weight. Overall, an ambitious and enduring work. With the band starting to fall apart at the seams, it's almost unbelievable how good it is.
5/5
I don't want to go track by track for this one. Might be missing the point, anyway? Realistically scores top marks on the strength of the big songs anyway. The transition into With A Little Help From My Friends still gives me goosebumps, and Lucy In The Sky With Diamonds needs no introduction. The slightly eerie organ melody, the time change, the chorus. It's a stone cold classic. Closing out the album, A Day In The Life is another favorite with its dramatic, dissonant buildup. In between, the album just... takes you somewhere. Like many of the very best records, every track is different and yet it all feels cohesive. On this listen, I appreciated the mesmerizing instrumentation on Within You Without You more than I had in the past. Next time, I suspect a different song will grab my attention. You plumb the depths of this and it rewards you.
Nirvana
4/5
Feels a little less radio friendly after the massive Nevermind, more back to basics. There's still Heart-Shaped Box though, which is peak 90s rock, and the whole first part of the album is very good. Scentless Apprentice gets a bit screamy, but there's a great main riff and some real power to it. The second half is more subtle. I do like the overall sound and the combo of Milk It and Pennyroyal Tea is my favorite from the back half. No Apologies is a strong closer too. I like this more than I thought I would.
Blur
2/5
So, it's the album with Song 2 on it. I'm trying to find other things I like here, and You're So Great is a pretty good acoustic number. The track after, Death of a Party, is catchy in a plodding sort of way. It's followed by Chinese Bombs, a short punk rocker. There's a lot of variety here, and some of it is weirder than I expected. I wish it was more cohesive though, or that I liked more of the individual songs.
My Bloody Valentine
5/5
Definitely one of THOSE albums. The opening riff in Only Shallow hit me hard, but I was surprised to discover I still really like the vocals. Loomer is good too with nice melodies. It's noisy, yes, but it's a warm enveloping kind of sound. There's a crunch to the guitars too. When You Sleep is epic with good riffing underneath the keyboards. Sometimes drifts along at a gentle roar building towards a catharsis that never quite comes. Soon opens with the drums at the forefront before the guitars and vocals wash over you again. I now understand why this appealed to me 20 years ago when I was searching for the next hipster post rock band.
The Go-Betweens
3/5
It's pleasant but not sure this is essential. My favourites were Love Goes On! and Was There Anything I Could Do? which sounded like The Smiths-lite with its intro riff. The album doesn't overstay its welcome either.
Elvis Presley
3/5
Blue Suede Shoes and Tutti Frutti are still good and there's some other moments on here I liked. It's never gonna be my favorite Elvis album but I'm trying to imagine what this sounded like back in 1956.
The Coral
2/5
A hard to categorize rock album. There's stuff here I like, Dreaming of You and Goodbye to name a couple. Wildfire has some nice keyboards on it and a carnavalesque bassline. Neat track. I didn't care much for the first two songs and Skeleton Key was tough to get through. Bad Man is also not working for me. Vocals can be obnoxious at times. ** 1/2
Ash
3/5
Surprisingly approachable rock songs. Great riffing on opener Lose Control. Combination of noisy, crispy guitar and catchy hooks on Girl from Mars. I liked the instrumental bridge in Oh Yeah. Innocent Smile is another good one. They pull a lot from punk, but there's different influences in here. Goldfinger sounds britpop and Angel Interceptor could almost be new wave with its 80s sounding drums. My favourite song is still the first one but there's some pretty good moments here.
TLC
3/5
Must resist the urge to make puns based on the title. Oh well. Creep is...cool. Overall not as dated sounding as I expected. Relaxed beats and atmospheres with some good bass. Waterfalls is still a big song and If I Was Your Girlfriend is probably my favorite track here. Okay, we could lose some of the interludes. I do like this though.
Aretha Franklin
4/5
Listening to the mono recording. Not much more needs to be said about her singing. But these are good songs too. The instruments sound great and the album is tight and focused. I definitely see myself putting this on again. Timeless. Favorite tracks: Respect, Soul Serenade, Don't Let Me Lose This Dream, A Change is Gonna Come.
Joy Division
5/5
Sometimes you just know something will be good straight away. The drum and bass intro to Disorder did it for me. Uptempo stuff when the guitars and vocals come in. Second track Day of the Lords is much slower, measured, moody building stuff with the bass and guitars interweaving. There's so many great basslines but New Dawn Fades stands out with its rumbling low end and emotional guitars. Brilliant track. She's Lost Control and Shadowplay are of the same quality, what a 3 track run. My only criticism: the drums sound a bit clicky to me. I can forgive it.
Dexys Midnight Runners
2/5
The singing is still not to my taste but I like the music. Lots of backing horns and retro cool vibes on tracks like Tell Me When My Light Turns Green and The Teams That Meet in Caffs. The extended instrumental passages help matters too. Seven Days Too Long another good one with its piano part. The vocals go way too high pitched at times which holds this back a lot, but at least we're not in one star territory.
The Doors
5/5
We go from Roadhouse Blues to Waiting for the Sun with its heavy riff and pretty melodies, to You Make Me Real with ragtime-esque piano. Peace Frog has a funky little bassline and organ. Incredible variety. The quiet Blue Sunday and almost jazzy sounding Ship of Fools round out the side. I had to listen to side two again for it to click. Lots of good organ and interesting progressions. The Spy is a standout, slow and sultry. I like Queen of the Highway a lot too. The acoustic Indian Summer sounds like it could be the last song, but Maggie M'Gill brings back the blues for the closer. Top stuff.
The Psychedelic Furs
4/5
First few tracks are solid but not grabbing me. I'm liking Dumb Waiters and She Is Mine though, which lean more new wave than (post) punk. Lots of layering of sounds here, like in the strong It Goes On. Surprisingly good hard driving riffs later on (ex: the intro to I Wanna Sleep With You). The closer All of This and Nothing is catchy too. Very cool 80s rock vibes. Strong album overall even if some of the tracks are less memorable.
Count Basie & His Orchestra
2/5
I won't say it's outright bad but this isn't for me. Best track was probably Flight of the Foo Birds. I liked some of the more downbeat stuff towards the end.
Lloyd Cole And The Commotions
2/5
Mostly ranges from easy listening fluff to actually bad songs (Down On Mission Street). I did kinda like Charlotte Street and Patience. Overall it's bland, and doesn't feel essential at all.
Norah Jones
3/5
A moody little record indeed. I thought I would recognize the big songs on here but I don't. Must have been a blind spot for me. I find most of this charming but a bit soulless. Also feels really long for only 45 minutes. Favourite track: Painter Song
John Mayall & The Bluesbreakers
2/5
Really very bluesy. Not my bag. Some of this is more bluegrass (?) and other parts are more jazzy or soulful, but I liked very little of it. Expected more Clapton guitar I guess. The instrumental second track was pretty good, at least. Listened to the stereo mix.
Madonna
5/5
Big title track is clearly still effective with its bouncy baseline and anthemic chorus. Just ask Ryan Reynolds. There's Express Yourself next, but it's the deeper cuts that really shine for me. Till Death Do Us Part , light and melodic with a catchy synth riff, might be my favorite song here. Promise To Try is an emotional ballad that also hits the mark and then Cherish brings back the bouncy bass and poppy vibes. Dear Jessie and Oh Father form a fascinating two-part suite. The production shines throughout but especially on Keep It Together, funky and rhythmic. Nothing less than an immaculate pop record.
Frank Ocean
2/5
I like the chill sounds and synth pads on Thinkin Bout You for the vocals - especially the falsetto - aren't doing it for me. Cool jazzy beat on Sweet Life and there's a really fat synth on Pyramids that is probably the best part of the album. Lost actually has a hook too. I dunno. I thought I would like more of this, it's a lot of slow, atmospheric tracks. And I still don't like the vocals. 2 stars for Lost and that part on Pyramids.
Peter Frampton
5/5
I was initially skeptical of a double live album but I shouldn't have been. Trust the process. Everything sounds great and distinct and the crowd energy is present. Just the kind of live recording I like. I didn't realize how good Frampton's guitar playing was. Almost all the songs have something to offer but the biggest hit is Baby, I Love Your Way. I really dig a lot of the soloing, especially on I Wanna Go To The Sun. Nice heavy riff on (I'll Give You) Money. There's quieter moments too. And then the epic finale caps things off. I can't deduct any points.
The Velvet Underground
1/5
Feedback: The Album. I hated this more than I expected. I can't believe a full 8 minutes of the 40 are devoted to a spoken word story. Nothing else in here really contains any music I want to hear again. The vocals and lyrics are unpleasant too.
Pink Floyd
5/5
Another album where it's impossible to do it justice in words. There's so much detail here. Sonically, it's almost perfect for me. The guitar, bass and drums all sound great but it's the keyboards that often take center stage. Especially in the spacey first part of Shine On You Crazy Diamond and the dystopian sounding Welcome to the Machine. The soloing is bluesy, especially obvious in Have a Cigar. The title track is the highlight. Beautiful lyrics. Acoustic guitar and piano building to a crescendo. There's no big solo, just a fade out and windswept segue into the last track. The second half of Shine On is darker, brooding. It's a masterclass in creating atmosphere.
The Prodigy
5/5
As soon as Smack My Bitch Up kicks in you know this is bringing the aggression. The drum beat and big acid riff pounds into your brain. More excellent drum programming in Breathe. Simple intro melody before the vocal comes in with deep bass and the track really takes off. Funky Stuff brings the energy even higher, a hard driving mostly instrumental cut. Mindfields is another gem, sounding like proto dubstep to me. Narayan takes it deeper still with a trancey melody and tight breakbeat rhythm. Firestarter is the darkest and most frenetic sounding of the singles. Tucked near the end, Climbatize is one of the best tracks, a real floor filler with a driving bassline. Fuel My Fire is the closer, a hyperenergetic cover of a punk song. A late 90s crossover EDM classic that sounds just as good in 2024. Turn the bass up.
Justice
3/5
Pretty cool sounding electronic stuff. I might have to be in the mood for this but I would come back to it. Favorite tracks: Genesis, Phantom, Valentine, One Minute to Midnight
B.B. King
3/5
This is probably a 5 based on influence and importance. But I don't give points for that. Nevertheless, it has an aura to it that draws me in. And the guitar sounds amazing. Those bends. I don't know if I'll ever be a huge blues guy, but this is a cool record.
The Lemonheads
3/5
Almost pop punk vibes at first but the title track and Rudderless are melodic 90s jangle rockers. The rest of the album is mostly in that vein. I kinda dig it but nothing much is really standing out either. Hannah & Gabi was a favorite. The bonus track is an uptempo cover of Mrs Robinson that was probably the most fun song on the album.
Ravi Shankar
1/5
The weird spoken word intro didn't help endear me to this. There's obviously something going on here but I can't tell one track from the next. I can't imagine a situation where I'd want to sit down and listen to this.
Crosby, Stills, Nash & Young
4/5
Straight away, the bridge in Carry On features a tempo change and an eerie organ melody before the guitar solo, super neat. I like Almost Cut My Hair as well, midpaced and groovy with great guitars. The moody title track has another quick-to-slow moment and nice bass parts too. Our House is the biggest hit, it's poignant with its vocal harmonies and I like it quite a bit. The organ returns on Country Girl to great effect. I thought I might find this too folksy, but there's a grandeur to it and enough diversity in the songwriting to keep me engaged.
The Rolling Stones
4/5
I won't go track by track but opener Rocks Off is a good start, an energetic rocker with the saxophone featuring prominently. We have sax in the second song too, and fast piano, this pulls more from 50s rock and roll than from country or blues. But then Shake Your Hips sounds very bluesy in an experimental way, the clipped rhythm guitar plugging along. Tumbling Dice is the biggest song here, although it's not one of their massive hits, followed by Sweet Virginia and its Dylan esque harmonica. Then Torn and Frayed sounds like a proto Sweet Home Alabama. We're covering a lot of ground here and it's still the first half. Oh yes, this album is 67 minutes long too. A second half highlight is Let It Loose, quite different from the rest. A gospel influenced ballad with a memorable melody. An unlikely favorite for me off the record. In a similar vein I also like Shine a Light, which features a great guitar solo too. There's a lot of songs and a lot to unpack here. I really think it's an achievement and there's tons of depth here to absorb. I'm just stuck at **** because it doesn't all resonate with me yet.
Tori Amos
2/5
Crucify is a killer opener with its piano hooks and insistent drum beat. The piano is weaved through all of this, but some of the best is in Precious Things where it's layered with guitars and a healthy dose of female rage. There's a dissonance to it that keeps you on edge. Winter is a dramatic ballad that tries to walk the line between epic and Disney movie and doesn't quite manage it. The next 3-4 songs are also a bit too musical theater for me. The a capella Me and a Gun is as uncomfortable to listen to as it's supposed to be. Overall, up and down, had it kept the momentum from the first four tracks this would be a winner. Crucify and Precious Things are good ones though.
Buddy Holly & The Crickets
3/5
Was never really a fan of 50s rock but there's something comforting about this stuff, whether it's the toe tapping faster songs or the ballads and their backing vocal harmonies. There's something about the legend of Buddy Holly too. Favourites: Maybe Baby, Tell Me How, That'll Be The Day, Last Night
Frank Sinatra
4/5
Not for the first time I'm caught off guard by the Chairman of the Board. Guess I have no more excuses now. This is just the kind of music that takes you to a place in time. Very cozy, very evocative. The strings, the bass, the voice. This was an easy listen. I think the first track You Make Me Feel So Young might be my favorite, but none of this was bad.
The Yardbirds
2/5
Listened to the stereo version, not sure that was the right call. Didn't like how some of the mixing sounded. The album's a mix of psychedelic rock and blues, with quite a bit of Jeff Beck soloing. That being said there just isn't enough here I care about, quite a lot of weird or just inconsequential songs. Over Under Sideways Down was my favorite, a really unique sounding riff. I would leave most of the rest behind.
fIREHOSE
2/5
Its fatal flaw: this is very boring. And there's two separate drum solos! At least the runtime is short. Listened a second time and am a bit more positive on this, but still not convinced it's essential listening. Favourite song: Time With You
Elbow
3/5
Intro Starlings grabbed me with its quiet melody. Hard to describe what this is but I like the second track The Bones of You, big beefy low end. Grounds for Divorce has a similar sound with pretty good riffs. I like An Audience With The Pope more, a midpaced plodder with the backing keyboards defining the track. Weather To Fly is good also, indie rock vibes. I like One Day Like This too, although it leans a bit too Coldplay for me. The last track is a mellow, poignant closer. Everything's very cinematic sounding, possibly to a fault, and I don't like all the songs. But this is still worth a listen.
Public Enemy
3/5
Consistently hard hitting beats and lyrics, but not too many specific parts that really grabbed me. Could the runtime be shorter? Maybe. Welcome To The Terrordome is my favorite track on here, along with the closer Fight The Power. I don't really have anything bad to say about this, but I had higher hopes.
Gang Starr
4/5
"The DJ's name is Premier, and I'm the Guru..." This is intricate, smart and tightly produced hip hop. From the immaculate flow of Guru to Premier's subtle, funky beats, it's a great early 90s rap record. No interludes and a runtime well under an hour? I'm tempted to add a point just for that. Best tracks: Step In The Arena, Check The Technique, Take A Rest, Just To Get A Rep
Ananda Shankar
2/5
Well, it's not Ravi Shankar, for better or for worse. I found this somewhat charming at times albeit it inevitably ends up being a watered down flavor of both genres he's trying to cover. I'm giving it an extra point but what are we doing here.
Willie Nelson
3/5
The first half is definitely very country, but it's not grating, and I liked the recurring Time of the Preacher theme. The second half is better, with interesting instrumentals like the acoustic guitar and piano driven Just As I Am and ragtime jaunt Down Yonder. At a tight 33 minutes, one to revisit.
Miriam Makeba
3/5
An intimate sounding album. I get a bit of a festive feel to this one, maybe it's the chanting in some parts. Great voice and the music is more subtle than I expected, really letting her vibrato shine. Mbube seems to have heavily influenced the Lion King... and Where Does It Lead is a highlight, sparse and beautiful. Not all to my tastes, but credit where credit's due.
Madonna
4/5
Despite the cover art, not much country music here. It's more of the same electronic sounds from Ray of Light, with a few more surprises. We start off with a few dancefloor ready cuts before the second half goes a bit more eclectic and chilled out, which I like better. It's all quite interesting production wise, not sure if it sounds retro or futuristic. I can't decide if I like this more than Ray of Light but it's in the same conversation. Favorites: Runaway Lover, Don't Tell Me, What It Feels Like for a Girl, Paradise (Not For Me).
Ladysmith Black Mambazo
3/5
I struggle to rate this because I do find it very interesting but I'm also not sure when I would listen to it again. The tracks tend to run together, but it's calming and peaceful, so let's call it ** 1/2 and round up. Favorite track: Unomathemba
Jack White
4/5
Opener Missing Pieces is measured and a little proggy, which left me unprepared for Sixteen Saltines and its big riffs. More of the same sound on Freedom At 21 with a great intro riff. Very satisfying guitar tone. We lose a bit of momentum with the mostly acoustic Love Interruption, and then the title track is a moody blues rocker. There's still a proggy feel to it. I'm digging the piano that shows up here and there, especially prominent in Hypocrital Kiss and Hip (Eponymous) Poor Boy. Near the end, On And On And On is a cool mellow piece. I get some neo psychedelia now. Last track brings back that buzzsaw guitar tone. This album is a trip. A pleasant surprise for someone who doesn't like The White Stripes.
Pixies
5/5
Hell of a start with that bass riff and that guitar in Debaser. I love the intro to Tame as well. Clean quiet bass and angry guitars and vocals. It's an effective combo that we see throughout. Wave of Mutilation is better still, swapping out the half yelled vocal for a smooth delivery, and I Bleed has the best riffing on the album so far. Here Comes Your Man has softer edges but is catchy with its almost surf rock sounding riff. Two more great tracks in Dead and Monkey Gone to Heaven close out the first side. I'm not sure if the second side is quite as good but let's not split hairs. Hey is the best track on the back half and maybe the whole album, the rhythm section carrying it again. Gouge Away is a big closer too, driving bass and crunchy wailing guitars. All killer, no filler.
Beatles
5/5
Earlier Beatles is obviously a different proposition than the later records, but this is still an album full of lovely melodies and harmonies. We're starting to see more intricate or offbeat compositions with some darker tones. A Hard Day's Night is a strong start and the next few album cuts are all good to excellent. And I Love Her is one of the great early Beatles ballads. Can't Buy Me Love closes out of the first half. Onto side two, and Any Time At All is a great lesser known song with a strong chorus. Things We Said Today is another very good one with a darker feel to it, mostly in a minor key. We close with I'll Be Back and it might be my favorite song here. Haunting and beautiful. They always manage to start and finish both sides of a record with really strong pieces and this pulls everything together. Not my favorite from them, but still gets top marks.
Elton John
5/5
It's always hard for a double album to maintain the momentum the whole way through, and maybe this one doesn't quite, but the first half is so so good. Nothing bad to say about any of the 8 tracks but Funeral For A Friend / Love Lies Bleeding is an incredible opener. Grey Seal stood out as well amidst the other hits. On the back half, I liked The Ballad of Danny Bailey and All The Girls Love Alice. Saturday Night's Alright is a classic anthem and Harmony pulls everything together. It's bombastic, fantastic, and a brilliant legacy for Elton John.
Ali Farka Touré
2/5
Not much to say about this. Pretty chill but didn't need to be this long, or on the list probably.
Don McLean
3/5
Other than the iconic title track and uptempo piece Everybody Loves Me, Baby this is largely an acoustic folk album. There's some good stuff here, particularly Till Tomorrow and the piano driven Crossroads, but I'm not ready to call this a great album. Surely a great single, and at 8 and a half minutes, it's nearly a quarter of the album, so that counts for something. Edges it into *** territory.
Leftfield
4/5
It's not all my bag but a lot of this scratches that 90s electronic music itch. The keyboards create a wonderful atmosphere in tracks like Melt and Song of Life. It's all a great mix of prog house, trip hop and tribal with plenty of acid tinged synths. Some of the drums go hard too - lots of bangers in the middle part of the album. Open Up is still a big track with that rumbling bassline. This is absolutely a classic in the EDM world, but not sure it reached the mainstream anywhere else (outside the UK?). Still very good.
3/5
They have a signature sound, for better or worse, and this is surely their album with the most hits. The vocals can lose me at times but the tight, heavy rhythm section keeps things moving along. Starlight and Map of the Problematique are very good melodic rockers. I don't like Supermassive Black Hole as much, but Invincible is solid and so is Assassin with its quick riffing. Knights of Cydonia takes me back to the Guitar Hero days...still a great track. Glorious is a strong closer too. I'd play this again, although the vocals keep me from marking it higher.
Michael Jackson
5/5
An album that was meant to be all hits. Does it succeed? It doesn't really matter - everything sounds good and the three song run from Thriller through Billie Jean is as good as it gets. The sound of the bass sets a high water mark, especially pulsating on the title track and megahit Billie Jean, but present almost everywhere. If you're not moving at least one part of your body I don't know what to tell you. The slower stuff is good too, especially Human Nature and The Lady in My Life. Surely part of the pop music canon.
The Cure
5/5
"It doesn't matter if we all die," setting the tone in One Hundred Years. The drums sound mechanical, the guitars a little dissonant, the atmosphere is beyond dystopian. This is a ruined world. On The Hanging Garden, relenteless drums bash us into oblivion. And yet, the bass riff is catchy. Siamese Twins is ponderous, the bass again driving things forward. There's a prettiness here amongst the desolation. A Strange Day is something approaching hopeful sounding, the guitars sparkling, bass rumbling along. The title track does little to improve the mood though. Eight dark anthems for depressive moments.
Queen
5/5
Bombastic and delightful from the first notes. The highlight of the first half is You're My Best Friend, but the poignant '39 is almost as good. Lots of heavier moments too on I'm In Love With My Car and especially Sweet Lady with its crunchy riffs. Seaside Rendezvous closes the side on a catchy ragtime note. The Prophet's Song takes us back to hard rock with progressive leanings. Powerful start to side two. The lengthy a capella harmonies eventually give way to the heavy guitar again and it blends into Love Of My Life, a mostly acoustic and piano intermezzo that also features a harp (!). The quirky, jazzy sounding Good Company then sets up Bohemian Rhapsody. It's a microcosm of the whole album and a hell of a climax. Iconic stuff.
Yes
3/5
I went into this expecting to like it more, and even with repeated listens it's just not clicking. It sounds good and has some moments, but ultimately comes across as soulless. I assume there'll be more Yes on this list so interested to try something else of theirs, but for now can't go higher than ***
Barry Adamson
2/5
A soundtrack to a movie that was never filmed. Some of this is good, but it's all a bit unsettling. Very hard to describe the sound. I don't think I want to listen to it all again, yet... I'm drawn to it somehow despite that. ** 1/2 Favourite part: The Most Beautiful Girl In The World
Air
3/5
Back to back soundtracks for me, sort of. If you count Barry Adamson. Anyway, this is cool and the early Air sound was great, very dreamy. I quite liked Bathroom Girl and Dirty Trip. Empty House as well. I would give this another spin, although it's questionable if it needed to be on the list.
Prince
3/5
Big album, which teased and ultimately promised me more than it delivered. Lots of different genres provide influence here, and there's diversity in terms of tempo and overall vibes. I did like the funk sound on tracks like Housequake. The chilled out ballad Slow Love works for me and my favorite track on the second half was probably The Cross. Some of the lyrical themes are a bit dated (eg, Hot Thing). Maybe at nearly 90 minutes long it's just too dense to absorb quickly, but I'm left wanting more.
Emmylou Harris
4/5
Exceeded expectations. A pretty mix of acoustic and electric country/folk rock, but it never goes *too* country for me and the melodies are superb. Think James Taylor at times, or later Mark Knopfler. Strong vocals too. Opener The Pearl is one of the best tracks but there's lots of good ones on the first half. The back half isn't as good for me, but still an excellent album. Favorites: The Pearl, Red Dirt Girl, My Baby Needs a Shepherd, Bang the Drum Slowly.
The Dictators
2/5
Bit of an oddball package but there's things here I like. Cool riffs in the opener Next Big Thing and it's a pretty crunchy sound throughout. Lyrics can get weird and it's quite a mix of genres, ranging from proto punk to surf rock. There's a cover of I Got You Babe as well. Probably not one I'd return to but it's a tidy package.
Sigur Rós
5/5
I don't know if it's just in my particular circle, but this was one of THE albums when it came out and still has legendary mystique. It might not be my favorite of theirs - I think that honor goes to the followup () - but it defines their sound and no one else quite does it like them in post rock. Dreamy, ethereal, otherworldly... whatever adjectives you want to use are probably a good start. Svefn-g-englar has that majesty and atmosphere... I was impressed this time with the power of the keyboards on Flugufrelsarinn, and the almost-bluesy bass riff on Hjartaoð hamast, before the wall of noise kicks in. There's really no bad songs, and everything flows together like one long performance, so just put it on and let yourself float away. Essential.
The Chemical Brothers
5/5
Addictive beats. The synths cut like buzzsaws and the bass is tight and rumbly on Leave Home. I dig it straight away. In Dust We Trust is even better with synth riffs and incessant drums. Lots of layered rhythms and melodies. Song To The Siren is more industrial, leading into Three Little Birdies Down beat with a steady 4/4 beat and grimy acid riff, strongest track so far for me. The acid sounds continue for another couple tracks, then we finally pause and Chico's Groove slows things down with breakbeats and spacey melodies. One Too Many Mornings is chilled out and pretty - the most radio friendly cut? The next couple of tracks are darker, more stripped down, and then Alive Alone is a melodic closer. The second half perfectly takes the edge off after the intensity of the first 6 tracks. Can't believe I haven't listened to this before.
Miles Davis
5/5
Listened to the Legacy Edition which sounded better to me with less background static. It took a while to find the kind of jazz I like but this is it. Definitely not the fusion jazz-rock of his later career, but there's still an ambient quality to it that appeals. It just oozes atmosphere in a wistful kind of way. I've listened to this a handful of times already and I feel like I could play it for years to come. Even so, it's approachable and pleasant to the untrained ear. Favorite pieces: probably the delicate Blue in Green and follow up track All Blues, but that might change. At the risk of letting this album's big reputation influence me, I'm happy giving this top marks.
Isaac Hayes
4/5
The main theme is the the well known piece but there's tons of good tracks that were new to me. Lots of different instruments and cozy atmospheres. Ellie's Love Theme was a standout, and the breezy tropical sounding Cafe Regio's. I liked the funky bassline and sax in No Name Bar. Do Your Thing is a nearly 20-minute long track with crazy guitar and keyboard soloing throughout - outstanding climax to an excellent album, soundtrack or otherwise.
The Strokes
4/5
Plenty of catchy riffs and a chunky rhythm section. I liked Soma with its guitar harmonies and buzzing bass. Barely Legal as well. Someday is the first recognizable single, but I think I'm enjoying the album cuts more. Last Nite is still a hit though. Hard to Explain is another good one, quick riffing and a strong chorus. Tracks are direct and to the point and the whole album is only 35 minutes, refreshing for a modern record. Not life changing songs, but I dig the sound. A pleasant surprise.
Can
3/5
Didn't know what to expect. Future Days is relaxing, breezy with snatches of melody filtering through. Tropical vibes. Ambient rock? Spray has a much darker undercurrent at first, but is just as atmospheric. After the short Moonshake, Bel Air is a sprawling soundscape with strings and psychedelic melodies. Mostly unintelligible vocals, at times. Hard to tell how I feel about this, but I'd listen again.
Motörhead
4/5
Listened to the 40th anniversary master. Ace of Spades kicks things off at 100 mph and it never really slows down for long. Love Me Like a Reptile keeps things going with a big riff and pretty good solo too. Fire Fire might be my favorite song on the album, great drum fill leading into the solo and a killer outro riff. Jailbait is up there too and so is The Chase Is Better Than The Catch, which actually opts for a midtempo groove to great effect. Overall, lots of energy and the production sounds good. Not the most varied album and not all the songs are terribly memorable, but it's still a dozen solid tracks from a legendary band.
Dire Straits
5/5
I love a solid 1-2 punch to start an album and this has it with So Far Away and then Money For Nothing, its iconic riff worming its way into your brain. The guitar tone is still incredible. Walk of Life is next, one of the most feel good songs they've done and a firm favourite. Then we slow the pace down with Your Latest Trick, a sultry sax driven piece. The second half stays mostly in this slower and more melancholy place. The meandering Ride Across The River is particularly interesting, and One World with its funky bass licks. The poignant title track is a perfect closer and never fails to make me misty eyed. I already knew I loved this album but it's worth noting how many difference genres they pull from and how dynamic the sound is. The band sadly never really built on this, but it's an all timer.
Lou Reed
1/5
I gave this a couple listens to try to understand what was going on. There's a couple moments I like near the start but most of the vocals are essentially spoken word rambling and it takes me right out of it. It's not like the sparse music itself really makes up for it. I just can't.
Jeru The Damaja
4/5
The production stands out, I immediately like the drums and looped samples. Jeru's rapping is articulate and smooth. Mental Stamina is a good one and Da Bichez has a nice jazzy feel to it. Ain't The Devil Happy is another highlight. My Mind Spray goes futuristic with its beat and Come Clean is pretty out there too. There's a couple of questionable lines, it is still the 90s, but the beats are too good. Tight 40 minute runtime too - refreshing and a diamond in the rough.
Solomon Burke
2/5
There's nothing outright bad about this but it all runs together and there's not really much here that makes me want to come back to it.
Bob Dylan
4/5
Other than the obvious Like a Rolling Stone, I quite liked the moody Ballad of a Thin Man and Queen Jane Approximately, with its backing piano. Title track is good too, really the whole back half of the album is. Especially Desolation Row, a somber folk epic at 11+ minutes long. There's a lull in the first half, and overall it's maybe just too much harmonica for me, but I am a sucker for albums with a really strong opener and closer.
Ride
5/5
In a Different Place is good, very melodic with the thudding drums and bass. Dreams Burn Down has a big opening riff and I'm into it. Almost post rock vibes but the vocals are pure shoegaze. Crushing noisy guitars wash over us. Really strong track. Nice bass and melodies in Paralyzed, but Vapour Trail is the big song: the right mix of jangle and dreamy atmosphere, the lead riff repeating throughout. Grandiose and inspiring stuff. The three bonus tracks after didn't really add anything, and I stopped there, but this was a surprising hit for me. The best songs are _really_ good.
Sarah Vaughan
2/5
Her voice is super vibrato heavy but I do like it. The recording is very intimate and casual. It's cool. Vocal jazz maybe isn't for me and I didn't like the scat singing at the end, but glad to have been exposed to this.
5/5
Feels top heavy at first with Wonderwall and Don't Look Back In Anger, but I ended up liking the album cut Hey Now! and Some Might Say. Not sure either song needed to be 5-6 minutes long, but Cast No Shadow is better, softer and with a genuine warmth to it. She's Electric is pretty good and the title track is kind of iconic, so maybe I was wrong. Champagne Supernova to finish. Go on then.
Abdullah Ibrahim
3/5
I didn't have high hopes but Song for Sathima and Manenberg Revisited are both highlights, gentle bass and piano combining to create a wonderful quiet atmosphere. Title track not on Spotify for some reason, but worth hunting down. Good flute here and on Manenberg. I don't like the more up tempo tracks as much but there's good stuff here.
Eurythmics
4/5
It took me a couple of listens for it to click but the sound is addictive, especially the bass. It really captures what I now think of as that 80s dystopian retrofuture vibe. Other than the big title track (which still connects) I especially liked Wrap It Up, The Walk and the perfect relaxed closer, This City Never Sleeps. It's not all hits but they've achieved a real consistency here and I will go back to it sooner than later.
Christina Aguilera
2/5
Was disappointed by this. I know some of the songs and they were big when this came out but for an album called "Stripped" I would categorize it more as bloated... Xtina's romp through R&B and soul inspired pop tunes left me wondering when the 77 minute runtime was going to be up. The production is undeniably solid though. Favourite tracks: Can't Hold Us Down, Fighter, Make Over & Get Mine, Get Yours.
Paul McCartney and Wings
5/5
A breezy intro to the title track, then a very cool riff comes in with backing synths, and we transition suddenly to the pre-chorus. I like the melody in the verses too. Jet is more hard rocking, and Bluebird is laid back and understated with a sax solo and vocal harmonies. The sax reappears briefly in Mrs. Vandebilt, but it's the bouncy, rollicking bassline and sing-along chorus that makes the track. Side one ends with a plodding, moody riff and organs in Let Me Roll With It. On side two, we lose some momentum during the quirky Picasso's Last Words, but closer Ninteen Hundred and Eighty Five is as good as anything that came before, built around a simple piano motif. Excellent guitar solo too. The Beatles this ain't, but it greatly exceeded my expectations.
Solange
3/5
Much more downbeat and minimal than I expected. There's an intimate feeling to the production and it sounds fresh and world-music inspired at times. Beautiful voice too. Cranes in the Sky starts with a breakbeat and meanders along, synths and bass adding to the layered sound. Then on Mad, a duet with Lil Wayne, the beat is even more deconstructed but the effect is surprisingly pretty. Later, I like Borderline with an old school sounding piano, and Don't Wish Me Well has a cool repetitive synth melody - maybe my favourite track on the album.
Doves
4/5
Somewhat of a mixed bag, but I do like the dreamy, atmospheric sound. Somewhere in between indie and shoegaze. Favorite tracks are the quite lovely Sea Song and The Cedar Room with its deep bass. There's other good stuff here and maybe with a little editing this would be even better. Still a win.
Van Halen
4/5
I've talked about 1-2 punches before and Jump - Panama is maybe as good as it gets after the keyboard heavy intro. Both nail the synth-heavy, party-ready brand of hair metal they wanted to do here and Eddie's guitar sounds as good as it ever did. There's a natural drop off after that: Top Jimmy has some interesting riffs and Drop Dead Legs is a decent midpacer before the speedy Hot for Teacher. Pretty good pacing but it's missing another really killer cut at the end for me to give this full marks, although I'm tempted to.
Elis Regina
2/5
At its best when it's breezy and tropical sounding - track 4 was especially good. I liked the opener as well. Didn't connect with the duets as much. Overall this isn't unpleasant stuff but not one I plan on coming back to.
The Doors
5/5
Strong start with a pretty heavy riff and organs in Break on Through. I liked the piano driven Crystal Ship a lot - spacey and psychedelic. Very strong vocal performance too. Twentieth Century Fox is another hit, punchy low end and the everpresent organs supporting before we get an excellent guitar solo. Then it's art rock on Alabama Song, sounding like nothing that came before (prominently featuring a marxophone - yes, I had to look it up). Brilliant. Light My Fire closes side one in epic fashion. On the back half, I Looked at You is an infectious romp, probably the most straightforward 60s rocker here. End of the Night is the opposite, dark and moody. The energy is cranked up again for Take It as It Comes before - appropriately - The End. The best of the Doors albums I've heard so far and I can't stop thinking about it.
Nina Simone
4/5
The first track sounded generic to me but then we get some much more sparse piano arrangements that compliment her voice and I'm enjoying it more. Lilac Wine might be the highlight, but there's other tracks I like where the backing band comes in and adds more texture. It's a very old school sound with the strings, theatrical, but not over the top. Wild Wind takes us back to just Nina and her piano - beautiful.
The Rolling Stones
5/5
Sympathy for the Devil is another killer Stones opener. The guitar solo sounds amazing. No Expectations slows things back down and is quiet and beautiful. Dear Doctor then goes full-on acoustic country. I prefer the short Parachute Woman, now firmly in blues territory. Jigsaw Puzzle is a strong finish to the first side, Dylan-esque with a unique Mellotron sound effect throughout. Street Fighting Man marries Indian instrumentation with a hard rock sound. Prodigal Son lets us catch our breath before Stray Cat Blues hits with a big bassline and piano groove. Definitely the hardest rocking track on the album and some of the best guitar parts (plus questionable lyrics). If Factory Girl is side two's Dear Doctor, I prefer it, with more varied instruments and a folk atmosphere. Salt of the Earth is a slow burn that turns into a gospel-inspired anthem. I'm left wanting more.
David Bowie
4/5
Not a Bowie album I was familiar with outside of a couple tracks, but overall very enjoyable. Lots of sax and soulful tunes. Fascination is my favourite on the first side, a toe tapper with an infectious bassline, but Right is good too. On the back half, it's Across the Universe and the beautiful Can You Hear Me. Then we have Fame, and I do kind of love when an album puts its biggest hit at the end. It's got an interesting stop-start rhythm and a twangy guitar riff. There's probably better Bowie, but this is a comfy **** album.
Joanna Newsom
5/5
Finally got around to listening on YT as it wasn't on Spotify, but I won't hold that against her...looked this one up and the list of genres suggested didn't really prepare me for it. The striking, almost childlike vocals have a fairy-like quality, backed by romantic strings and harp. In the absence of any traditional percussion, it's like listening to a music box. I fall under its spell as Emily unfolds. It's hard to choose between any of the lengthy pieces but Sawdust & Diamonds is even more mesmerizing, an urgency now from the delicately picked, quicker melodies. Cosmia is the shortest track at 7 minutes, darker at times and still thoroughly magical, building to a final peak. I get folk elements, post-rock (the vocals make me think of Múm), ambient, orchestral, soundtrack, whatever...but I think nothing really sounds quite like it. Bravo.
Suede
2/5
I feel like this album gaslit me, because by the end I was wondering if I had somehow switched to a different record without realizing. The first half is generic alt rock that didn't stand out in a particularly positive or negative way (although I didn't like the occasional falsetto). The second half was very different and the last track might have been the end credits to a movie. Then the first bonus track was maybe my favorite song? Weird.
The Modern Lovers
2/5
Went in with very low expectations and I guess I liked Roadrunner more than I thought I would. Very simple chords, and it continues in a similar vein for a couple tracks, with what sounds like organ (Mellotron?) supporting. Weird semi-spoken vocals on some songs like the offbeat Hospital. Girlfriend and Modern World might be the next best songs on here with something approaching catchy riffs. Not for me - it does at least sound pretty good with distinct instruments and a chunky rhythm section, but I don't like the songs or vocals enough to come back to this.
Leonard Cohen
5/5
Ten folk songs with poignancy weaved throughout. Cohen's half spoken vocals seem tailor made for this, but he does flex his vocal chops at times. Story of Isaac is good, haunting acoustic guitar. A Bunch of Lonesome Heroes is more upbeat with the keyboard and an almost soaring chorus (ok, it's Leonard Cohen). On the Partisan, the guitar riff is intricate and fast, delicate picking, and the vocals and lyrics are somber. Then a female choir backs him up in French. You Know Who I Am is another sparse number with some of the best guitar on the album. Tonight Will Be Fine brings back a fast folk rhythm and closes the album on an uplifting note. It took me a couple listens for this to click, but I wouldn't change a thing.
4/5
Unsurprisingly, this catchy combo of 70s funk basslines and 80s synths is sick. There's a lot going on in every track - very 80s soundtrack sounding at times, but in a good way. Valentine's Day is great, really leaning into the keyboards, then The Look of Love Pt 1 has incredible bass parts. Some of this is more standard new wave, like All of My Heart - but with depth to it. 4 Ever 2 Gether pulls everything together, a brilliant dark synthwave cut. For a relatively short album it drags a bit at times and I can't quite give it top marks, but call it **** 1/2
Sam Cooke
3/5
"Don't fight it, we gon' feel it" is the intro and it's apropos. It's a lively romp through some soul tunes. Sam's got a voice, and I'm not sure this is for me, but it's a good recording. Favourite: Cupid
Johnny Cash
4/5
Listened to the original version. Really great live sound with a satisfying twang to the instruments. Loads of energy and plenty of hits. Wreck of the Old 97 is a highlight. There's some nice crowdwork leading into I Walk the Line. Then a duet with his wife, and more talking, but it's funny and I don't mind it. You feel like you're in the audience. The best part might be the song San Quentin, which is played twice in a row, and followed up by A Boy Named Sue. It ends a bit abruptly after a couple more tracks, but it's a tidy package and one I'd return to.
SZA
4/5
I didn't know what to expect but this is a vibe. Love Galore has an addiciive sound, percussive with calm synth pads. There's a retro feel to the production, but not in the way I expected. 80s or early 90s EDM vibes at times, a weird mix of dystopia and nostalgia for me. Doves in the Wind is more measured, a steady breakbeat. Kendrick adds to the track but it's the beat that has me paying attention. Drew Barrymore then shows what SZA can do vocally, the stripped down production letting her shine. Strings lead into Prom with maybe the best beat so far, glitchy with layers of synths. Go Gina is another good one and Garden is even better, featuring a looping synth riff I really dig. I don't know who produced this, but I want to find out. I don't think the second half is overall as strong, but there's some great stuff here.
The Who
5/5
One of the great rock album intros surely. The five minute Overture is over the top, dramatic and wonderful. By the time we get to 1921 I'm already entranced. Really good use of overdubs on the vocals and the backing piano is perfect. The tracks unfold like parts of a suite, at times blending one into the next. Melodies and piercing, layered vocals are the constant, everything supported by relentless drumming. Christmas stands out, an introspective moment enhanced by the pounding drums. The long instrumental Underture closes the second side, tension building throughout. Pinball Wizard is still as good as ever, jangly rhythm guitar and the buzzsaw-like lead. Go To The Mirro is great too. You need a bit of endurance to get through this one but the audacity of it has to earn top marks.
Slade
4/5
Straightforward, hook laden glam rock but there's enough bite here to keep me interested. Crunchy guitars, the bass is present, and vocals are perfect for the style. Highlights: I Won't Let It 'Appen Agen, the surprisingly heavy Gudbuy Gudbuy, Mama Weer All Crazee Now, Let the Good Times Roll. Go on then.
Talking Heads
5/5
Layers on layers of sound. Born Under Punches almost sounds like two songs playing at once, it's that dense. Next up: Crosseyed and Painless and the quirky percussion takes center stage. There's a ton going on but the simple funky baseline underneath has me nodding my head. The Great Curve still has an African sound but introduces some great distorted guitar to the mix. It's a nice buildup to Once in a Lifetime with its sing along chorus. The low rumbling bass still drives everything, but it's the little details in the Eno production that reward careful listening. Same as it ever was... The second half is subtler, focusing on atmosphere and groove. I'm lulled into a trave a bit by the time we get to the relaxing sounds and vocals of Listening Wind, before the Overload goes deeper and darker. It's a slow droning finish. Brilliant.
Venom
5/5
Happy to see this show up. The first couple tracks come out hard and fast. Let's be clear - it's not black metal as we know it now. But if you wanted Motorhead to be more extreme, this is it. There's still catchy songwriting here and the production is effective with the raw guitar tone and unyielding drum and bass backbone. Buried Alive slows things down and has a groovier feel with some great lead work. The tempo kicks way back up on Raise the Dead and stays there for the next few tracks. Just punishing riffs and dark, grimy speed metal. Sacrifice is a highlight, and then Heaven's on Fire is even more aggressive, especially the drumming. Countess Bathory is more mid tempo with a killer riff and heavy drumming. Maybe the best track so far, but Don't Burn the Witch opens with a twisted, evil riff and then pummels you into submission. Bang your fucking head. I even love the spooky outro (which is actually the intro to their next album) and then it fades out. Required listening for metalheads, but this may appeal to other folks too.
Traffic
4/5
Went in blind. Glad hits immediately with jazzy prog rock sounds and turns into a beautiful piano piece. Freedom Rider introduces vocals before a lengthy instrumental break (and there are a few: flutes are prominent, but sax and organ/keyboards also contribute to the whole). Empty Pages has a chorus Rush would might have been happy with a decade later, and a breezy piano and bass section. Then bluesy guitar on Stranger To Himself, and the title track is an acoustic ballad, with backing vocals and the ever present flute. Every Mother's Son keeps the same slower tempo but is heavier, with deep droning bass throughout. I didn't like the second half as much, but overall this sounds very good. Punchy bass, good stereo mix and space for all the different instruments.
Led Zeppelin
5/5
Immigrant Song is a raucous intro but Friends is very different - mysterious and mystical with acoustic instruments and strings. Unmatched atmosphere. Clean transition into Celebration Day and some great guitar and bass riffing. Then it's Since I've Been Loving You, with slow deep bass and emotional guitar. The vocals and drums are top notch and so is the lengthy solo. It's both delicate and very heavy. Out on the Tiles continues with some of the hardest rocking stuff yet. The intro riff is maybe the best on the record. It's an incredible first side. The other half is a bit more gentle, Gallows Pole leading out with folk guitar before the pounding drums come in. Tangerine is simply beautiful and That's the Way and Bron-Y-Aur Stomp are pure folk; the first one quiet and pretty, the second fit for a square dance session. Hats Off To (Roy) Harper is a dissonant closer with Plant's vocals run through a filter. This is a band signaling their intent. Hard to imagine changing anything.
Fugazi
3/5
There's parts here I appreciate and everything is more polished than I expected - in a good way. Lots of riffs and energy. Turnover is a solid rocker and I like Merchandise, although the shouty chorus doesn't totally do it for me. Still, nice guitar and bass parts and the low end really shines in the mix. Blueprint is my favorite thus far, mid-paced and melodic, but Sieve-Fisted Find and Two Beats Off outdo it with some really cool basslines. It's a mixed bag, the vocals often hold it back for me but there's some great riffs here. Enough that I'd play it again.
My Bloody Valentine
3/5
There's a certain ominous weight to Lose My Breath that's appealing. Much of the rest is vaguely unsettling, if you're into that. The guitar tone is good and the vocals are cold and monotone. You can hear the beginnings of what's to come next, but the band needs time to mature in the songwriting department.
Stevie Wonder
5/5
The bassline and groove on Too High immediately grab me, but Stevie's effortless vocals are just as good. Visions drops the tempo down and oozes atmosphere - hypnotizing and beautiful. Then we step it back up for a few songs (Living For The City and Higher Ground are highlights) before All In Love Is Fair, a piano ballad with some of the most powerful vocals on the record. He's Misstra Know-It-All is a strong closer too, smooth and evocative. I'm surprised at the songwriting maturity on display here. Bass, drums and synths combine in quite a wonderful way. Soulful? Certainly, but it's more than that. I can see how this would influence music to come. For me - an instant classic.
Yeah Yeah Yeahs
4/5
Tons of hooks and a great full-sounding production from the start. Stabbing synths and driving bass on Zero sets the stage. Heads Will Roll is the big anthem with catchy vocal melodies and crunchy guitars, but I liked Soft Shock more, overlapping synth riffs building throughout. Everything sounds retro because of the keys and vocals but with a modern flair to it. Good if you like your indie rock with a heavy dose of synth pop. Skeletons is a different kind of sound, opting for big soundscapes and drums. From here we mostly alternate between quicker and slower songs. Runaway is more in the vein of Skeletons, epic and cinematic, and Dragon Queen is excellent with a 70s sound and another big bassline. Little Shadow is a dreamy closer. I'm left contented, but conflicted on the rating. Sticking with ****, but on a good day this could go higher.
Lucinda Williams
3/5
I particularly enjoyed the (strangely titled) 2 Kool 2 Be 4-Gotten, which leans more heartland rock than country I guess. There's a bit of Dylan influence at times, but she has a distinctive voice and her own brand of Americana, updated for the 90s. Some of this sounds like stuff Taylor Swift would like... The middle section is almost all good, with only Concrete and Barbed Wire missing the mark for me. Metal Firecracker might be the best of the bunch, bendy guitar blending harmoniously with her drawl. Jackson is a great closer, mournful voice full of vibrato amid gentle acoustic backing.
Sister Sledge
4/5
If you're like me and your disco education is lacking, but you know your Will Smith, He's the Greatest Dancer will sound very familiar. Lost in Music is as good if not better with keys and another addictive riff. Thinking of You brings another massive bassline and groove. The backing orchestra and singing are on point too, but we're all about that bass today. The anthemic title track slots in nicely, but I'm disappointed this version is the 3 and a half minute edit instead of the full 8 minute original. I feel a little momentum is lost after, but One More Time is a solid closer and another toe tapper. Dance the night away.
Gary Numan
4/5
Early dark synthpop with layers of inorganic sounds that just scratch an itch in the brain. Numan manages to create a surprisingly optimistic atmosphere at times (Complex), but doesn't stray from the sci-fi formula. And doesn't need to. Then he goes more foreboding (Films) with excellent drumming. M.E. starts with an evil sounding synth melody before building into something of an anthem. The low end on Conversation is super thick and full sounding. And we didn't even talk about Cars, which is slotted in near the end. It's not perfect, but this is ahead of its time in more ways than one. Falls just short of 5* for me.
The Damned
4/5
Far from the standard punk rock I expected. Much more varied in tempo and style. Love Songs to open and we even get a brief melodic solo, brusquely transitioning into the title track which is more standard speedy stuff. I Just Can't Be Happy Today sounds like a 60s rocker at first but with the drumming and chaos factor amped up. I dig it. Melody Lee ramps the speed up further but keeps the, well, melody, creating something closer to proto pop punk to my ears. Plan 9 Channel 7 is another good one with a soaring chorus and a runtime exceeding 5 (!) minutes. Looking At You matches it for length and opts for a more progressive song structure with dueling guitars. And they save the best for last. Smash It Up is a two parter, a pretty intro leading into a tight, catchy rocker. Overall lots of great riffs and keyboards amid the Noise, Noise, Noise (sorry) and the rhythm section is more than capable of keeping up. It's nice to be wrong sometimes.
Ms. Dynamite
1/5
There's a few good beats on here, like It Takes More and Sick n Tired, but I'm largely bored by this mix of early aughts R&B and smooth hip hop. A lot of it is actively bad too. A full hour long and some of the worst stuff is at the end, including the "hidden" track. Or maybe I'm just losing patience...
Alice Cooper
2/5
For something purporting to be shock rock, I expected this to push the envelope a little more musically. It's...perfectly fine. No More Mr Nice Guy and the title track are still worth a listen, I can't say I want to play the whole album again.
Dead Kennedys
4/5
Fast and furious, very few missteps. Kill the Poor is a strong opener and we don't slow down much after that. When Ya Get Drafted has some of the best riffing. Let's Lynch the Landlord does offer a brief respite from the breackneck pace (if not the social commentary) but Drug Me is even more brutal. Super quick playing with horror movie strings - killer. California Uber Alles is another top track, slowing down in the middle to chug along before the catchy verse and chorus return. Great outro riff too. Holiday In Cambodia is as good as ever and easily the highlight of the record. Expanded edition is worth playing too, especially for Police Truck on the second disc. Do I wish the production was a bit better and some of the songs were longer? Maybe, but that's missing the point. So much raw aggression captured here and 45 years later their anger is still very relevant. Still torn on the rating, but it's between 4 and 5 stars.
Hanoi Rocks
3/5
Apparently influential for some glam metal bands that are hit or miss for me anyway, so I was ready to write this off. First track is forgettable but then the next two songs have interesting percussion and catchy guitars, suddenly I'm into it. Great middle section on Tooting Bec Wreck with tribal-style drumming and rumbling bass. The vocals are just the right amount of weird. Until I Get You is the highlight, a big power ballad with chugging guitars. Another couple of filler tracks follow but Beating Gets Faster opens with a great riff and then a steady rock beat. Second best song on the album, keyboards blending nicely with the guitars. There's not much in the way of virtuosic soloing here, but the playing is tight and the instrumental breaks keep your attention. This Finnish outfit gets a passing grade from me.
Nirvana
2/5
Ooh boy, I know this is a big one from the 90s but it just didn't connect with me. They really made this unplugged format their own, skipping many of their hits and throwing in a lot of covers but the problem is I just really can't make myself care about most of these songs. Come As You Are is very good as is the Bowie cover and Pennyroyal Tea. The second half bores me. Maybe I need to watch the DVD - but I probably won't. A product of its time because of Cobain's untimely death?
Black Sabbath
5/5
This album has lots of obvious inductees in the hypothetical Hall of Fame of Riffs. It's sparing with higher tempos, preferring to mostly plod along and focus on the heavy, grimy guitars. The drumming and bass provide a rock solid foundation, and the atmosphere is unrivalled. Ozzy does his thing. Still not my absolute favorite Sabbath album, but we have to give credit here. An all timer in the metal world.
The Streets
2/5
There's some good instrumentals here but the monotone, half-spoken, half-rapped vocals are tough to get used to. Blinded by the Light is worth it though, for the stabbing synths and backing female vocal over a broken up drum beat. The other two singles are maybe the best of the rest, especially the emotional Dry Your Eyes. It's not enough to save it. Sorry.
LL Cool J
3/5
"Pumpin up the funky beat until the break of day..." good summary of opener The Boomin' System. LL's flow is on point, promising start. Around The Way Girl her a somewhat dated-sounding chorus but the verses are just as strong as the opener. I'm enjoying the darker beat on the next track. This straddles a couple decades of hip hop but the overall sound is more 1980s for me. Title track still goes aggressively hard with a classic drum break and simple melody. Not sure there's enough standouts after that, but the consistency is there with plenty of variety in the beats and samples. Earns at least an extra half point for not having any skits or interludes.
The Mothers Of Invention
5/5
A fever dream of an album, from some alternate 1960s timeline. At times downright scary (Who Are The Brain Police?) and others beautiful (How Could I Be Such A Fool) but it's all full of fascinating little details. Anyway The Wind Blows is brilliant, crystal chimes echoing the guitars. We get full on blues rock on Trouble Every Day. No one is safe from their satirical jabs. Help I'm A Rock opts for surrealism, and It Can't Happen Here is jazzy before devolving into doo wop a capella? The closing track begins with an almost indescribable rhythm. Part art rock, part bad trip. There's no real melodies or lyrics, but snatches of insane voices and chopped up, dissonant percussion that Autechre would be proud of. I begin to start questioning my sanity. Five stars.
PJ Harvey
3/5
I like the vocals a lot but the music feels very alternative, almost grunge at times, which I can struggle with. Trying to stay impartial though - Dress is quite good. Victory begins with a fuzzy bassline which drives the whole track. It's energetic and there's bluesy guitars, it all works well together. Liking the drumming on the next song too. Sheela-Na-Gig was the biggest hit on the record but it's unfortunately a bit of a miss for me, maybe too much of that angsty 90s alt-rock I was afraid of. Joe finally has some much needed quicker riffing and Water is fine as a closer. I listened to the album twice. Plants And Rags is a song I didn't get into on the first pass, but features cello to great effect. Overall, I want to like this more but it's not as good as Stories From The City (which I already had pop up on the list). There is art here though, if you are willing to tease it out.
Koffi Olomide
3/5
Breezy, uplifting melodies for sun-drenched days. Calypso vibes to me, which is probably not right, but there's an obvious African connection there. Désespoir and Conte De Fees shine the brightest, but there's nothing really had here, albeit the runtime is maybe too long. Doesn't feel like music I should have listened to alone indoors would headphones on.
Napalm Death
3/5
It's a fairly nonstop assault, with pummeling drums and super heavy riffs grinding everything beneath it to dust. The bass is so distorted it's more feedback than notes at times. The vocals, demonic. But when we get riffs, this really works... It's easy to hear much of the future of extreme metal in these 33 minutes. They even coined the term blastbeats apparently. This won't be part of my regular rotation and I try not to give points for influence, but when they get going it's still surprisingly listenable* in 2025. Must've melted people's faces in 1987 (*if you're a metalhead, otherwise approach with caution!)
The Slits
1/5
Not what I expected from this girl group. In a bad way. Simple, reggae (?) inspired drums and bass with strange bored sounding vocals. Shoplifting offers something approaching punk rock but the sound is so muddy and the high pitched shrieks don't work for me at all. FM is back to monotone vocals over music that sounds unfinished, or just out of tune. I can't believe there's another half dozen songs of this to go. There's a couple passable basslines at the end, but in general there's almost no energy or melody and the vocals are so bad. If you have to listen to something: Typical Girls. Otherwise, cut this from your playlist. Get it?
The Velvet Underground
5/5
I expected to hate this because I found their second album unlistenable. But this is something else. Sunday Morning and Femme Fatale are pretty and understated, featuring Nico on vocals. Venus In Furs drones on with Eastern sounds and a martial drum beat, evoking post rock before anyone dreamed of calling it that. Except for the solo, Run Run Run could be the blues, distilled, taken apart and put back together a little askew. Nico's voice returns for All Tomorrow's Parties, giving it a sense of grandeur. Heroin then brings back the drone. It's a slow burn, Lou's sung-spoken vocals somehow working with the music. The dissonance increases in the second half, but its ugliness only emphasizes the beauty elsewhere. Nico again steals the show on I'll Be Your Mirror, a fleeting moment of lucidity before the last two tracks take the deconstruction to a new level. It's a gradual descent into distortion and noise. I struggle to describe it, but I finally GET this.
Frank Black
3/5
Surprisingly melodic and varied. First couple songs maybe punk influenced, but Abstract Plain is alternative then Calistan is a moody, midtempo piece with a groovy bassline and backing piano. Nice. We stay melodic for the next couple tracks, building to Headache which was a radio single. I don't know it but it's catchy enough to get me nodding my head. Freedom Rock has my favorite riffing so far and then Two Reelers is some of the heaviest stuff on the record. Fiddle Riddle is a quirky dub inspired track, bass and keys doing the heavy lifting, and Ole Mulholland has another killer riff and great basslines. We keep going through several more solid songs, chunky bass and guitars in the forefront. There's maybe a bit of a lull in the back half, but White Noise Maker is a good one, chugging along with catchy hooks and the nice thick guitar tone. In the end, this is a fun romp, only length and consistency keep me from going higher. 22 songs is a LOT.
Curtis Mayfield
2/5
Slow, sultry soul and I can get behind that. Unfortunately marred by very high pitched vocals for much of the album that I don't like at all. Best track is probably the first one. I feel bad because the instrumentals are a 4 but the vocals are a 2 for me, and a chain is only as strong as its weakest link. **
Genesis
4/5
Multiple tempo changes straight away in Dancing with the Moonlit Knight. There's a couple of fast middle sections that are heavier than I expected, bookended by introspective slower parts. The album then alternates shorter songs and longer ones, with Firth of Forth the next epic. Lots of different instruments involved but the guitar solo is the highlight of the album so far. Overall, it's the long songs that grab me the most, The Cinema Show different but equalling the best of Firth of Forth. Aisle of Plenty is a nice outro too, initially repeating the melody from the end of Cinema Show. All in all, this is _so_ much to process. It's inconsistent, but intricate and there are so many great melodic moments. I wouldn't have minded more of the speed from the first song, but there's a folksy warmth and accessibility to it which draws me into the world they've created.
Bob Dylan
5/5
Blowin' in the Wind is going to be a really hard act to follow. The beautiful desolation of Girl from the North Country is excellent though, and Masters of War pulls no punches lyrically over a looping guitar motif. "Even Jesus would never forgive what you do..." Later, Hard Rain comes closest to capturing this same folk magic, and the delicately picked melody of Don't Think Twice, It's All Right is certainly mesmerizing. Bob Dylan's Dream, poignant and beautiful, is equally good and I like the shuffling rhythm of Corrina, Corrina. I'm maybe less keen on the rambling blues songs but they break up the flow nicely. I Shall Be Free is amusing, a less heavy closer. Feels like one of those time capsule albums.
Stephen Stills
4/5
Love the One You're With is a classic and great opener. Powerful strings and gospel vocals on Church, too. I like the bassline and organ on Old Times Good Times, then Go Back Home amps up the funk with the guitar and bass playing off each other. My favorite so far, nice soloing too (Clapton's cameo went unnoticed at first - oops). To a Flame is a super cool ballad and the standout on the second side, steel drums (?) making the track. Black Queen is a dud though. Unmelodic and harsh, I'm waiting for it to finish. Cherokee gets us back on track with flute and a big sax solo and We Are Not Helpless is a triumphant closer, with the choir returning. It's a big album. Not as cohesive as I'd like and maybe some of the detail gets lost in the mix, but still impressive. And I didn't even know Hendrix was on this too, never mind Ringo Star. **** but I'd skip Black Queen.
The Crusaders
3/5
The lengthy title track is smooth and easy listening, somewhere between jazz and R&B. No surprise this was a bit of a crossover success. The female vocal and horns are generic sounding, but I don't dislike it. My Lady is much more interesting and largely instrumental. That ends up being the template for the rest of the album, although nothing was quite as good as My Lady. I do like how the last two tracks get a little darker and moodier. Curious album - it's all very listenable and I'd play it again, but at the same time I feel like I'm in the bar of a generic chain hotel.
Sonic Youth
4/5
Feels rebellious but with an air of cool detachment. This sounds like what indie wanted to be. Musically it's got more bite though, quite mechanical and harsh at times and there's plenty of satisfying feedback from the guitars. Shadow of a Doubt and Green Light are my favorites so far. The latter is full of bits of melody that don't resolve and yet it still works. Marilyn Moore sounds like a dying windup toy. That doesn't seem good but it's so atmospheric I find myself engrossed. Starpower and Secret Girl stood out on second listen and I'm struck by how bleak it all sounds.
King Crimson
5/5
The opener catches me off guard a bit with a heavy main riff and distorted vocals. I Talk To The Wind is different altogether, dominated by flute and soothing vocals. The jazzy drumming stands out. It's ethereal and excellent. Epitaph closes the side, slow at first with deep bass but building into a cinematic tour-de-force. Pounding drums accentuate the middle section. The second side is two longer pieces. Moonchild starts off pretty and turns very experimental and sparse. I can't decide if I like it or not. Then the title track is big and dramatic again with a triumphant chorus. There's lots to love here: the variety of songwriting, tempo changes, the instrumentation. Everything sounds great and has space to breathe. Rarely matched atmosphere. Moonchild is maybe a bit arty for me but who are we kidding, this still deserves top marks.
Eagles
3/5
Polished, easy to listen to rock, and you can see why this has mass appeal. It's a strong start going from the big title track and its ending solos, to the poignancy of New Kid in Town, and then the hard-driving riff and thudding bass on Life in the Fast Lane. Wasted Time is a bit of a limp ballad, but after the somewhat out of place string reprise, Victim of Love is a decent start to the second side. Slow but purposeful. Pretty Maids is another ballad, and it works better than Wasted Time did. The last two tracks are slow again and not unpleasant, but I'm looking for more variety, or just more bite. As it stands this is middle of the road stuff, sales figures be damned.
Roxy Music
5/5
Do The Strand has a staccato piano riff that stands out straight away, and it's quite layered with sax in the background throughout. The somewhat camp vocals pull everything together. There's just enough dissonance. A captivating opener. Beauty Queen is slower at first, built around a soulful bassline and gentle guitar licks full of reverb. Strictly Confidential is slower still, otherworldly, with the best vocals so far and a great solo. Editions of You is more upbeat with a great keyboard intro. The back half includes longer songs, In Every Dream Home A Heartache ominously slow and building before an explosion of drums and melodic guitar. The Bogus Man is the longest piece, a steady drum beat to start with the guitars and sax not quite in sync. The effect is again unsettling but hypnotic. There's a lengthy instrumental section and the 9 minute runtime feels short. Grey Lagoons is then totally different, an energetic rocker before the title track brings things to a close. Brilliant drumming and Eno's keyboards are a highlight. The album is hard to compare to anything else but I think I love it.
Joe Ely
3/5
I expected this to be very country but Cornbread Moon rocks pretty hard too. The second track is more in line with what I thought I'd be getting, relaxed and folksy. The steel guitar work is pretty satisfying throughout. A lot of this has me nodding my head, so I can't complain. Fingernails stands out - a short piano-driven romp. Old school for 1978, surely. Overall this doesn't feel essential for me, but it's cozy and at a modest 10 songs and 33 minutes it doesn't overstay its welcome, either.
Eminem
3/5
The album almost starts off too high - My Name Is and Guilty Conscience are two heavy hitters, even if I've heard them a lot. After that we unsurprisingly lose momentum, although the last track comes close to hitting the same heights. The hidden gems amongst the deeper cuts are Rock Bottom and I'm Shady, for me. Most of the rest isn't bad, if you can forgive baby Em the questionable lyrics, but I'm not itching to hit repeat. Great production though. And I have to gripe about skits again, because it will always annoy me on a rap album. I'm stuck at *** because it's far from his best, but it sure captured the attention of a lot of high schoolers (including me).
Talk Talk
4/5
Went in expecting this to still sound like synth-pop but it's not that, even if there are some remnants left behind like the bassline of Life's What You Make It. What we get is more organic, more thoughtful, and probably better for it. There's a good flow here, building and then pulling back to let the listener breathe. I Don't Believe in You was maybe my favorite, but Living in Another World has a real groove once it gets going. Great closer too. Feels like we went somewhere.
Creedence Clearwater Revival
4/5
A tidy collection of songs where Bad Moon Rising doesn't particularly stand out: I preferred Green River, the guitars on Tombstone Shadow and especially the emotional Wrote a Song for Everyone. No skips though, and I like the bluesy sound. At 29 minutes, it's worth playing it twice, but I wouldn't have minded a couple fewer fade outs.
John Cale
3/5
I'm digging the strings in the first few tracks. It's a nostalgic, melodic pop sound. Laid back and slow, although The Endless Plain of Fortune beuilds to a climax with the orchestra taking it up another notch. Then a simpler arrangement with the gentle Andalucia, maybe my favourite so far. Macbeth is - somewhat jarringly - an upbeat rocker. The title track is top notch though, strings and vocals playing off each other. I don't know how I feel about this. It's quite good at times, but a little uneven and not sure it quite knows what it wants to be.
Sisters Of Mercy
5/5
Gloomy yet high energy and hard driving industrial opener. The low end really stands out. Gruff, half spoken vocals which actually work. Smooth transition into Flood I and the drum machine continues pounding into your skull. Dystopian sounding synths carry the melody. This is 80s AF but in the best way. Sounds very Germanic to me. Lucretia My Reflection is a dark synth anthem with a super catchy bassline - probably the pick of the litter. There's a piano ballad (1959) and over to side two with the bouncy bass and big chorus of My Corrosion. It doesn't need to be 9:30 long, but it doesn't *not* need to be either. If this doesn't get you moving, I don't know what to say. The drum programming is again sublime on Driven Like the Snow. Gun to my head, the second half is a bit weaker than the first, but I can't dock any points.
4/5
I wrote a bunch about this but I realized all the tracks after Siberian Khatru weren't on the original album, so maybe I should only be judging the original runtime. That being said, the title track really comes into its own in the last third with the big church organ (I Get Up I Get Down?) and then the last section (Seasons of Man?) has an aggressive instrumental break I really dug. It's a lot to process. And You And I is different, dreamlike and majestic. The keyboards have a fantastic analog sound. And the third track has some really good riffs and sounds. For whatever reason, this is hard to wrap my head around. I'm deducting a star because it's almost too dense, but it's close to top marks.
John Martyn
4/5
The title track is a blend of acoustic guitar and vibraphone (I looked it up), with sax adding texture. The backing music is relaxing, punctuated by the plucked guitar. The overall effect is jazzy, but it's more than that. Over The Hill ups the tempo and complexity but is folkier. I like Don't Want To Know even more, which lays down a proper groove in the second half while keeping the ambient atmosphere. The next track ends side 1 on a lengthy detour into darker, more experimental sounds. Side 2 is the same quality. Dreams By The Sea stands out as well as The Man In The Station, which brings everything together again with a space rock kind of sound. I could live without the bluesy two-part closer, but this is thoughtful stuff.
Ray Charles
3/5
Doesn't sound much like country or western to me, but this 1962 classic has a certain feel-good nostalgic appeal. The strings on I Love You So Much It Hurts are beautiful alongside Ray's clear voice and the backing choir. Tracks like Born to Lose and Worried Mind hit a lot of the same notes, not to mention I Can't Stop Loving You. So this subverted expectations, but I do like it. Feels festive somehow. Really not my style, which caps the rating, but I can't go less than ***.
Cream
3/5
Other than Sunshine Of Your Love, I'm left unimpressed by the first half, ranging from somewhat dull blues rock to tracks like Blue Condition which went nowhere. Tales Of Brave Ulysses is better with a melodic bassline standing out. The guitar tone is cool, especially on SWLABR, but I expected more from the songs. The moody We're Going Wrong fulfills a bit of the psychedelic promise - this might be the best track after Sunshine. We finish with more blues and a brief outro, and there's nothing offensive but I'm not rushing to play this again. Middle of the road, influence be damned.
Iron Butterfly
5/5
The keyboards - although dated sounding - really make this. The opener is quite heavy. The second track is something approaching a standard 60s psychedelic rocker, the keys now in a supporting role but still ever present. It's a pleasant song with a pretty outro. My Mirage is delightfully trippy, keyboard driven again but the guitar and bass more than keep up. Everyone sounds good. Termination has a few nice guitar licks and then side 1 ends with Are You Happy, back to heavier riffs and a big solo. I don't mind going song by song here because there's only one more - the epic title track, which is the entirety of side 2. The riffs are heavy and a bit more experimental, the brooding bassline carrying everything along. There's a lengthy breakdown with just drums and then the keys re-enter, spooky and atmospheric. The guitar refrain comes back and there's a cool bass riff before yet another cool keyboard riff. Finally the chorus once more. Somewhat surprisingly, it's almost perfect.
The Vines
3/5
The short title track is catchy and the production is slick enough for this to grab me. Autumn Shade drops the tempo down immediately but there's a grandeur to the riffing that I like. Clean transition into Outtathaway which leans more into the garage rock sound - but I don't dislike it. Good full sound, especially the low end. Get Free is the most energetic stuff so far. Overall we are alternating between heavier uptempo songs and sadboy 90s style rock. Factory is the most retro, surf rock inspired maybe? and the intro riff to In The Jungle sounds like some sort of weird dub cover of Don't Fear The Reaper. Maybe the latter part dragged a bit but it's all a fairly compelling - if jarring at times - combination.
The Prodigy
4/5
Grimy and mechanical stuff for 90s warehouse parties. Or Sunday afternoons... Their Law is good and the macabre beat on Full Throttle is even better. Voodoo People has a nasty acid synth riff. The next few tracks stay in a darker place without anything too melodic until No Good (Start the Dance) which is decidedly more anthemic. Still plenty dark with the same energetic drum programming. 3 Kilos is something different, slower with some interesting chill flute samples. This is good stuff - but it's a long runtime and think I still prefer the more accessible Fat of the Land.
Pulp
2/5
Didn't know what to expect - and I'm still not sure what to make of it. It belies description a bit, but the early tracks range from sadboy pop (Dishes) to something with a bit of a cutting edge (Party Hard). Very synth heavy. I don't think I love the glam revival vocals, but it makes sense somehow. The title track is plodding with chunky bass and weird enough synth and vocal melodies that I'm getting into it. This must have been in a movie somwhere? If not, it should be. Unfortunately after that, nothing really grabbed me as much and it's a quite long album. There's some good stuff in here still, but going through this again feels like it would be a slog.
John Martyn
4/5
Two John Martyns in a week. Not bad! Less acoustic guitar here, more... fusion? Opener 'Dealer' is jazzy with a bit of funk and sounds decidedly modern for 1977. It's a great multilayered piece of pop rock, gravelly vocals over synth bass. The title track is much more laid back, but the synths come back in Smiling Stranger. Still slow, but cinematic and quite weird and rambling (which continues in the lengthier Big Muff). Then on the second side, Couldn't Love You More sounds like the previous Martyn I listened to with distinctive slapped acoustic guitar and music box-like keyboards. The tempo is ramped up again for the next couple tracks - I especially liked the catchy 'Dancing', bass intertwining with heavily processed guitar. Small Hours is the closer and it's almost ambient, or maybe new age, with reverb laden synths before the vocals come in for a bit. Almost no drums and it's quite beautiful. Not perfect as an album, but overall very interesting & I'm happy to have learned about Martyn.
The Youngbloods
4/5
Unexpectedly diverse and interesting mix of songs, starting with folk-rock and picking up influences from jazz, ragtime, Latin music. I like the jazzy instrumental stuff best - On Sir Francis Drake connected with me straight away - but the next track Sunlight was folky and pretty and I like it just as much. Everything seems to lead up to Ride the Wind, the beautiful closer with vibraphone and electric piano and vocals gradually fading away. Dreamy and peaceful.
Robert Wyatt
3/5
Difficult to describe - weird, certainly. Foreboding, often. Never precisely beautiful, but sometimes wondrous, yes. Wyatt masterfully builds tension, and doesn't always release it, but keeps the listener raptly attentive. The music goes in unexpected directions, the vocals are often bizarre. On a different day, this might end up being rated 2 stars, or 5. I'll shamefully split it down the middle. *** 1/2
Kate Bush
5/5
First listened to while reading Samantha Harvey's 'Orbital' and it seemed a great companion - music to float over the Earth in a space station to. Running Up That Hill was the only track I knew (still brilliant) but Cloudbusting is maybe even better with its strings and slightly off-kilter rhythm. And Dream Of Sheep is a beautiful paino ballad, then Under Ice has creepy synths and vocals, it's very sci-fi. So is Waking The Witch, a deceptively soft intro transitioning sharply to something more energetic, schizophrenic. Watching You Without Me concludes a quite special run of songs. I don't care for Jig Of Life as much, but Hello Earth delivers a good measure of grandiosity before The Morning Fog brings us home. It's lucid, upbeat. The music is delightfully weird at times and Kate's voice is so interesting - you can easily hear the influence she's had on Bjork, etc. The highs are high enough to earn top marks.
Genesis
5/5
Double album. 50th anniversary deluxe edition. Let's go. Big, piano and keyboard driven title track to start. Punchy. Fly on a Windshield introduces a crushing bass line and drum beat, but the keys are light and airy. Cuckoo Cocoon is beautiful, lightning quick piano and pan flutes. In the Cage feels like the first big climax, powerful and dramatic. It's got grit though. Bite. Hairless Heart is a delightful symphonic interlude before the quirky, crunching Counting Out Time. The Carpet Crawlers has a bit of a hypnotic effect, and then it's the end of disc 1 with The Chamber of 32 Doors. A return to big drums and guitars and the organ.
Early on in disc 2, The Waiting Room starts off all dissonance, shattering glass and spooky noises. Back to something more coherent with Anyway and its looping piano melody. It's still ominous though, foreboding. The Lamia is the highlight of this side, and maybe the whole album. Again it's tense, dark, but the music is grand in scale and ambition. Silent Sorrow In Empty Boats is the perfect comedown, then it's back to the weird and wonderful: The Colony of Slippermen. After the synth intro, it's some of the more upbeat msuic on this disc, juxtaposed with downright eerie riffs. After that, I tire of describing it, but not listening - the rest of the album is all of a high quality. I think the second half edges it, but the whole package is wildly impressive.
Joni Mitchell
5/5
Demands your attention - especially lyrically, but also musically, with layers of precise instrumentation seemingly designed to enhance Joni's singing. Everything sounds bright and present and intimate. Furry Sings the Blues scared me off at first, but her take on the blues ended up being a standout. The title track has a haunting intro riff and the fretless bass is prominent again. It's a bleak masterclass in creating atmosphere. Blue Motel Room leans even further into the quiet, jazzy song structure. You could be in the room with her. Refuge of the Roads is a worthy closer, a wandering epic. The last bass notes fade away... but this leaves a lasting impression.
The Auteurs
4/5
Consistently catchy but doesn't sound cheap. At times I hear some early Radiohead in this, or maybe The Smiths... I find myself enjoying the slower, quirkier tracks more than the guitar driven stuff, but there's hooks everywhere. Nice riffs in opener Show Girl, especially the brief solo in the middle. Bailed Out introduces a simple piano melody and it's very good. Junk Shop Clothes is comforting somehow, with familiar melodies. There's piano or percussion scattered through many of the songs to great effect. Idiot Brother hits us with another earworm of a guitar riff straight away. There's even a hidden track - very 90s. This passes the vibe check for me.
Sufjan Stevens
4/5
It's no surprise this was later adapted for Broadway. Feel The Illinoise pt. 1 is big and bold but also playful and full of joy. It's the perfect foil for the ethereal vocals. Jacksonville has more of a groove, but it's the strings and horns that make it. Everything sounds bright and fresh and unexpected. 'Chicago' is more restrained than the title track, but still theatrical with the orchestra and choral backing. Then the slow, somber Casimir Pulaski Day. But the show must go on. Predatory Wasp was my favourite on the back half, and I lost focus a bit after that if we're being honest. Overall though, it's really quite eclectic and so dynamic - often changing tone or intensity within the same song. The interludes feel as vital as the "main" tracks, pulling everything together. 74 minutes is a long album though, and it's a LOT to process. Still very very good.
Belle & Sebastian
4/5
Perfectly pleasant indie pop. All the different instruments really make these pieces shine. Some great piano and other orchestration. When they get it right, it's about as good as it gets. Maybe missing some element I can't quite put my finger on to make it a 5-star album, but it's consistently very good. Standouts: Like Dylan in the Movies. Get Me Away From Here, I'm Dying.
The Louvin Brothers
1/5
Simple as it gets - guitar, mandolin and vocals. I just can't deal with the singing though, and the music is the most generic country stuff you can imagine. I don't even think this was groundbreaking in 1956, and I definitely don't want to listen to it 70 years later. There's some good mandolin playing I guess, if that's your thing. Sorry boys.
White Denim
3/5
It took me a track or two to get into it, but very good bass work and drumming on Burnished and especially the instrumental At The Farm. Even better as it builds, with heavy guitar riffs amidst the chaos. Street Joy is different, slower and emotional, before the fast, jazzy riffing of Anvil Everything. The next song gets even wilder with flutes, and then it settles back into something like indie/garage stuff, if it was played like prog rock by jazz musicians. The latter half of Bess St has some of the best moments of the album. The last track is different, dreamier and bluesy. Ok, this had me off guard a bit. I definitely like it, but might need to be in a specific mood.
Siouxsie And The Banshees
3/5
Dark, driving bass and high-pitched, emotionally detached vocals - what's not to like? The riffing gets the job done, more focused on rhythm than melody. It's mostly pretty depressing stuff but there's some catchy moments if you're patient. Nicotine Stain is one of these, letting the guitars loose a bit. The last official track Switch is also strong, a slow builder. The last two tracks from the CD release appear to be non album singles and are a bit of a different vibe - not rating these.
Neil Young & Crazy Horse
4/5
Cinnamon Girl is a surprisingly hard rocking opener, but the side is anchored by Down by the River, the rambling epic with its sultry bassline and guitar licks. On side two, Running Dry is another winner, dirge-like with noisy violins. Then the long closer, Cowgirl in the Sand, hits immediately with the best groove on the record and some of the best guitar work. I think this is better than Down by the River. It's a great sounding record in stereo. Satisfying guitar and bass tone and Neil's voice is excellent here. Not everything can live up to the quality of the two long songs, but it doesn't really matter. Apologies to Mr. Young, I was unfamiliar with your game.
Dr. John
1/5
Certainly...diverse but largely unmusical to my ears. Stream-of-consciousness stuff, or maybe a fever dream. I can't say I understand much of what's going on. Danse Fambeaux was probably my favorite, or Jump Sturdy. Outside of these, a difficult listen and mercifully a short one.
Peter Gabriel
4/5
Moribund The Burgermeister is as weird as I wanted it to be, a swelling chorus giving way to strange synthesizer sounds. Solsbury Hill follows, and yes - it's overplayed, but there's details here worth examining. The powerful, campy Modern Love picks up somewhere near where the opener left off. Excuse Me is quirkier, and I can't decide if I like it, but then Humdrum is anything but and Slowburn is an over the top power ballad. It's more is more, and it works. I like all the remaining songs but especially Here Comes The Flood, all big drums and melodic keyboards. This is probably decidedly uncool now. I dig it though. What an album cover too.
Laura Nyro
2/5
She has a voice and there's some toe tappers here, but the songs tend to go off the rails a bit. Lots of dead space. I don't know if it's the production but there's a coldness or loneliness to this. A mixed bag, and maybe this isn't for me. Something else I don't like about some records from this era is the stereo mix - for some reason they only wanted me to hear the piano in my left ear.
Wire
3/5
Lots of good riffs here. The production is nice and full sounding, I like the thick guitar tone and there's a nice solid backbone from the rhythm section. It's just pleasant to listen to somehow. I don't love all the songs but there are 21 in 35 minutes, so if something isn't working, just wait 90 seconds... I think Strange is my favorite, a really sludgy, heavy riff with spooky backing, but Mannequin is as light and fresh as Strange is dark. Lots of variety in tempo. Tight songwriting. This exceeded expectations. Other highlights: Reuters, Ex Lion Tamer, Start to Move, 106 Beats That, Fragile, Champs &&& 12 X U.
The Who
5/5
Listening to the expanded edition from 1995 (77 minutes). The raw energy of the band is on display straight away in Heaven And Hell, the guitar and bass keeping up with Keith Moon's incessant hammering on the drums. It's such a great live sound, the bass loud in the mix and slightly fuzzy, the guitars cutting through with precision and power. After 3 pretty hard rocking tunes, Tattoo slows it down a bit and then they play Young Man Blues - you'd think there'd be time to catch a breath, but not for Roger Daltrey who belts out some unaccompanied vocal lines. The bass and chugging guitars rumble along. This ain't your father's blues. Hell, it could be Deep Purple.
Then they launch into a trio of singles from the mid 60s, and the first of two longer songs, which is...a little weird. The medley that follows gets us back on track, including an extended instrumental section with some nice guitar parts and more frenetic drumming. Two more solid rockers - I like Shakin' All Over, more great heavy stuff - and then the 15-minute medley version of My Generation. Suitably epic, with so many notable riffs and solos and some nice quieter parts. Then an extended version of Magic Bus to close, pyschedelic with some blues flair in the form of harmonica. If you weren't in Leeds in 1970, this is the next best thing.
Julian Cope
2/5
Not sure what to make of this. Double Vegetation is a pretty decent alt-rock tune. East Easy Rider has a funky bassline and half spoken vocals and then Promised Land is country-folk before turning into a bit of an indie rocker. Very little cohesion between the tracks so far. Then Hanging Out is almost punk, but softer? I do like when there's organs - and Safesurfer has some pretty good guitar and piano too, but more spoken vocals again. I don't know man. It's still a cool track, but this is all over the place, which is a pretty good way to describe this album. And I'm barely scratching the surface... PSA: just because you can make a CD 76 minutes long doesn't mean you should. Listen, there's some stuff here that I think will appeal to many people. For that reason it's ** and not * but this needed an editor.
Minutemen
3/5
The jazzy basslines are a pleasant surprise. Guitar and drumming are good. Viet Name is positively catchy. This is going to be eclectic - Cohesion is an instrumental folk tune, quick acoustic picking, then the next track lays down a funk rock groove. I won't call out too many songs because there's 43 on this release (oof), but some of the best of the rest are: Nature Without Men, The Glory of Man, The Politics of Time, Nothing Indeed, Jesus and Tequila &&& Love Dance. There's genuinely weird stuff on here too. Not what I expected and I respect how unhinged it is. I don't know if I could get through all of it again, but I'm making an exception and giving this a passing grade.
Tom Tom Club
5/5
Went into this blind and the first song is a trip, euro disco synths and funky bass with rapping (sort of) over it? The vocals are pretty weird in general. Some great percussion too - tom toms, I presume? I didn't know this was a Talking Heads side project and it's starting to make sense. Genius of Love is next, bouncy bass with more bleeps and bloops from the keyboards. This is so much fun and just satisfying to listen to. If the rest is anywhere near as good, I'm sold. Tom Tom Theme is a brief instrumental break and L'Elephant draws much more from world music. It doesn't feel out of place. Every track is such a neat mix of percussion and synths - it's repetive, mesmeric. Lorelei has a particularly entrancing keyboard melody and On, On, On, On is a bit different, a very catchy chorus. Under the Boardwalk has island vibes, maybe calypso influence. The one constant is the ever present bass. Calling this funk feels correct and reductive at the same time. It's brilliantly bizarre.
Living Colour
4/5
Whether you're a wrestling fan or not the opener will get you fired up, the earworm of a main riff and blistering solos dominating the song. The next track is a bit more measured, a bit more glam rock, with slap bass popping up in the mix. Another good groove and good solo. The strong riffing continues into Middle Man and the bass has me moving around. Consistently good vocals. Desperate People starts with maybe the heaviest riffs so far, I am into this big time. Open Letter closes the first half, a calm intro, but the funky bassline kicks in and it's a great power ballad. Onto the back half, Funny Vibe is much funkier and more eclectic at first, it's probably the most technical track in terms of musicianship. Overall, the second half is softer: Broken Hearts is a ballad and Glamour Boys is poppier. The closer is a hard rocker again. Despite the dip towards the end, it's a ton of fun and a strong collection of songs.
Nick Cave & The Bad Seeds
3/5
Somber piano and simple arrangements threw me off at first, but Into My Arms is good, once you get adjusted to Nick's deep voice. I'm liking People Ain't No Good too, the melodies and other little sounds - there's violin, but it's the piano and subtle percussion touches that do it for me. Everything is good really in the first half, it's slow and soft and I'm just vibing. I don't know if I like the spoken vocals that pop up at times, like in West Country Girl, but it certainly creates atmosphere. Black Hair is even more minimal and funereal, it's apparently accordion and bass organ. Fascinating. Idiot Prayer is very good too. Green Eyes doesn't work for me at all, which leaves a bad taste in the mouth, but there's enough good material here. Solid passing grade, need to be in the right mood though.
Arctic Monkeys
2/5
There's an energy to this but I'm so far left unmoved. I don't love the singer. The playing is certainly adequate, but there's not really a lot of hooks that grab me. Honestly, I know they have bigger hits but based on this I'm not sure how they got so popular. Were we this starved for vaguely garage-influenced post-punk or whatever in the 2000s? I like Riot Van more - it's slower and atmospheric, and Mardy Bum has an actual catchy riff. Meh.
Mekons
3/5
This is meant to be punk meets alt country? I didn't pick up on that at all at first, but we get there... it is, safe to say, one of the most unique sounding records I've listened to on here. There are folk instruments in the mix, and the production value is high. Lots of spoken vocals. I like the first song quite a bit. The next one, Trouble Down South, gets a little stranger (OK, maybe a lot stranger). It's quite dissonant, but I still like the drumming and the shuffling rhythm. There's a backing chorus. We get bits of melody, and it's enough somehow. The third track is more approachable, but still with a really interesting rhythm. Steel guitar in the second half and a unique breakdown. It's very 80s sounding, especially the reverb on the drums. Sure. I really struggle to describe this stuff. I like all the random sounds and ambient touches. I actually wish they leaned more into the weirdness, but the back half is a bit more standard rock, a bit more punk. Suddenly, it sounds Celtic. I do really like Last Dance. The poppiest song by far, the main riff makes me want to dance a jig, but the backbone is alt rock. The vocal hooks is great. Hard to rate this, but one to revisit.
The Adverts
3/5
Some real punk rock. I like the vocals though, and it's a surprisingly anthemic opener. The next couple tracks are good too, especially New Church. This is straightforward, fast and loose, and it's definitely not overproduced. It's melodic though and the bouncy bass and speedy tempos will keep you nodding along. I can imagine screaming out some of the choruses if I'd been a young concert goer in 1978 (I wasn't born yet, which made it hard to go to a lot of punk shows). No Time to Be 21 even has a solo, but Safety in Numbers is probably my favourite, aggressive riffing and more fast bass work. Great British Machine is a great closer too. This is a tight little package.
John Prine
3/5
This still gets too country for me at times, but I found the songwriting more interesting than expected and the music is quite good. Nice mix of instruments - the steel guitar and organ are highlights when they pop up. Favorites: Hello in There, Far from Me, Angel from Montgomery.
David Bowie
4/5
Definitely not familiar with later Bowie. This is from 2013, and the opener is a steady rocker, tension building, then Dirty Boys opts to drop the tempo down. It feels like this could have been played in smoky rooms decades ago. The Stars (Are Out Tonight) is cinematic, with sweeping strings. Generally, the vocals sound good and the band is great too, muscular, but the keyboards and other instruments add loads of texture. I particularly like Love Is Lost, staccato bass and organ. Where Are We Now is a softer but powerful moment, piano and strings building to a climax with great drums in the second half. The really strong run conitnues with Valentine's Day, now more guitar driven - maybe the best song so far - and If You Can See Me, another builder but more eccentric.
I'd Rather Be High continues with retro sounding backing vocals and a great mix of melodies and sounds. To me, we go a little more towards folk rock with Boss Of Me and the start of Dancing Out In Space, but it progresses into something artier. How Does The Grass Grow has excellent bass guitar again and (You Will) Set The World On Fire opens with the most hard rock riff on the album, then goes more glam. You Feel So Lonely You Could Die is suitably emotional and Heat, the closer, is eerie and mournful. I think the middle section is strongest, but it's consistently high quality with unexpected melodies. The first half alone is ***** but it's still a very good comeback album.
Tom Waits
1/5
The highlight of The Earth Died Screaming (great title, admittedly) is the last few seconds, when he stops "singing". Dirt In The Ground would actually be a great instrumental, or maybe a good song, with a different vocalist. I just can't deal with this. He sounds like he's smoked two packs a day since the Korean War ended. Such A Scream is weirder, but not in a good way. I don't even know how to describe this, and it's track 3 of 16... "Who Are You" is moderately acceptable (M.A.) and I would put The Ocean Doesn't Want Me in the category of good instrumental backing. Curious to hear Goin' Out West since this was a single, and it's M.A. Every time I think he's put together a decent blues tune, despite the generally unlistenable voice, the next track will be spoken word vocals over random background noise. This is a bad dream.
Rush
5/5
Where do we start? Many Rush albums are worthy of inclusion here, but if you had to pick just 1... this is it. The success of Moving Pictures, and the heavy use of Geddy Lee's synths, certainly colored the trio's sound for the rest of the decade. If there was any question they'd gone soft, though, Tom Sawyer hits us with heavy riffs straight away and the production is impeccable: everything clear and distinct, with just enough crunch. Red Barchetta follows and the legendary instrumental YYZ. The bass steals the show, jazzy and intricate, but the guitar solo is unforgettable and Peart gives his usual drumming masterclass. Then it's Limelight, maybe even better than Tom Sawyer. A breathless first half. A couple of deeper cuts next, The Camera Eye showing they still have a 10 minute prog epic in them. It's purposeful though, and darker at times, with a slightly off kilter guitar solo near the end. Witch Hunt has an eerie intro and doomy riff, the keyboards big and symphonic. Finally, Vital Signs. A sort of new wave sound that neatly bridges to their subsequent 80s output, and a great vocal hook. 40 minutes, 7 songs, all killer.
The Electric Prunes
2/5
This started off well, 60s garage rock apparently, with an interesting fuzzy effect on the guitar and there was something unexpected about the chord progressions in the first couple songs. Are You Lovin Me More is more upbeat, with neat psychedelic touches like a cool organ (?) melody, but nothing after that really connected with me. The songs are all quite different, to their credit. The sound is a bit muffled - maybe that's the point - and I have my usual gripes with the aggressively stereo mix, but this is a bizarre and (at times) cool mix of songs. Not a total dud, but I'm OK leaving this in the past.
Everything But The Girl
4/5
Before Today is a little jazzy with its trip hop/drum n bass backing. The simple melody and vocal lines are very 90s electronica. Wrong has a 4 on the floor beat and driving prog house bassline, before it's back to down tempo stuff on Single. The vocals make the track. Everything is comforting, soft synths and pads. It still sounds very pop, for the most part, just borrowing a lot of EDM sounds. Lots of chilled soundscapes. Walking Wounded is a little different, deeper and darker, with a fractured beat again. It's layered and very good. Big Deal is in the same vein, then Mirrorball is smooth, poppy, almost R&B now. It's catchy with a nice groove. The original release ends with two remixes: Todd Terry puts his melodic house spin on Wrong and there's an Omni Trio mix of Walking Wounded, which is more in line with the album tracks but doesn't feel essential. Nevermind. Still a great record.
David Gray
2/5
It's fairly corny stuff but I do like Babylon. After that, the vocals get a little nasally and whiny for my tastes. The mostly slow, folk-rock kind of tunes aren't offensive but nothing much is forcing me to sit up and take notice. The drums and keyboards make this a bit more interesting; some of the instrumental passages are the best parts. I'm trying to figure out how to describe the vocals, and why I dislike them so much, but it brings to mind the worst kind of soft rock bands. The cover of Say Hello, Wave Goodbye is pretty good though. It looks like this album was huge in the UK and Ireland - maybe you had to be there? ** for Babylon and SHWG.
The Teardrop Explodes
3/5
1980 was an interesting time, feels like the influences of the previous decades still blending into what was becoming the 80s sound. This isn't quite rock, nor is it just pop, but Treason is very catchy. There's a trance-like repetitiveness to some of the songs and it can be addictive. Love the bassline on Second Head. And the backing keyboards. Vocals are perfect for this but the instrumental breaks shine too. Frenetic bass on most of the tracks, and Bouncing Babies is a highlight, the keys now playing a lead role. Big drums. Reward was the other single but I don't like it as much as Treason. Overall - cool ideas, inconsistent quality, but worth a spin.
Sonic Youth
4/5
Schizophrenia builds and builds, never quite reaching catharsis. Everything is muted somehow, rounded off corners. The musings of an emotionally unavailable person. I love the tremolo picked riffs though, it's very post-rock. If that existed in 1987. Catholic Block is a bit more punk, a bit noisier, mixed with acoustic guitar. Lovely outro. Speak-singing on Beauty Lies in the Eye, but I don't mind, it just adds another layer of ambience to the waves of sound. The music almost sounds like Agalloch. There's enough melody to balance the weirder stuff that comes - sometimes in the same track - Tuff Gnarly is poppy before a dissonant breakdown totally transforms the song. Hot Wire My Heart is basically a glam rocker with a filter of grime and noise applied to it. Cotton Crown returns to the mid paced, heavy melodic stuff. This is all a bit epic, but exhausting. I do like it a lot.
Bob Marley & The Wailers
4/5
It's just so smooth, there's a real warmth to it. No Woman, No Cry is a classic - the Hammond organ steals the show but I like the guitar licks too. Tempo wise everything is slow, relaxed, the swaying of a palm tree in the Tropics. Rebel Music has prominent harmonica (it feels a little improvised) over another steady plodding bassline. Everything comes together, the band, the organ, Marley's voice, the backing female chorus. The second half continues with more of the same cool, evocative stuff. I think Revolution is the best of the back half, and as good as anything on the album. A strong closer, but I'm liking all of this this more than I thought I would. Put it on and float away.
Kid Rock
1/5
Fuck Kid Rock.
The Fall
2/5
500th album reviewed! Unfortunately not a winner. There are a few decent riffs here and there, but this album to me is almost all filler. The songs don't really go anywhere, and the sound isn't punchy or interesting enough for me to want to hear one half baked idea for a whole track, with vocals that sound like the band is just freestyling in the studio. I'm willing to give this the benefit of the doubt and maybe it's just not for me, but it's hard to imagine this ever being essential listening.
Suicide
2/5
Synth heavy and very unconventional. Feels like what you might get if you let hipster music students run amok with new equipment. The sound of the synths is interesting though, like a distorted buzzsaw. The vocals are kind of distant and breathy, the drums are muffled, and I'm not really sure what they're going for here. If you played this dangerously loud, ideally while on hard drugs, I bet it would be better. Cheree has an actual melody though, the chimes create a neat atmosphere and the thick low end permeates everything. Girl has a pretty good riff and the organ kind of does its thing for a bit. Frankie Teardrop is 10 minutes long, really driving home the minimalism thing. More bizarre vocals and jump scares. Che, the last track is kind of good. It's mainly just repetitive, grimy electronic stuff, but it does scratch a certain itch in my brain. I'm not sure I actually like it but I feel like if I played it enough I would get hooked on this somehow. Better quit now.
The Flying Burrito Brothers
2/5
Early country-rock, maybe the first of its kind? Either way, predictably I'm enjoying the songs that lean more towards rock. The singing could almost be gospel at times though. It's at its best when the music carries the songs, because I'm never going to love the vocals. Stereo mix isn't great either, but the instruments sound good. The two-parter Hot Burrito starts with a nice riff, it's a slower tune but with melody and emotional weight to it. Best part of the album so far by a wide margin. The second part is more upbeat, a good rocker. Heavy use of the fuzzbox, which I like. Hippie Boy is a quiet closer: speak-singing, keyboards and steel guitar. This isn't really my jam, but damn was 1969 a hell of a time for new music. Favorites: Dark End Of The Street, Hot Burrito (both parts #1 and #2). ** 1/2
k.d. lang
4/5
Smooth, easy listening, but it's quite charming and her voice is beautiful. I do like the music, it's hard for me to pointpoint the influences, but it sounds timeless. Both the first two songs are good. It feels ready for a movie, or a stage performance. Miss Chatelaine even more so, I'd heard this described as cabaret and now I start to understand why. It's campier than I usually like, but the singing is so good it sweeps you up in it. The pacing is excellent too - now slower, deeper, then more upbeat and dramatic again. Sometimes I think the backing sounds vaguely Middle Eastern, or Mediterranean, but it's all full of pleasant melodies and flourishes. Outside Myself and Constant Craving are probably the highlights of the second half. A positive surprise for me.
Love
5/5
I'm impressed with the dynamic range in Alone Again Or. Delicate guitar giving way to triumphant horns in the chorus - then fading away again. I find the vocals charming. Andmoreagain is a pretty ballad, strings and the guitars playing off each other, the singing high pitched and clear - my favourite so far. The Red Telephone is strong as well, folksy again and elfin, full of beautiful harmonies. Maybe the People... is more upbeat, and very very good, putting together everything that's come before. It's the highlight of the album. I'm kind of floored. It's a little inconsistent after this, but only Bummer in the Summer is a possible skip. You Set the Scene is poignant, a worthy closer. Overall, I'd be interested to hear it in mono but the mix doesn't detract from the music. The quality of the songwriting and arrangements is undeniable. What a find! Listened again to the Alternate Mix - it's maybe a little punchier.
Massive Attack
2/5
This ended up being a mixed bag, unexpectedly. I wanted more of the sultry trip hop and less of the weirdly Rastafarian sounding music with half spoken, half rapped vocals (like Karmacoma). There's parts of a good album here. The title track is pretty solid and I dug Weather Storm. I was ready to write this off entirely, but the last couple tracks (Sly and Heat Miser) did exactly what I wanted them to. More instrumental focus, chilled out EDM beats. Makes it hard to rate, but as an album, I can't say I want to come back to this anytime soon.
Aphex Twin
5/5
"We are the music makers, and we are the dreamers of dreams"
Indeed, this is a desert island album for me. But let's be clear, the title is a misnomer. There's very little here I would consider ambient, certainly not in the Brian Eno sense, or anything like that. We get plenty of gritty beats and acid sounds, there's lots to me that sounds like techno and house. All the best parts of it, from that time period when people were really truly experimenting and putting out fresh sounding electronic music. He made this with homemade synthesizers - it doesn't really matter, because he apparently channeled something otherworldly here and the equipment was just a conduit. This is melodic, hard edged, weird, happy, spooky, and a thousand other things. It's exactly what you want it to be, maybe what you *need* it to be, at the moment you listen to it. It's a chameleon. You can play it at unsafe volumes and you can play it as background music, barely audible. It benefits from careful listening with headphones but also makes you want to be at a warehouse rave in 1990. It's incredible and I will probably listen to this for the rest of my life. Hard to pick favourites, but as of this moment: Green Calx, Heliosphan, Xtal, Ptolemy.
Björk
5/5
My second Bjork, and I'm thrilled this popped up. The ambience is immaculate, dark and emotionally charged. Opener Stonemilker is so good, immediately immersive with strings and a drum beat full of reverb, like echoes in the depth of a cave. Lionsong has a nice hook and introduces glitchy, stuttering beats. It gets a bit more avant-garde, and the synths in History of Touches are icy, fragmented. She wrote this about the end of a relationship, but it could be the soundtrack to an alien world. Black Lake is again cold and deep, strings seemingly locked in combat with the mechanical sounding drums. This time, the strings win the battle, but it feels like a stay of execution. Later, the powerful Atom Dance is a touch more whimsical, but then Mouth Mantra is harsh and oppressive. The drums increase in intensity again in the closer Quicksand. It's frenetic. Strings, as always, abruptly cutting at the end. Unresolved tension. No one sounds quite like Bjork, and this has depth and nuance to it. It's a fantastic collection of soundscapes. Don't expect a lot of catchy melodies though. The album cover is fire too.
Sonic Youth
5/5
Teen Age Riot is maybe a friendlier, happier Sonic Youth than the earlier albums. It's still got that cool detachment to it. Very indie. The fuzz is there, and energy levels are good. Still liking the guitars - great intro on Silver Rocket, too, and it leads into a couple of neat riffs with more punk rock sounding vocals before everything devolves into noise. Out of the chaos, another great riff fades in. I'm digging this. The Sprawl is different again, smoother, more abstract vocals, a repetitive groove. The drums drop out and we get delicate fragments of melody over a background of ambient noise. It's a hypnotic effect. Cross the Breeze is next, a speedy tour-de-force of atmospheric riffing and tortured vocals. After 5 minutes, we finally get a chance to breathe. Great drumming now. Eric's Trip is weaker for me, but Total Trash closes the first half with catchy hooks and another lengthy instrumental section full of feedback. It's moody, dense stuff.
Hey Joni is an energetic start to the next side but Providence is something else - pianos and fuzz, vocal samples. Very good. It leads into Candle, a clean intro riff that is a little disorienting and it turns a pretty heavy but athemic track. Rain King is dark and gloomy, heavy again. Kissability has keyboards or chimes in the mix that give it an eerie sound, but the guitars drive the track. So far the second half has alternated more accessible tracks with something a bit avant-garde, the closing trilogy breaks the streak though and continues with the melodic, driving stuff. Building to a climax in the first part - frantic drumming, dual guitars. Hyperstation is more atmospheric, slower. I expected maybe an ambient outro, but Eliminator Jr has another head banger of a riff. We end on a bang, not a whimper. This feels like it needed the 70 minute runtime. A masterpiece in sound design and ambience but it's also full of so. many. riffs. Lives up to the hype.