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Tue Aug 22 2023
Who's Next
The Who
For my first experience with The Who, and the first album of 1001, I think I started off on a strong note. I can feel when listening to this that it was meant to be performed and heard live in a large arena format. Which is probably where it gets it’s arena rock tag from. The highlight of this record is definitely Keith Moon. I was well aware of who he was before hearing this, but getting to experience him at full display was pretty interesting. If you took the wild uncontrolled flying over the kit of Animal from The Muppets and made it sound like some of the best rock drumming of our time, that would be Moon. He was an animal. Favorite song for me is Bargain. Least favorite would be Behind Blue Eyes.
3
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Wed Aug 23 2023
The Yes Album
Yes
When this album popped up for me on my tracker for the 1001 albums, I audibly said "Yes!" aloud. I love Yes. I have loved Yes for a long time, and had a big prog rock phase a while back. The Yes Album is an interesting one for me, because I always knew of its existence, but I wasn't sure when I would go back to give it a listen. I'm glad I was given the excuse to check it out, given my love for Fragile and Close to the Edge. I see this as the Meddle of Yes' discography. It acts as the point where you can see when they find their footing. Steve Howe had made his way into the band, which is easily one of the best things they could have done for themselves. And the energy that would carry them forward into having one of the strongest runs of albums in the 70's shows up here. John's voice is as beautiful as ever, Chris Squire's signature bass sound is delightfully sharp, Steve's guitar work is amazing, and Bill's drum sound is so bright and snappy, which fits his style of play perfectly. I see this album as their Meddle, and I see Starship Troopers as their Echoes. It may not be as ambitious, but it shows them experimenting with their longer, multi-phased song structures they would become known for. Specifically the section titled "Würm". This part is so heavy and psychedelic, and has one of the best jams Yes has ever done period. Easily the most striking moment on the whole album. I have to speak on one gripe I have with this album though. I think Tony Kaye does a fantastic job as the keyboardist up until this point. But just like how Steve Howe was an addition the band needed to succeed, Rick Wakeman is in the same boat. Although technically not with Yes until after this album was released, I can feel the gap left when he is not the one behind the keyboard. He is probably the single greatest prog keyboardist of all time, and maybe just in general across all rock music, and that golden age lineup of Anderson, Squire, Howe, Wakeman and Bruford is absolutely unbeatable. I think for the first album from Yes that can truly be considered a substantial piece of work, that set them on the map and would help them become one of the leading bands in the progressive rock movement of the 70's alongside other giants like King Crimson, Rush and Pink Floyd, they did a stellar job.
4
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Thu Aug 24 2023
Surrealistic Pillow
Jefferson Airplane
There is nothing inherently wrong with this album. Not at all. Jefferson Airplane deserves the credit they get. One of the leading bands in the psychedelic push of the 60's. I just can't explain what doesn't click with me about certain aspects of this. I love my fair share of psychedelic music, and it's really the first kind of rock music I fell in love with. I see what they were doing with this record, and it just isn't my thing. Maybe if I took a fair amount of drugs before listening to this, it would have heightened the experience.
I do want to give this album its flowers though. I was surprised by some of the songs on here that I had already heard, but had no idea were from Jefferson Airplane. She Has Funny Cars, Somebody to Love, 3/5 of a Mile in 10 Seconds and White Rabbit I find to be fantastic little bursts of psychedelia jamming. On the other hand, songs like My Best Friend or Comin' Back to Me just don't hit the same for me.
3
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Fri Aug 25 2023
Ágætis Byrjun
Sigur Rós
I'm not someone who is opposed to listening to long songs. Multiple of my favorite songs of all time are well over the 10 minute mark. But to this day, when loading up a new album to hear it for the first time, seeing a length over an hour, with a track list of songs consistently over 5 minutes long is still daunting. Because something that long can really be hit or miss.
Thankfully I'm happy to say that Ágætis byrjun warrants its 70 minute run time. It has these massive sounding instrumentals that build and build, but take just enough time before finally coming all together, unlike some of their contemporaries in the post-rock space. And these instrumentals are damn good. String and piano sections cascading and soaring through the mix creates an incredible atmosphere. An atmosphere that balances warmth and hostility perfectly. They managed to capture bliss in a bottle for these songs. But then they decided that wasn't enough, so they strapped the bottle to the side of a very quiet rocket ship, and sent it straight into space. These songs are luscious and gorgeous at their most complicated, and chilling at their most simple and still.
Sometimes a particular moment of a song or an album sticks with you longer than it should. Listening to "Hjartað hamast (Bamm bamm bamm)" was definitely one of those for me. Hearing such a funky keyboard sound on this album, especially after 5 of the most beautiful songs I've ever heard, was jarring to say the least. But I loved it. I loved most of this album. It's helped me realize I need to look at the run time of a piece of music as less of a crutch, and more as a blessing. Because if it's done well, I'm only going to want more of it.
5
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Sat Aug 26 2023
Ready To Die
The Notorious B.I.G.
1994 was a pretty superb year for music. The Blue Album, Crooked Rain, The Downward Spiral, and Illmatic all in the same 12 month period is a gold mine. And Ready to Die is not exempt from that mine. I think in terms of East Coast based Hip Hop, this is about as refined as it can get.
Biggie Smalls really was that dude. What he spoke about was very real at that time, and when he was trying to make something apparent, he meant it. This album is serious when it needs to be, and covers some darker topics, particularly on songs like Everyday Struggle or Suicidal Thoughts. But it also balances having a more lighthearted side. This creates an incredibly enjoyable and engaging first listen. He also pulls the whole thing off with only one feature, from fellow East Coast MC Method Man. Thankfully that song is a standout on the record because of the feature.
Something I also really loved about this album was the little cinematic snippets in some songs that tell a story. Examples like the opening track, or how he changes his voice slightly to sound like two people talking to each other in Gimme the Loot, which itself ends in a shootout. Or how the closing track ends with Biggie literally taking his own life over the phone. Each song is like its own little TV show episode, narrated by Biggie rapping.
I have to speak on one thing though. In an album that is excellent in basically everything it does, the ending of Respect is so out of place to me. For an otherwise amazing song, the last minute just isn't necessary. And knowing that the audio is supposedly real, it kind of ruins the song. Even the Fuck Me interlude is more tolerable than this, and that itself is a pretty weird song.
But overall, there isn't much of an argument you can make towards this not being a fantastic rap album, which helped launch one of the 90's biggest icons into the stratosphere of pop culture.
5
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Sun Aug 27 2023
Wish You Were Here
Pink Floyd
In March of this year, I lost my grandfather to cancer. I can't even begin to explain how I felt back then, because at that time I didn't know how to describe how I felt. The only time where I felt as if I had any clarity was when the song Wish You Were Here played. At the time, I wasn't a huge fan of the song, even though I regarded this album very highly, but I never put the song on by choice. Especially not at that point in my life. But then one day the song came on in my shuffle. And I really paid attention to what I was hearing. And I broke down and started crying. Between then, and the day my grandfather died, I only heard the song one more time, and nearly cried then as well, but forced myself not to because I was in school. And after his death, after I finally found that clarity I had been looking for back then, the song meant even more to me.
If someone were to ask me for an album that I believe is about as close to perfect as you can get, I would probably point to this one. From the second the album starts, until the second it ends, and every moment of the 44 minutes and 10 seconds in between that, this album is using every tactic it has against you to draw you in. Each song is so layered and filled with deeply refined performances, it amazes me this actually exists.
To be honest, it's a little hard to talk about this, because what more can I say about Wish You Were Here that someone hasn't said in the last 48 years. It's fucking Wish You Were Here. I really like it. It's a ten out of ten. As far as I know, it is the first album I can remember liking enough to give a score of 10.
I urge anyone who hasn't already heard this to give it a chance. A single word isn't even spoken until 8 minutes into the first song. Some people might be put off by a 15 minute opening track that is nearly entirely instrumental. But trust me, when you hear those four notes for the first time, you will become a different person.
5
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Mon Aug 28 2023
Like A Prayer
Madonna
I'm so sorry to anyone that likes this album. I think that is totally okay. Madonna is a very talented musician, and I think she has done some great things in her career. I just don't get this. I feel wrong for giving it a low score because it's not bad by any means, but these songs just illicit zero emotional response in my brain. I just don't like most 80's music, I never have liked most 80's music, and I especially don't like 80's pop music. I don't have much to say. Sadly not a huge fan. Cherish is a pretty good song though.
2
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Tue Aug 29 2023
D
White Denim
I only knew White Denim by name before listening to this. The most exposure I've ever had to the band was when Tame Impala gave them a shout out at a live show like ten years ago. So I was intrigued to see what they had to offer. I was pleasantly surprised by the quality of most of these tracks. These songs are short and to the point, but do a lot with what they have to offer. This album is filled with twiddling jazz-esque guitar licks, and even some blues influence. Sometimes when you are listening to a song, you can tell the band was having fun recording it. I get that kind of energy from this album. It just feels like a good time.
Burnished transitions so quickly into Back at the Farm, and the latter track carries a really exciting flow for its run time. Street Joy is a nice pace change that allows the singer to show off his vocals a little more than usual. Anvil Everything feels the most prog of any song on here, and River to Consider is built on a very catchy flute section. The closing track Keys is just full on blues rock, and I thought they pulled it off really well.
Nothing about this is ground breaking. I don't think it was meant to be. This is pretty much what I come to expect from modern psych rock from the year 2010 and onward. And I can even hear where a band like Temples may have been influenced for their debut Sun Structures.
4
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Wed Aug 30 2023
The Bends
Radiohead
Radiohead is a band for insufferable people. And I am insufferable for this band. Their music has captured me for so long now, I can't think of a time in the last year and a half where I wasn't absolutely in love with Radiohead. I only have my high school art teacher to blame for that. I got into them because of him. So getting the excuse to hear The Bends all the way through again under the new lens of having heard all of their other albums was exciting. In all honesty, The Bends is probably the album from Radiohead I listen to the least. On first listen, I didn't really get most of the songs on this. But that was nearly 2 years ago.
The Bends is kind of an interesting album, because it came so soon after Pablo Honey. Nothing about Pablo Honey was really special. Other than Creep, almost no waves were made with that album. Radiohead was just another angsty indie alt rock band. The Bends changed that perception. Because this is something much more special than Pablo Honey. The complexity and songwriting is so many worlds better than its predecessor, it amazes me there was only a two year gap in between these two.
Thom Yorke's voice sounds so insanely young on this, but it only works as proof that his vocal capabilities have not faltered one bit since this album was released. There is definitely something juvenile about how everyone plays their instruments on this, but it fits the wild and unleashed energy of the whole album.
Planet Telex is the first song I ever heard from them, and I can remember it immediately blowing me away, even if the rest of the album didn't at the time. It was the first song of theirs that I fell in love with, and I still regard it highly today. I love the build up after the post-chorus in the title track, plus the guitar work on the bridge of that same song is also amazing. High and Dry proved that they were still capable of making big hits for charts, but I personally prefer Fake Plastic Trees. Just is easily the most chaotic song on the record, and feels like a bad hair day in the best way possible. The main guitar on My Iron Lung is crunchy, but the chorus borders on grunge, like something you might hear on a Nirvana record. Black Star is an interesting song, because it's great, but it feels as if you are coming into an ongoing song that they chose to cut and fade in. And Street Spirit is a fantastic closer, and feels like something that wouldn't be too out of place on Hail To the Thief.
I think The Bends is about as fine tuned as a sophomore album can get. They took their sound in a different direction, while still keeping the alternative energy flowing through, and hit the jackpot. This laid the groundwork for everything they would come to make in the future. It isn't Thom and his band mates at their absolute best, but it was a damn good step in the right track.
4
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Thu Aug 31 2023
If I Should Fall From Grace With God
The Pogues
The beauty of doing something like listening to a new album every day for 1001 days is that the chances of me running into stuff like this are high. And I'm sure this won't be the last time I'm left a little confused by an album. When I saw the genre tag of Celtic Rock, I really didn't know what I was expecting. But at that same time, it sounded exactly like I thought it would. Anyone reading this can probably think of what this might sound like in their head right now, and they probably wouldn't be too far off.
If I Should Fall From Grace With God might be as Celtic as rock can get. This feels like music pirates might listen to. I can't pretend like this is my thing at all, but I kind of mess with it. What they do on some of these songs sounds super interesting, and they are definitely a talented group of people. Plus I think Celtic punk is a good descriptor, because there are definitely some underlying political themes in these songs, and if you were to replace all of the fancy string instruments they use with more traditional western hard rock instrumentation, this would be a fantastic 80's punk record.
I'll give credit where credit is due. I can't imagine myself ever really coming back to listen to any of these songs, but the fact a group of people were ballsy and creative enough to come together and make something like this is really cool.
3
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Fri Sep 01 2023
The Number Of The Beast
Iron Maiden
The title of this review is somewhat of a double entendre. Because on one hand, yeah obviously metal music is hard, that is the whole point of the genre. But on the other hand, metal is a complicated genre for me personally. I have a lot of love for lots of metal music. But I'm also not a huge fan of some of it. Particularly the more melodic stuff in the 80's. Iron Maiden's The Number of the Beast falls somewhat in the middle of the spectrum.
For me, there are three things I look for that help a metal album stand out more. The riffs need to be heavy, which seems redundant to say considering I am talking about metal music here. The vocals need to be strong and powerful. And probably the most important one, the mix needs to make everything hit really hard. This is metal music. I want it to blow my eardrums out. Too often do I find that certain metal music just sounds flat and doesn't have any real impact to it. It could just be my ears, but I don't think it is. I think this album pretty much meets all of those criteria, but maybe not as well as it could. It isn't exceeding any expectations I had, or blowing my mind in any way.
I think Bruce is a very strong vocalist. I can see why people like him. His type of operatic singing isn't really my thing, but it sounds cool. I think the riffs and guitar work on this also sound decent. The drumming is okay, but doesn't hit very hard. Like something about the intro on Gangland sounds off to me. I just don't think this kind of metal music has ever clicked in my brain. It doesn't make me want to get up and move around or head bang or really anything. It just falls somewhat flat for me.
3
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Sat Sep 02 2023
White Blood Cells
The White Stripes
Even if you are not a White Stripes fan, you have heard the White Stripes at some point in your life. Seven Nation Army is impossible to escape at this point. But White Blood Cells is not the Seven Nation Army album. I think White Blood Cells is a perfectly fine album. It feels very much like the 2000's garage rock I've come to know and have heard before. A lot of people give Meg shit for her drumming. People are just really mean for no reason. I'm not trying to say by any means that if you put Meg White in a different band, she would sound as good as she does on here. But for the purpose that she was needed for, she does a fine job. This whole record finds the most power in its simplicity. None of the songs are super wacky or experimental or hard to play. They just do their job and do it well. Surprisingly for me, the standout track on this is We're Going to Be Friends. I may be biased because the song is included in Napoleon Dynamite, and anything included in that movie is made ten times better, but I also think this song is a wonderful little acoustic break from everything else going on. It's very fun and lighthearted, and I love that. Jack White has always had the brain to create really great ideas and put them to good use, even from the beginning of his career. And I think White Blood Cells is exemplary of that.
3
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Sun Sep 03 2023
Deloused in the Comatorium
The Mars Volta
Immediately this album sets the tone. The opening track lets you know what you are in for, and then Inertiatic takes off running at full speed, and never really slows down to let you catch your breath. I use the term "beautiful car crash" because it's hard to describe the kind of energy this has in any other way. But I think it's wonderful.
This isn't my first forte into The Mars Volta. I've heard Frances the Mute before, and I enjoy that album a lot. Since they rose from the ashes of an already existing band, there was no time for them to find their sound. Cedric and Omar already knew what it was, and they were ready to share more of it with the world. I have to say, I love the mixing on this album. Every sound is so pronounced and hits with so much power, yet you can hear each piece of each song so clearly. They did a fantastic job at giving each instrument its own space. I also think Cedric is a really great vocalist. His voice has always stood out to me since the moment I first heard the chorus on Cygnus...Vismund Cygnus. He has the perfect amount of 2000's emo to his voice, and his range is insane. The highs he hits in these songs are sick. The only two real issues I have with this are two specific songs. I think Cicatriz ESP is a good song, especially the beginning and end of it. I love how thumping the bass is. But that long stretch in the middle of just ambiance throws the song off for me. This is an issue that will become more apparent in their sophomore album, but that is its own thing. And with Televators, there just isn't much to the song. In an album filled with breakneck bangers that damn near give you whiplash, Televators is just kind of boring.
TMV is a divisive band. Some love them for what they do, and then there are some who really get up in arms about their music. Some of the most extreme online music reviews probably exist on one of their albums. To me, there is nothing inherently wrong with their music. Calling it unlistenable trash is so extreme, but everyone is entitled to their own opinion. I think The Mars Volta represents the best parts of modern prog rock. Prog rock hasn't ever been super beginner friendly, and has always been a genre that can mix with so many others to become this huge melting pot of music. I think for a debut, De-Loused hits really hard, and sounds great.
4
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Mon Sep 04 2023
The Marshall Mathers LP
Eminem
I’ve never been the biggest fan of Eminem. Him being one of the best selling artists ever always seemed strange. His music never spoke anything really powerful to me, and I didn’t grow up around people who loved his music. He just kind of represented a rebellious generation of teenagers who liked that he swore a lot. I never took the time to sit down and actually listen to a project of his all the way through until now.
The biggest takeaway from this album is his songwriting. I can understand why some consider him to be an all time great. Because from the very beginning, he has always been a strong lyricist, and more notably, a strong storyteller. If you took the cinematic aspects of an album like Ready to Die, and expanded them out into entire songs and covered a whole album in them, you get this project. It’s why I think “Stan” is the standout track. It’s one of the biggest songs off the record, but it has an interesting narrative in it. At the same time though, I find songs like “Kim” to be obnoxious and unnecessary. The constant screaming and weird voices he uses aren’t enjoyable to listen to. I think the production is solid. Dr. Dre usually does a good job, and this is not an exception. This album doesn’t have too many features, but the ones it does have are okay, except for the song “Remember Me?”. The feature kind of ruins the song, which is a bummer since it has one of my favorite beats on the whole album.
Eminem is a strong writer, but I think he is strong in one particular category. He just kind of said whatever the fuck he wanted to, including the f-slur a lot for some reason. And most of the songs on this are talking about the same things. Why he will continue to say what he wants and how much everyone hates him for doing that. It’s not bad but gets a little repetitive after a couple songs. This album is just incredibly dark and brooding, and he is always mad at something. Sometimes he channels it and makes super interesting songs, but other times it just feels like theatrics and not songwriting. This album didn’t make me an Eminem super fan, although I never imagined it would. I was born past the point where Eminem had made his mark, and by the time I was born, he was already entering his period of mediocrity. But it is nice to see a project from him that had some actual quality to it.
3
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Tue Sep 05 2023
You've Come a Long Way Baby
Fatboy Slim
My dad put on "Right Here, Right Now" in the car one time. The song kind of freaked me out. At the time, I was like "Fatboy Slim? What a dumb name". Hearing it now a few years later, with my love for electronic and instrumental music, made me appreciate it way more. Fatboy Slim isn't such a dumb name in my head anymore. It's still a little funny to say out loud, but the 90's were a weird time.
I think that is the biggest gripe I have with this album. It is very much a product of its time. You can hear the late 90's flowing through every song. I don't think this would become so big if it was released today, or even if it was released in the mid 2000's. But Slim capitalized on a genre people didn't really know much about. This is probably one of the most popular and most commercial albums in the big beat genre. But other than the big hits, this album doesn't have much lasting power in modern music. There are just better albums in the instrumental hip hop space that were released after this, or even before this, came out.
I don't want to completely discredit the deep cuts on this though. "Right Here, Right Now" is a fantastic opening track. "The Rockafeller Skank" and 'Soul Surfing" feel like surf rock music chopped up into break beats. "Praise You" has a wonderfully uplifting and happy vibe to it, which makes you want to get up and dance. Plus, it still does numbers even today. I can't tell you how many times I've heard this song, or at least the piano it samples, in commercials on TV. "Love Island" has a really deep and low bass part. It makes the song feel like something you might hear in a Midnight Club game. Overall, the production and arrangements on this are solid. It's weird, because this feels like it is in the same vain as plunderphonics to me, but it isn't categorized as so, which makes me wonder what is sampled and what isn't.
Again, the album has aged somewhat weirdly. Because it isn't a bad album by any means. But I doubt this ended up on any year-end lists for 98', or any decade lists. But it is still important to remember where a genre really found its footing.
3
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Wed Sep 06 2023
Younger Than Yesterday
The Byrds
I enjoyed this far more than I thought I would. I like psych rock, but I find that psych music, particularly from the 60's, all sounds very similar. They are all rooted in similar characteristics. So I went into this with that mindset. And I actually found a lot to like. The guitar on songs like "Renaissance Fair", "Everybody's Been Burned", and "Thoughts and Words" was actually far more advanced and well played than I thought it would be. "Thoughts and Words" specifically has this really cool reverse effect on what sounds like a guitar. It definitely fits the psychedelic label. I think that is something this album actually excels at. The album feels legitimately psychedelic in some places. I think the vocals also fit the more relaxed sound really well.
The only song I have any real distaste for is "C.T.A. - 102". It has these weird synth sound effects in a later part of the song, and then the song just cuts out and transitions to the outro where someone is talking with a weird alien effect over their voice. Nothing about this song is cool in my mind. The effects just seem obnoxious and novel. The last three songs on the album aren't anything special either.
Something I noticed while listening to this was the way everything was panned. All of the instruments are panned either hard left or hard right, and the vocals were set in the center. Which means if you are listening to this with headphones or earbuds, and you take one out, it instantly ruins the listening experience, since parts of the song are missing. This seemed to be a thing they did in the 60's when mixing albums, and it always confused me. Not sure if it was due to a technical limitation, or if it was a creative decision.
I love when an album pleasantly surprises me. It's nice to not expect much and get something far more interesting than you imagined. Of the two 60's psych records I have reviewed so far, which both conveniently came out in the same year, I enjoy this one the most.
3
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Thu Sep 07 2023
The World is a Ghetto
War
This album is basically two songs long. There isn't anything inherently wrong with tracks one, two, four, and six on this. They just pale in comparison to the real stars of the show. This album has two songs over ten minutes long, and those two songs are by far the best thing this album has going for it. "City, Country, City" is funk music executed perfectly. The saxophone is absolutely disgusting, and I mean that in the best way possible. And I'm a sucker for a good keyboard solo, and this song does not disappoint in that department. And "The World Is a Ghetto" feels perfect for a late winter night around the fireplace with a glass of tea. So 23 minutes of this album are amazing. The other 20 minutes or so, not as much. I think the opening track is solid. I can definitely envision a group of people all getting up and chanting the chorus in a live environment. It also has this nice Miami Vice buddy cop vibe to it. But this album could probably do without the other two songs. They just don't do anything super interesting that makes me want to come back to them ever. I see the word eclectic thrown around a lot when talking about this band. And while TWIaG might not have hits like "Low Rider" or "Why Can't We Be Friends", but those two highlights are worth so much more and show how capable this band really was at making some absolutely killer funk music.
4
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Fri Sep 08 2023
Winter In America
Gil Scott-Heron
I had no idea who Gil was before this. But I think I needed this. I've been on a very aggressive kick as of recently. It has nothing to do with anything in my personal life. I've just been enjoying much heavier music recently. So to have a jazz album generated on my thing this morning was an interesting break from my usual. And it honestly lined up perfectly with my day. The weather was slightly cold and gray, and it matched the mood of this super well. The majority of this album is like a mix of spoken word and singing over very simple and sparse instrumentals. But the album benefits from the instrumentals being so, because it allows for Gil to absolutely glide over them with his beautiful voice. His vocal chords must be made of silk, because how else could he sound so good? And for the spare few songs that do amp up the energy like "Back Home" and "The Bottle", they are just as glorious. There is also definitely some lyrical content here, which I didn't look into, although I should have. Especially "H²Ogate Blues", which speaks directly on the Watergate scandal that was going on at the time. This album just feels good to listen to. It's easy on the ears and when you put it on, you know you're in for a treat.
4
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Sat Sep 09 2023
The Doors
The Doors
Sometimes it only takes 8 days. Recording something like this in just over a week is nothing short of mind blowing. Because Jim and his band mates probably set the precedent for psychedelic music for the next 30 years with this album.
Before I get into the positives, I want to get my one gripe out of the way. Something about the way these albums were mixed back in the 60's seems off. The hard panning of all the instruments in certain channels makes the listening experience weird. I understand it was due to the technical limitations they had back then, and I'm not blaming anyone who worked on the record, because they couldn't control what they had back then. It just throws me off a bit.
Now into the things I love. The obvious driving force of the record is Jim Morrison. Some would find it hard to believe that I didn't know what his voice sounded like until now. But truthfully this wasn't what I expected. His vocals carry way more power than I imagined they would. But I love it. He has a bit of gravel to his voice, and it actually makes it more pleasant to listen to. The lyrics on this are sensual, but also dark and surreal, and just looking for a spot deep in your soul to settle down and entrance you.
"Break on Through" is one of the strongest opening tracks of any album I've heard from the 60's so far. It's short and to the point, but sets up the vibe for the rest of the album. The piano on "The Crystal Ship" is so hauntingly gorgeous. It reminds me of the small bit of piano on the opener of Pink Moon. It kind of comes out of nowhere, but fits perfectly. "Light My Fire", without any exaggeration, might be one of the greatest psychedelic rock songs period. They were fucking jamming on this one man. Ray Manzarek was an absolute monster on the keyboard, and he really shows his abilities on this song. Honestly, he holds most of the songs on this record together with his parts. And the guitar solo after his keyboard part is also fantastic. This song is honestly just 7 minutes of pure bliss. "Back Door Man" is also another solid jam. The next three songs after that aren't anything particularly notable. And "The End" is an intriguing song. Because it is by far the longest song on the record, and it feels more on the experimental side of psych rock. The last 3 minutes or so are really great, and I think it works as a good way to end the whole thing off.
It is such a shame Jim died only 4 years after this came out, because as a debut record, this is fantastic, and The Doors truly were in a league of their own at the time. There are more records from them other than this that I would love to delve into, but I just wish this band would have been able to continue advancing their sound further into the 20th century and beyond.
4
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Sun Sep 10 2023
Miriam Makeba
Miriam Makeba
This is probably going to be my shortest review yet. Because I don't have much to say. If any more of her albums get generated for me in the future, I would love to hear them. I think there is potential for something great here, but I also think this isn't the greatest debut record. This album is very vocal based. And when there is instrumentation, it is sparse, and not very evoking. I understand that is the point, but there isn't much for me to latch onto when listening to this. I think she has a beautiful voice, and it's interesting to hear something sung in a dialect I have no knowledge of. Also the Charles Coleman feature is really strange, because he is laughing the entire time he is singing. Overall I can't ever envision myself coming back to this or recommending this to anyone. Not because it's bad, but because I don't really "enjoy" listening to it per se.
2
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Mon Sep 11 2023
Slanted And Enchanted
Pavement
They picked a great name for this band. Because this album does feel like hitting a rock on your skateboard and skidding your legs, arms, and face on the pavement of a parking lot. And I mean that in a good way. It's raw, unadulterated. and simple fun. It sounds rough around the edges and has a very lo-fi feel, as if it were recorded in Stephens mom's garage. This album doesn't feel like it's meant to be played on a good pair of headphones, but blasted on a speaker during a backyard cookout. There is a very bright and upbeat feeling to every song. The recording is loose and playful, but not to a point where it feels like the musicians don't know what they are doing. My issue with this album is that these things are all great, but as a debut, this album doesn't really do anything super groundbreaking. This isn't really a record with that kind of goal though. Maybe it's an issue with me, but half this album's track list is rather average. Nothing starts to hit until "Loretta's Scars", and aside from "Here", everything after that song is really great. But the first seven songs don't do anything particularly special to make me remember them. This album is just very backloaded, which is okay, but it means the album is only half as good as it could be. The text on this album's cover looks as if it were carved into the side of a tree. And I think that imagery is perfect for Pavement's debut.
3
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Tue Sep 12 2023
Live!
Fela Kuti
This is the first live album I've had to review for the 1001 albums. And my god, am I glad it was this one. There is only one song on this album under 10 minutes long, and I'm not mad in the slightest, because this is some grade A shit right here.
I didn't know this about myself until today, but I love Nigerian Afrobeat music. And Fela is the master at it, and one of the big reasons why the genre is known internationally today. I wasn't familiar with who Ginger Baker was up until hearing this, but I knew of Cream, so to learn one of the first real drumming legends met with a West African musician to create music that is most definitely not something you would hear Western audiences listening to is absolutely beautiful. And Ginger does a fantastic job on his songs, alongside Tony Allen. I also have this deep love for brass sections in jazz influenced music. Line a bunch of horns up and play them like they are played in this recording, and it will sound good every time. They are sharp and bright, and give a serious punch to the album. It is just pleasant to my ears, and I want more of it.
I think the only complaint someone could make towards this album would be that the songs are slightly repetitive in some places, but the pacing is balanced well enough so that whenever you feel like you are getting tired of a certain rhythm or chord progression, it switches it up and moves to the next. Every song on this is incredible, but the song I have the least love for is probably "Black Man's Cry", just because it tries the least number of interesting things. But that isn't saying very much, considering this album is well above average compared to most live performances. Like the last couple of minutes in "Egbe Mi O" is probably the best on the entire album. Fela's incredibly lively personality allows him to get the entire audience to sing along, and that kind of crowd interaction is so wonderful.
Another beautiful artist taken away from us far too soon. Truly was a pioneer of his own genre, and to see two musicians who are hugely popular in their own spaces, but otherwise unknown to each other, come together and create art like this, inspires me to do the same.
5
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Wed Sep 13 2023
Dance Mania
Tito Puente
To start, this album is wonderfully recorded and mixed. It honestly sounds amazing considering it was released in 1958. And I think Tito and his band do a fantastic job. I'm not trying to downplay their technical abilities, because they are all very skilled. But I find that this album follows the philosophy of "if it ain't broke, don't fix it". And really, nothing about this is broken. So there isn't anything to fix. But you can try new things, and not alter any of what was already good with a project. This album does not do that. It starts off strong, but by track 4 or 5, I was already feeling fatigued. This album has one sound, and one sound only. A one trick pony of some sorts. It's not bad music, and most of the songs are short, but it doesn't make for an enjoyable listen all the way through when it is hard to differentiate one song from the next. I think the only song that really stuck out to me was "Estoy siempre junto a ti", because it slows things down and takes a mellower approach compared to the rest of the album. This feels like another one of those albums in the list of 1001 that is less on the list because it is some big hit, or a darling with the critics, but more so because it allows entry into a genre most people don't have experience with.
2
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Thu Sep 14 2023
Justified
Justin Timberlake
This was kind of the last album I expected to be listening to on my journey through all of these albums. What I'll say is that I wasn't completely blown away, but I was also pleasantly surprised by some of the cuts on this. Justin was already famous before this came out. He didn't have to build up his career from ground zero off of his debut. And I think Justin has a nice voice. I mean, it sounds like any radio-friendly pop singer voice from the 2000's. But that doesn't mean it's not good. He has a falsetto, and he puts it to good use on this album. The closing track is definitely where he shows it off the most. And honestly, any album where you have Timbaland and The Neptunes collaborating on songs together is bound to be good. That trio probably has more hits than any other combination of producers ever. And it's deserved, because they are all truly masters of their craft. The song "Señorita" starts off the album strong. And I love the section on that song where it sounds like Justin is speaking to a group of people at a party and telling them when and how to sing. I don't care what anyone says, "Rock Your Body" still hits just as well as it did the day it came out. And it just hasn't aged for me. It could come on in the club today and I would be dancing and singing along. Some of the other deep cuts I enjoy are "Last Night" and "Take Me Now". I find that I like about half of the album, or like every other song. The ones I'm not into as much aren't bad, they just didn't click with me. The lyrical content of this album is pretty consistent. And by consistent, I mean if you aren't into love songs, don't listen to this. Every song is a love song. It is honestly impressive how Justin manages to sing about the same topics in different ways on so many songs. I enjoyed listening to this more than I thought I would, just because it was a nice break from music I like to listen to a little bit more critically. This feels more like fun background music to put on while studying or doing dishes, and I think leaning into that mindset makes this much more enjoyable.
3
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Fri Sep 15 2023
Planet Rock: The Album
Afrika Bambaataa
When I talk about the kind of 80's music I really can't stand, this is it. Nothing about this sounds good to me. This album is hip-hop at its most bare and simple. And considering a lot of hip-hop found its roots in this kind of music, I am thankful it evolved in a direction other than this. The production and overall quality of this record sounds tacky and goofy to me. It leans so heavily on the idea of trying to sound modern and futuristic, and misses the mark. And most of these songs are just too long for their own good. I find it way more impressive when an artist manages to condense something interesting and thought provoking into a shorter song or album. The three positives I can give this album are that I like the rock influences that can be heard on "Who You Funkin' With?". I also like that in the lyrics of these songs, you can see how a rebellious nature and a natural tie to politics was already becoming synonymous with the genre. And lastly, Rage Against The Machine made a solid cover of "Renegades of Funk" that is probably better than any song off of this record. I knew what this was going to sound like without even having to listen to it, and I figured I wasn't going to enjoy it. I was right.
1
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Sat Sep 16 2023
Enter The Wu-Tang (36 Chambers)
Wu-Tang Clan
The 90's were such a gold mine for absolutely spectacular rap music. It is really hard to pick just one rap album for the best of that decade. But 36 Chambers is undeniably a contender. Immediately from track one, the Wu-Tang Clan comes at you with an energy unlike what other groups were providing at the time. Which is why their impact is still felt today, and also why they are one of, if not the most, acclaimed and recognizable hip-hop collectives of all time.
The only way I can describe the experience of listening to this album all the way through is like being circled by a group of 9 men, and having them pass you around and take turns beating the shit out of you while some guy is making beats out of it in the background. One member of the group goes, and then the next one picks up immediately where the other left off to continue the beating. It's intense, and oftentimes they speak about extreme violence, like on "Method Man", where they just list off a bunch of different torture methods in the intro skit. And this lyrical content mixes perfectly with RZA's style of beats. I find that the melodic sampled bits of the songs often sit back in the mix and create a type of ambiance, while the drums are pushed to the front. The drums also sound as if all of the high-end was cut out. Sometimes the kicks are hard to hear because of this choice. RZA and Wu-Tang in general are known for their martial arts movie influences and samples, and I like that sometimes the sample is just clicking and clacking of swords colliding as a percussive element, or the yells of people getting killed.
Really, the most appealing aspect of the group was their chemistry in the music. They bounced off of each other so effortlessly. Songs like "Protect Ya Neck" or "Wu-Tang: 7th Chamber" work so well because they feature nearly every member, and they are just all taking turns speaking their mind. This album is just another one of those quintessential rap albums every person exploring the genre needs to hear at some point. Similarly to its east-coast brother Illmatic, 36 Chambers put you right on the streets of New York in the 90's.
5
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Sun Sep 17 2023
Slipknot
Slipknot
A pioneer of the nu-metal genre. And still to this day one of the biggest rock bands in the world. Given their aesthetic and almost character based personas, they have a very cult-esque following. People love Slipknot. And some people can't stand it. I imagine most who find them annoying now probably loved them at one point, but have grown out of that sound. As someone who has never delved into their albums, but always respected what they did, I feel some don't give enough credit to these guys. They found a niche people loved, and blew up in a way no one anticipated. And there are some genuinely talented musicians behind this band.
Easily the best parts of this album for me are Joey and Corey. Joey just fits this sound so perfectly. He was incredibly proficient and moved at lightning pace, but also hit like a truck. It's hard to combine those elements effectively, and he mastered it. The intro on "Eyeless" alone is a perfect example of his skill. And Corey pushes his voice to a place I'm not sure the human vocal chords are meant to achieve. Sometimes it's concerning how far he goes. "Scissors" is a prime example. There is a moment where I can only imagine he is spitting out blood, and the way his voice cracks in and out of his screaming at the end of the song sounds physically painful. It is genuinely impressive to pull off that kind of singing on every song. I also love the brief moments where you can hear Craig Jones' sampling take the forefront. Again on "Eyeless", where they make the genius move of including an amen break in the intro. I don't think the lyrical content is anything amazing. There aren't really any deeper meanings or messages that they try to communicate through the lyrics. They are just very dark and brooding, and always angry at something. Do they sometimes border on cringe-worthy? Occasionally yeah. But that seems to be a regular characteristic of Slipknot's music. It isn't meant to be deep and meaningful, unless you are a depressed and angsty teenager.
I can see why some would look back at this band negatively and question how they could ever consider this good. But sometimes I am in the mood for music that is a little more mindless, and takes less concentration to enjoy. Not every metal album has to be filled with genius innovation and songwriting. Some people just want to mosh and scream their lungs out, and that's okay.
4
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Mon Sep 18 2023
Pearl
Janis Joplin
Truly one of the most heartfelt and beautiful female singers who ever lived. The raspiness of her voice might generally be uncharacteristic of a woman, but it works so well. And it also perfectly fits the fuzz and buzz of the blues music she so gracefully performs over. But that isn't to take away from the band. Because I think they do a fantastic job at creating blues music that is designed to get stuck in your head for the rest of the day. It's hard to not love a song like "Me and Bobby McGee". This album is short and sweet, and works great as background music for a party or some family event, because no one can really complain when this is on. There isn't really any bad part of this album. I mean, it's not the greatest album ever made. There is probably better blues music I haven't heard yet. But it's vibe and simplicity is endearing, and this album just feels like a warm hug from your nice hippie aunt. Really, Janis was the antithesis of hippies. And sadly, she is just another beautiful artist and person taken away from us too soon.
4
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Tue Sep 19 2023
Joan Armatrading
Joan Armatrading
I am a little confused with this album. Because on RYM, it is labeled as folk rock and singer-songwriter. And the idea of what those genres sound like together in my head isn't at all what this album is like. This album feels way more adjacent to jazz and funk music, with some soul mixed in there as well. Maybe folk rock is more of an umbrella term than I imagined it to be, but I'm not sure. Either way, if we are to go by the basis that this is some type of folk funk music, then I think the first 4 tracks do a pretty good job. Now, what I'm about to say might not make much sense, but the first 4 songs are both catchy and engaging, but also not super memorable. I don't think anything on this is super memorable. None of the melodies or lyrics got stuck in my head or stayed with me throughout the day. But that doesn't mean the songs are bad. Where the issues begin is after "Love and Affection". From track 5 to track 8, I was just kind of uninterested. None of those songs do anything to keep me engaged, and I found nothing to take away from them. And that's honestly a bummer, because the album regains its footing in the last two songs. It's too late to save the album in any major capacity, but those two songs are some of the most cool sounding ones on the record. Especially the closing track, which borders on psychedelic with its spacey guitar sound. Overall, the album is easy to listen to. If someone really loved this, I could see it as a good way to wind down after work or school. Because it doesn't throw anything too intense at you in its track list.
3
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Wed Sep 20 2023
Grievous Angel
Gram Parsons
I try to be as open as I can when it comes to listening to music. I enjoy lots of different genres and I want to enjoy as many different kinds of music as I can. That is really the whole reason I'm doing this 1001 albums thing in the first place. But one genre I've always stayed away from was country. I think I've realized after listening to this that I just don't like modern 21st century country music. Country music that is designed entirely to top charts. They all sing about the same things. Their voices all sound the same, and the music all sounds the same. It is just drab to me. I couldn't care less for it. But thankfully, I can say that this Gram Parsons album displays none of those characteristics. It does pretty much the opposite of everything I just said, and I love it for that. Gram has a wonderful voice that still has a country twang to it. And his guitar work along with James Burton is fantastic. Each song on this has plenty of heart to it, and you can tell there is real passion behind these songs. Although he may be singing about similar topics to those in modern country music, like love, religion, and heartbreak, the grace and soul he puts into it makes it far better. "$1000 Wedding", for example, is a beautiful song led by the piano. Also, can I just say that the pedal steel guitar is one of the coolest instruments ever, and it sounds awesome. Gram Parsons and this album give me hope there is more country music out there I can enjoy, because there is truly something great here, and I would love to hear more of it.
4
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Thu Sep 21 2023
Eliminator
ZZ Top
4 words: Dad rock final boss. That's it. That is the descriptor for this album. I mean, with a song title like "TV Dinners", what else did I expect? Take one look at Billy, Dusty, and Frank, and you know the kind of music they make and who they appeal to. And they kind of rock on this. This album really confused me in some aspects, because the instrumentation sounds electronic in some places. Like the bass, for example, is so thumping and crushing, I would swear it was a synth patch. But that is just the way the bass sounds on the album. It is honestly a little genius. The drums hit like a truck. That snare is fucking tight, and although Frank mostly just plays simple drum beats, it works, because if he did any more than that, it would drown out everything else. This album has the potential and kinetic energy of a battering ram. It is relentless, heavy, and driving in its sound, like a hammer against a nail. Honestly it was a little rough on the ears at first for me, but in the end, this type of sound had grown on me, and I wouldn't mind hearing more of it. I'm aware that this is a big switch up from what their stuff before this sounded like, and so I am intrigued to hear what that was like to see the full progression of the band.
4
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Fri Sep 22 2023
Songs From The Big Chair
Tears For Fears
All of the aspects of that commercial 80's sound that I have expressed my distaste for are present in this album. And yet, I enjoy this more than probably any other album from that time period I have heard so far. Because it utilizes those things in a tasteful way that even I am able to appreciate. From the big explosive and booming drums, to most songs being led by synths and keyboards, to the melodic guitar sound, it checks all the boxes. The most impressive aspect of this album is really the arrangement. The way these songs are put together, with layer after layer of sounds that all work in unison, feels orchestral in a way. On every song, they hit the listener with these massive walls of sound, but they did a fantastic job at keeping each instrument discernible, and everything comes through really well. Also, even for today, this album is pretty well produced and mixed. I'm sure this would sound good on just about any form of headphones or speaker. "Everybody Wants to Rule the World" and "Head Over Heels" are easily some of the best hits from the 80's era. The guitar on the former, and the latter's chorus are insanely catchy. I didn't know if Tears For Fears had any albums before this, or how many they had after this. And I think a lot of people probably don't either. Because they hit it so on the mark for their sophomore album, they could have never released any more music and their legacy would have held up just as strongly.
4
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Sat Sep 23 2023
The Black Saint And The Sinner Lady
Charles Mingus
I am not by any means particularly well versed in jazz culture or popular jazz albums. I know the big ones, like A Love Supreme, Kind of Blue, and Bitches Brew. But you couldn't quiz me on jazz. So when this album was generated for me, I felt as if the cover and title were vaguely familiar. I did what I usually do when I get an album, which is quickly search it up on RYM. To learn this album is the highest rated jazz album ever, and in the top 15 of all time was very surprising. After listening to it, I can see where it comes from.
This album masters one specific thing. It manages to be abrasive without being unpleasant or overwhelming. There is a very tense energy of the wailing brass instruments on this. But it doesn't stop there. Take Track C for example. It opens with this beautifully haunting piano, and then the main melody is led by these flutes. For some reason, those particular flutes just scratch at your ears in the perfect way. That song in particular might be one of the finest jazz songs I've ever heard. Track B also carries that same claustrophobic energy. The whole band does this build-up thing where it keeps getting louder and faster. And you are just waiting for the moment it crescendos and comes crashing down. But it stops much calmer than you would expect. Like a train driver hitting the brake and stopping the train a foot from your face.
I think compositionally this album is also a masterclass. I'm not really sure what parts Charlie plays in this other than the piano, but the way he composes his band is genius. If you really try and focus on each individual person and what they are playing, you might drive yourself mad. It is like there are two different songs playing at the same time, and yet it manages to come together perfectly. Each player has full confidence in each other, and they just run wild and make it work. It takes the most impressive aspect of jazz instrumentation and turns it up to eleven.
In a way, I can understand why this would be number fourteen of all time. At the same time though, I don't see it. This album is amazing, no doubt. But I am not completely gushing over it. I am all for this slightly more aggressive form of jazz, but I think there are more traditional jazz records I will enjoy more than this in the future.
5
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Sun Sep 24 2023
Fifth Dimension
The Byrds
This is my second album from The Byrds. In a way, I see it and I don't at the same time. There is no denying the influence this band had. One of the first to combine the sound of folk and psychedelia, which would become the sound of the 60's and 70's. And there are many members of the group who have had large careers spanning many decades. So as a piece of history, it is good to go back and listen to this. But as an overall listening experience, it doesn't hold up compared to albums that would come out after, or even music from their contemporaries in the same time period. There are very small hints of a space theme to this album, and that combined with the sound of the music makes this album feel like it is leaning more on the psych aspect of the band's sound. I don't know how many more albums I will end up listening to for this band, but unless they pull something really interesting, I can't imagine myself giving these albums a very high score.
3
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Mon Sep 25 2023
Behaviour
Pet Shop Boys
Where this album exceeds the most is in its production and layering. There are plenty of moments where they just build these luscious soundscapes. I've always said the synth is my favorite instrument. This album works as a good example as to why that is. The versatility and capabilities of the synthesizer are endless, and the amount of unique and interesting sounds you can make with just one is amazing. This album is filled with those sounds, and I love them. The amount going on in each song is actually quite impressive. This is a remarkably well written album.
Now I don't think every song has this going for it. Some tracks like "How Can You Expect to Be Taken Seriously?" and "So Hard" lean more on that goofy 80's sound, which I have already spoken at length about. Especially the latter. "So Hard" sounds like it would better fit a Mario Kart game. It kind of sticks out like a sore thumb because it doesn't fit what makes the rest of the album so beautiful and well done. I'm also not a huge fan of Neil's voice. On some songs, he does a good job, and on others he doesn't seem like he can sing very well at all. The lyricism is okay. Nothing to rave about. I think the one exception is the closer "Jealousy". The song actually has some real emotion to it, and works as a good way to end off the album.
I'm not in love with this album. But the fact that I even listened to something like this and found enjoyable things to pull out of it shows my evolution over the last month or so. I like the ambiance, and so I wish this album actually spent more time building those up. It would probably make the listening experience more of a slog, but if there is an album from them that focuses more on that aspect, I would probably like that quite a bit.
3
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Tue Sep 26 2023
Homework
Daft Punk
My biggest regret in life may be never having the blessing of seeing Daft Punk live. I have had a deep infatuation with this duo and their undeniable genius for a long time now. Discovery is one of the finest pieces of music I have ever heard. But I think you would find plenty of fans of Daft Punk who have never heard Homework before. I had only listened to the first handful of tracks before today, but I always had the intention of going back.
I find that Discovery focuses on the beauty of adolescent curiosity and growing up. Homework, on the other hand, is the older and more mature brother to Discovery. The sound of this album is darker and more heavy, which fits the clubbing scene much better than their sophomore album. Not that it can't be played in a live setting, but you are more likely to hear "Revolution 909" in the club than "Superheroes".
And I think the album both benefits from this sound and falls short due to it. Because on one hand, the music has everything that makes Daft Punk so enjoyable to listen to. The way they layered and built their sounds was genius, and it often meant that the best part of a Daft Punk song was the end, when the puzzle pieces all came together to reveal the whole picture. Just watch the music video for "Around the World" and you will see what I am talking about. But on the other end, the textures and sounds here are just not nearly as refined. It feels as if they really sanded off a lot of the more aggressive instrumentals, and I'm glad they went with that move. Because songs like "Rollin' & Scratchin'" and "Rock'n Roll" are often subject to criticism, understandably. They are just very abrasive and hard on the listener. Maybe in a dark club setting like that of the opening scene in Wesley Snipe's Blade movie would these beats fit, but to the average person, they just aren't that pleasant. I actually enjoy the former track, but "Rock'n Roll" not so much. Some other highlights are "Revolution 909" and "Alive", which are honestly beautiful, and give me this warm nostalgic feeling. "Around the World" is instantly recognizable, and while maybe the most repetitive song on the whole record, it will hit every time I hear it come on.
I love Daft Punk. That will never change. I use their music as a gauge. If you enjoy Daft Punk, we will probably get along and be friends. If not, maybe don't talk to me, Because how can you not love them? The simplicity of their music makes it so easily accessible, and yet they have some of the most deeply studied production and instrumentation of any group ever. Their music truthfully has not aged a day, and still sounds as pristine as it did the year it came out. Homework is no exception to that. It isn't the absolute masterpiece that Discovery or even RAM may be regarded as, but it is still a worthwhile debut that proves Daft Punk had it from the very beginning.
4
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Wed Sep 27 2023
This Year's Model
Elvis Costello & The Attractions
This album takes a lot of different ideas and puts them all into one big melting pot. There is a lot on offer here. We've got Ska music, and some new wave, and some pop rock/punk. All genres that are adjacent to each other in some way, but also with their own unique characteristics. And Elvis does his best to blend those elements together on this album. I found that this album also balances two different time periods in music. Elvis' vocals would feel right at home on a 2000's pop punk record. But the instrumentation, especially the keyboards and synths sound straight out of the late 70's and early 80's. This record is just full of interesting combinations of ideas.
That doesn't necessarily save the album from repetitiveness. They try a couple new things on each song to keep things interesting. But the variation is minimal. I do think Elvis actually has a really nice singing voice. It fits the aforementioned 2000's vibe really well. But nothing is super special about what the band is playing from song to song. As a songwriter, Elvis might be one of the greats to some people. And I'm not denying that he doesn't write some compelling lyrics on this album. They are eccentric and silly, but also filled with a slight bitterness to whomever he is speaking about. But I don't see this album as the glowing achievement a lot of others claim it is.
3
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Thu Sep 28 2023
Illinois
Sufjan Stevens
As someone who has lived in Illinois my entire life, and hasn't left it much, it was inevitable I listened to this album at some point. I would like to say I am pretty qualified to review this. And I get it now. Sufjan Stevens is nothing short of a genius. This is a compositional masterpiece, and beautiful in every sense of the word. The orchestration and arrangements are something I've never heard captured in a bottle like this before. It is like the Goldilocks of singer-songwriter music. Considering how ambitious the scope of this album can seem to be, never once does the music overwhelm the listener. Never once do the people playing their instruments try too hard to impress you, or make it obvious that they want to blow you away. They do it so subtly that it sneaks up on you sometimes. This album is filled to the brim with some of the most gorgeous and luscious sounding instrumentation you will ever hear.
Even if the other 48 state albums will never come out, it is clear that Stevens did his research for this one. This record is laced with references and lyrical themes based on the history of Illinois and its cities. From John Wayne Gacy, to The World's Columbian Exposition, anyone local to the area will find something to connect with. The centerpiece that ties everything together would have to be the song Chicago. It takes all of the elements spread throughout the rest of the album that make it so amazing, and combines them all into one masterfully executed song.
Now, from the titles, to the somewhat long track list, this album can seem daunting to a first listener. But most of the longer ballads are separated by much shorter songs that are closer to interludes. Some are as short as 30 seconds, and some are a little over 2 minutes. None of them are super notable, which doesn't seem like the point, but my favorite would probably have to be Prairie Fire That Wanders About. If we are speaking purely about the actual songs, then this album basically has no bad songs. Each one is individually unique, but also conceptually similar, and it makes for a wonderful and easy listening experience. I love the occasional elements of repetitive minimalism mixed in. The closing track Out of Egypt feels like it would fit right in on a Steve Reich album like Music for 18 Musicians. The Man of Metropolis is on the heavier side, and the fuzzy thumping guitar lead fits this sound surprisingly well. And parts like the syncopated piano on Feel the Illinoise!, or the bass on They Are Night Zombies!! could get stuck in my head for hours. I was really excited to get the chance to listen to this album before Sufjan's new record comes out in a few weeks. And consider me hyped, because I am officially a Sufjan Stevens fan. This album really blew me away, and I fell in love with its breathtaking production. It finds so much beauty in simplicity and feels like a road trip across the state of Illinois.
5
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Fri Sep 29 2023
En-Tact
The Shamen
The title kind of says it all. To me, this is nothing more than some below average acid house/dance music. I'm not really sure why this album is in the list, because this doesn't seem like essential listening to me. There are far better records released in the same genre. None of the tracks do anything super interesting. They are all very average, and don't sound like they were produced by people who know how to make very good house music. Where the real problem lies is the song lengths. These songs are just way too long. The album is over an hour long, and it does not do anything to justify being that long. The only song I will give any credit to is Omega Amigo, since it is slightly less boring than the rest of the album.
2
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Sat Sep 30 2023
James Brown Live At The Apollo
James Brown
The hardest working man in show business is what they called James Brown. I can see why. I'm usually not a huge fan when the audience is super loud in live recordings. It takes away from the music. But it kind of works for this album. Because they go crazy at the start of every single song. The people in that audience loved him. His stage presence and voice had a very commanding energy, so he really had the audience in the palm of his hand. I love Brown's voice, and I think for '62, this album sounds amazing. It was recorded excellently for a live environment back then. But I'm not as big of a fan of some of the musical content. I like the more upbeat tracks like I'll Go Crazy or Night Train, but the tracks that tone it down a little bit more just aren't super memorable. Usually I get excited when I see a song like Lost Someone that has a length of 8 minutes or more. But this particular song doesn't really do much in 10 minutes. It is kind of the same thing repeated. None of these songs are bad, and they don't take away from the quality of the record. They just don't do it for me. But if I were basing this review purely on whether this is a good live Soul record, this would be a great introduction to James Brown.
4
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Sun Oct 01 2023
Lady In Satin
Billie Holiday
I honestly had a hard time trying to give this a proper review. Because if I were to review it poorly, I feel like I would be doing this album and its story a disservice. On one hand, this album is one of the hauntingly beautiful pieces of music I've ever heard. Ray Ellis and his orchestra do an absolutely excellent job backing up Billie. The instrumentation is sparse and simple, and mostly led by strings, but just extremely pleasant on the ears. I found myself imagining falling asleep to this, as it was just lulling me away. Those strings sound straight out of the music from a golden era Disney movie. One of those classic hand animated ones from the 30's and 40's. But on the other hand, that haunting beauty quickly became sadness as I learned the fate of Billie after the release of this album. She died a little over a year after this came out, making it her final release. And you can tell that she was clearly suffering while recording this. The pain in these seemingly simple love songs is almost palpable. And it breaks my heart to know she died with almost nothing, leaving behind a collection of work that, at the time, no one was willing to acknowledge as anything special. Thankfully, that is no longer the case in modern times. It lends credence to the idea that some artists are never truly appreciated until they are no longer with us. But because of that, I don't know if I ever envision myself coming back to this. Because this doesn't feel like an album you are meant to enjoy. That doesn't mean there aren't good things to take from it though.
3
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Mon Oct 02 2023
The Velvet Underground & Nico
The Velvet Underground
It may sound harsh, but I was slightly dreading the day I would have to review this. The last thing I really want to do is piss someone off over a music review. But saying what I'm about to say might be one of the ways of doing it. First, let me start with one thing. I am very aware of how widely influential this album is. Across many different genres and spaces of music, and through many different songwriting styles. Many of which I love deeply. And I am not going to try and take that away from this album. This is an important piece in the history of modern rock music. But I'm also not going to sit here and pretend like I enjoy this anymore than those bands this album had so much influence on. This, to me, gets far outclassed in many ways by the other albums that exist because of it. I will say, because this is such a landmark album, it feels like an actual experimental rock album compared to some that are given that tag that are considerably more tame. But the record is almost experimental to its own detriment. Songs like The Black Angel's Death Song and European Son are cool sounding, but slightly novel and not that enjoyable. The lyrics are also dark, sexually charged, and borderline macabre. On the surface, you might not really notice it, but if you dig deeper, you can see why this album's content upset so many at a time where people weren't supposed to write about things like that. Of the two singers featured on this, I find that Lou Reed's voice fits this sound far better than Nico's. Coincidentally, the songs featuring Nico as the lead vocalist are the ones I don't really enjoy all that much. I fully understand why so many people hold this album to a level many artists dream of reaching. Some audiences prefer this gloomy, stripped back, and more lo-fi sound, and that's totally fine. But is this objectively #15 of all time material? I'm not so sure. I just don't think it is fair to judge and review an album so positively purely based on the merit that it inspired so much amazing music, when the actual musical foundation the album is built on isn't all that strong to begin with.
Rating: 6/10
3
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Tue Oct 03 2023
The Score
Fugees
Like Digable Planets that would appear only a few years prior, Fugees was one of the finest rap trios of the 90's, even if they only had two releases. I do find that if someone is speaking about this group, they are probably only referring to one member. I wasn't aware of who Pras and Wyclef Jean were before this, and I'm sure a lot of people still aren't. Lauryn Hill excels at just about everything she does, which often overshadows the successes of her two cohorts, who are really solid on their own merits. But truthfully it is hard to not talk exclusively about Lauryn. Not only is she a fantastic writer and lyricist, but when she sings, it brings the song to a whole new level. This album has some of the catchiest and most memorable hooks and choruses of 90's hip-hop, mostly because of her. For example, look at Killing Me Softly. I knew of that song long before I ever knew who Lauryn was. The beats on this are pretty good. I find that the drums sound the same on pretty much every track, which is par for the course in this genre. But I like a little bit of change every once in a while. Enter the Wu-Tang (36 Chambers) is a good example of what I mean by that. A lot of the time, the drums feel like they take a back seat to the sampling on that record, and I would have liked to see more of that on here. But because the drums are the way they are, the beats have to rely on the sampling, and while the sampling isn't bad on here, I've seen and heard better. I'm honestly glad I got the chance to hear this before I will inevitably listen to The Miseducation of Lauryn Hill, because I like seeing an artist's progression in life through their music.
Rating: 7/10
4
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Wed Oct 04 2023
Dare!
The Human League
Learning to love a genre I really had no interest in has been a fun experience. And as time goes on, I find myself enjoying new wave and synthpop more and more. This album in particular is probably the most synth focused of the albums I have listened to in this genre so far. Some of these songs hit you with really great, massive sounding synth leads. The chorus on the opening track is a great example of that. I'm still not 100% on the vocals for this kind of sound though. To me, they still sound a little processed and over-produced, but I could eventually become used to it. Unfortunately, the b-side of this album falls short for me. I think the first half is really solid, but other than the closing track, nothing really stands out to me. Also wasn't aware that I had heard Don't You Want Me before, but I recognized it the moment I heard the chorus.
Rating: 6/10
3
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Thu Oct 05 2023
Rip It Up
Orange Juice
I'm not sure what part of this clicked with me so hard. It's not exactly like the reception is super positive. But I just found myself really enjoying this. It provides just the right balance of melodic guitar twang and funk to keep me engaged. Edwyn's voice caught me a little off guard at first, but I adjusted to it pretty quickly. There are just certain moments on this album I really like. For example, when the saxophone comes in on Rip It Up, I won't lie, I made the stank face the first time I heard it. It's okay to not like this. I'm sure there are better albums in the jangle/indie pop space, but from what I have listened to so far, this was a really fun and enjoyable album.
Rating: 8/10
4
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Fri Oct 06 2023
Spiderland
Slint
A slow burn. In many ways, that's what this is. And yet, this album singlehandedly contains some of the most crushing, heavy, and chilling instrumentation ever. But not heavy in a rock/heavy metal sense. I've definitely heard heavier and more technically proficient pieces of music before. But heavy like being hit by a freezing cold waterfall straight to the face. This album wants you to turn your volume all the way up and wallow away in the corner of your room, because that is the feeling it gives off. It's incredibly desolate and depressing, and even took a toll on the singer himself. But really, the heavy parts aren't the focus. The band spends far more time drowning in creepy and paranoid ambiance, just slowing creating tension and making it's vice grip on your soul tighter and tighter, until it's damn near white-knuckling you. And this is often accompanied by haunting spoken word passages performed by McMahan. Like Good Morning, Captain for example, which tells the story of a sailor lost at sea. Some people might be put off by the amount of time these songs just spend in the build-up phase. And sometimes, the release is so short, it can seem almost unsatisfactory. But trust me, when Brian finally lets loose, and they hit you with those absolutely gargantuan walls of guitar, you will be blown straight to Antarctica. Just put on a good pair of headphones and let yourself sink into the atmosphere of Breadcrumb Trail. That track alone could bump this album to a ten. It is one of the most unique songs I've ever heard, and sends chills across my body every time. Even if For Dinner... isn't exactly the most interesting song on its own, as a part of the full puzzle, it works. This album is truly a masterpiece. It is exemplary of every element that an experimental post-rock album should have, and more. And anyone that doesn't look to this as a benchmark in early 90's hardcore rock should rethink their inspirations.
Rating: 10/10
5
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Sat Oct 07 2023
The Fat Of The Land
The Prodigy
This album has some hypnotically intense songs on it. This is probably the most commercial and mainstream big beat music ever got. And most of the real highlights are those couple of singles that got really popular. But there are some other deep cuts like Serial Thrilla that I enjoy. The problem is that with a genre like this, you don't really have a verse chorus structure to keep your song moving forward. And so these songs often mosey around the same melodies and rhythms. That translates into some of these songs being too long, and not justifying being as long as they are. Narayan probably doesn't need to be over 9 minutes long. if they trimmed some of the fat, this album might be better. I'm also not a fan of the UK Hip Hop type of rapping on some of the songs. Considering the vocal parts are usually just the same lines repeated over and over again, they become slightly annoying after a while.
Rating: 6/10
3
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Sun Oct 08 2023
Bad Company
Bad Company
To me, this is just your average, run of the mill hard rock album. And I think this album got off on the wrong foot for me, because those two first songs seem pretty bland, and largely derivative of other hard rock bands I've heard from this time period. But to my surprise, the two songs after that were way better than what came before it. They just had far more engaging instrumentation from the band. Sadly, after that, the only song I enjoyed was The Way I Choose. They stuck with what worked at the time with this album, and because of that, this album has a few big iconic hits. It fits right in with the rock sound of the late 60's and 70's. I like that sound, but not everyone can be the next Led Zeppelin. Sometimes it's better to go with a new idea and hope it sticks the landing.
Rating: 5/10
3
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Mon Oct 09 2023
Wonderful Rainbow
Lightning Bolt
This is somewhat of a tough listen, even for me. I would consider myself pretty desensitized and comfortable with more aggressive and abrasive music. But pretty much from the moment this starts, to the moment it ends, it is an unrelenting ride of some of the most hostile noise rock I've ever heard. In all honesty though, the technical proficiency between the two band members is definitely there. There might be lyrics, but I can't hear them over everything else. Even so, the fact the drummer plays the way he does, and sings at the same time, is very impressive. And the bass guitar is tuned so low and is so distorted and fuzzy, it sounds like a synthesizer on some songs. It is pretty remarkable that any amount of sound or unique melody is actually to be found on this album. Everything sort of blends together, because there aren't really any breaks from one song to the next. And the album mostly has one type of sound. They for sure got that kind of sound down to a science, and perfected the execution of it. But because this is noise rock, the foundations the genre is built upon don't leave much room for variation. I can see there being some interesting experimentation done here, with the addition of other instruments, so I'd be interested to hear their other albums. Although, this isn't actually my first experience with Lightning Bolt, since I listened to Fantasy Empire awhile back on my own accord. And I enjoyed that one slightly more than this. Mostly because I think the band benefits from a more hi-fi sound. The lyrics especially, since Chippendale's voice actually comes through clearly, instead of being buried under the bass. I think Lightning Bolt is an interesting noise rock band. Their album covers are so fun to look at, and perfectly match the absolutely blaring and chaotic train wreck you will find yourself in when diving into one of their records. If you enjoy noise rock or are just in the mood for something really heavy and brutal, this album might be for you.
Rating: 6/10
3
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Tue Oct 10 2023
British Steel
Judas Priest
I was fully prepared to not enjoy this. After listening to it, I like most, if not all of the songs on this. This is just easily enjoyable metal music that even someone who has very little experience in the genre could probably enjoy. This has all of the things a metal album would need to be good, like catchy and heavy riffs, and powerful vocal performances. For some reason, this felt vaguely familiar to me, even if I haven't heard any song from this before. It may be because my dad played a lot of AC/DC when I was younger, and this reminded me of that, which may sound insane to Judas Priest fans. I feel like AC/DC is slightly more hard rock than metal though.
Rating: 7/10
4
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Wed Oct 11 2023
Tommy
The Who
I think I need to do myself a favor and re-listen to Who's Next, because I can't tell if I like this one better, or if I like them equally. This is credited as one of the first real rock operas. And because of that, this album tries to tell a story. A story that, if you look into it, is actually kind of interesting and slightly dark. But due to this sort of concept album feeling, there are a lot of much shorter songs, that aren't really all that interesting musically, but are there for the purpose of telling the story, (Tommy's Holiday Camp comes to mind). The Wall did the same thing. And it is the reason why I am not super into that album. There is just a lot of padding and bloat in both of these records. This album has 24 songs, but is only an hour and 16 minutes long. This album also feels scaled back compared to its successor. The energy and power isn't really there, and Keith Moon, who is still an excellent drummer here, feels held back considerably, compared to the way he soars over the kit on songs like Bargain. This album just doesn't have those specific moments everyone remembers that makes Who's Next so memorable. Roger's scream at the end of Won't Get Fooled Again might be one of the greatest career highlights of any 70's band ever. But I think in terms of pulling together a large scale concept, this album does a good job. They try a lot of different ideas here, and it makes for an ambitious, at some points overwhelming, album. Again, not 100% sure which one I like more, but I think for now, I will give it to this record.
Rating: 7/10
4
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Thu Oct 12 2023
Vincebus Eruptum
Blue Cheer
This is one of the most blown out and outrageously fuzzy albums I've heard from the 60's so far. But I'm not gonna lie. I have definitely heard more interesting, and just flat out better psych rock before. This feels a little bit like a one trick pony type of deal. Because this is such an early, primitive form of heavy metal, the guitar overwhelms everything else, and the bass and drums kind of fall behind in comparison. And every song sounds like this. It is just a little overwhelming at some points when all you are hearing is this spine shaking guitar blowing everything out.
Rating: 5/10
3
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Fri Oct 13 2023
The Hissing Of Summer Lawns
Joni Mitchell
If Steely Dan had a female vocalist. I don't know if it's as instrumentally dense and refined as a Steely Dan album, but it still feels just as uplifting and breezy. Joni just absolutely soars over these cool soft jazz rock instrumentals with her beautiful voice. In France They Kiss on Main Street is an excellent opener, and does a good job of setting the tone for the rest of the album. And I think every song tries something different to innovate slightly on the sound the album is going for. For example, the Centerpiece section of the 8th track with the piano sounds amazing. The only song I don't enjoy is The Jungle Line. Purely because it leans so far into the left-field, and is very out there compared to the rest of the album.
Rating: 7/10
4
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Sat Oct 14 2023
We Are Family
Sister Sledge
A solid disco album, with some great funky bass lines and instrumentals. Having four vocalists adds a lot of dynamics to the music. But it is just slightly boring, and each song sounds kind of similar to the next, so everything just blended together in my head, and nothing stuck out to me. We Are Family is a classic song though.
Rating: 5/10
3
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Sun Oct 15 2023
Lost In The Dream
The War On Drugs
This blends elements of Americana with neo-psychedelia, and it is absolutely beautiful. My favorite parts are definitely when it leans more into the latter, but the parts led more acoustically are just as good. Every part of why I love Yankee Hotel Foxtrot is also why I love this album. Most songs on this are above 5 minutes in length, and I found that they often took their time in developing a song and slowly building to something great. An Ocean in Between the Waves is a perfect example of what I mean. And truthfully, I never found myself tired of a particular song because it went on for too long. Under the Pressure is nearly 9 minutes long. But what an amazing opening track it is. That is how you properly start an album off.
Rating: 8/10
4
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Mon Oct 16 2023
The Sounds Of India
Ravi Shankar
Let me start by giving credit to Ravi, because he is an incredibly skilled sitar player, and whatever he set out to do on this record, he accomplished. But this is kind of categorized as "educational music". And it is in a way. This is meant as a way to introduce western audiences to the most basic and traditional form of Hindustani classical music. And it does that very well. but that doesn't mean I really enjoy it. I mean, on the first song, even he makes it clear that this album doesn't contain any normal melodies or chord progressions we are used to. So I don't feel like I am missing out on something by not absolutely loving this.
Rating: 3/10
2
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Tue Oct 17 2023
Time Out
The Dave Brubeck Quartet
One thing I know for certain in life is that you can never really go wrong with jazz music. And I was very excited to listen to this album. Unique time signatures combined with cool jazz is a recipe for success in my book. And this is an absolutely killer jazz record. This is the kind of music I can envision following me through different stages of my life. And it's hard to put this on and not decompress and calm down. It just naturally has that effect on me. Strange Meadow Lark feels like the music you would hear in a Charlie Brown Christmas movie, or funnily enough, even The Boondocks, but that may be because I have been watching that show so much as of lately. Three to Get Ready and Kathy's Waltz reminds me of the Club Penguin pizza parlor music, which is honestly iconic at this point. And I'm pretty sure I've heard Three to Get Ready sampled somewhere before, but I can't remember exactly where. Take Five is instantly recognizable, and an absolute classic jazz song. That 5/4 time with the syncopated drums is nothing short of genius. I haven't heard much jazz so far, but this is probably my favorite of the jazz records I have heard. It's simple in all the right ways. A lot of the time, jazz can have very large arrangements and orchestras, but this album manages to do more with just piano, bass, drums, and one saxophone.
Rating: 9/10
5
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Wed Oct 18 2023
Safe As Milk
Captain Beefheart & His Magic Band
When I saw Captain Beefheart, I got a little worried. This is the guy who created Trout Mask Replica after all. So I was prepared for something really out there. But this wasn't like that at all. This is mostly just a slightly above average psych rock album. I will clarify that this album is still definitely weird. There are plenty of strange, and even mildly unnerving, moments on this, where you can only wonder what kind of mental state he was in to create something like this. Beefheart also has a really interesting voice. Again, it's weird, but it fits the sound. The one song I can really praise is I'm Glad. This feels like the song where the other band members play their parts the best, especially the backing vocals. It is just a very simple and lighthearted love song that I really enjoy.
Rating: 6/10
3
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Thu Oct 19 2023
All Things Must Pass
George Harrison
This album is long. When I saw that 100 minute length, I got a little scared. I was worried I'd be stuck listening to an hour and 40 minutes of nothing. But once I played that first song, I knew I had something special on my hands. Truthfully, this album is worth every second of its runtime. George might not have been the most prolific or popular member of The Beatles, but everything he was capable of shines through here. There is probably so much I could say about this album, but I'm bad at talking about individual tracks. Overall, this album just has so much love in it, and it warms the heart. Most of the songs are softer and more chill. It is an excellent blend of pop rock and folk rock. But there are also some bangers on this, like Art of Dying. Or pretty much the entirety of the E and F side. I like how bluesy and jammy those last couple of songs are, but I don't know if they really hold up to the rest of the content on the record. Honestly, it might be overplayed, but just listen to My Sweet Lord once and you will understand why this is so special.
Rating: 8/10
4
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Fri Oct 20 2023
Make Yourself
Incubus
Of what I have heard from Incubus so far, I think I prefer S.C.I.E.N.C.E. slightly more than this. Something about the pure and unbridled, almost juvenile, chaos that album is filled with appeals to my soul. But make no mistake, this record is still heavy. This does feel like the band tried to focus more on the alternative metal side of things instead of funk metal. And I also find that Brandon chose to focus more on delivering powerful vocal performances that really push his abilities for this record, instead of just more raw energy for the band like their previous album. One small thing I like is the various sample flips and DJ scratches sprinkled throughout this album. They aren't as prominent here as they were on S.C.I.E.N.C.E., but when they do come in, they add a nice touch to the overall sound. The three big singles from this album are all solid. But easily the most interesting one is Drive. Not only is it the most popular song the band has ever made, it is the only song on the album that is entirely acoustic. And it gives an interesting glimpse into the kind of sound the band would go for moving forward.
Rating: 7/10
4
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Sat Oct 21 2023
C'est Chic
CHIC
Something seemed familiar about this when I first put it on. Once I learned that Nile Rodgers was in this band, it all made sense. That bright and jangly guitar sound he has is easily one of my favorite tones of any guitarist ever. But the guitar is not the only exciting thing going on here. This is honestly one of disco's greatest bands. They still sound fresh and new, even for today's standards. And this album is just bop after bop. It only really slows things down twice, and while those aren't my favorite tracks, they are a nice break from everything else, and still solid songs. But everything else is some of the catchiest and most fun disco music you will ever hear. Everything here just grooves so hard. And Le Freak is undeniably a disco classic at this point. If you are looking for something to get your body moving, this album has it all.
Rating: 8/10
4
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Sun Oct 22 2023
Killing Joke
Killing Joke
This album somehow manages to balance being heavy and refined at the same time. It is labeled as industrial rock, but still has this cleaner post-punk 80's sound. It is so hypnotically intense, but not abrasive or super distorted and blown out. There are definitely some heavier songs, like The Wait, which was even covered by Metallica. But the performances here are just so tight and in tune with each other, and sometimes they honestly groove really hard. The songs are structured in a way where the instrumentals get more dense as time goes on. Like the song $.O.3.6., which starts out very sparse and slowly builds and builds until everything comes together. There is just something that is very likable about this album, and I enjoyed it way more than I thought I would.
Rating: 7/10
4
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Mon Oct 23 2023
A Rush Of Blood To The Head
Coldplay
I've never really been a huge fan of Coldplay. It always seemed to me like they were trying too hard to be Radiohead. And this album doesn't get off to the best start. Politik and God Put a Smile Upon Your Face are solid songs, but nothing super interesting happened for the first few songs. But I think everything from Clocks onward is actually really great. This album is at its best instrumentally when it incorporates elements of orchestration, like the strings on Daylight. And plenty of these songs have these electric and evocative moments of energy, but there is also a fair share of moments where everything comes to a halt to let sheer beauty take the stage. The closer, Amsterdam, for example, is a stark contrast compared to the song before it. It is almost entirely led by Chris and his piano, until the last minute or so, where everything comes crashing down and the rest of the band comes in. It is an excellent way of ending an album, and brings everything to a close. Even a song like Green Eyes, which doesn't have the most interesting instrumental compared to other tracks, still has some of the most endearing lyrics of any deep cut on the album. Even if, like I mentioned previously, it seems like the band is trying to capture some of the lightning in a bottle musicianship that Radiohead had in the 90's and early 2000's, that isn't necessarily a bad thing. Because Coldplay did their thing on this, and when you get albums like this, I think it can be excused.
Rating: 8/10
4
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Tue Oct 24 2023
Tom Petty & The Heartbreakers
Tom Petty and the Heartbreakers
I feel pretty indifferent towards this album. And kind of this type of music in general. I have never had much of a connection to this sound. And so I see this as just kind of decent. I still enjoy some songs, but nothing sticks out to me as an excellent piece of music. For the positives, Tom has a somewhat unique voice, that is kind of rough and phlegmy. And the album is pretty short, which means no song is really overstaying its welcome. But because of that same positive, it does mean most of the songs just kind of fade out when they could probably keep going. Some songs don't get to do much because they are cut so short. Again, not a record that I really think excels in any one department, but something that I can see other people enjoying much more than I did.
Rating: 5/10
3
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Wed Oct 25 2023
Odessey And Oracle
The Zombies
This is a wonderfully bright, colorful, and breezy album. It really just brings out the best in me and puts me in a good mood. I absolutely love that opening track. And some of the baroque experimentation on here is pretty cool. It adds a level of uniqueness that more commercial pop music didn't really have in this time period. My favorite example would probably be the organ on Butchers Tale. It makes the song sound somewhat ghastly and chilling. I think some songs do come off as a little plain comparatively, and don't try as many interesting ideas.
Rating: 7/10
4
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Thu Oct 26 2023
Go Girl Crazy
The Dictators
I ended up enjoying this album way more than I imagined I would. I definitely judged it by the cover, and didn't go into it with high expectations. One thing I will say is that I've seen the idea that these guys were a very influential punk/proto-punk band thrown around when looking into them, but I had never heard of them, and they are easily the smallest band I have listened to so far. It makes me question how this album ended up in the book of 1001 albums. But that is besides the point. This is straight up unadulterated juvenile hijinks. It is rough, rowdy, loud, stupid, completely bonkers, and pure dumb fun, They just talk about your average horny pubescent teenager stuff, and it sounds good. The only complaint I really have is one two songs, particularly Back to Africa and Master Race Rock. Musically, they sound similar to everything else, but the lyrical content feels out of place and strange. It borders on being somewhat derogatory or offensive. I'm not sure what any of it is really supposed to mean, but those two songs kind of stick out like a sore thumb. Thankfully, it is just those two songs though.
Rating: 7/10
3
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Fri Oct 27 2023
Fleet Foxes
Fleet Foxes
I have never claimed to be a huge fan of folk rock. But there is a certain part somewhere inside of me that loves an acoustic guitar and how simple it sounds. Fleet Foxes are one of the true 2000's indie darlings, and this album is pretty much an indie folk classic at this point. And this is really the perfect time of year to listen to this album. Because it feels so rooted in autumnal vibes, and gives off such a warm and nostalgic fall feeling. And it has some truly gorgeous moments, where the songs sound massive, largely due in part to the rich choral vocals and orchestral arrangements. The song Blue Ridge Mountains is honestly nothing short of a masterpiece. Although the rest of the album is good, I wish everything else was to the same level of quality that this particular song is at. It does everything right, and feels like they took each element of the album that is good, and perfected it, then put it into one song.
Rating: 7/10
3
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Sat Oct 28 2023
Sunday At The Village Vanguard
Bill Evans Trio
Music like this gives me life. Music like this gives me hope, makes my day better, and fills my heart with love. How can you not love jazz? I have a hard time giving a jazz album a low score, because I have a hard time not loving jazz music. These three manage to do more in 6 songs than some can say for their entire careers. Aside from maybe two songs, every track has a bass solo on it. And I am glad it was done that way. Because Scott 100% takes advantage of the time he is given, and shows off his mastery of the bass in an excellent way. You want to know what my favorite part of this record is though? It's the crowd ambiance. For some reason, I love the noises of the people in the club. It is somewhat quiet, but on most songs, you can hear the sounds of the hustle and bustle inside of the Village Vanguard. It adds the perfect atmosphere to the record, and because it was left in, and the trio just plays right over it, it really makes you feel like you are there while they are playing. Scott's death shortly after this was recorded is so tragic, and it breaks my heart knowing this was the last time Bill ever saw him, and how it affected him going forward, but I'm glad we have a set of masterful performances from him to cement his legacy.
Rating: 9/10
5
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Sun Oct 29 2023
The Joshua Tree
U2
Something that has always confused me, especially as of recently, is just how massive U2 is. They had one of the highest grossing world tours ever, are one of the highest selling rock bands ever, and currently have a residency at one of the most impressive music venues ever built. They are also the first band to ever play at that venue. Their fame is so immense, it kind of blows my mind. And for some reason, I was so ready to hate this album. I didn't want to like it. But it is undeniably a really great 80's alt-rock record. The only way it can really be described is massive. It's stature and presence is almost overwhelming, and these songs were built for a big stadium like the Sphere in Las Vegas. Plus, any album Brian Eno has his hands on is probably destined to be a classic. Songs like Without or Without You take their time to build up, and have these beautiful moments of crescendo spread throughout. But there are other songs like Bullet the Blue Sky that feel more traditional. Trip Through Your Wires is a straight up rocker, with this loud ass Bob Dylan-esque harmonica that comes in part way through.
Rating: 8/10
4
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Mon Oct 30 2023
The Slider
T. Rex
Let me clarify that what I'm about to say isn't a bad thing. Technically this could be considered a good thing. To me, this sounds like Ziggy Stardust without all of the personality of Bowie's character or the conceptual aspects of the albums. This album sonically is still good. It has the flair of glam rock with a hint of theatrics in it's execution, but it also feels like it is still latching onto the sound of the late 60's and early 70's, where guitars got more distorted and drums got heavier. Marc's vocals really do remind me a lot of David Bowie. I believe there might be some sort of character that he is trying to play, but I didn't really pick up on anything. Again, it is why I say there is definitely some Bowie inspiration here. I mean granted, this only came out like a month after Ziggy Stardust.
Rating: 6/10
3
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Tue Oct 31 2023
The Man Machine
Kraftwerk
Electronic music found its roots in Germany. By the time the late 20th century arrived, the push for more of it had made its way to the United States and Japan. But in regards to the electronic movement of the 70's and well into the 90's, there is probably none a finer group to have emerged from that scene than Kraftwerk. Most of the electronic music you listen to today can probably be traced back to this record in some way. This is just as essential of a listen as Selected Ambient Works 85-92, Autechre [LP5], and Feed Me Weird Things are.
It's cool, chilling, and rhythmically hypnotic. Lyrics are sparse, which leaves only the synths themselves for you to attach yourself to. It's simple, and simultaneously dense once you begin to peel back the layers. There is also a sense of danceability to these tracks. Neonlicht, for example, instantly clicks, and is addictively fun and colorful. The drum beats are snappy and tight. Really this album has as many synth leads, pads, and arps as one could ask for. It is an excellently constructed and put together piece of electronic music, that would go on to push the boundaries of this kind of sound in more traditional and mainstream rock and pop based music.
Rating: 8/10
4
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Wed Nov 01 2023
Seventeen Seconds
The Cure
For the better part of 40 years, The Cure and Joy Division have had the post-punk genre in a chokehold. I have always wanted to get into The Cure, but I wasn't ever really sure if I would like them that much. But this was probably the best way for me to start. It is also just the perfect album for Halloween. It's moody, brooding, and hazy, and sometimes feels like a daze as these dark melodies swirl around you. This album sounds amazing. Chorus is one of my absolute favorite effects you can put on a guitar, and every lead guitar is absolutely drowning in chorus on here. They fill your ears and your head with these dense and deeply rich guitar and bass parts. I can also appreciate how the drums kind of take the back end on the record. Most of what Tolhurst is playing is quite simple, especially on tracks like the titular closer, and the drums sound much quieter compared to everything else, which lets the rest of the band take control and lead the way. Robert also seems to be taking more of a backseat. There is definitely singing, but it is infrequent. Some songs are entirely instrumental, and those that aren't have decently long passages without lyrics.
Rating: 9/10
5
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Thu Nov 02 2023
Midnight Ride
Paul Revere & The Raiders
This is definitely an album with music on it. I know that for sure. But I really don't have anything to say. Because at this point, I have already written about and reviewed like a dozen albums that sound just like this. So if you want my thoughts on this record, go look at any of those reviews. I'm Not Your Stepping Stone sounds pretty cool I guess.
3
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Fri Nov 03 2023
3 Feet High and Rising
De La Soul
If there were any time to get yourself familiarized with De La Soul and their discography, it would be now, considering that for the first time ever, their music is fully on streaming. And their debut record proves just how ahead of the curve and eclectic they have always been. This album is one of the first true jazz rap records. And considering it came out in 1989, 90's rap would take many notes from this album. But I have to be completely honest. The beats are consistently solid and well made. That is for sure. But I know the highs that this genre can reach. And to me, this isn't 100% it. I don't think this group would really reach the peak of their blend of abstract and jazz hip-hop instrumentals until the albums that came out after this. My biggest complaint for this would honestly have to be the skits. Now usually I don't mind skits at all. MF DOOM puts a skit in damn near every song, and I love most of them. And De La Soul were some of the first to do skits. But if you cut all of them out, it takes almost half of the album away. This is only 23 tracks long because of those. It sounds like they were having fun while making them, and that's great, but does De La Orgee really need to exist? Reminds me of the "blowjob" song from Ready to Die. Really, the biggest appeal this record has is just how much fun it is. Every song is lively and full of energy. There really isn't a dull moment to be had. One of the best mood boosters, and an album that will have you feeling great about life.
Rating: 7/10
4
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Sat Nov 04 2023
Exodus
Bob Marley & The Wailers
Bob Marley was nothing short of a beautiful human being, with a beautiful soul. Even beyond the music, his impact on the world through his actions and words made him one of the brightest figures of peace and love, which is what he always spoke for. He was a positive force of nature. And especially with this album, those feelings are portrayed perfectly. This album wraps itself around you like a warm hug. It really is the most essential reggae album. If you were going to pick one to be the only reggae album you ever listen to, it should be this. Such a soothing, pleasant, and relaxing listening experience. It's easy to just get lost in the music the band is playing. I would say personally I enjoy the B-side more, as I think it is more consistent and has the best songs. It has the three big hits on it, which are all absolutely amazing tracks, that on their own portray every good quality of the music on this record.
Rating: 7/10
4
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Sun Nov 05 2023
Hot Buttered Soul
Isaac Hayes
A sad reality in life is that people really don't make music like this anymore. There is so much modern music that I absolutely love, but artists nowadays don't really release music to the same level of quality and care as something like this. This is 4 tracks of soul excellence. And one of the most important albums in the genre's history. Honestly, I don't think I've ever heard a song, or just an album in general, start the way Walk On By does. It inherently feels cinematic, due in part to those incredible strings. Strings and horns in funk and soul music always do something to me. This album starts off with a bang, and having it be this 12 minute long epic is a risky, but worthwhile power move. Thankfully the song is amazing. Isaac's voice is smooth and sultry. And those characteristics, combined with the horns, (again), and the backing vocals, potentially make One Woman one of my favorite love songs of all time. It is the shortest song by far, but I love the build up, and just how emotional it is. We also get a little bit of spoken word from Isaac on By the Time I Get to Phoenix. The second half of that song is great, but because of the first part, it feels like a song I would only listen to if I really felt like it. It takes more attention to listen to, and felt a little long-winded. Really, this album is a piece of art. All music is art. But not all music is art in the way this is art, or in the way other music is art. Some albums just excel at reaching parts of your heart and brain that others can't. This album is one of them.
Rating: 8/10
4
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Mon Nov 06 2023
Synchronicity
The Police
Learning to love 80's music has been a really fun and interesting experience. Especially new wave. It is such an intriguing genre of music. Because there is this strangeness to it. It always feels a little off-kilter. The Police's Synchronicity blends new wave with more traditional elements of rock. And what keeps this album moving is the technical proficiency of each member. Particularly Stewart Copeland. He is so tight and precise, and his internal timing is incredible. I love his work on this album. But the other 2/3's of the band absolutely hold their own. The A-side is filled with pulsating and high energy bops. But once you get to the B-side, things slow down quite a bit. These songs are good, but aside from Every Breath You Take, I'm not super fond of any of them. The one thing that the album benefits from for the slower songs is that Sting's bass comes in even clearer, and it sounds amazing. There is one specific song I do have to mention in detail though. Mother genuinely confuses me. Because it kind of sucks. It is somewhat of a blemish on an otherwise really solid album. It is the only song Summers wrote for the record, and thankfully so. I'm not saying the whole album would be astronomically better if this song wasn't included, but it could have probably done without it.
Rating: 7/10
4
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Tue Nov 07 2023
Never Mind The Bollocks, Here’s The Sex Pistols
Sex Pistols
There is probably no community in music that is more divisive and intense towards each other and towards outsiders than the punk scene. Punk is built on anger and rage. And as far as I know, for real true punk rock heads, Sex Pistols aren't the most popular group. They kind of went against the antithesis of punk rock, and everything those people fought for. They were "too poppy", "too mainstream", and "not independent enough". They weren't sticking it to the higher-ups as much as they should. People get really passionate about how much they dislike this band. Now me personally? I could care less. I like music for the music part. None of that discourse has anything to do with me, so I will just observe the band as they were. They sound pretty cool. Is the music here maybe leaning more towards glam than punk? Yeah, but I don't think it is that big of a deal. Johnny Rotten is absolutely wailing on every song. And the other members are constantly firing on all cylinders. There is still the rebelliousness, and the spite, and the yelling. It just wasn't done in the way some people wanted it to be. I won't lie though, I got a little tired of this by the end. The songs are mostly short in length, and the album isn't too long either, but something about 12 tracks of little variation became grating. I just needed some mix-up to keep things interesting. They chose not to do that, so I lost interest. I got sick of hearing Johnny howling on every song in his grimy London accent. But make no mistake, this is still a solid punk rock record. I wouldn't consider it the peak by any means. There are definitely better albums. This just launched punk into the mainstream, more than anything before it. And remember, that's a bad thing.
Rating: 6/10
3
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Wed Nov 08 2023
Antichrist Superstar
Marilyn Manson
First off, let me begin this review by saying fuck Marilyn Manson. He is a terrible person who traumatized many with his actions, and I wish I had a way of listening to this without backing him financially in any way. I have the utmost love and respect for those who dealt with his abuse for so long, and I'm glad they are doing better now. I will try my best to separate the art from the artist with this album. But that can be hard to do. I consider myself someone who is more comfortable and desensitized to music like this than the average person. But I won't lie, this even had me thrown off at the beginning. There was a point where I didn't know if I would be able to finish listening to it. From the first song, the album grabs a hold of your neck, and squeezes as hard as it can, and doesn't let go for a moment. It suffocates you with some of the most crushing guitar tones I've ever heard. It was like metal and shoegaze were merged. It honestly made me uncomfortable and tense, and made me feel like my head was spinning. It doesn't help that Manson is letting out these blood-curdling screams on nearly every song. I think I like when he does that better than when he actually tries to sing, because he doesn't have the best singing voice. Trent Reznor did a lot of work for this album, and you can feel it. That magic he leaves behind is all over this record, but I don't think anything he has ever done for Nine Inch Nails was as overpowering and heavy as this is. The album is divided into three different "cycles". I'm not really sure what the concept for the album is, but of the three, the third cycle Disintegrator Rising is easily the best. It turns everything up to the max, and has the best songs on the album. It honestly bumps the whole record up quite a bit because of how good it is. This album probably isn't for the faint of heart. And I don't mean that in a pretentious way. I just don't think the average person is going to be able to get into this. It was somewhat difficult even for me. To be honest, Marilyn scares the shit out of me.
Rating: 7/10
4
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Thu Nov 09 2023
It's A Shame About Ray
The Lemonheads
I love this album. Probably way more than I should. Because this excels at almost nothing. It doesn’t go above and beyond in any particular category. The lyrics aren’t life changing. The guitar playing isn’t mind blowing. It does nothing to prove itself to the listener. And yet, that is that makes me love it so much. It thrives in its own simplicity and plainness, and just exists. It reminds me of that weird uncle in your family, who you are not even sure has a job, but you can’t not love him. There are only three people playing on this, and something I really liked is when the bass player would come in with backing vocals. Her voice is really sweet, so it adds an extra layer of warmth to the music, especially on songs like My Drug Buddy. I found it hard to really dislike this. The album doesn’t try to be anything it isn’t, and just gives you all that it’s got.
Rating: 8/10
4
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Fri Nov 10 2023
Let It Be
The Replacements
For an album of this vein, I wasn't anticipating how honest and emotionally open and intelligent it was. Which is not to say that this kind of music can't be. Of course that's not the case. It just surprised me. And that was the goal for the band. They wanted to create something more sincere than their previous work, and I think they succeeded in doing so. And the best product of this choice would have to be the song Androgynous. Consisting solely of Paul singing while playing the piano, it focuses on the idea of gender identity and being comfortable in your own skin no matter what others say. For this time period, it feels very forward thinking, and was not what I ever thought I would see on here, but it's a beautiful song, and I love it. While I think the rest of the album is mostly on par in terms of songwriting, most songs are more traditional alternative power pop. Paul has the perfect amount of teen angst in his voice, and the rest of the band is very punk adjacent, with more aggression and energy in their playing to keep things moving.
Rating: 7/10
4
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Sat Nov 11 2023
In The Court Of The Crimson King
King Crimson
There is no band that better exhibits the finest characteristics of progressive rock music than King Crimson, especially with their debut. They laid the ground work for this genre, and the experimental rock scene as a whole, back when music like this didn't really exist. And no group in this space of music would make anything even as remotely impressive and groundbreaking as this for the better part of a decade (Wish You Were Here comes to mind). And there is no better song to start with than 21st Century Schizoid Man. In my mind, this has always been THE prog-rock song. It has every quality of the genre, and does every good thing a prog-rock song should do, and in less than 7 minutes. Not every song on a prog album has to be some 20-minute long monster. And I think they knew that. Giles' drumming on this is the stuff of legends. This is basically the song of my dreams. If you were to go inside my head, you would probably hear this playing. Everything about this song is stellar. Easily one of my favorite songs ever made, period. I Talk to the Wind is an incredibly stark contrast from the previous song, but it works as a much needed break. And it acts as the only break you really get the whole album. The combination of Ian's flute with Lake's vocals is pure bliss. It feels almost jazz-like in its execution. Epitaph isn't my favorite song by any means, but I still love it. Such a tragic and solemn song, with some of the most moving instrumentation on the whole album. I like how orchestral it feels at some points. The Rolling Stones did describe them as like an orchestra, and they weren't entirely wrong. Moonchild is the only song I don't really enjoy. It is almost as disarming and calm as I Talk to the Wind, but that creeping build up throughout the whole song led me to believe something crazy was going to happen, and the pay off never came. It is basically 12 minutes of nothing. It does show off that King Crimson's weird side has always been there, and they have always had a knack for trying interesting ideas. But I guess that pay off that I had been looking for can be found in the closing track The Court of the Crimson King. The cut between those two songs caught me very off-guard, but what a momentous and beautiful way to end your album. The chorus is so thunderous and feels larger than life. That song alone could light up the sky with a million bright lights. Especially the last two minutes or so. You get this very strange and silly woodwind section, and then you are launched into the Crimson King's court. King Crimson's debut is hauntingly alluring, and so far ahead of its time to this day. That album cover still insights uneasiness in me, and I still believe I can see skulls in his pupils. But that may just be me.
Rating: 9/10
5
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Sun Nov 12 2023
Daydream Nation
Sonic Youth
There really shouldn’t be any reason for me to not like this. It has all the ground work laid out for an album I would love. And for an album of this caliber and acclaim, it should be a banger. But I could tell something was off when I put the first song on. And I’m saddened to say that I didn’t like this very much. To be brutally honest, I thought it was boring. There were a lot of times where I was sitting and waiting for the album to be over. It tries a number of things, and doesn’t hit it on the mark for any of them. Noisy and aggressive, but not noisy and aggressive enough. Slacker rock adjacent vocals, but sometimes it feels like the singers couldn’t care to try. And drumming that is trying to be fast and wild, but it just ends up coming out as amateurish and sloppy. Now I want to clarify this is just my opinion, and there are probably other people who feel very differently. And it sounds like I’m being harsh on this. Which to a degree I am, but this is also a huge record. One that people love and that is widely considered one of the best of all time. And there are certain parts of songs I enjoy. But I don’t think I could name one individual track that really stuck out to me. What I want to hear when I listen to other Sonic Youth records is more. More heaviness. Go crazier. Be more experimental and weird. Or do the complete opposite. Try something more lo-fi and chill, like the intro to Candle. But not this. This is too much of not enough for me to get into.
Rating: 6/10
3
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Mon Nov 13 2023
Celebrity Skin
Hole
Courtney Love's presence in the public eye has moved so far past being a musician who was married to Kurt Cobain. In between the release of Live Through This and this record, so much had happened. I didn't even know she made music until recently. I only knew her as "the Kurt Cobain girl". And it explains the title of the album. That is a lot, even for someone as famous as she was at the time, to handle. So setting aside any controversy and conspiracy over the last 30 years, I want to acknowledge Courtney and her band solely for their music. Of which I think is some of the most respectable alternative rock of the 90's. This is a much cleaner sound than their previous albums, with more of a focus on alternative rock and power pop. And those differences are definitely apparent in songs like Boys on the Radio or the title track. This may seem dumb, but there was a moment where it felt like I was listening to Weezer with a female lead singer. Malibu specifically, which gives me such Beverly Hills vibes. And although I actually enjoy those songs quite a bit, and think Courtney matches that vibe very well, I believe her vocal inflections also lend her to being a good fit for the heavier sound too. And there are glimpses of that heavy sound on songs like Reasons to Be Beautiful and Use Once & Destroy. The latter of which I think has a really cool usage of synths. And although I don't want to compare Hole to Nirvana, because they are very much their own thing, the main riffs and melodies of those songs feel Kurt Cobain inspired. I mean come on, what alternative rock band wasn't borrowing from Nirvana in the 90's?
Rating: 7/10
4
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Tue Nov 14 2023
Band On The Run
Paul McCartney and Wings
By the time Paul McCartney began his work with his band Wings, he had pretty much done it all. Once you've been hailed as one of the greatest songwriters of your generation, and worked as an integral member of the biggest band in history, where do you go? What direction could you possibly take your music next? For Paul, it was simply to evolve. And by evolve, I mean get weirder. Go newer, and get with the times, especially in the 70's, where experimental stuff was becoming more commonplace. And there are definitely some interesting ideas here that you wouldn't probably find on any other solo album from the other Beatles members. The closing track, for example, is surprisingly funky, and almost disco-esque, and the only song with someone other than Paul on lead vocals. Very left-field, considering the rest of the music on the record, but he kind of hit it out of the park, and I love it. One thing I noticed that seemed slightly off was the mixing on some songs. Let Me Roll It was one that stuck out especially, because the guitar is super loud normally, but when Paul comes in, the guitar gets buried and goes much quieter. Some songs sound kind of flat, while others sound way more full. It's weird and made the listening experience jarring at some points.
Rating: 7/10
4
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Wed Nov 15 2023
Live Through This
Hole
Crazy that I get to talk about this only two days after Celebrity Skin. Because I called it. I said I thought Courtney would be better suited in a heavier format. And I was right. This is amazing. They go absolutely nuts here, and it's one of the most enjoyable album experiences from the 90's I've ever had. The best part of this album is without a doubt Courtney, and her energy/lyrical content. She is furious. Absolutely disgusted. Disgusted at the patriarchy, and at men, and at their vile behavior. And she puts it out into the world with such spite and vitriol. It makes me want to scream with her. I'll never have any way of knowing what those experiences are like, but what I do know is that she is glorious on this, and her being mad makes me mad at whatever she is mad at. The way she delivers "Fuck you!" on I Think That I Might Die is perfect, and I can't get over it. Her vocals are in a pretty consistent register throughout the whole album, but the power she brings in that register is so powerful. And the rest of the band is as equally on point as she is. They are heavy, distorted, and grunge as hell. She Walks on Me sounds almost punk with Courtney's vocals being so blown out on the verses. The only nitpick I have is that I wish the drums were a little louder in the mix. But I only nitpick when I really like something, so it's not a big deal.
Rating: 9/10
5
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Thu Nov 16 2023
Elvis Is Back
Elvis Presley
Learning that rock and roll with and rock are technically different things was weird. Not gonna lie though, I don't care very much for "rock and roll". I find it to be a weak sub-genre of rock music. And it just feels very bland and basic to me. Maybe it just hasn't aged very well. But Elvis Presley is easily the most famous artist from this era of music. But he isn't the best by any means. I saw someone say that he isn't much of an album artist, and I would have to agree with them. Elvis was known far better for his infectious and attractive stage presence, and for being Hollywood's King of Rock and Roll. But none of that works very well in album form. There just isn't much for me to take away from this. I like very few of these songs because this isn't my thing. I'm not a squealing teenage girl from the 50's. And I don't really click with Elvis. Plus he was a creep.
Rating: 4/10
2
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Fri Nov 17 2023
Fever Ray
Fever Ray
If you are at all a fan of electronic or synthpop music, you have probably already heard this. Simply because this doesn't do anything that other records didn't already do before it. I just became less and less interested in this as it went on. That 47 minute runtime felt way longer than it actually was. I think some aspects of this sound cool. It's very meditative and chill, almost like ambient video game menu music. But it also feels tense and cold. The album cover is purely black and white, and you can almost hear that monochromaticness in the music. And at first I thought there was more than one vocalist, but she just pitched her vocals up and down in a variety of different ways. I thought the vocals sounded nice at first, but after a while, they started to get tiring, and they started to feel like they were taking away from the music, because they aren't amazing. I mean in reality, everything that Fever Ray tries on this record, Björk did like 15 years earlier. I feel kind of bad comparing her to a big artist like that, but this does feel slightly derivative of that style of music.
Rating: 5/10
3
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Sat Nov 18 2023
Revolver
Beatles
Oh The Beatles. It's cliche, but what can I really say about them that hasn't been said before? In the grand scheme of the last 50 years, my opinion matters very little. And yet, I liked to tell people I didn't like The Beatles. Even though I had never given them a chance. Don't know why. I think I just liked saying it. But what I'm going to say in this review is obvious. Yes, Revolver is good. Amazing in fact. I do actually like The Beatles. Rubber Soul marked a turning point for the band. But Revolver is truly when the Fab Four went from a huge band to something special. They continued to push their sound forward here, moving into more sophisticated territory. Songs like Eleanor Rigby, Love You To, and Tomorrow Never Knows show a clear evolution of their music. The amount of time that passed between their debut and this was only 3 years. It's remarkable how quickly they moved and became excellent songwriters. It is also remarkable just how in sync and harmonious these four were with each other. Around here, I won't tolerate any Ringo hate. Put him in any other band and he would probably fall flat. But for this group, he was undeniably a perfect fit. I don't know how good Revolver is as an introduction to the band, but it definitely makes me feel more confident knowing that I can actually enjoy their music and not try and pretend like it sucks.
Rating: 9/10
5
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Sun Nov 19 2023
Violator
Depeche Mode
Darkness can be beautiful. And Depeche Mode’s Violator is a perfect example of that. It is largely considered to be the definitive synth pop album. Before listening to this, I wasn’t really sure where I stood on Depeche Mode, but I found that there is undeniably some excellent songwriting on this record. It's brooding and moody, but in an elegant and intelligent way. And every song is so deeply layered, with all of these moving parts. The only way I can describe it is like there is this constant swirling mix of noise going around your head. That is kind of the beauty of music that is more synth and electronic based. You can add so many different unique sounds and textures, and just keep adding more and more, and as long as you know how to pace the music, it will sound good. And that is something they absolutely mastered on this album. The average track length is between 4 and 6 minutes long, but they don't feel that long, and they don't drag their feet to reach those lengths. I'll admit that for the longest time, I didn't think I would like this group, largely due in part to Dave Gahan's vocals. I was kind of put off by them. It reminds me very much of Robert Smith's vocal style. Staying in one register for most of the songs, and not deviating from it. It took some getting used to for me. But I've grown to like it, and I think it fits this style of music better. It's colder and more solemn, but also adds more emotion to the record.
Rating: 8/10
4
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Mon Nov 20 2023
Eagles
Eagles
The Eagles are an enigma to me. They are this huge band with millions of monthly listeners and multiple songs with hundreds of millions of streams. And the Their Greatest Hits 1971-1975 album is one of highest selling albums of all time. But they aren’t very popular from a critics stand point. And I can kind of see why, but I also think this was far better than it’s made out to be. For country rock, this plays it about as safe as you can get. And yet, it kind of rules for that. It’s simple and a good time. I even heard a banjo at some points. But it actually goes crazy, especially on Early Bird. He played that banjo like it owed him money. And I like that they mix acoustic and electric on the same songs, and they play at the same time. Again, very simple, but it works. This isn’t groundbreaking or anything like that, but I can envision myself as an old man playing this while sitting on my porch with my cup of coffee in the morning, watching the trees move with the wind. It has a mood to it, and it’s one I find comfort in.
Rating: 7/10
4
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Tue Nov 21 2023
On The Beach
Neil Young
I had a moment with this. I put on that first song, and within the first few seconds, I knew that I was in love. And if I liked the way Neil sang, that would seal the deal. And I do. I think he has a wonderful voice. And so I’m in love. This simply gives me the warmest and most fuzzy feeling ever. Why are all of the best albums not on streaming? I had many moments with this album actually. For example, on See the Sky About to Rain the moment where Neil starts humming over the keyboard and steel guitar at about 3 and a half minutes in, I literally melted into my chair on the school bus. The two longest songs are the title track and Ambulance Blues, and they both give such a grey melancholic feeling. I could feel myself getting emotional listening to that last song. The album cover looks so solemn and lonely, but also peaceful, and this whole albums’ mood matches those descriptions perfectly.
Rating: 8/10
4
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Wed Nov 22 2023
Seventh Tree
Goldfrapp
So far, this might be the most underrated album I've had the pleasure of listening to during this whole thing. I need to stop listening to what other people say about music, because I assumed this was mediocre based on what reviews said. It's safe to say I was blown away at how very not mediocre this album is. It is instrumentally dense, texturally diverse and deep, and beautiful and luscious. Think Beach House meets Lana Del Rey meets Big Thief. I say it sounds like Big Thief because she really does remind me of Adrianne Lenker, but it does also have some of those softer elements that Big Thief has. Alison's voice is raspy, but also blissful and polished sounding. And the use of guitars and acoustic live drums on some songs just completes the whole package. This is filled with some of the most wonderfully crafted dream pop songs I've ever heard. Clowns' strings sound straight from the pearly gates themselves. Little Bird has an excellent climax with those drums I mentioned previously. Some People has small hints of those drums as well, but is led almost entirely by Alison's gorgeous performance. And Monster Love is a climactic closing track, and maybe the most textured song on the record, with these massive sounding synthesizers as the main instrument. Each song on the album is uniquely strange and trance-like, and there are definitely some baroque inspired aspects on here as well. Ignore critical reception and what others say. I believe this is one of the most excellent and worthwhile listening experiences you can have for a dream pop album. If you are at all interested in the genre, please check this out.
Rating: 8/10
4
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Thu Nov 23 2023
Guero
Beck
My first full album from Beck. And what I was anticipating wasn’t really what I got at all. Because what a fun, vibrant, and unique listen. He somehow managed to combine alt rock with trip hop. And it doesn’t feel tacky or gimmicky. It’s as if they played and recorded all of these snippets, and then sampled themselves. So many different sounds are used on each song, and they get chopped up and looped in such interesting ways. But there is definitely some live instrumentation on tracks as well. You even get Jack White on bass in Go It Alone. There is a lot going on here, but for some reason, Beck’s very low and monotonous style of singing/rapping is the perfect thing to tie it all together. Something about it is satisfying, because it’s like even I can sing along to it. Plus if he had a very dynamic range, I feel like it would be too much for the music. Truthfully I don’t dislike any song on here. I don’t love them all, because none of them are perfect, but some are really great examples of why Beck is such an interesting artist. The only song I have any grievances with is Broken Drum. It is a tribute to Elliott Smith, and is probably the most traditional of any song on here. It has this surprisingly heavy guitar that I like, and isn’t a bad song by any means. It’s actually a beautiful one. But it doesn’t contain the same traits that make the other songs as enjoyable. Which is probably for the better. I’m sure Beck has stronger albums, but this seemed like a strong start. This is wholly unique, and honestly not like anything I’ve ever heard before. It’s not as if he invented sampling, it’s just the way he utilizes the art form.
Rating: 7/10
4
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Fri Nov 24 2023
Sunshine Hit Me
The Bees
I kind of hate using this term in this way, but this album is straight up vibes. Absolutely perfect for a beautiful sunny day in the summer. Sadly the weather where I live during this time of year doesn’t exactly fit that very well. But that doesn’t take away from how fun this album is. From front to back, it’s a good time. Sunshine Hit Me is a great title, as this does really capture the feeling of rays of Sun hitting your face on the beach. I did find that after This Town, the tone got ever so slightly darker. It felt like it was leaning more into the psychedelic baroque side of things. I liked that switch up, and thought it added more variety to an otherwise simple album. This album probably does wear its influences on its sleeve, but it also takes those influences in a new direction. A more modern one at that. And also combines those pop sounds with other genres such as reggae, like on No Trophy, with that signature snare sound. They didn’t allow themselves to fall into the category of just another 60s-inspired psychedelic pop album, as many artists in the same vein do, and I respect that.
Rating: 6/10
3
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Sat Nov 25 2023
The Köln Concert
Keith Jarrett
This album truly blew me away. Never did I think I would be able to experience such a response from music as simple as this. The closest album I can think of is Music for 18 Musicians, but even that has more going on than this. Played entirely by one man with back problems on one baby grand piano in poor condition. And yet, against all odds, he succeeded. The first song is 26 minutes long. After about 8 minutes, I had to pause it to step away and eat food. When I came back, I restarted the song. I restarted the 26 minute long song of solely one man with back problems playing one baby grand piano in poor condition. It was so astoundingly beautiful, I simply couldn’t just pick up where I left off. It is actually incredible how much emotion Keith manages to convey with so little. Other bands would struggle to bring something like this out of me with an album that has 10 times the number of instruments. Keith’s three performances here are nothing short of genius. You would be hard pressed to find another solo piano recording stronger and more powerful than this. Part II C is just a short encore, but Part II A and II B are one song, reaching nearly thirty minutes in length. And in Part II B, all that Keith changes other than the way he’s playing is the key. He simply goes from a major to a minor key. In the grand scheme of things, it’s only a few different notes he’s playing. But it completely alters the tone and power of the music. It’s much more somber, and feels more articulate and complex than in Part II A. For anybody that has a deeper understanding of music theory, what I’m saying right now probably sounds so stupid. But to the average person like me, its all the difference. It’s rare I have this much to say about an album, mostly because I’m not good at putting my feelings and thoughts into writing, but I had to really try for this record. Anyone that had the privilege of being present during this performance is beyond lucky. This is simply 67 minutes of a master at work, and I am floored at it’s magnificence.
Rating: 9/10
5
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Sun Nov 26 2023
The Suburbs
Arcade Fire
This might be one of the most deserving of a 6/10 of any album I’ve listened to so far. I don’t have much experience with this genre, but what I have heard from other artists I enjoy much more. It just feels like it meanders on a little bit, and is slightly self indulgent in its own sound. There are certain parts of songs I like, but not entire songs. Like they are giving glimpses of something more interesting. Rococo has a cool build up in intensity with the strings and distorted guitar. Empty Room takes off at break neck speed, and is the first song on the album to have Régine on lead vocals. It’s short lived but powerful. That song and Month of May lead me to believe they had more of a rock focus for this, but there are still elements of chamber pop sprinkled throughout. I like the melody of the closing track, and how it keeps the same lyrical themes as the opener, which wraps the album up smoothly. Although I saw it coming while listening to it, this peaks in its first two songs, and doesn’t impress me with anything after that.
Rating: 6/10
3
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Mon Nov 27 2023
Can't Buy A Thrill
Steely Dan
Steely Dan are without a doubt the kings of yacht rock. At least in my opinion. I’m never in a bad mood of Steely Dan is on. This isn’t their peak by any means, but it’s a damn good start. This record, along with their sophomore album are the only two with the original band, before Becker and Fagen went full studio-band. That leads to this record having a much more simple and approachable feeling, with less complexity in the instrumentation. The lyrics are even mildly understandable, as opposed to all the cryptic lyricism they would get into later. This album single-handedly has some of the catchiest melodies and choruses of the 70’s. Do It Again, Dirty Work, Reelin' in the Years, and Fire in the Hole are in total ear worms. And those are just the more popular songs. The deep cuts are just as catchy and amazing. I think the safer sound definitely suits Steely Dan. It doesn’t change that this album slaps. But their pursuit for studio perfection led to some of the most intricate and best sounding albums ever released. They buffed out every scratch until it was smooth as marble, and benefited from it.
Rating: 8/10
4
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Tue Nov 28 2023
Lust For Life
Iggy Pop
I would like to believe anything David Bowie touched turned to gold. This is closer to silver. Iggy kind of was the king of garage rock in the 70’s though. For an album released so late into the 70’s, it definitely feels like it’s taking from that raw power of the late 60’s and early 70’s more than anything. And you can definitely hear the Bowie on the album. Not only does he play on it, but his production style is all over this. Really, Bowie paved the way for rock artists like this. He did it with Lou Reed too. I am continually blown away at how much influence that man really had. Iggy’s voice took me a second to get used to. He has always been an interesting personality, and that bleeds through into this record. It’s dirty, energetic, and full of life. Listen to Turn Blue. The way that song ramps up and then suddenly comes to a conclusion is super cool. Objectively the most interesting song on the album.
Rating: 7/10
4
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Wed Nov 29 2023
Psychocandy
The Jesus And Mary Chain
This is rough. Like really rough. For day 100, I’m disappointed this is what I had to listen to. This is pretty much a cornerstone of shoegaze and noise music history, but damn do I not enjoy it one bit. Think of the most intense, primitive and rough around the edges kind of shoegaze guitar sounds you can think, then multiply them by ten-fold and fill a whole album with them. Some of these songs actually hurt my ears. Like my hearing felt off after listening to them. Prime examples are Taste the Floor and Never Understand. It’s just too distorted and loud. Better shoegaze bands found the balance. It’s so fuzzy and blasted out, what he is actually playing is almost indiscernible. The drummer plays very basic beats. He plays the same beat on multiple songs actually. And the singer has a voice that sounds like it would match a completely different music profile. His voice is so clean and smooth compared to everything else, it throws me off. The only song I can say anything positive about is Cut Dead, since it’s the only one that doesn’t blow my fucking ear drums out.
Rating: 2/10
1
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Thu Nov 30 2023
We're Only In It For The Money
The Mothers Of Invention
I am fully aware of the kind of album Frank Zappa and his band was capable of making. So as an introduction to the group, this isn’t the best way to make me want to listen to more of his music. This is a mix of psychedelic pop music, and experimental/satirical sound collages. It is supposed to be a concept album that parodies American hippie culture. And I was genuinely surprised at how heavy it leans into those sound collages. The amount of actual “music” here isn’t much. And the sound collages aren’t great. There is a lot of harsh cut-offs and scratches that kind of hurt my ears. I even thought maybe the 6 minute closing track, which is the longest by quite a bit, would be something really cool. But it was actually just 6 minutes of bits and boops. Random noises. The songs that are real music are okay. But not anything amazing. This tries to be a lot of different things at the same time, and it ends up just feeling like nothing.
Rating: 3/10
2
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Fri Dec 01 2023
american dream
LCD Soundsystem
“I knew we were going to have to be significantly better than we ever were, for anyone to say we were even half as good as we used to be”. That is what James Murphy said in regard to American Dream. James chose to step away from his band during a time where most other groups would be working nonstop. Being at the height of your popularity, and deciding to wrap it up is a bold move. Releasing a new album 7 years later is also a bold move. I may not be able to speak on how the quality of this compares to the quality of their previous albums, but what I can say for sure is that this is truly something powerful. While listening to this, I kept on thinking the same thing over and over again. This really reminds me of Talking Heads. I’m aware it’s silly. But as I got further into it, that idea only became more prevalent. James sounds so much like David Byrne here. The most glaring example to me was Other Voices, where he yelps “You’re just a baby now” like a Speaking in Tongues backing vocalist. There are definitely some 80’s post-punk influences here, particularly in the drums. This is just a more modernized and heavier Remain in Light. I can envision Tina playing the bass lines on this album. These songs are pretty long. The average track length is probably somewhere between 5-6 minutes. But I think this album really needed the songs to be that long. Because the build up that leads to the climax always pays off. Without fail, every time. There is such a density of things going on, and they needed to create space for all of those things to exist. The length of each song is just a byproduct of that. The closing track is both the antithesis of this idea and the polar opposite of it. It stands at 12 minutes, the longest song they’ve ever made, and is the most atmospheric song on the whole album. I’m going to make another Remain in Light comparison, but it really feels like their version of The Overload. The last few minutes with the piano feels otherworldly as it rings out. This might be the longest review I’ve ever written. I’m not sure why. This album just struck me. Different than most do. It feels inherently special in my heart. Who knows if Black Screen will be the last LCD Soundsystem song. If it is, I can say with confidence they ended on a strong note.
Rating: 9/10
5
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Sat Dec 02 2023
Marquee Moon
Television
I genuinely believe CBGB changed the world. That isn’t exactly the most wild opinion, but maybe not one everyone would agree with. But the big bands that came from that venue completely changed the landscape of rock music in the 70’s and 80’s. And Television is one of New York’s punk darlings. But this isn’t exactly punk. Doesn’t feel much like it. More rooted in jazz and art rock than anything. It trades intensity for complexity. There isn’t any real heaviness or distortion. The anger is very clear cut. The tension is more held in Tom’s vocals. It feels like he could explode at any moment but he never does. Not saying that traditional punk music can’t have strong songwriting, but the performances on this album are genuinely stellar. It’s such unique songwriting, and there is life and energy flowing through every song. The drumming and guitar playing especially is some of the strongest of the 70’s. The true highlight is the title track. It is a diamond in a sea full of emeralds. A straight up masterpiece, and one of the best songs you will find over 10 minutes long. There is something inherently special about that song, especially the chorus. 1977 was really a beast of a year for music. And this album is another glorious example of that.
Rating: 9/10
5
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Sun Dec 03 2023
Yank Crime
Drive Like Jehu
I find post-hardcore music so strangely beautiful. There really is nothing beautiful about it. It’s so self-loathing and angry at everything. There isn’t beauty to derive from it in the way you can find beauty in jazz or classical music. And yet I find a weird amount of emotional value in it. There is no other genre that insights the same kind of genuine desire to be mad. It’s a wonderful thing, really. I also love how melodic it is. It’s not heavy like other punk and hardcore music. It’s more lively, but still crushing and distorted. And every post-hardcore band plays their instruments like it’s the last time they ever will. But they play like that on every song. Every song has power. There are no sleepers. Yank Crime is all of those things. It is post-hardcore in a nutshell. If you wanted to introduce someone to the genre, this would probably be a good start. The vocalist really reminds me of Cedric from At the Drive-In. It’s that same 2000’s emo kind of screaming. It’s make you want to scream along with him and hurt your vocal cords while doing it. But who cares? Just go all out. You are listening to aggressive music. So just get aggressive and start thrashing around.
Rating: 8/10
4
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Mon Dec 04 2023
Os Mutantes
Os Mutantes
I won’t lie, with the amount of albums from the 60’s and 70’s on this list, there are times I feel a little fatigued. Especially by all of the psychedelic hippie music. Some of it just seems very cookie cutter to me. Where Os Mutantes’ debut differs is that it is actually unique. It combines Brazilian rock sounds with western psych rock. And this feels truly psychedelic. More than most other albums from the same era. It’s actually weird and trippy, which are qualities an album like this should have. This may be controversial, but Jefferson Airplane’s second album is a big “60’s psychedelic” album. And it didn’t really feel psychedelic at all. Not in the same way this does. The only issue is although those sounds are really cool, and I can appreciate, they don’t make for amazing music. Which is probably why there are bands from the same era who went more mainstream. They didn’t go that route. But that’s why this stands out. I can respect how they stuck to their roots and fused that generally don’t go together.
Rating: 6/10
3
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Tue Dec 05 2023
Liquid Swords
GZA
As much as they are truly the finest rap group there probably ever will be, the number of members from the Wu-Tang Clan who didn’t really have much of a solo career is surprising. With GZA/Genius, that is not the case. He always represented a strong leader type for the group, and that independence comes through very clearly on this album. Both this and Enter the Wu-Tang (36 Chambers) are very clear and concise as to what they want to be. But the energy is totally different. You feel that rebelliousness on 36 Chambers. This is darker. It’s grittier. And honestly, it’s better. I love Wu-Tang’s debut, but this is RZA and GZA at their absolute peak. Every beat is masterfully crafted, with insanely cool sample usage. And the lyricism is equal parts sci-fi, gangster rap, and samurai dynasty. I genuinely can’t pick one particular song that does something worse than the others. Each one could stand on its own. Even B.I.B.L.E., which doesn’t contain GZA in any capacity, and feels more like a bonus track than anything, is amazing. I actually really like the beat on that song. This is basically 13 tracks of near flawless hip-hop music. All killer, no filler.
Rating: 10/10
5
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Wed Dec 06 2023
The Village Green Preservation Society
The Kinks
The 60’s and 70’s were a time to be weird. Doing an ass-load of drugs and making strange music was totally acceptable. But people still continued to stick with what was popular, like always. And this record from The Kinks really is the best of both worlds. I was really shocked at how good this actually was. This is what I want all pop rock to sound like. The style of songwriting is a balancing act of whimsical fun and legitimate social commentary. It’s just all hidden under this layer of humor and boundless joy. If they didn’t have a blast making this, I don’t know what to think. Although it was mostly a failure critically when it came out, there is an undeniable charm that latches onto the listener. Just don’t have high expectations. Not because it isn’t good. But because you can’t listen to an album that opens with The Village Green Preservation Society and expect anything that takes itself that seriously.
Rating: 7/10
4
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Thu Dec 07 2023
Aqualung
Jethro Tull
Jethro Tull’s seamless mix of hard rock, folk, and progressive rock is sublime. This album represents the most simple, but easily enjoyable side of progressive rock, in a genre that is filled with pretentious fans and pretentious music. Now granted, this isn’t simple to the point of redundancy. There is still some insane skill shared between these band members. But this isn’t complex to the length of something like Thick as a Brick [25th Anniversary Edition]. There are no super long, multi-faceted songs. Most of these songs are pretty short comparatively, but the pacing is excellent. It makes for an easier experience for someone new to this kind of thing. I could totally see this being someone’s first prog rock album. It’s appealing in the same way Rush is appealing. But do you want to know the best part about this album, and really the whole band? It’s that goddamn flute. Holy shit, can Ian Anderson play the flute. He makes that thing sound like it belongs in hard rock, as if all other bands have been doing it wrong this whole time by not having a flute. And the way he flawlessly transitions from singing to flute and back to singing is crazy. Also shoutout to the Steven Wilson remix. God bless Steven Wilson, and the work he has done for prog rock in modern times. His mix breathed new life into this album, and many others, and makes it sound brand new.
Rating: 7/10
4
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Fri Dec 08 2023
Automatic For The People
R.E.M.
Disappointment is inevitable when doing this. And albums like this make me question whether I should stop coming up with expectations before I listen to something. I had an idea of what this was going to sound like in my head, and with no prior experience with R.E.M., learning that was not what it sounded like was a letdown. This is just so much cleaner and softer than I imagined. I think I saw alternative rock, and zoned in on only that. I don’t hate the pop rock sound. But it just feels a little too mellow, and the songs are honestly slightly boring. There are a couple highlights, but nothing that really blew me away. If this is regarded as the best album from the band, I’m afraid it will only get worse from here.
Rating: 5/10
3
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Sat Dec 09 2023
Play
Moby
This got off to a rough start. After the first few songs, I figured I was in for a lackluster ride. But once it reached Why Does My Heart Feel So Bad?, it become way more consistent, and actually felt like something interesting was being attempted. The way vocal samples are used on this record is really cool. It features a lot of old vintage sounding vocal performances, but some also sound more modern, which makes me think they were recorded live for the album. I enjoy the more upbeat and danceable tracks. The problem is that about two thirds of the way into the album, all of that danceability goes away. It takes a more mellow and ambient approach. And it feels very flat. I don’t really like any of those songs. They just feel like generic ambient trip hop. If this wasn’t as long as it is, and didn’t feel so bloated, I might have liked it more.
Rating: 6/10
3
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Sun Dec 10 2023
Low-Life
New Order
The story of Joy Division is a tragedy too many bands face. But the story of New Order is an inspiring one about conquering that tragedy. And conquer they did. They are hailed as one of the great bands of the 80’s, and played a large part in the growing success of the synth pop genre, which at this point in the decade, was only getting bigger. This is a good time. You can dance to these songs. This is very much New Order, and not Joy Division. But it also has an underlying layer of beauty with massive synth layers stacked on top of each other, and amazing chorus-soaked guitars. This feels right. This feels like the way all new wave and synth pop albums should be written. Sunrise is actually a masterpiece. One of my favorite songs I’ve heard from the 80’s ever. The only issue I have is the vocals. I don’t know what it is, but vocals never really seemed like New Order’s strongest characteristic.
Rating: 8/10
4
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Mon Dec 11 2023
Live And Dangerous
Thin Lizzy
Listening to a live album with no prior knowledge of an artist’s music can be difficult. But the way you can differentiate a bad from a good one is when it manages to be good with the listener not having that predisposed knowledge. Thin Lizzy does that. What I love most about this kind of rock is just how easy it is. I’m someone who can really appreciate something with lots of depth and thought behind it. But I can also appreciate just how simple and fun this is. They play their instruments damn well, and it just makes for a good time. Almost all of the bands’ big hits are on here, and they all slap. This album also sounds remarkably good. Not just production wise, even though the actual clarity of the instruments is amazing. But down to the performances. They sound nearly identical to their studio versions, especially with the vocals.
Rating: 8/10
4
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Tue Dec 12 2023
Debut
Björk
Björk has always stuck out to me as one of the last true “artists” still working in the industry today. Her voice has always sounded completely otherworldly to me. And her work in the 90’s and early 2000’s is the stuff of legends. But when I first gave Debut a listen a few months ago, I was surprised by how much I didn’t like it. But I’m pleased to say that is no longer the case. I think my issue was that I was looking for something more. I was expecting a much deeper and more complex experience. But this is probably the simplest Björk ever was. It’s more house and dance music than anything else. It still has a layered feeling, and there is some interesting experimental stuff going on with songs like The Anchor Song, Aeroplane, and Like Someone in Love. This album is at its best when it leans into the darker and more electronic sound she would explore later, like on the first three songs, which is easily the best stretch of tracks on the record. But I’ve definitely learned to appreciate the club-oriented feel of this. Just don’t expect the same caliber as that of her later work.
Rating: 7/10
4
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Wed Dec 13 2023
Ten
Pearl Jam
The 90’s grunge surge was truly something else. It’s one of the only eras in music I wish I could have lived through myself. And Pearl Jam was just another band that gave nothing but energy. If any group should be called a powerhouse, it should be this one. Where they differ from others in the same space is the raw emotion. And this is lead almost entirely by Eddie and his vocals. He might be my favorite grunge vocalist, simply because of how gripping it is. Listen to Black or Release and tell me you aren’t moved even a little bit by his singing. But I don’t want to take away from the rest of the band. Because there are some serious head bangers here. And I don’t mean that lightly. Once makes itself known very quickly, and those first three songs are some of the most memorable grunge rock I’ve ever heard.
Rating: 9/10
5
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Thu Dec 14 2023
Channel Orange
Frank Ocean
Blonde is one of the most deeply intimate and genuine experiences an artist has ever released. And I love it for that. But even with all the hits, I do feel as if his debut gets overshadowed slightly. If Blonde is the essence of love and intimacy, channel ORANGE is the essence of youth and summer. The kind of summer where you spend almost every second outside, and there is not a single day where the weather isn’t perfect. The kind of summer where every day is a memory you will have with you forever. This album is so smooth, and flows so elegantly. This might be one of the best paced albums ever. There is not one song that I feel goes on for too long. Even Pyramids. That song alone deserves paragraphs and paragraphs worth of discussion. I love how progressive and evolving it is. It’s Frank’s magnum opus. Every instrumental is immaculately crafted. The mix of R&B and soul is so well balanced, and Frank is just so open and available to the listener. It’s rare to find an artist nowadays who is willing to put so much of themselves into their music. But that’s the beauty of the medium.
Rating: 9/10
5
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Fri Dec 15 2023
Sign 'O' The Times
Prince
Double albums always tend to be a little messy. It’s always a lot of music, and with album lengths often extending over an hour, there are some real endurance test double albums. They occasionally border on over-indulgent and excessive. But if there was ever an artist that would make a concise and well paced double album, it would be Prince. Prince felt like a virtuoso in the truest sense of the word. He was simply good at every instrument he played, had a beautiful voice with crazy range, and created some of the most well put together albums of the 80’s. He was a sultry sex icon. And his musical persona is really felt on this. This very much feels like Prince’s version of a synth funk album. Another artist could make the same songs, but you would feel the difference, because it isn’t him. This album starts off incredibly strong, with the entire A-side being filled with excellent songs. I’m a total sucker for a song like The Ballad of Dorothy Parker. Something about how soft it is, combined with the synth bass and electronic drums sounds so cool. The album then has a few highlights here and there. And then peaks on the D-side. Those last three songs are all amazing. I love how different and separate The Cross is to the rest of the album. It’s darker and slower, but doesn’t stray too far from the core strengths of the record. It’s Gonna Be a Beautiful Night is a disco/funk masterpiece. I want all funk music to sound like that. And Adore ends the album off sweetly.
Rating: 8/10
4
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Sat Dec 16 2023
Bossanova
Pixies
It is safe to say I was not ready for this. The extent of my knowledge for this band was relatively limited, so I was swept away by how heavy this album is. This is some of the most consistently interesting blasts of noise pop energy I’ve ever heard. Cecilia Ann sets the stage in the same way Politik sets the stage for A Rush of Blood to the Head. But instead of leaving me feeling short of breath and claustrophobic, Pixies got me amped up and ready for more. Each song has the same groundwork, but is uniquely vibrant and engaging. I was initially thrown off by the vocal style, or lack thereof, because of how raw it is. It’s unfiltered. There wasn’t a load of fine tuning and training for him to achieve that voice. He is just an average guy who sounds cool and can get really loud. This very much feels like the energy of the beginning of the 90’s. Loose and unorganized, and ready to break out into something new.
Rating: 8/10
4
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Sun Dec 17 2023
Punishing Kiss
Ute Lemper
The reason why Björk’s music is so interesting is her voice. It is more often than not the most engaging part of one of her songs. The same can be said for this album. I had never heard of her up until today, but Ute’s voice instantly stood out as one of the most commanding and enrapturing I’ve ever heard. This album is cool. Like physically cold. It feels chilling and heartless. But also sleek. Like a thrilling espionage movie. Some songs like Streets of Berlin or the closer contain this inhuman machine-like sound quality. But this is still very rooted in experimental baroque and classical music. The best songs are the ones written by Neil Hannon. But really, the amount of huge talents that are credited here is remarkable. The only songs I didn’t like were the ones done by Tom Waits. Not because I don’t like his music or anything, I just found those to be the least interesting.
Rating: 9/10
5
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Mon Dec 18 2023
In A Silent Way
Miles Davis
I’ve listened to over 100 albums at this point. And although there haven’t been that many, the one constant factor throughout everything is that I have not heard a single jazz album I didn’t love. My English teacher called it “pretentious”, but I couldn’t disagree more. It is consistently one of the most fun, innovative, intense, and emotive forms of music there is. And In a Silent Way, one of Miles Davis’ many exceptional achievements, might just be the finest piece of jazz music I’ve ever heard. Composed of just two songs, one being 20 minutes long, the other being nearly there, it is jazz fusion pushed to the highest level of quality. And that fusion really comes into play, because although the foundational elements at play here are rather standard for jazz, the star of the show is John McLaughlin and his guitar. It completely changes the atmosphere, and pushes this record to the level of greatness that it’s at. But the whole band is absolutely stellar. I think the title Shh / Peaceful perfectly incapsulates what feels so extraordinary about this. It’s calm and serene. There is no biting intensity. It is just simply existing. Like the essence of life personified into music. The second song ramps things up slightly, but not so much where it completely destroys the vibe the band had built. Davis was by and large one of the greatest, if not the greatest jazz musicians of all time. Both a master of his own instrument and a master at creating balance in a group of other massively talented musicians.
Rating: 10/10
5
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Tue Dec 19 2023
Cosmo's Factory
Creedence Clearwater Revival
In just four years, CCR came, became one of the biggest bands of the late 60’s, and then went. And in the first two years of that four year run, they released five albums of gradually increasing quality. Cosmo's Factory is the culmination of those two years. The highlight of this album is its two longest tracks. I feel that them being longer gives the band the most time to jam, and develop that jam. But the shorter songs that make up most of the track list are almost all good. I’m don’t know what “swamp rock” means, but what I do know is that this is some of the best blues rock you will find from this era. It kind of doesn’t get better than this. Now I’m aware this is a very out there statement, but John Fogerty might be one of the best vocalists, like ever. There is something so enjoyable about the way he sings. It’s not from this album, but listen to Have You Ever Seen The Rain and tell me that’s not some of the purist and most rootin' tootin' bluesy vocals you’ve ever heard.
Rating: 8/10
4
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Wed Dec 20 2023
Inspiration Information
Shuggie Otis
Coming across gems like this might be my absolute favorite thing when it comes to listening to music. There is no feeling like discovering an album you’ve never heard of before that isn’t super mainstream and falling in love with it. And then being able to share that new discovery with others is awesome. Funk and soul music like this, that is softer and more mellow is by far my favorite. I do love some intense and upbeat stuff, but this is just the best. It’s so laidback, and gives me such a warm and comfortable feeling. I don’t know how artists manage to do that through music, but it feels great. Shuggie has a beautiful voice. And after Happy House, which was too short to really catch my attention, it goes strictly instrumental. Nothing wrong with that, those songs are just not as interesting with vocals. The last two are good though, especially Not Available.
Rating: 8/10
4
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Thu Dec 21 2023
Snivilisation
Orbital
1994 was a pretty big year for techno music in the U.K. A multitude of large 90’s techno artists released albums this year, mostly in response to the Criminal Justice Act that banned raves in the country. Orbital was one of those artists, but if you didn’t know that beforehand, you wouldn’t be able to tell just by listening to this record. Like many techno records, this album’s antithesis is built on these long songs with really complex and winding instrumentals. Sometimes it takes a while for it to get to the good parts, which makes the album feel a little bloated and drawn out. But when those good parts do eventually come, they are pretty good. This is relatively run of the mill techno. The last two songs are both over 10 minutes. And given what I had heard on the rest of the album, I was a little worried this would be the worst of the bloat and slog. But surprisingly, Are We Here? was actually a pretty solid song that is paced well. But the closing track definitely falls more into the bloated category. The difficulty with this album is that there are just better electronic records from the same period I would rather listen to.
Rating: 7/10
4
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Fri Dec 22 2023
Slippery When Wet
Bon Jovi
This album is huge. The big hits are some of the biggest rock songs of the 80’s, and I’ve heard them plenty of time. And I just don’t get it. I never have. Much like I said in my review of Like a Prayer, this prompts zero emotional response in my brain. I’ve listened to hard rock albums that sound very much like this. But there is something that feels off about this. To put it simply, it’s just a little boring and repetitive. The most interesting song is Wanted Dead or Alive, because it breaks away from the sound of the rest of the album, but only slightly. Before I became aware of the music from the 80’s that is actually really good, I used to be very adamant in the sentiment that I didn’t like 80’s music. And when I talk about the generic overplayed and overproduced rock music from this era, this is what I mean. There is just much better rock music from other decades, let alone the 80’s, that I would rather listen to.
Rating: 4/10
2
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Sat Dec 23 2023
Aladdin Sane
David Bowie
I’ve been waiting for the day I finally got a Bowie album. I said that I considered Björk one of the last true artists still making music today. To me, Bowie was one of the most true “artists” to ever live. He always pushed musical boundaries and his own boundaries, and his music lived through him via his many personas. This is very much a glam rock album, but it is very much not repetitive. The foundation of this album is honky-tonk piano and distorted guitars, with some mixes of art rock. But there is something interesting going on in each song, that keeps the album from going stale very quick, which is an issue many other glam rock albums suffer from. This album’s theme is based on Bowie’s experiences touring in the U.S., and the things he experienced while here, but also his personal gripes with life while on tour. The album feels dirty and playful and the lyrics often reference sexual desires and debauchery, but Bowie’s energy allows these things to be communicated flawlessly. He truly was a performer way ahead of his time.
Rating: 8/10
4
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Sun Dec 24 2023
Rust Never Sleeps
Neil Young & Crazy Horse
I really loved On the Beach. It was an album that I figured would be hard to top. It was so cozy and simple, and lulled me into a calm sense of security. When I saw the grunge tag for this, I assumed there was no way. But I think it’s important to re-adjust the way you look at grunge music before you listen to this. The progression of this is what makes the album so interesting. The first five tracks on the A-side consist of just solely Neil singing and playing the guitar. I found it funny there were other instruments on the cover, considering it was very much the opposite. And I also found it funny this was called grunge, until the last 4 songs, where Powderfinger completely breaks up the soft sound of the beginning, and then it just gets progressively heavier and heavier. The closing track is a reprise of the opener, but if Neil wasn’t singing, you wouldn’t even be able to tell it’s the same artist. It’s as if the album is actually rusting as it goes along. An album that is really good is one where while each song plays, it becomes my favorite, until eventually by the end I can’t pick a favorite. There isn’t really one bad song. I can see why this is considered Neil’s best, because it is everything that makes his music so good.
Rating: 9/10
5
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Mon Dec 25 2023
Da Capo
Love
I’m well aware of how acclaimed Forever Changes is. But I wasn’t aware that Love had another album that was well received. So considering experiences I’ve had in the past, I went into this expecting a below average 60’s psych album, like many I’ve heard before. Safe to say, this was much more than that. There is just way more substance on these songs than most. And the performances are way better than what you normally get. The A-side is 6 songs, that are all very short and sweet, and they last just long enough to be interesting. I love the mix of the more high-energy garage rock tracks like Stephanie Knows Who and Seven & Seven Is, with the slower pop songs like Orange Skies. It’s a very well balanced mix of genres. The B-side is only one song, that is over 18 minutes long. And seeing the track list before listening to it, I was ready for this to be the one standout track. And by no means is it a bad song. It’s a nice jam track with some cool sections, and a solid drum solo at the end. But there are moments where it feels a little monotonous and long winded. It could have probably used a bit of trimming, but I still enjoy it. Overall, if the psych pop I hear on this record is what is to be expected from their next album, I am looking forward to it.
Rating: 8/10
4
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Tue Dec 26 2023
A Christmas Gift For You From Phil Spector
Various Artists
Merry Christmas and Happy Holidays!!! I woke up this morning intrigued to see if I would get a Christmas themed album. Lo and behold, I was right. And in terms of Christmas songs, this has just about everything. This is a bit hard to review for me though. Because although this helped me get into the spirit a lot, and has pretty much every classic and essential Christmas song you can imagine on it, I still want to look at it as objectively as possible. And objectively, this isn’t bad, but I’m also not listening to it any other time of the year except for the week of Christmas. So it’s the best album per se, but it is a good collection of fun songs that fits the season. Since this is basically a compilation album, there is a variety of different artists on here. And the best songs are the ones that were made by The Ronettes and Darlene Love. Pretty much every song sounds the same, but these two particular artists have the best singers, who both also sound very similar, which puts them above the other two groups.
Rating: 5/10
3
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Wed Dec 27 2023
Caetano Veloso
Caetano Veloso
Os Mutantes was my first exposure to the genre of Tropicália. I had never heard of it before, and I’m still not 100% sure what it is, but I like the mix of Brazilian pop and psychedelic music. And this album seems to be the most enjoyable attempt at that mix that I’ve heard so far. But this album also blends some bossanova into it. And I’m really sad I haven’t gotten a proper bossanova album yet. Because I love it so much. Just that simple inclusion adds a whole other layer of serenity. Some of these songs are very calming, but still color and kind of weird. I think the cover best represents this. The beautiful, bright, and abstract artwork is the color, and then Caetano’s portrait with damn near the most menacing gaze I’ve ever seen is the weird. Os Mutantes is even featured on the last song, which is by far the most experimental and unique, but it sounds really cool.
Rating: 6/10
3
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Thu Dec 28 2023
Illmatic
Nas
You ever heard an album that transports you to a time and place? If someone were to ask me this question, my first answer will always be Illmatic. Because it isn’t even really close. No artist has ever made a record that brings you closer to the culture, the lifestyle, and the energy of 90’s New York than Nas did with this. The Genesis and N.Y. State of Mind being the opening pair of songs sets this record straight very quickly. The former is the only skit on the record, and the latter is a legendary song that sounds like sitting waiting for your train in the subway station. Large Professor and DJ Premier, who do most of the production, along with Pete Rock, L.E.S., and Q-Tip give some of the best beats they’ve ever made on this album. This is without a doubt THE defining rap album of the 90’s. It came out just early enough in the decade where every MC moving forward was trying to reach this level of greatness. Surprisingly, this performed pretty poorly on release, which blows me away considering the massive critical darling this is in modern times. This is one of the most essential hip-hop records ever made, and should be studied in every aspect. Because it excels at everything it does. It is excellence from start to finish.
Rating: 10/10
5
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Fri Dec 29 2023
OK
Talvin Singh
Man, it’s so easy to mess up electronic music. It’s really easy for something like “atmospheric drum and bass” to be really fucking boring. And my intuition is sometimes unnaturally good. I’ve looked at album covers before, and been able to tell I’m not gonna like it. I’m aware that judging a book by its cover is bad, but I really don’t care when I’m right. Really, this album has no right to feel as gray and lifeless as it does. I’m not really sure why this is even on the list. It’s probably the lowest rated album I’ve listened to so far, and doesn’t have any big hits, or is really popular, in any way. The mix of drum and bass and this really unique South Asian percussive style, among other interesting ideas, should be the recipe for a delightfully experimental record. This is simply anything but. It falls flat on its face from the beginning. The opening track is a good example. Don’t make an 11 minute long song if it’s mostly 11 minutes of nothing interesting. Sutrix is the only mildly interesting song. Actually it’s a pretty good song. The drums hit the hardest, and it sounds way heavier and intense than the rest of the album. It’s what I thought the whole album was going to sound like. Why doesn’t the whole album sound like this? It’s disappointing. But I wasn’t expecting much from this anyway.
Rating: 4/10
2
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Sat Dec 30 2023
Blue Lines
Massive Attack
I’m not like the biggest fan of trip hop or anything. It’s a genre that takes a certain kind of mindset to listen to. Because it’s weird. And often times the production style is kind of off and unorthodox. Massive Attack was one of the leading artists in the 90’s for this sound. When going into a record like this, I’m mostly looking for one thing. And that’s unique and varied production. Particularly with the drums. And this album definitely has that. If you are looking for variety from song to song, this would be a good album to check out. The vocal performances are decent. I wasn’t looking for stellar vocals in an album like this anyway. And some of them are a little basic, and they don’t always add much to the instrumental.
Rating: 6/10
3
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Sun Dec 31 2023
Tusk
Fleetwood Mac
I find it really odd that only two Fleetwood Mac albums are included on this list. One of them is the obvious, but Tusk being the other one seems weird. Especially considering they have a number of other solid albums to choose. But either way, this is my first time listening to a full record from them. This is a beefy album. 74 minutes and 20 tracks can make or break a listening experience. Thankfully, every song has some form of substance to it. But I have to be honest. I only liked about half of the track list. Simply because some of these feel like filler. They could have cut many of these songs out to benefit the listener. There is multiple people who sing on this record at one time, but the best one is by far Stevie. I feel like everyone kind of knows this already, but still. Her songs are consistently the best ones on the album. They are also consistently the highest rated tracks on the album. This was also apparently inspired by post-punk music. And personally I don’t really hear it. There is only one song where I can feel that influence, and that is the title track. This is also coincidentally the best song. Why doesn’t every song sound like this? I wish they made an entire record of this sound. I never thought I needed Fleetwood Mac with a brass section in my life until now, but I want more of it.
Rating: 7/10
4
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Mon Jan 01 2024
The Stranger
Billy Joel
God damn, I don’t think I could have predicted just how much I would enjoy this. I don’t think I’ve heard a Billy Joel ever in my life before. But this immediately made itself clear and I was immediately attached to it. By all means, this album lays all of its cards out from the start, but it’s like a really good hand in poker. And that hand carries Billy through the entire album. The sound you hear on Movin’ Out is the sound you get for the rest of the album. But it’s amazing, so why does it matter? The only way I know how to describe the feeling I get from this, and this is probably very stupid, but like theater kid music. I get the same appeal from this as I do from Ben Folds or Elton John. I just can’t help that my brain is simple and I like the way Billy’s voice sounds and the way he plays the piano. Good shit. That’s all this is.
Rating: 8/10
4
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Tue Jan 02 2024
My Beautiful Dark Twisted Fantasy
Kanye West
Here we go. It had to show up eventually. I’m going to start this by clarifying that just because I’m speaking positively about this man’s music does not mean I am in support of anything stupid he has said, really ever. I just appreciate the art he has created. That is it. Now, this is probably one of the biggest points of contention in Kanye’s career, second only to Yeezus. There are some who absolutely adore this record, and others who don’t prefer this sound. Saying that I’m a fan of Kanye’s music and saying I’ve never heard this album all the way through in the same sentence is like blasphemy to some. This is supposedly the “magnum opus” Kanye album. Meh. I don’t see it. Don’t get me wrong, it is fantastic, but not this perfect flawless piece of music people make it out to be. From a music standpoint, this is probably the most in-tune Ye has ever been with himself. He fucked up big time with Taylor, exiled himself, and made this. This album is bigger on all fronts. Bigger drums, bigger strings, and more of everything than any album before, and maybe even after. It’s self indulgent and egotistical, but reflective and emotional. This is Kanye at his most defensive, but also at his most vulnerable, except for maybe 808s & Heartbreak. This has some of the strongest production of any record he has ever made, due in part to his collaboration with some of the greatest producers of our time. And most of the features on here give some of the greatest verses and performances of their careers, especially people like Rick Ross and Nicki Minaj. But this also some really strange productions choices. Like how his vocals sound strange on the opening track. Does Gorgeous really have to be distorted like that? The best part of that song is Cudi, mostly because his vocals are clean. Blame Game is kind of boring, and does the Chris Rock section have to be so long? It’s also kind of vulgar and out of place on an otherwise heartfelt song. And although I get that the outro to Runaway is supposed to mean something, and it doesn’t change that the song is still probably Kanye’s greatest he’s ever made, it just goes on for too long and sounds stupid compared to the rest of the track. Overall though, none of these complaints change the fact that this record is a great piece of work. One that maybe gets overrated a little, but is still amazing.
Rating: 9/10
5
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Wed Jan 03 2024
Rapture
Anita Baker
I think the thing that has made listening to one of these albums every day so enjoyable is to see where my consumption and enjoyment of certain kinds of music has evolved. I can’t say for certain whether or not I would have loved this album 5 to 6 months ago, since it doesn’t exactly fit the bill of that poppy 80’s music I speak so negatively about. But what I can say for certain is that I found this album absolutely wonderful. This is the perfect definition of short and sweet. Eight songs that are paced exceedingly well, that total to not even forty minutes of music. And it starts off insanely strong, with Sweet Love. Beyond my predisposed attachment to the song simply because it was sampled by MF DOOM, it is also just a great soul song. And nearly every song after that displays the same characteristics of the opening track, with bright synth patterns and high pitched picky guitars. It’s a kind of guitar tone that I feel doesn’t get enough love, and really only thrived in this era. I love how the vibe changes slightly once you reach the B-side. The music is the same, but everything gets a little slower and sexier. And on top of everything, Anita just happens to have one of the most lively and beautiful singing voices I've ever heard in soul music, and maybe just in general. And it goes pairs flawlessly with the sound of the record. This is soul music with real genuine soul.
Rating: 8/10
4
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Thu Jan 04 2024
Another Music In A Different Kitchen
Buzzcocks
I’m gonna be honest, I got a little confused when I saw this pop up. Name your band Buzzcocks, and you should expect me to be somewhat skeptical of what I’m about to listen to. But I’m always down for a little late 70’s punk music, so I set that initial skepticism aside. I was pleasantly surprised to learn that this is a fantastic punk album. I haven’t listened to much music that is just straight punk rock, but the one big one I have heard is the Sex Pistols debut. And I was by no means blown away by that album. This, on the other hand, feels more punk than that album ever was. Mind you, this only came out a year after Never Mind the Bollocks Here's the Sex Pistols. This is cleaner, more exciting, more interesting, and simply better punk music. Sex Pistols felt like they didn’t know what they wanted to be. They were trying to appeal to an audience they didn’t know how to appeal to. This group makes it clear what they intend for their album to sound like, and they do a damn fine job at it. This is written and formatted in the perfect way for a punk album. Short album, short track list, mostly short songs. It doesn’t feel bloated, and they don’t try their hands at any super experimental ideas, aside from one part at the end of Sixteen, but even that doesn’t feel out of place. They knew what they were capable of creating, and just stuck with it. Vocalist Pete Shelley has just the right amount of youth in his voice, and every riff hits. This really should have been the poster child for punk music moving forward.
Rating: 9/10
5
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Fri Jan 05 2024
#1 Record
Big Star
I’ve never heard an album that better encapsulates an entire decade like how this album does with the 70’s. This is a time capsule for an era. Not just the music, but life in that time period. This album really was a lightning caught in a bottle moment in music history. Screw genre defining, although this is very much a defining power pop album, this is an era defining record. And aside from a couple of songs, this is mostly positive and fun music. I always talk about how good simple music can be. Simple doesn’t have to mean dumb and watered down. But at the same time, this album is deceivingly simple. There is far more going on here than they initially let on. The best example is the vocal harmonies. They are absolutely gorgeous, and there were many moments that surprised me with how synchronized this band really was. Aside from all of the feel good upbeat songs with heavier hard rock guitars, there is a good chunk of deep cuts that are entirely acoustic. And I think they provide this record with a well balanced mix of sounds. The real highlight of these is Thirteen, which happens to be the biggest song from this band, and it has this great moment part way through where this guitar comes in, and since I don’t know much about music, the only way I can describe it is sharp if that makes any sense. You kind of have to listen to it yourself to hear what I’m talking about.
Rating: 8/10
4
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Sat Jan 06 2024
Stories From The City, Stories From The Sea
PJ Harvey
Yesterday I spoke about how Big Star’s debut felt like a defining record of the sound of the 70’s. I’ve never heard of PJ Harvey before, but this record, which came out around the turn of the century, feels like everything that 2000’s indie music was meant to be. I think I was slightly deceived by the opening track. It just came off as a little basic to me, but it picks up considerably going forward. The one thing that was immediately apparent is Harvey’s presence in the song. She is a great vocalist, but she is also a really powerful and evocative one. She somehow displays energy and lifelessness through the same delivery and cadence. Thom Yorke is even featured on two songs here, which obviously piqued my interest. His work on Beautiful Feeling is solid, and I like how much room he gives Harvey while he acts as simply just a backing vocalist. I wasn’t so fond of the other song, as his vocals are just as much the focus as hers are. And while I like the dynamic they have of going back and forth with one another, it just wasn’t as interesting as the previous song. You can definitely hear the Radiohead influences though, especially with The Bends, on songs like Big Exit, The Whores Hustle and The Hustlers Whore, and Kamikaze. This album’s theme is built on the months that Harvey lived in New York City and her love for that place. And while this is quickly made apparent from the title, you can really understand that love through the music. It’s the same feeling I describe when listening to Illmatic, and how that album was intertwined with Nas’ relationship to NYC. But instead of showing your respect for the place you originated from, it’s admiration for a place of new and unique emotions and experiences. Ones you have never had before, and will never have for the first time again.
Rating: 8/10
4
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Sun Jan 07 2024
The Low End Theory
A Tribe Called Quest
Of the big rap groups from the golden era in the 90’s, I feel like A Tribe Called Quest have always been one of the most underrated ones. It’s not like they weren’t popular in their time, because they were, and Q-Tip especially was a big figure in 90’s hip-hop. They just aren’t talked about nearly as much nowadays as some groups are. But that doesn’t change the fact that when they were in their prime, they were simply putting all other artists focused on jazz rap to shame. Jazz rap is a pretty blanket term. There are a lot of different sounds that can be categorized as jazz rap. But this album is simply the most honest jazz rap I’ve ever heard. And one of the only ones that is attempting to actually mix jazz and rap. What makes this immediately obvious is the bass lines. The record is covered in super deep, low bass sounds that sound straight from a live double bass. One song even features Ron Carter, a famous jazz double bassist. The drum beats are also very loose and use a lot of splashy open hi-hats. These elements give the album a warm and smooth texture, just like jazz. Q-Tip is pretty much the leader of the group, and by far the one you will be hearing the most on the album. And he has always stuck out to me as having one of the best voices of any rapper. Everything about this album is just chill. It seems like I’m undermining any complexity this might have, but this has a particular vibe, like a coffee date on a cool autumn afternoon in the mid-2000’s. And it’s great. When you need something laid back and easily enjoyable, throw this on.
Rating: 9/10
5
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Mon Jan 08 2024
Under Construction
Missy Elliott
I was fully prepared to not enjoy this. When your only exposure to an artist is a popular song you don’t enjoy, having to listen to the entire album that song is from might not be the most enjoyable experience. But after hearing Missy’s opening monologue on the first song, I realized that I was probably in for something good. This is the epitome of pop rap in the 2000’s. Unfiltered, vulgar, and undeniably catchy as all hell even if it isn’t perfect. Some didn’t exactly have this concept down, and it resulted in a lot of very generic and less than memorable music. This album is one of the more well executed examples. And although this is led quite a bit by Missy’s fantastic delivery and personality, I immediately became more interested once I learned this was produced by Timbaland. That man was the actual goat producer in the 2000’s. He carried so many artists, and his signature drum sound with those beefy ass kicks created some of the most iconic beats of the last 30 years. I spoke about it already, but the one song I don’t find enjoyable is Work It, and in turn it’s remix with 50 Cent. The content of most of the songs on this record is already pretty mature and sexual in nature, but this song is the most egregious example. It’s simply a little too much at some points. My least favorite part about the song is actually the reversed vocal sample. To be 100% honest, it sounds dumb. That’s literally it. I just think it’s a silly dumb gimmick for the song. Otherwise, most tracks are good, and cover a variety of topics like love, infidelity, and sex.
Rating: 7/10
4
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Tue Jan 09 2024
At Fillmore East
The Allman Brothers Band
Jam bands are a tricky subject. I’m someone who finds long songs to often be the highlights of a record. It’s where the artists often put the most concentration and creativity. But this is a live album. And so almost every song is a long one. That live format allows the band to go for as long as they want, and as long as their creativity can push them forward. And as a described, that limitless potential to just keep jamming is alive and well in these recordings. This is jam band blues at its most essential and perfected. It amazes me how well each of these members are able to read each other and keep playing so in sync without a single word being shared during the performance. They are actively reading each other’s minds and each other’s instruments. It is improvisation only seen in spaces occupied by jazz gods. And their skills are no joke. These guys are seriously next level. Duane is an incredible guitarist, and his brother Gregg is an equally brilliant organist, and has a powerful singing voice. Gives me super Hendrix vibes. My only complaints are that Stormy Monday feels a little lackluster compared to the rest of the album, and the last bit of Whipping Post drags on a bit longer than it should have, which is inevitable in a live jam album. But otherwise, this is fantastic, and if you are at all a fan of blues music, check this out.
Rating: 9/10
5
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Wed Jan 10 2024
Black Metal
Venom
This album is a strange one. And I’m having a bit of difficulty trying to express how I feel about it. This released during a very transitional period for metal music, and this album kind of represents that period as a whole. Its title inspired the namesake of an entire genre, and also supposedly inspired that same genre. And I’m not sure what to think. This is divided into two parts; Side Black and Side Metal. And so I expected a sonic difference with the songs on each sound. But there is very little difference as far as I can tell. I’m somewhat at a loss for where the “black metal influence” comes from other than the name. The characteristics of the black metal I’m familiar with aren’t present here. Much like the transitional period this was released in, the music itself feels very in between two worlds. The vocals are heavy, but not that low grisly growl that would become synonymous with hardcore metal. The riffs and drumming are fast, although the latter feels a little amateurish at some points. My biggest complaint is how lo-fi the album is. It’s mixed pretty poorly, and the guitars get kind of squandered by the drums and vocals. This was released even before Kill 'Em All, which whether you like Metallica or not, was a big album for thrash metal. In a way, I predicted what my thoughts on this would be just based on the year of release. Much like Vincebus Eruptum before it, which laid some of the groundwork for metal music as an entity, it’s very primitive and lacks the creativity and aesthetics that would cause metal to become a global phenomenon. Metal hadn’t exactly reached its genesis with this album.
Rating: 5/10
3
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Thu Jan 11 2024
(What's The Story) Morning Glory
Oasis
Brit pop isn’t a genre I can say I know anything about. My knowledge is very limited, and I know very few groups who led the huge push the genre got in the 90’s. But I’ve heard of Oasis. And I know just how big this band really was in their heyday. But I didn’t set my expectations at anything too high, simply because I didn’t know what to expect. The first thing I noticed was how much heavier it is. This album is loud. Like really loud. I don’t know if that’s a characteristic of the genre, or just the way they produced this, but it sounds a little muddy sometimes. But I can’t deny that Noel and Liam are extraordinary song writers. They know how to make an absolutely killer hook and chorus, and wrote some seriously infectious melodies on this record specifically. And the musicianship is definitely there. I just felt like certain songs were lacking in the same juice that made the highlights so good. Of course I have to talk about the big song. First off, I am very aware of the reputation Wonderwall has garnered for itself. Is it probably one of the most overplayed 90’s rock songs of all time? Yeah. But as someone whose exposure to popular music when I was younger was mostly through radio and songs my parents played, I didn’t hear this song ever. It is new to me. Which means I can enjoy falling in love with this like people back then did. Its reputation doesn’t change the fact that it is an amazing song, and is worthy of being as big as it is.
Rating: 6/10
3
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Fri Jan 12 2024
Pornography
The Cure
“It doesn’t matter if we all die”. That is the first thing Robert Smith says on Pornography. And what I way to start your fucking album. My first introduction to The Cure was on Halloween last year, where I heard Seventeen Seconds. A perfect album for a day like that. I really loved it. But I didn’t know how varied their sound would get from album to album. Little did I know what I was in for. Because that first line really reflects the tonal shift. This is intense. And that intensity is felt quickly. We have left behind the thick fog drowning out a rural village in Spain that Seventeen Seconds inhabited. This is heavy. This is brooding. This is dark. Not hazy, but sinking like a bottomless pit. There is less of a focus on rich, chorus soaked guitars, which means Robert feels way more present. And his voice has this ghastly undertone. Like a man who has witnessed the end of the world, and can do nothing but write down his thoughts. The one song I want to bring focus to is the titular closing track. From a pure music standpoint, it does the least to keep things interesting, especially considering it’s one of the longest songs on the album. But its haunting atmosphere and minimalism is a real expression of emotions. This is an album fueled by drugs, depression, and the fear of everything coming to an end for the band. And this song sets that fuel ablaze and burns it all away, and takes the darkness of The Cure with it.
Rating: 9/10
5
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Sat Jan 13 2024
Axis: Bold As Love
Jimi Hendrix
Say what you will about which guitarists are the best ever, but no one can deny what Jimi Hendrix brought to the world is remarkable. I don’t even know if I would consider him one of my favorite guitarists of all time, but I can fully understand why he is to some. He gave life to the instrument in a way no other guitarist ever has. And what he was able to create and achieve in just two years is astonishing. This seems to be considered the weakest of Jimi’s three albums, but the “worst” Hendrix album isn’t really saying much. This is still a great psychedelic blues rock album. It’s fun, bright, tasteful, and full of amazing riffs and licks. It also sounds really good for the time. Most bands weren’t making records that sounded this good back then. And this was still about a year before Led Zeppelin came out, which I would consider a turning point in hard rock history. Also absolutely have to mention Mitch Mitchell. A drummer who people don’t talk about much anymore, but who also had some insane chops. The perfect drummer to match Jimi’s energy. The A-side of this is pretty much perfect, and the B-side has some pretty good songs, but isn’t as consistent. This may not have the dynamics of the other two albums, and it’s also quite a bit shorter than the other two, but it’s still a good time, and not a horrible place to start for Jimi’s sadly brief career.
Rating: 8/10
4
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Sun Jan 14 2024
Live At The Harlem Square Club
Sam Cooke
It’s usually never difficult to talk about albums I love, and it’s usually never difficult to talk about albums I don’t like at all. It’s the ones that are very middle of the road, and rather uninteresting that are the hardest. It’s simply that when there is less to latch onto, there is less to write about. This live album somewhat falls into that category. It’s not bad, and I can think of positive things about it. It’s fun and wild, and Sam clearly had a commanding presence on a stage. The crowd is loud, and there are many times where they can be heard in the background, and where Sam even directly interacts with them. The band is also playing consistently energetic the entire performance, and Sam is very much in tune with the band. But that is pretty much where the positives end. Mostly because this album doesn’t have much to offer. I noticed just how quickly it moves from one song to the next. There is basically no breaks or pauses. And this album offers one kind of sound. So because of how fast this moves, everything sort of blends together, and I became a little bored of how monotonous this was by the end. This is still solid, but not an essential live album in any category.
Rating: 6/10
3
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Mon Jan 15 2024
Drunk
Thundercat
This is a soul album. But this is also a bass album. Thundercat makes bass music. Thundercat is a bassist. One of the most talented and impressive bassists of our generation. This has other instruments in it, but it is very much centered around his bass playing. This album has a beefy set of songs. It’s only a little over 50 minutes long, but it has 23 songs. This really strange length is due to the songs being very short on average. Like 1 to 2 minutes short. To me, it comes off as bloat. Because some of these are quick, that they make little to no impact on the overall album. They could have been left out, and it would be the same. They are basically interludes. Like does the 25 second long track I Am Crazy really need to be here? I was slightly disappointed at the number of songs that just don’t do anything. None of the features were all that exciting either. Show You The Way is fine, but Kendrick Lamar, Pharrell Williams and Wiz Khalifa don’t necessarily add anything to the songs they are in. Don’t get me wrong though, there are definitely some great songs. When the production is at its best, it has smooth and fast programmed drum beats, combined with one of the best bass tones I’ve ever heard. Thundercat also has a great voice. Them Changes is obviously a huge song at this point, but I still think it’s a classic, and it has one of the best uses of that iconic drum beat from The Isley Brothers. Parts of this album were underwhelming and a bit of a letdown, but I still found enjoyment in it.
Rating: 6/10
3
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Tue Jan 16 2024
Kind Of Blue
Miles Davis
If you couldn’t tell by now, I’m such a sucker for jazz music, it’s not even funny. I still have yet to find a jazz album I can say I genuinely didn’t enjoy. And I knew that I would eventually have to listen to this. If this list of 1001 albums is based on both popularity and how impactful and influential a piece of music is, there might not be an album more important than this one. I’m willing to make the claim that this is the most well known, recognizable, and important jazz record ever made. And it’s easily one of the greatest as well. I’m not the only one who believes this either. The impact this has had, on not only jazz, but the medium of music in general, is immeasurable. And it has rightfully earned this reputation. If this was an object you could feel, it would be warm and soft to the touch, like velvet. This is just about as traditional as jazz music can get, but that isn’t bad at all. This is by no means experimental, avant-garde, or hard to listen to. Anyone who even mildly likes jazz music will be able to appreciate this. And none of this would be possible if it weren’t for the indestructible foundation this was built upon. If you look at the line up of who worked on this record, it’s damn near flawless. What they were working with here was a combination of arguably the greatest jazz composer, bandleader, and trumpeter of all time, one of the greatest saxophonists of all time, one of the greatest jazz drummers of all time, and one of the greatest jazz pianists of all time. It may sound like I’m over embellishing, but I’m truly not. This was built for success. There was no way it could fail. This is the jazz equivalent of the 1995-96 Bulls season. If you like jazz, especially relaxing and simple jazz, and you have somehow not heard this already, please give this a listen.
Rating: 10/10
5
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Wed Jan 17 2024
Water From An Ancient Well
Abdullah Ibrahim
My theory continues to be proven true. Although this album isn’t composed by, or doesn’t involve anyone I’m familiar with. This doesn’t really seem to be well known or popular at all. Which, if true, makes me sad, because this is a seriously under appreciated piece of jazz music. The most interesting part of this album to me is how it manages to keep each song unique and slightly different, but also have everything still fit under the same jazz umbrella. Mandela is very fun and upbeat. Song for Sathima slows things down and is much more calm and serene. Manenberg Revisited gives Charlie Brown Thanksgiving vibes. Tuang Guru feels like Indiana Jones detective crime thriller music. Think Grim Fandango soundtrack. The title track, which is not on Spotify for some reason, and The Wedding get even calmer than Song for Sathima, but I don’t find them to be as interesting. The Mountain fits its title really well. It sounds like backpacking up a rural mountain in Thailand or something. Reminds me of a Studio Ghibli movie. And Sameeda feels like the music from an episode of Tom and Jerry. This is just as traditional and simple of a jazz album as Kind of Blue, but that doesn’t mean it doesn’t have the complexity. As I’ve already said, Kind of Blue is one of the most flawlessly crafted jazz records ever, simply because of who was apart of it. But the complexity and skill of those working on this record, while not 100% comparable, is still excellent. This is also a much more modern jazz record compared to the majority of the very popular ones from the golden age of the genre, which gives it a more refined sound.
Rating: 8/10
4
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Thu Jan 18 2024
Countdown To Ecstasy
Steely Dan
I’m pretty terrible at writing unique and original thoughts for these reviews. So I’m just going to regurgitate what I said for my first Steely Dan album. I’m truthfully never in a bad mood when I put these guys on. They radiate a kind of energy that brings joy into my life. But I still wouldn’t consider this their best work. I’m eagerly awaiting the day I get to talk about that particular album. But this is still just as good, if not slightly better, than the debut. This album was still successful, but didn’t create the massive songs like Can't Buy a Thrill did. Their debut was more of a blend of a bunch of different sounds, but this is a far more streamlined and by the books pop rock album. It works though. This is their sound, and they had it down from day one. Donald Fagen is also finally on lead vocals for every song, which is one of the vital decisions they ever made in evolving the band. I didn’t mind David Palmer, but Fagen is the voice of the band. The differences between this and the debut are pretty minimal. The gap was only a year, and if you enjoyed what the group created then, you will enjoy this. It’s just as catchy, and just as well written as their other work, but they have yet to reach the point of culmination in their evolution.
Rating: 8/10
4
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Fri Jan 19 2024
GI
Germs
I said not too long ago in a previous review that talking about really bad, or really good, albums is way easier. I’m not sure what it is, maybe I’m just naturally a negative person, but I can see the things I want to talk about forming in my head while I’m listening to an album I don’t like. Such is the case with this record. My issue with “hardcore punk” as a genre is that it often feels like it prioritizes moving as fast and as hard as it can without any sensibility. I understand why people like that. And I have a feeling this would work better in a live setting, when you can feel and see that energy first hand. But I’m simply not a fan of this lo-fi, poorly mixed sound. This is basically just a collection of mostly unrelated punk songs that are so short, I don’t even have time to figure out whether I like them or not before they are over. If I had the choice between an album filled with short songs or long songs, I’m picking longs songs nine times out of ten. I want to devote an entire section to that last song. Because when I saw a length of 9+ minutes, I got slightly hopeful. It’s almost ten times as long as most of the songs on this, so maybe it will be more interesting. Funnily enough, the longest song was the one I decided I didn’t like the quickest. The instrumentals are at least slightly more engaging. But the real issue is the vocals. I just can’t get over his vocal style. Mindlessly wailing and growling on a song doesn’t sound good to me most of the time. Especially not in this case.
Rating: 4/10
2
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Sat Jan 20 2024
Abbey Road
Beatles
So there’s this list. And there are only a couple albums that belong on this list. This list is solely for those that have acquired a cultural ubiquity in the music world. Dark Side of the Moon. Nevermind. Rumours. Thriller. Purple Rain. Almost everyone can agree that these are incredible pieces of art. And I believe it’s completely reasonable to include Abbey Road on that list. It’s a bit intimidating and challenging to speak about an album like this. Simply because what else is there for me to say? Any “original” thought I might have has probably already been spoken about before. And no opinion of mine is going to change the level this has reached. I think the easiest way for me to digest this is to take it on a song by song basis, which I rarely ever do, but for once I feel confident in being able to say something different about each song. Come Together has one of the best drum fills and best bass parts that Ringo and Paul ever wrote respectively, and is gloriously catchy. Something is probably George’s best song he ever made for the band. Frank Sinatra called it the greatest love song of the last 50 years when it came out. He didn’t even like The Beatles. 55 years later, I’m inclined to agree with him. It’s still one of the greatest love songs ever made. Hearing that metal clank on Maxwell’s Silver Hammer was a delightful surprise. Reminded me of how Electric Light Orchestra hit a fire hydrant for Mr. Blue Sky. Oh! Darling started off nice, but hearing Paul start singing with this growl in his voice made the song way more interesting. It works as a really good highlight of his vocal range and styles. Octopus’s Garden is one of the few songs written and sang by Ringo, and while I enjoy Yellow Submarine, Ringo’s songs are always a little silly, and this one is honestly better. I Want You (She’s So Heavy) has been my favorite song from the band before I even really liked their music. John’s writhing vocal delivery genuinely feels like a love you can’t get your hands on. I don’t care if the lyrics are too simple, because the way they come out makes up for it. It’s a legitimately heavy and bluesy song, and I fucking live for it. Here Comes the Sun might be the greatest pop song ever written, and is also in the conversation for George’s best song. No song expresses joy and happiness like that one does, and it will continue to be endlessly played in the summer, rightfully so. The vocal harmonies on Because are incredible, and learning that they were triple tracked to create nine individual voices singing at once is pure genius. The rest of the record is devoted to “The Long One”. An 8-track, 16 minute long medley of short songs. Golden Slumbers and The End are my favorites by far, but I like how simple and fun the stretch from Mean Mr Mustard to She Came In Through the Bathroom Window is. You Never Give Me Your Money is supposedly about Allen Klein, but I can’t verify the validity of this. I like the piano in the beginning though. Sun King has more triple tracked vocals, and Carry That Weight even features all four members singing. Her Majesty is a weird one, but it doesn’t affect the overall listening experience in any way. This is an enormous amount of nothing to write about one album. I didn’t even want to like this as much as I did. But I can’t sit around and pretend like this magnum opus wasn’t the absolute strongest way the biggest band to ever exist could ever go out. I know Let It Be came out after this, but I don’t care. This is the last Beatles album, and what a way to end it off.
Rating: 10/10!
5
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Sun Jan 21 2024
The Renaissance
Q-Tip
I’ve always said that Q-Tip has one of my favorite voices in rap music. He also happens to be a fantastic producer. And the dynamic he had with the other members of A Tribe Called Quest was second to none. So I was intrigued to hear what he would be capable of by himself. Safe to say I was not expecting something to this level of quality. But why should I really be surprised? This man has been one of the most talented MCs since the groups inception. This was released in 2008, just about in the middle of Tribe’s extended hiatus period, and there is a clear evolution of his sound. Although he was 38 here, he somehow manages to sound younger than he did on his earlier work. Even ten years after The Love Movement, age has not affected this man. And with this semblance of youth comes a new kind of production style. A cleaner one. A kind that is more adjacent to soul than jazz. And while I love the jazz rap work they did with albums like The Low End Theory, I welcome this new sound. And it pays off. Because every beat is amazing. I’m really fond of the bass lines and synth patterns here. It definitely feels like it’s taking inspiration from newer modern pop rap beats. Almost all songs are produced by Fareed, and he even samples great artists like Can, Jackson 5, and Steve Howe from Yes. I do have to give a shoutout to the song Move, especially the first part, since it’s produced by the late but great J Dilla. Even with age, Fareed’s lyricism, writing capabilities, and wittiness hasn’t changed at all. And every feature is stellar, especially the ones from Raphael Saadiq and Norah Jones. They provide a beautifully melodic twist to the slick instrumentals. Fareed even provides some singing himself, like with his vocal harmonies on Gettin Up. I was really blown away by how good this is. There is not one bad song. And although it might be blasphemy that I like this more than something like The Low End Theory, doesn’t change that those are still amazing records. This just happened to go above and beyond for me.
Rating: 10/10!
5
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Mon Jan 22 2024
The Rolling Stones
The Rolling Stones
The Rolling Stones were massive back in the day, and still are moving pretty smoothly now considering their age, because they knew how to market themselves. They got themselves out there, made huge hits, and dominated the rock world of the mid to late 60’s. Doesn’t necessarily mean I’m a fan of them though. I don’t really know, their music has never appealed to me, except for a song here or there. Most of my exposure to older music when I was younger was through my parents, and they rarely played the Stones, if ever. And I wasn’t expecting much from this debut album. I wasn’t even really disappointed that I didn’t like it very much, because I wasn’t expecting to like it that much. If you wrote down on a piece of paper what you thought the self-titled Rolling Stones album from 1964 might sound like, you could probably guess pretty easily. Think of any song from them from this era, or really any mid 60’s rock and roll song, and you have the sound of this album. It’s just very run of the mill, and very plain. There are some good things. I can appreciate some of the guitar work. I Need You Baby reminds me of How Soon Is Now? from The Smiths. And I’m also a sucker for stuff containing a harmonica, so they get some bonus points for that. This also sounds pretty good for the time period. Not sure if I listened to a remaster, or if it was the original mix, but either way. Not exactly the best introduction to the band, but I can only hope their more acclaimed albums up the ante a little bit and are more engaging.
Rating: 5/10
3
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Tue Jan 23 2024
The Soft Bulletin
The Flaming Lips
The Flaming Lips are a band I have been interested in for a little while now. Simply because any group that is willing to push their own boundaries and try new things without fear of it not working or not being friendly for commercial success has my upmost respect. This album is probably the best place to start. And if you have any curiosity for this band, please give this a listen. This is by far one of the most unique listening experiences I’ve had of any album on this list, and really of any album ever. This is so wildly its own thing, and sporadically so many different things at the same time. So many textures. So many sound profiles. It takes effects created digitally and through guitar pedals and pushes them to their absolute limit. But they still come out sounding massive, and not very muddy in the mix. I urge you, if you listen to this, to experience it with the best set of headphones or earbuds you can. It’s important to take a step back at some points, and really envelope yourself in this sound. Although it can be hard and make it feel like your head is spinning, try to focus on individual elements of the meticulously constructed music. They also absolutely mastered the fuzz and distortion effects. I don’t know if any album uses it better than they do here, except for maybe Siamese Dream. Listen to songs like Race for the Prize or A Spoonful Weighs a Ton and try to tell me that ridiculously full and crushing mix isn’t incredible. This album is also beautiful. There are so many awe-inspiring moments of gorgeous orchestral strings or vocal harmonies, or even electronic drum beats. This is a melting pot of modern progressive psychedelic music at its absolute best.
Rating: 9/10
5
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Wed Jan 24 2024
Dookie
Green Day
I am by no means a fan of pop punk. Put on something like Blink-182, and you most likely won’t catch me singing along or head banging to the music. Simply not my era. This may seem stupid, but I’ve always seen it as a little cheesy. But that doesn’t mean I don’t respect a band like Green Day. I can admire the success they’ve had over the years. Some people not so much. I understand the gripes that people can have with this group. It’s ok to not like a band after hearing it so much. But elitism is the most draining thing ever. Like yes, we are aware that you don’t think Green Day is “real punk rock”. And yes, we are aware that you think they are sellouts. But should you really care that much? Someone like me, who has very little experience with this kind of thing, can still find enjoyment. I always admire three piece bands, because it’s harder to pull off the same level of musicianship as some bands with double the number of members. Each person is Green Day is a talented musician to say the least. Especially Tre Cool. That guy is one kick-ass drummer, and I love when he is absolutely tearing it up on the kit. I found that the songs on here that are more contained and less wild are not as interesting. But there aren’t too many of those. Most of this is quick and loud, which I enjoy. I pride myself in having a good intuition. And I had this feeling from the start that by the end of this, I would be tired of it. You can kind of get a sense after 3 or 4 songs of whether or not the album is going to be repetitive. But to my surprise, this wasn’t as much of an issue as I anticipated. I was slightly fatigued by the end, but all of the shortest songs are saved until the end, so the fatigue was mostly balanced out. Green Day are huge for a reason. It’s okay to not like them, but it’s also obnoxious to tell every fan you meet that their favorite band are shitty sell outs. Am I glad this is one of only two albums from them on the list? Yes. But do I hate it? Not at all.
Rating: 7/10
4
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Thu Jan 25 2024
The Only Ones
The Only Ones
The most enjoyable experience when listening to music is discovering an album you know nothing about and being blown away. Like a diamond in the rough. That is very much the way I feel about this album. I’ve never even heard of this band before. And that’s disappointing. Because they deserve some serious recognition. It’s really remarkable how much more enjoyable listening to music can be when it’s genuinely creative. It was made immediately apparent to me that this was something special when the album labeled as new wave and power pop started with a song like The Whole of the Law. The saxophone caught me way off guard, and was absolutely the last thing I was expecting. And what impressed me the most was that each after that continued to be engaging and unique, and try cool ideas. I kept saying to myself “This can’t get any cooler”, but it just kept getting cooler. The fusions of pop with punk, new wave, and possibly even jazz is executed perfectly. I think the real driving force of this is the lead vocalist Peter Perrett. His achy and meek style of singing creates the image in my head of a frail young man sitting in the corner of a room and singing. But the lyrics are actually quite sad. It’s a mix of drugs, depression, and a longing for love. This is so much more sophisticated and impressive than I imagined a late 70’s power pop album could be. I wish I had heard of this earlier, but that’s really the beauty of this list.
Rating: 9/10
5
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Fri Jan 26 2024
Buenas Noches From A Lonely Room
Dwight Yoakam
I will never “get” country music. I’ve enjoyed some here and there, but I can’t understand how some people straight up live or die by that kind of music. And I don’t boast about my intuition for no reason. Because I saw this album this morning, and was able to tell from a mile away that I wasn’t going to like this. I couldn’t have predicted just how much I wouldn’t like it though. This is bad. That’s the least that I can say. When it comes to country music, there is a certain kind of very generic and poppy country that I really hate. And this falls in line with that. If you were to look up “free no copyright country background music” on YouTube, you would probably get something equivalent to this. It’s a total slog, and completely mind numbing. You couldn’t pay me to try and pick things that are different from song to song. The only mildly interesting piece of music here is the title track, because it differs slightly from the sound of the rest of the album. My biggest gripe with this is really the singer. This is gonna sound horribly mean, and all respect to this guy, because god knows I can’t sing the way he does, but this would be so much better if he just shut up. If this was an instrumental album, it would be bumped up a couple points. The root of all bad country music for me is almost always the vocalist. And on this, he hits these really awkward twangy high notes that grind my gears. If you don’t like country music, don’t listen to this. But even if you do like country music, you still shouldn’t listen to this.
Rating: 2/10
1
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Sat Jan 27 2024
Straight Outta Compton
N.W.A.
Gangster rap began in the 80’s. And although artists like Ice-T started the movement, it wouldn’t become the gold mine that it was until groups like N.W.A came around. For me, when I think of the essence of the genre, I think of this group. They are hailed as one of the greatest rap groups of all time for a reason. And their existence is vital to the evolution of hip-hop. If you want to talk about an album that is deeply entwined with the home of its creators, there is no better example than this. This not only speaks on the violence that surrounded Compton at the time, but openly embraces it. They were ready to fight back, they were rowdy, and they were rebellious. And they openly challenged you to try them. Groups like this, or like Wu-Tang Clan, had an ever flowing dynamic between the members that creates boundless chemistry. Something consistent that I noticed about the instrumentals is just how uniquely funky they are. They are built with lots of guitars and pianos, and of course they have Dre’s iconic drum sound. This also definitely has a very 80’s flavor to it. I was actually surprised by how good this was though, because I often find that the further back you go, the more inconsistent rap gets. But as an iconic group, and a substantial piece of the history of one of rap’s biggest sub-genres, this is a solid album.
Rating: 7/10
4
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Sun Jan 28 2024
Hunting High And Low
a-ha
You ever heard an artist that is almost entirely known for one song and one song only? It may sound like I’m describing a one hit wonder, but that’s not necessarily what I mean. a-ha isn’t a one hit wonder by any means. I’ve just never heard anyone refer to this group when talking about anything other than Take on Me. I’ve also never heard anyone talk about this whole album. I didn’t know this excited until today. In regard to Take on Me, I’m not a huge fan. I lob it in the same category as Africa by Toto, where it’s this hugely popular song I just don’t get. Although I don’t dislike Take on Me as much as that song. It’s catchy enough, but not amazing. The rest of the album though? Consistently pretty lackluster. This came out smack dab in the middle of the 80’s. And it had this goofiness to it that just came with the time period. The best example is the song Love Is Reason. Those horns make it sound like Mario Party mini game music. The instrumentals are just missing the essence that made other synth pop albums better. I can respect certain parts though, like the bass on Train of Thought, or how The Sun Always Shines on T.V. ramps up in intensity part way through. Also I’m just not really a fan of the singer. I’m no professional myself, so I really don’t have any right to critique how someone else sings, but some of the high notes he hits, like on Take on Me, sound forced and strained. This album is just a little rough around the edges. It feels over polished and is rather boring. And I can’t imagine anything of higher quality on future albums from them.
Rating: 4/10
2
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Mon Jan 29 2024
The Modern Dance
Pere Ubu
What the actual fuck? Those are the only words I can think of to describe this. Listen, I would consider myself a fan of post-punk. I love me some Marquee Moon or Remain in Light here and there. So I was intrigued when I saw this. But like a parent who found out their kid cheated on a math test, I’m not even mad, I’m just disappointed. There are so many things to talk about. Like how, for one, this barely feels like music at some points. There is a lot of really weird synth and guitar ambiance that feels like someone has pushed you off a cliff and you are just dangling by a rope. I can respect the fact that this is actually experimental in a way, but it doesn’t always make for very interesting and compelling songs. This feels like something a music nerd would tell a girl to listen to at a bar instead of whatever “shitty mainstream normie” music she listens to. Like “you don’t get it until you’ve heard it ten times all the way through”. Whatever Brian. It lacks a lot of conventional music things that exist to make music sound good. Which is cool if you are into that. But I’m not. This barely even feels like punk music. Even though Marquee Moon came out the year before this, I don’t think post-punk became something noteworthy until the years after this. Also I have to speak about the singers. This may sound dramatic, but I immediately hated it. Aside from parts in the last song, I can’t name one second of this where I thought the singer sounded good. In an album filled with some of the strangest choices in songwriting I’ve ever heard, he still manages to sound out of place. In a year where we got albums like Music for 18 Musicians, Hemispheres, Die Mensch-Maschine, and Ambient 1: Music for Airports, this doesn’t feel like it should be as liked as it is. But I guess that’s why music is subjective.
Rating: 3/10
2
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Tue Jan 30 2024
Amnesiac
Radiohead
I have been eagerly awaiting the day I would be able to talk about another Radiohead album. I can’t deny the genuine love I have for this band. Was I slightly hoping that it would follow in chronological order after The Bends? Yes, but I’m okay with it jumping this far. Though I will admit, this is probably the album from the group I am least familiar with. This album has this strange reputation, where it often gets chalked up to “just a selection of Kid A b-sides”. And I really wish it wasn’t that way. This album shouldn’t have to live in the shadow of its predecessor. But at the same time, I understand why people think that. This was recorded in the same sessions, and was originally intended to be apart of Kid A. And the sound is closer to Kid A than anything else they’ve made. But it also definitely has its own unique sound. Packt Like Sardines in a Crushd Tin Box comes off as one of their most overtly electronic songs. It feels metallic and empty, and Thom’s vocal performance is probably as monotone as he’s ever gotten. They have a serious knack for making tracks like Pyramid Song, and they nail it every time. This is just as good as anything on Kid A, and a fantastic song. Also they have always stuck out to me as masters of pacing. I can’t think of one song in their large discography that I believe is too long. I’m not sure how they do it, but they manage to shove so many ideas into such short songs. Pulk / Pull Revolving Doors might be their most electronic song, and kind of gets a bad wrap. But I actually kind of like it. It sounds cool. But it’s also weird for sure. You and Whose Army? feels a little anticlimactic, but I love how intense and powerful the piano is when it comes in. If we are directly comparing this to Kid A, I Might Be Wrong is basically the equivalent of The National Anthem. Knives Out feels like the antithesis of the problems with this album. Other Radiohead songs that sound like that would have some big explosive moment that makes the build up worth it, but that never comes. But Dollars and Cents feels like the polar opposite of Knives Out, where the build up does actually pay off. Morning Bell / Amnesiac is by all means a rehash of a previous song, but if there was any way that a band should remix their own song, it should be like this. The ornamental and orchestral sound is a breath of fresh air for this album. And Life in a Glasshouse sounds like what the band in a fucked up and decrepit jazz club in an espionage movie would play. This is not “Kid A Junior”. I find this to be more adjacent with the band’s darker art rock sound. Where Kid A confronts depression and anxiety, and is almost always melancholic, this is gloomy to the fullest extent. It is not their best work, and not one I come back to all that often, but it stands on its own perfectly fine, and definitely has some highlights.
Rating: 7/10
4
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Wed Jan 31 2024
Virgin Suicides
Air
Having the soundtrack to a movie and also having zero knowledge of what this movie or what it’s about is an interesting scenario. And if I had the time, I would have liked to actually watch the movie to see the way the music is incorporated into it. Because this is super cool. With a movie so focused on love and repression and the exploration of adolescence, its soundtrack should be able to convey those same emotions effectively. And for a movie soundtrack, this does a damn fine job at conveying the emotions without the movie having to be there. It’s so whimsical and warm. Every single song feels like it’s accompanying a dream sequence. For almost every song, I was thrown off by the way the chord progressions moved. If this were a painting, it would consist solely of different shades of red and orange. There was even a moment in The Word Hurricane where a lady started speaking. She finishes explaining about the definition of hurricanes before the last breakdown happens, and it just intrigues me so much as to what way that would be used in the film. For many of these tracks, it starts off a plain ambiance, and then launches into these really heavy and dramatic passages, like the guitar and bass synth on Ghost Song. But sometimes there isn’t ever a big climactic section, like on Empty House, where they just keep adding more and more waves of haunting organs and synths with this beating kick drum in the background. It’s a surprisingly intense album for how down tempo and slow everything is. Like whoever they got to do the acoustic drums parts on some tracks has some serious chops. And above all, it’s way more engaging of a listening experience than I anticipated. It stands proudly by itself even without the need of the movie.
Rating: 8/10
4
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Thu Feb 01 2024
Mermaid Avenue
Billy Bragg
I’m a serious admirer of Wilco, or more specifically Jeff Tweedy and their songwriting style. I may be biased because Jeff said he likes JPEGMAFIA’s music, but it’s also because I do have a lot of respect for him. I had no idea who Billy Bragg was, so I didn’t know what to expect from a collaboration between Wilco and Billy. Turns out it wasn’t anything super out of the norm for the band. It does sound a little bit more country-ish, but that could just be me. The thing that makes this album unique is the actual process of creating it. All of lyrics were written a long time ago, by another artist named Woody Guthrie, and they were given to the band by his daughter. So really this album is preserving musical history in a way, which I can respect. And the actual music is solid, considering Wilco are the ones behind it. My biggest gripe is Billy. I just don’t like his voice all that much. It fits the music, but something about it just doesn’t click in my brain. I obviously love Jeff’s voice. The only songs I really like are the ones he is the main vocalist on. Even though I like the actual music, the other issue I have is that it’s not very memorable. This is one of those albums where I pretty much forgot all of the songs after I was done listening to them. They are a little boring, and very basic, especially since Yankee Hotel Foxtrot came out only 4 years later, so I know the kind of excellence they are capable of creating. It’s too safe and simple for me, so sadly I lost interest pretty quickly.
Rating: 5/10
3
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Fri Feb 02 2024
It's Too Late to Stop Now
Van Morrison
Live music is one of the most beautiful and expressive forms of art I can think of. Going to a concert is an experience like no other. And sometimes the best way to fall in love with an artist is to just jump into a great live album. Such is the case for me with Van Morrison. I was already aware of who Morrison was before hand, but to dive into a huge live album like this as my proper introduction is kind of a big undertaking. And this makes one decision that leads to far more success than other live records. Although this is a collection of recordings from a couple shows, the selection of songs immediately makes it clear that this is not an album that finds comfort in one idea and sticks exclusively to that. This has enough dynamics and variation to keep things interesting. And god, can Morrison sing. He couldn’t have been any older than 28 or 29 here, but he has some real age to his voice. He sounds so much more gritty, like he has seen some things in his time. But his voice is glorious. And his eleven-piece band is fantastic and consistently energetic in every song. This has slower ballads. It has faster and more lively songs. It has covers. And it has some of the best highlights from some of his most timeless records. Plus they even get into some jamming on the longer songs. This is one stellar compilation of live recordings of an artist and his band at their absolute peak.
Rating: 8/10
4
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Sat Feb 03 2024
A Night At The Opera
Queen
Queen is one of the biggest bands in the world. Simple as that. There is no denying it. And I think they have every right to be. Every member of the band was individually an amazing artist on their own. And together, their energy flowed into the creation of some of the most lively and creative rock music of the 70’s, and possibly ever made. A Night at the Opera is probably their strongest work. It contains the most key elements of their music, and cuts out all the unnecessary stuff. I think you would be hard pressed to find any other kind of rock band that was making music as bombastic and theatrical as this is. It’s completely massive and magnificent, like an expensive chandelier, and they indulge themselves in this sound. They are not afraid to be so out there, so in your face, and completely blow your socks off with how over the top it is. Listen to The Prophet’s Song and try to tell me that the section where Freddie is just layering harmony after harmony isn’t completely unnecessary but totally needed at the same time. Freddie by himself is one of the most driving vocalists to ever live. His voice just floats and glistens like mercury (no pun intended), and he is stellar here. But so is every member. There is not one performance that falls flat. I also need to speak solely about Bohemian Rhapsody. Because I probably could have written an entire review of this length on that one song. I don’t care what anyone says. I don’t care how many times I hear it. I will forever love that song. It is the band’s magnum opus, and one of the single greatest rock songs ever recorded by. This album is a true rock experience. It wants you to know how much it loves itself, and I’m all for how wild it is. I’m not one of them, but theater kids will forever love Queen.
Rating: 8/10
4
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Sun Feb 04 2024
Pills 'n' Thrills And Bellyaches
Happy Mondays
Your first impression of an album is almost always the cover. So when I saw this egregiously colorful, vomit inducingly bright hodgepodge of what seems like old school candy and food wrappers, I knew I was in for something. I actually love this cover. It’s like a Where’s Waldo page. I can’t stop looking at it. This is like that CD you randomly find in a music store, and buy because you like to cover, but forget you own and never listen to. And it gave me an idea of what it might sound like before I had even heard a second of music. This is a product of its time in the best possible way. Released late into the first year of the 90’s, it seems as if they waited as long as they could and soaked up as much of the beginning of the era and the end of the 80’s as possible. This is so 90’s it would make millennials cry. From its cover art to its mix of acoustic and electronic drums to its jangly guitar riffs that are pumped so full of effects it’s almost like a shoegaze record. This has a song called Loose Fit for god sake, which is entirely a play on the trendy fashion style of the time period. And it’s just so damn creative. I was not bored for one second. It’s an album that totally warrants and deserves a front to back listen with no breaks. It’s not too long and provides a unique flavor of the same vibe with every song. This makes me want to throw on some baggy pants and skate around my neighborhood, but I’m not capable of doing either of those things, so this works. The worst part about this is that the title is Pills 'n' Thrills and Bellyaches and not Pills, Thrills and Bellyaches.
Rating: 10/10!
5
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Mon Feb 05 2024
Vulgar Display Of Power
Pantera
Pantera was one of the last artists I expected to see here. Metal isn’t exactly a very well represented genre on this list, which makes the few there are stand out. So I got excited to listen to this. Pantera was definitely a metal band I always wanted to check out. This album is fucking intense. I know, not saying much considering it’s metal. It has this incessant groove to it, which again isn’t saying much considering the genre is called groove metal. But every single song chugs along with these crushing riffs. And this groove is led entirely by Dimebag Darrell. Hailed as one of the greatest metal guitarists of all time, and rightfully so, he played the guitar with a power unlike any guitarist before him. Because all of the main guitar parts are very low, when he plays a solo, which is on almost every song, they are always very high and sharp, and they are glorious. Every other member is solid as well, especially Darrell’s brother Vinnie, who is a great drummer and matches his brother’s style perfectly. Anselmo is cool, but he does come off to me slightly as a bargain bin James Hetfield. And I’m sure Rex sounds great, but I can’t hear him in the mix. Like at all. If I can make out the bass on a Death record better than I can on this, that might be a problem. Just like the performances, the music itself is as solid as a brick wall. The sparing moments where it isn’t chugging along and is softer are nice, and still pretty intense, but I think this album is at its best when it’s going as hard as it can.
Rating: 8/10
4
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Tue Feb 06 2024
Bridge Over Troubled Water
Simon & Garfunkel
Simon and Garfunkel is such a silly name to me. But I only found out today that the Simon is actually Paul Simon. I don’t know how I never put two and two together, but here we are. I was fully ready to enjoy this. I like folk music. I had an idea in my head of what this would sound like, and I figured it would probably a solid experience. But these songs are really something else. Even if in the beginning I wasn’t super blown away by a track, by the end nearly all of them had won me over. I wasn’t ready for how ahead of its time and groundbreaking this sounds. But it all makes sense considering Paul Simon’s ambitions when it came to working in the studio. This album really says a lot about him, and knowing it was written pretty much entirely by him makes you realize how genius he really is. There is just so much beauty and so much orchestration at work here. These songs are calm and almost dreary with how serene they are. But they are also cheerful and leave me feeling good about the world. And some of these songs have such gorgeous moments. So Long, Frank Lloyd Wright specifically cut deep for me. There is just one particular moment where their producer Roy Halee yells, “So long already, Artie”. And knowing that this was their last album, and the tensions that were between them makes that song stand out so much to me. Paul and Art harmonize so perfectly, and this album just feels really special. It comes off as way more than just a folk pop album.
Rating: 8/10
4
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Wed Feb 07 2024
Ritual De Lo Habitual
Jane's Addiction
There have been very few times where I have been thrown off by music. But when it does, I would consider it a welcome surprise. It shows that the album actually had something going for itself. I really wasn’t familiar with Jane's Addiction in any capacity before this, but through this first listen, I have become both confused and very intrigued. From beginning to end, this is an incredibly unique and out there album. And I kind of have a love-hate relationship with it. Initially I wasn’t impressed by this sound. But it definitely grew on me as I heard each song. The vocalist is what really threw me off the most. I had to use Google to see whether he was a girl or not. His voice is just so young and high, that I was shocked. But that energetic youthfulness of it made the album more enjoyable in some places. And the songwriting feels unconventional in all of the worst possible ways and best possible ways. The best song is Three Days, which is also the longest, because it allows them to flex their abilities the most. I’ve said many times before that longer songs, when done well, are always beneficial to an artist in realizing their vision the best. I don’t like every song, but there are moments that feel like TNT exploding in my head, and I can’t help but admire the willingness to experiment.
Rating: 7/10
4
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Thu Feb 08 2024
Talking Heads 77
Talking Heads
I’ve been waiting for the day I finally got to talk about Talking Heads. And what better way than with the debut. I’m already quite familiar with this group, and still with each listen I am impressed and in love with their ingenuity and genuineness. They are a bit of a strange band. They took their sound they developed on this album and with each album added new additions to it to make it more complex and creative. So in terms of their discography, this is probably their most “normal” and simple record. It’s still out there and very much a Talking Heads album though. It’s still super funky and catchy. It’s still rooted in Indian, African, and Latin American music. And from day one, David Byrne was this freaky paranoid force to be reckoned with, and he truly led this band to the genius they achieved. But the other three are wonderful in their own ways. Especially Tina. The fact that she taught herself, and has been playing as well as she does from the very beginning is amazing. Of the golden era of Talking Heads, from this to Speaking in Tongues, this is usually considered the weakest of the five. Which I can understand. This is as plain as they ever got, and it doesn’t have as many of the groundbreaking ideas they pushed on their later records. But there are definitely still highlights. I consider Psycho Killer one of the most classic and catchy songs of the 70’s. They just needed that extra flavor and unconventionality to find true success.
4
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Fri Feb 09 2024
Close To The Edge
Yes
I say this a lot about many artists and many albums, but once I got The Yes Album, I eagerly waited, counted the days almost, until I was given the opportunity to talk about Close to the Edge. The Yes Album was my second review ever. It’s not great. But now, nearly 6 months later, I can form words in a way that can somewhat express how important this is to me. But I want to do something. I’m going to talk about each song in reverse order, starting with Siberian Khatru. This is most definitely the simplest and most rock forward song on the record. But that is not a bad thing at all. They manage to make it sound just as epic as the other two songs, and it still has one of the catchiest main riffs they ever wrote. It honestly makes me want to dance around furiously, especially with how the synth and guitar initially are synced up, and then break away to follow different melodies. Absolutely love this song for all it is. And You and I begins with Howe playing harmonics on a 12-string, and it instantly makes it clear that this song is a different beast. It’s so strikingly beautiful from the very beginning, and the way this song flows feels like the ascension to heaven after you have died. It’s serene and genuinely a very pretty sounding song, and is by far the least intense song on the record. But I just really love that section at the start. It’s so spacey, and I get this image in my head of Howe playing a 12-string guitar made entirely of glowing crystals. It’s so delicate it sounds fragile like glass. And then there is the title track. Of the numerous hundreds of songs I absolutely love, few can still to this day leave me as astounded as this one does. Even after countless listens, it still isn’t even close. If Wish You Were Here was the album that helped me ease into listening to very long songs, this song is the one that made me fall in love with them. I truthfully feel this is objectively one of the greatest, if not the greatest song ever written by any rock band. It’s both intense, but also gorgeous and magnificent in scale. It’s a multi phased movement of music that took me multiple full listens to fully digest. And every member of the band gives the best performance they ever recorded in their careers on this song, especially Wakeman, Bruford and Squire. The keyboard solo that happens after the church organ is my favorite solo of all time, and one of my favorite moments of music in general. I don’t necessarily believe in perfection, but Yes probably got closer with this one album of only three songs than any band ever did before or after them. It’s just another tier of genius, and I can’t even imagine being capable of creating something at this level.
Rating: 10/10!
5
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Sat Feb 10 2024
London Calling
The Clash
I thought I knew what London Calling would sound like. From the minimal knowledge I had of The Clash from Should I Stay or Should I Go, to the amazing spoof on Elvis with the cover, I was convinced this would a punk album for the ages. But I couldn’t be happier that it isn’t really a punk album. Punk is great and all, and there is plenty of punk music I enjoy. And while this may seem like a simple minded opinion, just straight punk rock has always felt a little one note to me. But when a “punk” album like this comes around, it’s much more exciting. They avoided making a one note album in the best way possible. The mixes of genres is excellent, and considering this came out at the tail end of the 70’s, this feels ahead of its time in many ways. Especially in areas like new wave and post-punk, where this excels at creating uniquely amazing blends of sound. All three vocalists have that slightly generic 80’s singing voice that always takes me a little bit to get used to, but I always end up loving it by the end. And for a double album, this surprisingly lacks almost any bloat, and doesn’t drag its feet in any particular area. It’s energetic, heartfelt, slightly weird and experimental, and just enough bonkers to keep me entertained. And there are just certain parts of songs I love, like the couple of sections where a saxophone or trumpet comes in from The Irish Horns. I will admit that the album falls off in consistency a little bit from Koka Kola to Four Horsemen, but it picks back up right at the end. Overall, this album tries a variety of different things. And they kind of hit it out of the park in every way. It’s so much more than a punk rock album, and definitely inspired the sound of many bands to come.
Rating: 8/10
4
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Sun Feb 11 2024
Giant Steps
The Boo Radleys
I saw the title of this album and thought, “Is this some sort of John Coltrane cover album?” I was about as far off as I possibly could be. I feel like these early 90’s shoegaze albums can be very hit or miss. Granted, Loveless came out in 1991, but that is most definitely an exception. This one though? Still pretty hit or miss. The track list is very back and forth between proper creative shoegaze bangers to these experimental psychedelic dream pop songs. And the latter tend to be far less interesting. But I can respect what they were going for. Plus I can definitely hear the influence in other albums in the same vain that I love, like Velocity : Design : Comfort. The vocalist reminds me of Elliott Smith. Like a lot. But I think most would agree that Elliott conveys far more emotion through his voice than this guy does. When this album is at its best, it highlights the best parts of shoegaze and dream pop music. Which, to me, is always the chord progressions. The way the melodies move in exactly the way I want them too, and move to the perfect notes is always so satisfying. The lowlights of this album are mostly underbaked ideas that didn’t get enough time. Ideas that I find their contemporaries pull off far better. There are good things to take away from this, just not really the album as a whole.
Rating: 6/10
3
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Mon Feb 12 2024
Picture Book
Simply Red
When I put this on, I immediately prepared myself for a rough ride. I figured this would be bad, and for some reason I wanted to hate on it. I think the consensus that it wasn’t amazing got to my head. But truthfully I just couldn’t hate this. This comes off to me like a more glitzy and glamorous Jamiroquai or Steely Dan. And I kind of hate it for that. But like I said, I couldn’t pretend to not like this for very long. I’m just a sucker for this sound, no matter who does it. And this does have some genuine highlights. The stretch from Jericho to Holding Back the Years is excellent. And the vocalist has some really great and powerful moments on here. This feels so smack dab right in the middle of the 80’s, which makes total sense considering the release date. This is a combination of many things, from the new wave influences, to even the title and cover art, which have a very artsy fartsy feel. I can understand why certain people would be put off and interpret this as rather pretentious. I find that there isn’t much to latch onto as an outsider. If you like this genre, you will find enjoyment in this. If you don’t, this isn’t going to change anything for you. It might make it worse, honestly.
Rating: 7/10
4
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Tue Feb 13 2024
I Never Loved a Man the Way I Love You
Aretha Franklin
I have somewhat of a cutoff when it comes to the year the music I listen to is released. Usually anything released before 1965 is entering dangerous territory. But there are many albums on this list that were released before then. So it has definitely helped me get out of my comfort zone. But I don’t generally love those albums. This album though? It’s pretty solid. Becoming aware of the power of Aretha Franklin was a joy. She stands out as one of the most commanding female vocalists of all time, and just one of the best vocalists in general. Look up any top female singers list, and she will be on it, and she will be high up the list. If she’s not, the list is objectively off. Her range and control of her own dynamics is incredible, and most of the noteworthy moments on this come solely from her. Her voice really is soul music personified. The instrumentals aren’t super crazy. Don’t expect anything very impressive or dense. They are mostly just there to give Aretha something to sing over, and nothing else. The one thing I find to be consistent with albums from this time period is a lack of memorability. Like, this album is good, and I am able to recognize that. It’s just that I don’t know if I ever see myself coming back to any particular song from here, because I don’t remember what made them good the next day. I would probably have to be in a very particular mood to find myself listening to this, and I’m not even really sure what kind of mood that is.
Rating: 6/10
3
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Wed Feb 14 2024
Elephant
The White Stripes
White Blood Cells wasn’t exactly a groundbreaking album to me. I enjoyed parts of it, and I understood the influence it had. It was just a very middle of the road garage rock album to me. But I also saw the potential there was. And I figured that if certain things were changed, I would probably like future albums from the duo better. I’m happy to say that Elephant is an improvement on their previous record in almost every way. White Blood Cells was a raw album, but I felt like it could still get heavier. And this record embraces that heaviness. It’s more intense, more raw, and truthfully the songwriting feels much stronger. I mean, the last album didn’t have anything like Ball and Biscuit. And no song portrays this change better than Seven Nation Army. I’ve never been a huge fan of this song, but there is no denying how much of a 2000’s rock anthem this was. And it sets this album apart from its predecessor from the get go. Jack White’s writing abilities are as strong as ever, and they make up for the lack of a bassist with some really dense and distorted guitar parts. I will also not tolerate any Meg White slander. If Ringo is able to get by and be referred to as one of the greatest drummers of all time, why can’t she? Just like Ringo, she plays all the right parts for the songs, even if they are simple and amateurish. They are still effective and still intense. Plus I think her drumming improved significantly since the last album, and she has some really great parts here. This really was the height of The White Stripes’ existence as a band. Not only did they improve their sound immensely, but they also continued to push forward a revived genre and created a massive hit at the same time. Basically any bands dream.
Rating: 8/10
4
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Thu Feb 15 2024
Traffic
Traffic
Well, you have to get a dud every once in a while. I’ve never heard of Traffic before. I’ve definitely been in traffic before, but I’ve never listened to it. I got slightly disheartened when I saw this was yet another 60’s folk and psychedelic rock album. I just get so drained from these sometimes. And they take up so much of the list, so I get serious 60’s fatigue. This does little to aid that fatigue. Just another very simple and rather boring album that keeps me less than interested. There are some mildly interesting highlights on here, but it’s only short moments where I see potential peeking through. I like the usage of the flute on some songs, but the flute always sounds good with this kind of music. Jethro Tull proved that. I can also hear some of the blues influences that Led Zeppelin may have taken for their first two albums, but the influence is very minor. To me, some of these songs just sound like far less engaging Hendrix jams. Except Jimi released 3 albums before this that are way better. Electric Ladyland came out in the same month, so this is about as close to irrelevant in the psych rock space as you could get for the time. This does nothing to differentiate itself from every album that sounds the same. You would be best to avoid this.
Rating: 4/10
2
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Fri Feb 16 2024
Marcus Garvey
Burning Spear
My understanding so far of the choices of albums that were selected for this list is that they were either influential in some genre or space, or they had some songs that became hits. But then there are some that don’t fit either bill. They just feel like they are being used to fill a gap of a genre that maybe isn’t represented very well on the list. Such is the case with this record. I will not claim to be a huge fan of reggae. Not one bit. It is a genre I truly never find myself listening to. But why waste a spot with an album like this, when you already have something like Exodus on here? It’s fucking Bob Marley. He represented reggae better than any other human who ever lived. I don’t hate this album. But let me put it out there that this is on here, and Discovery by Daft Punk isn’t. This represents the more chill side of reggae. And I just lost interest very quickly. All of the songs sound very similar. And although there is some underlying political messaging, this album doesn’t give me the desire to sit down and really dissect its meaning. This isn’t horrible. For a specific kind of person, like someone who enjoys reggae more than I do, this will probably hit in some way. Just not my thing.
3
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Sat Feb 17 2024
Rock 'N Soul
Solomon Burke
I’ve had Five Guys one time. And I found it to be very bland and boring, especially considering the price. I felt like there were just much better places to go to get burgers and fries for a much more affordable price point. Plus I could probably make a better burger myself for cheaper. Now why am I telling this story? Because this is how this album makes me feel, and I had no other interesting way of starting this. Now I’m not saying this album is overpriced. It didn’t cost me anything. And I’m not saying I could make something better than this, because I couldn’t. But what I am saying is that this album bores me. It’s incredibly plain, like a Five Guys burger. And why would I ever give this the time of day when there are way better rock and soul albums that pushed both of those genres to new heights. I gave this one full listen purely for the list and for the experience. I have the experience now and I don’t plan on ever wasting my time with this again. It sounds mean, and I’m probably being harsher than I need to be, but I just don’t enjoy these placeholder albums that are almost entirely lackluster and could be replaced with much better, more deserving records. Like I said in yesterday’s review, this is on here, and Animals by Pink Floyd isn’t.
2
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Sun Feb 18 2024
Done By The Forces Of Nature
Jungle Brothers
I’m gonna put it out there that I think the more aggressive and intense rap music is, the better. It doesn’t need to be those things to be good, but a majority of the greatest rap albums ever sound like that. This is considered apart of the daisy age of rap, where MCs were still inclined to stay away from vulgarity and have fun with it. De La Soul did it well. And a fair warning, I’m going to be making a lot of De La Soul comparisons. Because these guys sound like a discount version to me, even if they came out slightly before and were around at the same time. This mostly lacks all of the good that De La Soul had. All of the charisma and character is gone, and the sample selection and production is far less interesting. There are a few cool beats here and there though. The lyricism is alright. The best song, lyrics wise, is Acknowledge Your Own History, since it best highlights one of the better aspects of this album, which is how in tune it is with Black and African history. At the end of the day though, this is a disappointingly underwhelming album, especially for how important it is supposed to be in the timeline of abstract and jazz rap. And I can hear where this laid the groundwork in many places. But more often than not, it falls short of executing those ideas well enough, and leaves much for its contemporaries to pick up and move forward with.
Rating: 5/10
3
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Mon Feb 19 2024
Entertainment
Gang Of Four
“The Indian smiles, he thinks that the cowboy is his friend. The cowboy smiles, he is glad the Indian is fooled. Now he can exploit him.” That text is the first thing I saw on the cover before I even started listening to this. And what a way to get introduced to an album. I never realized how amazing it feels to listen to genuinely good music after not doing so for a while. In the words of Gordon Ramsey, “Finally, some good fucking food”. I love how unabashedly weird dance-punk tends to sound. This album is fun, but also weirdly professional, and definitely intense. And this is probably one of the best places to start as an introduction to the genre. Because other artists I love who have pushed the genre forward and modernized it, like LCD Soundsystem, clearly take inspiration from Gang of Four. The way the bass and guitars are intertwined with each other, and play over each other like a bundle of tangled up wires makes for a listening experience that is never boring, even if the album is slightly one note. But like I said, this is intense, but it balances that out really nicely by having a sense of lightheartedness. If you combined all of the best parts of Television and Talking Heads, you would get this album. The most directly intense song is the closing track, and it is both the best and worst song on the album. It starts off with this masterful distortion, and I really saw potential for a drop into a cool song, but it fizzled out quickly into mostly just talking with some bass and a repetitive drum beat. Not the best way to end the album, but overall this is a really well executed record that helped push the post-punk genre into an even stronger place. I stand by the fact that 1979 was a killer year for music.
Rating: 8/10
4
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Tue Feb 20 2024
Let's Get It On
Marvin Gaye
Much like Aretha Franklin, it’s so clear from listening to even just one song that Marvin Gaye was in a league of his own. And also much like Aretha, I think he has a permanent spot in the list of the best male vocalists of all time. If he isn’t on that list somewhere, the list is invalid by default. And what a stage setter Let’s Get It On is as an opening track. By far one of the most legendary opening songs to any album from the early 70’s. If you aren’t immediately in love with Marvin from hearing his voice, are you even human? It’s instantly accessible, and anybody can find enjoyment in listening to that man sing with the delicacy and power of one thousand other men. This album contains some of the most beautiful, intimate and emotionally driving soul music ever written. Every song is genius, and the band is excellent all throughout, especially when they bring in orchestral elements like the strings. It adds another level of sophistication that I love to hear in this kind of music. But really all of the highs on this come from Marvin’s singing. It is awe inspiring the things he was capable of writing and singing about at such a young age. Granted, he was 34, but there are people now at age 34 who wish they could be as talented as him. In his time, he created some of the most cherished and personal love songs ever, and they fill my heart with joy. It’s the kind of experience you will not find anywhere else in music.
Rating: 9/10
5
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Wed Feb 21 2024
Woodface
Crowded House
I mentioned in a previous review that I am not traditionally confused by music. Whether it be the genre, or just the execution and production style, I can almost always settle into something unless I just genuinely don’t like the music. But for this particular album, I am confused by myself. I am, to put it plain and simple, perplexed. Because there is one part of me that is disappointed in the lack of inspiration present in this. So many of these songs seem derivative of much I’ve heard before, and they feel lifeless in their execution. Imagine a less enthusiastic and less technically proficient version of The Police. But there is another part of me that enjoys what my ears are hearing. I feel like I was mislead by the opening song, because that is easily the most exciting thing going on here, and I hoped the rest of the album would follow that same energy, but it let me down slightly. All I Ask was definitely unexpected, but I appreciated the variety. The last thing I thought I would hear was a bossanova-esque song. Really the last couple of songs are where the album tries the most new ideas. And even though they show more emotion in the last minute of the closing track than on anything else, those songs still fall kind of flat. This is one of the most middle of the road records I’ve had to listen to so far, and I don’t love it. But I don’t hate it either.
Rating: 6/10
3
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Thu Feb 22 2024
Sex Packets
Digital Underground
Rap has seen many evolutions and changes within the last 40 years. And I era that probably doesn’t get talked about much, rightfully so, is the post-80’s/early 90’s rap you hear on an album like this. I’ve had almost exclusively bad experiences with this kind of music. One of my first truly negative reviews was of a hip hop album from this same time period. So I was apprehensive to say the least. But I won’t lie. I was surprised by this album. I could totally understand why someone would scoff at this. This is probably as horny and raunchy as hip hop can get. A concept album (I use that term loosely) about a fake sci-fi sex drug is not an idea everybody can get behind. I’m not even really behind it myself. But I find the creativity charming. Does this maybe sound like Fresh Prince background music? Yeah, a little bit. But some of the sample choices and the production style is actually more creative than I anticipated. I can always appreciate a Hendrix sample, and I was pretty proud for recognizing it on my own when listening to The Way We Swing. The way this blends funk and jazz with its sample is really cool. I think where my issues lie is in the length of the songs. Some of these are just a little longer than they probably need to be. Very few artists are actually capable of creating rap music that can go on for 7 to 8 minutes and not drag on even a little bit. The pacing is off in some places, but I enjoy parts of this because of how goofy and fun it is. I can get down with stuff like that from time to time.
Rating: 5/10
3
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Fri Feb 23 2024
Modern Kosmology
Jane Weaver
This list doesn’t have a ton of representation for 21st century music. There is a good amount from the 2000’s, but when talking about 2010 and further, the number of albums decreases significantly. This is easily the newest album I’ve listened to so far. But this album truly feels like an anomaly to me. I’m not sure where the author of the book could have found something like this. This artist doesn’t have a large number of monthly listeners. This album is relatively unknown. It doesn’t have a hit on it. It doesn’t even have a Wikipedia page. All of that adds up to what I would call a diamond in the rough. I respect anybody that is capable of putting an album together entirely by themselves. And this sound took a bit of time to grow on me initially. She really honed in on being very entrancing and meditative. This is one of the most hypnotic dream pop records I’ve ever heard. At first I thought that this choice caused a lot of repetition, and made for a lot of songs that never had much of a climax or big moment. But eventually I found comfort in just letting things play out and seeing what ways she experimented with her own sounds. Plus she has a solid singing voice, and she harmonizes and layers it with so many textures and chord progressions to create a really massive sound record. I love albums that totally fill my head with noise, and especially those that are able to do so even when I’m listening to it with a pair of cheap Apple earbuds. The best way I can describe this album is a tour through a botanical garden. But one that is made up entirely of digital art and computer programming. This might be the single least known record on this list. But often music like this that goes under appreciated is where the real gems lie.
Rating: 7/10
4
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Sat Feb 24 2024
The ArchAndroid
Janelle Monáe
Seems like I’m continuing to venture into the 2010’s. And this album in particular is one I have been waiting to get. I’ve heard such good things about it. And traditionally I try not to set expectations for myself with these records. But I couldn’t stop myself from expecting great things. It could have turned out horribly if I didn’t like this. But great things I did get. Truthfully I don’t remember the last time I listened to an album that left genuinely blown away in some places. This should be used permanently as a case study on how to properly blend genres together seamlessly. I find the sheer scope of this record hard to grasp sometimes. It’s so gloriously ambitious, covers so many different genres, and flawlessly brings them all together. I wouldn’t blame someone for thinking some of these tracks were done by completely different artists. The only thing connecting them is Janelle singing. Plus this a concept album, that is also apart of a series that has a story? I can’t even imagine the work that went into this, and I’m sure the story is great, but the music itself is so massive that I can’t focus on anything else. Records like this, Blonde, and The Ghost~Pop Tape that push R&B music to new heights are some of the most inspiring and creative pieces of music I’ve ever heard. This leaves no stone unturned, and is constantly doing something interesting. I mentioned yesterday that I love albums that fill my head. This is one of those. There is no negative space. It’s all taken up by something cool. I just love the vision of this. To conceptualize something like this, and actually put it out there as a complete work, and have it sound as good as this does is a miracle.
Rating: 8/10
4
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Sun Feb 25 2024
Pyromania
Def Leppard
Whether you like them or not, there are certain bands who were around and did the right thing at the right time. Def Leppard is one of those. Truth be told, before today I had never heard a song from this band. It’s possible that I might have been actively avoiding them, but that was probably back when I refused to give any music from the 80’s a chance. But I’m a different person now. And although their music might not be the most critically acclaimed when it comes to music nerds, people love this band. AC/DC falls into the same category. And I can’t deny the small part of my heart that has a real soft spot for this kind of music. Because when it’s done right, it hits in a way other kinds of rock just don’t. It’s basically guilty pleasure music. And I like this. Plain and simple. This is like if Bon Jovi was bigger and better in pretty much every way. More interesting music, less repetitiveness, more skill from the band members, and the lack of a voice that makes my ears bleed. I don’t think you should expect anything too complex or mind blowing. But I was actually surprised at the level at which they are playing at. Especially the drummer. This will also come into play in a future review, due to tragic circumstances that take place later in his life. This is some explosive, over the top 80’s rock music that borders on the theatrics of glam rock. If you like hard rock, you have probably already heard this. If not, give it a chance.
Rating: 7/10
4
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Mon Feb 26 2024
Shalimar
Rahul Dev Burman
I am befuddled. I am confused. I am disoriented. I am possibly even bewildered. There are a few albums that have made me really think as to how they could have made the list. And this is only the second soundtrack I’ve had so far. Soundtracks seem like odd albums to have on this list. Because what are they really essential for other than when you are watching the movie? But I’m just not sure what to say. I’m sort of at a lack of words. I would like to know how the author even found this and decided it would be a good idea to put in the book. Maybe the movie was some massive hit in Bollywood, but that means he must have seen the movie, heard the soundtrack and decided it fit the bill. It’s got no hits. And it’s not like it has had much influence on anything. This isn’t a well known genre for audiences outside of India. I’m not even mad this is here and other albums aren’t, like I am with other less than satisfactory albums. I just can’t fathom why. I guess I’ll admit that I do enjoy some of the funkiness and jazziness on a few songs. But there were just too many moments where I shook my head and thought to myself, “Am I actually listening to this whole thing right now?” But I refuse to back down and give an album up, even if I’m bored by it and not having fun. I understand how massive of an umbrella term World music is, and how does still represent musical history. But it doesn’t change the fact that this isn’t very good. Skip this. There is almost no reason not to.
Rating: 3/10
2
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Tue Feb 27 2024
Parsley, Sage, Rosemary And Thyme
Simon & Garfunkel
I enjoyed Bridge Over Troubled Water. I rated it highly. But I was also sort of marveled by it. It was just strange to hear folk songwriting on a level like that from any artist other than the obvious ones of the same period, like Nick Drake and The Beatles. There was obviously no way for me to know that I would be hearing another record from them so soon. But I was excited to hear what this very short outing would entail. Now I don’t think this is better than Troubled Water. But I can definitely still take a lot from it. This fully cemented for me how powerful of a duo Phil and Art were. A creative powerhouse of a lead songwriter combined with one of the most gorgeous male vocalists of the 20th century could never have failed. This is cheerier than what I’ve heard before, especially compared to a song like The Sound of Silence. I don’t think the variety of sounds you hear is as unique, so it feels a little bit flatter and more one-dimensional in some places. But I can still respect much of what Paul was going for here. I even like how things get a little fuzzy on A Simple Desultory Philippic. It’s the kind of short-lived switch up I welcome. The issue with starting at the so-called peak is that it can really only go down. But thankfully this isn’t too far of a departure from what made that first record I heard so good. It’s just a step in their evolution.
Rating: 7/10
4
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Wed Feb 28 2024
Nothing's Shocking
Jane's Addiction
It seems like I’m finishing up some artist’s catalogs on this list. I feel slightly fortunate that this is the last I’ll be hearing of Jane's Addiction. I admire some of what they do, but there hasn’t been one song that has really clicked with me. Before I ever heard Ritual de lo habitual, I only knew of this band from the first song on this record. It was sample by Death Grips in such an effective way that they made it sound like their own sound. But I’m not here to talk about Exmilitary. The first couple of songs gave me the impression this would be heading in a darker direction than their sophomore album. That’s not really the case though. This record feels hard stuck in the sound of “late 80’s pre-grunge heaviness”, mostly with the guitars and vocals. And yet the vocalist rarely feels like he matches the music he is singing over. It’s just too high pitched for me. I thought what made the first album I heard from them sort of off putting was this mildly experimental edge it had to it. And I thought them doing away with that would be the thing that makes it more interesting. But it just made it sound more stale. I can respect a band and not love their music. And this is a debut record. So it doesn’t have to be perfect. At least they improved slightly with their next release.
Rating: 6/10
3
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Thu Feb 29 2024
Music
Madonna
It has been a long while since I first heard Like a Prayer. I honestly forget Madonna exists sometime. But if you go back and look at that review, I didn’t not enjoy that album one bit. Safe to say those feelings were not a one time thing. I just don’t get it. And I could say that for a lot of albums I’ve heard over the last 191 days. But Madonna just doesn’t make sense to me. I’m going to say the same thing I said back then, because it still stands the test of time. Her music ellicits zero emotional response within me. Absolutely nothing. I feel lifeless when I listen to her music. What is the purpose of listening to music if that’s all I am able to take away from it? This is some of the most boring, bland, derivative and lackluster 2000’s pop music I’ve ever heard. What is she doing here than everybody else before her, and better at that? Even if this was considered “ahead of its time”, it would not be deserving of that title by any means. The autotune over her vocals on Nobody’s Perfect is enough to just throw the whole album out. Or the way the guitar is spliced up on Don’t Tell Me? Genuinely pissed me off a little bit. Such strange choices with the production and instruments that lack substance and stand as nothing but overly glossy and gimmicky pop trash. Keep Madonna far away from me.
Rating: 3/10
2
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Fri Mar 01 2024
Trafalgar
Bee Gees
If you have heard the Bee Gees before, you have probably heard one of four different songs. You could point a gun to my head, and I wouldn’t be able to name any song other than Stayin' Alive and More Than a Women. Critically it doesn’t seem like they are the most popular band. Commercially speaking is a different story. And I didn’t know they made music that wasn’t disco. But that’s probably for a reason. Their pre-disco soft rock music has sort of been buried at the bottom of the pit of seemingly endless amounts of soft rock bands. And I can understand why. In the competition for the best of the genre, they get the participation trophy. This album doesn’t stand out for much of anything. And any ideas they do pull that are mildly more interesting are still lackluster in comparison. It’s a surprisingly dark album, and more solemn than I imagined it would be. I can appreciate how often they incorporate orchestral elements. That separates them from their competitors slightly. But overall this is nothing special. The one song I do think is actually worth your time is the last one. Super emotional and powerful. They aren’t really known for this era. And I think it is for the better that this stays rather unknown, and we just stay listening to the hits. Because this strikes out pretty hard more than anything.
Rating: 5/10
3
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Sat Mar 02 2024
The Wall
Pink Floyd
I really wish I hadn’t gotten a Pink Floyd album so early on, because I wasn’t capable of really expressing my thoughts on music in a long form. But now I can. And The Wall is probably one of the best ways to flex that ability. Because this is a dense record. And it’s a long one too. The real question is whether this is an 80 minute long symphonic prog rock masterpiece, or a mess of half-baked ideas. I’m sort of on the fence. This is less another Pink Floyd, and more Roger Waters’ slam poetry turned into a rock opera concept album. Being a beefy 26 songs long, and also being a double album can definitely lead to some messiness. And messiness there is. The source material this is based on is messy enough. That source material being the death of Roger’s father at a young age and his constant feelings of alienation and anger around this time with the band and touring. He just wanted to isolate himself from the rest of the world. Hence, the wall was born, musically and metaphorically. Portraying himself through a fictional character named Pink (real creative), the essence of this album is the story. And because of this decision, I’ve always found this album has trouble balancing songs that exist solely for the purpose of telling stories, and the stuff people really care about. And the stuff people really care about is really worth caring about. Both versions of In the Flesh, all three parts of Another Brick in the Wall, One of My Turns, Waiting for the Worms, and especially Hey You, Comfortably Numb/i] and Run Like Hell are fantastic. Also The Trial, which I believe might be the most ambitious and outwardly theatrical the band ever was, and it’s fucking amazing. The other stuff though? Not so much. I just don’t have as much of an attachment to certain songs on. Tracks like Goodbye Blue Sky, Empty Spaces and Don’t Leave Me Now don’t even feel like they are made by the same band in comparison. Now granted, some of the songs are pretty short, and act more as interludes than anything else. Some of them are sort of cool, and lead to good transitions between songs, but other ones don’t feel the same. This album also made one thing very clear to me. David is by all means a better singer than Roger. It’s really not even close. Roger is totally fine, and has some super intense and powerful moments here and there, but his voice is far more inconsistent than his band mate. I don’t regard this album as highly as some people do. This has always been my least favorite of their near flawless run from 1971 to 1979. This doesn’t change how incredible and impactful those years were, and I still really love this, because I can’t deny Roger’s arrogant genius. But more often than not I’m going to Animals or Wish You Were Here before I go to this album.
Rating: 8/10
4
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Sun Mar 03 2024
One World
John Martyn
One thing I love in the challenge is when an album comes along and presents something that I’m unfamiliar with. It’s even better when I’m confident I’ve never heard anything like it before. That is a big deal on a list that is dominated by primarily 60’s and 70’s albums that occupy the same 10 genres. I can best describe this as sort of like elevator music? But it’s more complex and actually engages me, which elevator music isn’t exactly meant to do. Really the closest song to match that description is the closing track, but it’s genuinely beautiful. This is aided much by the addition of these really relaxing nature sounds, like waves and seagulls. I always love when artists add stuff like that to their music. And that song matches the cover of the album perfectly. The rest of the album has a jazzy, futuristic folk sound. This is the only kind of sound that really benefits from going all out on the glossy and atmospheric folk production. The thing that took some time for me to digest was John’s voice. It is very distinct. I don’t know if I have ever heard another vocalist sound so frail and ghastly. Don’t expect any moments of vocal power that blow you away. John doesn’t even sound like he has the strength to muster up the words that are coming out of his mouth. And yet such frailty creates an inherent serenity that I really settled into. This album seems very simple, and I think it might be an acquired taste. But under everything it seems like there is really a lot going on here.
Rating: 7/10
4
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Mon Mar 04 2024
A Short Album About Love
The Divine Comedy
Chamber pop is one of those genres that is very distinctly its own thing. Even if it borrows elements from many other folk-adjacent pop genres, when you put on a chamber pop record, you know what you are getting. And there have been people who have mastered this sound. Sufjan Stevens definitely comes to mind. So I was interested to hear what a different artist’s take on the sound was, since I have very little experience with it. And the title of this album does not lie. This is a relatively short album, that is entirely made up of love songs. Truth be told, these are probably some of the sweetest and most sincere love songs you will find from the 90’s. This is composed of very ornate and decadent sounding orchestral instrumentation, with building horns and swelling strings. But the addition of more folk and even soft rock guitars and drums creates a nice in-between. Honestly though, this isn’t as consistent as I would like it to be. Some of the songwriting feels plain in comparison to the more emotional and powerful moments. I also feel like the singers voice throws off the album a bit. It is another one of those voices that takes some getting used to, and I wasn’t fully there by the end. Because this is so short, it maybe doesn’t get enough time to really play around with its own ideas. But it also doesn’t overstay its welcome, so if you aren’t a fan of this sound, you won’t have to suffer for very long.
Rating: 6/10
3
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Tue Mar 05 2024
1989
Taylor Swift
Oh boy. I don’t think it really matters what I say about this. Because for some, it won’t be enough, and for others it will be too much. I can think of people I know personally who would not appreciate what I’m about to say. Even having this album still on the list is wild, considering the climate regarding her in the industry right now. You could maybe make the argument for this being the most polarizing album on the list altogether. People either absolutely love it, or can’t stand it. I honestly dreaded having to listen to this all the way through. I don’t want to force myself to listen to anything I’m not going to enjoy. But I pride myself in listening to every album all the way through. This album is massive. Straight up. There was at least five songs on here that I have heard multiple times in my life, almost always involuntarily though. And I’ll start by saying that Blank Space and Style are decent songs. More so the latter. But they are two of the many big hits this produced, so I would hope they are good. But truthfully everything else sort of blurs together for me. This is not a record I ever see myself putting back on. There is like a 0.5 percent chance of that ever happening, and I can’t even imagine what mood I would be in for that to happen. The way I see it is that when you have all of these amazing albums that exist in the same space as this, there isn’t any reason for me to give this my time. This divulges too much into modernized pop tropes that I am not a fan of, and I can’t force myself to like this. I fully respect Taylor’s hustle, because she has done her thing and I can’t bring her down considering the monumental and record breaking numbers she has achieved with her music. She’s bigger than I’ll ever be, but I do not consider myself a fan of her music. It’s nice to have this experience at least, because now no one can tell me I’m missing something.
Rating: 4/10
2
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Wed Mar 06 2024
69 Love Songs
The Magnetic Fields
I don’t know every album on this list. I try not to spoil too much of it for myself. But I know quite a few. And there was only one that I was legitimately dreading a full listen of. That’s this one. I was just hoping and praying I would get it on a day like Saturday, where I could just sit down for three hours and listen to it in one sitting. Unfortunately I was not granted that blessing. And so really the only way I was going to be able to finish the whole thing in time to write a proper review was to almost exclusively listen to this all day. This was a bad idea. I was torturing myself. This is basically three albums in one. And the problem is that even one of these would be too much for me. Nearly an hour is a lot of music. And before I had even finished the first one, I was already getting sick of this. Imagine Jeff Tweedy from Wilco said to the band, “Let’s take all of our scrapped songs and demos, good or bad, finish them, and make one big album”. Except throw out all of what makes Wilco so interesting. This has charming, comedic and lighthearted aspects to it. And they really weren’t lying. This is 69 different love songs. I can admire the creativity it takes to write nearly 70 unique songs about the same thing. And some of the songs do have great lyrics and meanings to them. But it sucks that I can’t remember any of it, because I turned my brain to mush with three hours of indie music. It is just too much of one thing for me. Some albums I will never listen to again because I really dislike them. With this, I will never listen to it again because I don’t want to put myself through that again.
Rating: 5/10
3
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Thu Mar 07 2024
The Nightfly
Donald Fagen
Listening to a member of a once famous duo’s solo music can be hit or miss. It would be like if you took one of the members of Daft Punk, and expected their music to be on the same level of quality as what they did with their partner. For some reason the name Donald Fagen didn’t immediately stand out to me. I knew I recognized it, but I had to look it up to realize he was one half of Steely Dan. At this point in time, they had been broken up for a little while. And I was interested to see how the music would sound with only 50% of the powerhouse that is Steely Dan. Fagen is pretty much the lead vocalist of the duo, so this is not lacking in the vocal department. And this sort of gives in to the synth heavy glitz of the early 80’s. But make no mistake, this still has most of the jazzy yacht rock goodness that their main stuff has. But I don’t know. Something about this feels like it’s lacking a lot of the creativity that Steely Dan has. It’s just more traditional and less engaging than their stuff together. Like much of their later work, this is still refined to the highest point an album can be, and has excellent production. They were perfectionists, and it shows. But I just don’t vibe with this as much as I do with their other records.
Rating: 6/10
3
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Fri Mar 08 2024
Home Is Where The Music Is
Hugh Masekela
And so the streak continues. The day I find a jazz album I don’t have a deep love and respect for is going to be an interesting one. It isn’t even a genre I actively listen to on my own time that much. But when I put it on and really sink into it, it hits just right. Sadly, I think I’m conditioned to look at an album like this, that I’ve never heard of, and that seems to be relatively unknown, and assume bad things. It’s a habit I’m still trying to break. But this was a pleasure to listen to. It has almost all of the things I look for in a solid jazz album. I love how long the songs. There isn’t one track that feels like it doesn’t get enough time. But they also don’t go for too long, which is nice, because this is around 75 minutes long. And the way the songs build up and down is perfect. They keep things interesting, and move from section to section very smoothly. And the band is fantastic as well. This might not have been released during the jazz golden age of the mid 20th century, so you won’t hear any big names on this. But every musician still has just as much musical prowess with their own instrument. And they each one of them gets ample time to show off their abilities. The drummer in particular has a great solo that takes up the majority of Blues for Huey. Overall, this album takes the best parts of jazz and fuses it with funk, soul and Afrocentric sounds to give it even more snap. Great stuff.
Rating: 8/10
4
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Sat Mar 09 2024
American IV: The Man Comes Around
Johnny Cash
Have you ever heard a voice that sort of left you in limbo? Johnny Cash did that for me. I’ve just rarely experienced something like it. The only other singer who has given me that feeling is Layne Staley. This album is proof to me that putting Rick Ruben on any project is going to improve it massively. This album was a huge comeback for Johnny, and it genuinely warms my heart that was the case. Because he deserved it, and to have this be the last thing he created before dying not long after is beautiful. And you feel that weight. This album is dark. It has an overwhelmingly heavy and foreboding sound. His voice resonates out into the endless cacophony of the universe, and he creates his own little world for 50 minutes. This is a double album of pretty much entirely covers. But if you want evidence on how to do proper covers, listen to this. Every cover becomes its own thing, and they are in no way derivative of the originals. To the point where Trent Reznor said Hurt wasn’t even his song anymore. Some might be put off by the simplicity of these covers. But I find it harrowing and melancholic in the most compelling way. The simplicity is where this album’s strengths lie. And on a gloomy, rainy day like today, I felt comfortable just sinking into the sound of this record. Don’t ever let your age determine what you can and can’t do. Because at 70, Johnny Cash created this. And that speaks volumes about what you are capable of creating even after you have been through everything life has to throw at you.
Rating: 8/10
4
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Sun Mar 10 2024
Copper Blue
Sugar
Rising from the ashes of hardcore punk and alternative rock band Hüsker Dü, which seemed to be quite well respected for the short time they were around, Sugar’s debut is sort of a departure from the work Bob Mould did with the previous band. I describe this album is Doolittle and Loveless, and their consequences. This is obviously not as rabid as Doolittle, or as crushingly beautiful as Loveless. But if you were to combine aspects of both of them, I feel like this is what you might get. I began my listen by thinking this would be a bad thing. But it really isn’t. This has some solid songs on it. But still overall a pretty average noise pop record that occasionally has some above average guitar work. It does sort of enter nearly indistinguishable lyrics territory, but you can still make out most of them. This is one of those genres, like mid century psychedelic rock, that I can see myself getting sick of. Because once you have heard a lot of it, you have heard most of it. There isn’t that much an artist can change to make it sound super unique. But when a band plays it mostly safe, and releases a satisfactory album that hits most of the right notes like this, I’m cool with it.
Rating: 7/10
4
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Mon Mar 11 2024
Songs In The Key Of Life
Stevie Wonder
Pure joy consumed me when I saw this pop up. To me, Stevie Wonder is the idea of a virtuoso in its most powerful form. Name something this man isn’t incredible at, except for maybe seeing things. But honestly, I’m calling bullshit on this guy being blind. I just hear so much about this album. The praise is utterly unending. And I got worried that maybe there was a chance I wouldn’t like it as much as some do. But that’s just not even the case. I can’t believe I ever doubted this gift sent from the heavens. I’m genuinely concerned for people who say they don’t like this. What is there to complain about? This is by and large, without a doubt, one of the most genuine, intimate, and inspiring explorations of human life as a whole. What a perfect title Songs in the Key of Life is. Soul music, and really music in general, was changed forever the day this released. It sounds incredible, wastes no time, and has an excellent amount of variation to keep things moving. This album is entirely in another caliber of excellence. Fuck it, Stevie created that caliber with this. I don’t want to make it sound like I’m overrating this to all hell. But I can’t not. I’m not going to deny this any bit of love it gets. How could I? I try to be fair and consistent, and rate things so that I can’t give an album a ten if it has songs I would personally skip on a full listen. But I’m throwing that out the window for this. I describe 10/10’s as masterpieces. This is a masterpiece. There are few albums to ever come out that qualify for masterpiece as best as this does. That’s it. Listen to this album, all the way through. You are lacking beauty in your life if you haven’t or refuse to.
Rating: 10/10!
5
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Tue Mar 12 2024
It Takes A Nation Of Millions To Hold Us Back
Public Enemy
When rap was finally beginning to form its own name, and groups like N.W.A were growing in popularity, N.W.A shot to the spotlight of the gangster rap movement that was less than satisfied with the current state of the world. I sometimes find it hard to speak about rap albums. Mostly because the content of the lyrics is what really matters, and I just don’t have enough time to sit down and digest those lyrics. With Public Enemy, you don’t necessarily have to read the lyrics to feel the energy. Imagine being strapped to a chair in someone’s dingy and dark basement and then being kicked and thrown around. That feels like the approach that these two took for the delivery. And even if, more often than not, Flav acts more as a hype man for Chuck, the charisma shared between the two is cool to hear. This album is politically driven and focused in its intent. Which is to make it clear how shit things are sometimes. I think where my issue lies in a lot of rap music from this time period is the production. Most producers were not creating as tight and punchy beats as you would hear in the 90’s and 2000’s. The drums are quieter, and the melodic aspects take more of a forefront. It’s not my favorite. This album benefits from having a really unique and varied selection of samples. Lots of funk and rock bits that intertwine with each other. There is almost always something going on. Even if I prefer what the genre would become rather than what it was at this point, this album has power, and showed people what rap could represent, and I wholeheartedly respect that.
Rating: 7/10
4
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Wed Mar 13 2024
Pelican West
Haircut 100
The hardest part about writing a review for an album is starting it. I’m not sure what to say to make this interesting, so I’ll just say that I thought someone describing this as “pretty boy pop” was really funny, but also surprisingly accurate. Quite a while ago, I reviewed an album by a band called Orange Juice named Rip It Up. I had a lot of admiration for that album, especially because it isn’t regarded as some sort of well known classic. I just couldn’t help it. The same thing applies to this album. Something about this kind of sound flicks a switch in my brain. Even if this album has one sound, they executed that one idea really well. And it resulted in a total vibe. This album has a real shine to it. It’s super funky and groovy, and those bits of brass arrangement are to die for. All of the percussion, particularly on the extended sections of congas have a wonderful snap to them. This is like the music equivalent to a bag of pop rocks. Small bands like this that drop one really strong project and then sort of fade into the never ending cycle of new artists are admirable and inspiring. Like Rip It Up, I can’t help that I love parts of this.
Rating: 7/10
4
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Thu Mar 14 2024
That's The Way Of The World
Earth, Wind & Fire
You know those bands that are best recognized for their greatest hits album? Like, unless you are a die hard fan, you probably aren’t familiar with most of their music past the most popular songs. Earth, Wind & Fire seems like one of those bands to me. But I respected them enough from the music I did know, like September. This is surprisingly another soundtrack album. Obviously, I have never seen the movie. But I can just imagine how much of a vibe the movie is based on these songs. This is grade-A, high quality disco music. I feel like you would be hard pressed to find another group who lived and breathed funk and disco grooviness as hard as these guys did. The only other ones I can think of that even come close are Kool & The Gang and Sly & The Family Stone. The 70’s were just the perfect time for this sort of sound, and this album transports me right back to that moment in history. Thankfully this is another one of those soundtrack albums where you don’t need to be familiar with the movie to appreciate this. It’s just some positive music that hopefully everybody will get a kick out of. But I was also shocked to hear just how skilled these guys really were. The bass lines are fantastic, the horns are snappy, and the vocal harmonies sound incredible. All together, they make one killer disco album that I totally dig.
Rating: 7/10
4
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Fri Mar 15 2024
Morrison Hotel
The Doors
The Doors is another band I got surprisingly early on. And I’m glad that was the case, because their debut was a fantastic record, no doubt. But it also set the bar very high, and I have yet to find a psych rock album from that time period that really comes close. I kind of forgot this band was on the list to be completely honest, so I was ready to hear more from them. I’m not sure what it was with bands in the 60s and 70s releasing a bunch of great records in a very short span of time. I guess all bands did back then was tour and record. But this only came a little over three years after their debut. It sees the band returning to form a little bit more than previous albums. And it works. The blues have not gone away, and now they have some small additions of jazz added in here and there. It might not have the jamminess of something like Light My Fire, or the experimentation of The End, but it still rocks just as much as anything else they’ve made. And every member is still playing at an incredibly high level. Especially Manzarek. I continue to be awed by his organ and keyboard skills. Jim is also just as powerful as ever. His voice is smooth like butter, but thick like gravy. And the raspy heaviness of it fits this more slightly more rock-oriented sound perfectly. I almost like this just as much as their first album. But I think that debut has the edge only slightly because of how solid of a breakthrough album that was. I’ve been on a very strong run of good albums recently. Not mind blowing. But just good, and I’m enjoying them enough where it isn’t leaving me always looking for more.
Rating: 7/10
4
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Sat Mar 16 2024
Deja Vu
Crosby, Stills, Nash & Young
I just want to preface this review by saying I was conceived before a Crosby, Stills, Nash & Young concert, so I think I’m pretty qualified to speak on this album. This is one of those supergroup bands that I don’t think you can really deny the excellence of. This is a total powerhouse of incredibly talented musicians that were as good as it got in their time. I had a moment when listening to Helpless, where I heard the singer’s voice, and thought, “Why does this sound so familiar to me?” And then I realize the Young is short for Neil Young, and everything made sense. This album not only boosted the careers of everyone in the band, but also stands as the best selling album across all of their careers. And for good reason. Because this is a classic. A revolutionary album of its genre. And a collective effort from some of the strongest songwriters of the 20th century. I don’t know if I have ever heard vocal harmonies on a level like this, except for maybe the obvious pick with The Beatles. Basically take any great traditional Neil Young album, and throw like 4 other members on top of it. This is just consistently a super warm and refreshing set of country folk songs. If you are at all a fan of this era of country music, or really just Neil Young, listen to this.
Rating: 8/10
4
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Sun Mar 17 2024
Devotional Songs
Nusrat Fateh Ali Khan
World music might be the least represented genre on this list. And I’m not necessarily complaining about that. It’s not a genre I ever find myself putting on because it’s what I feel like listening to in the moment. I feel the same about traditional orchestral music. I’m never really in the mood to throw on some Ludwig van Beethoven. That doesn’t mean this album is terrible though. I try to be as open to hearing new things as possible. And even if I didn’t love this. I still found things to take out of it, and it still stands as a unique experience. But truthfully I am in no place to really critique this, considering how little knowledge I have of the genre or culture this is from. Nusrat delivers some powerful vocal performances, and I can appreciate the complexity of some of the instrumentals. I can best describe this as like a combination of Pakistani jazz and classical music. Unfortunately that’s kind of where my observations end. This music is hard for me to attach myself to, and really get into, because there just isn’t much. It quickly becomes background noise that I have a hard time focusing on. I can’t think of a situation where I would recommend this to someone that I know. But it exists for a reason, because at least one person likes it.
Rating: 5/10
3
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Mon Mar 18 2024
Reign In Blood
Slayer
Getting a metal album on this is one of the best feelings. Not a super well represented genre on the list though. I love metal music, and I love exploring the ridiculous amount of artists there are in the space. In terms of a Mount Rushmore of thrash metal bands, Slayer definitely belongs up there. They are one of the most essential in the history and evolution of the genre. And Reign in Blood is usually considered the culmination of the best aspects of the band. This wastes absolutely no time getting going, and there is no stopping until it’s over. It’s a blistering collection of short and ferocious metal songs that pack a serious punch. The drumming and guitar work are just next level, and the speed they maintain is honestly awe inspiring. The vocals are a good mix of clean and rough. They sort of lie somewhere between James Hetfield heavy and Chuck Schuldiner heavy. And it does all of this in less than 30 minutes. It’s a powerful effort for such a short amount of time. But honestly I think the album suffers a little bit from being so short. For me personally, a lot of listening to thrash and death metal is what I like to call pattern recognition. I often have to listen to these songs multiple times to really get what makes them so good, because everything moves so quickly. And so when the majority of the album is composed of 1 to 2 minute long songs, I’m barely beginning to like the song before it’s over and I’m moving on the next one. This is why the first and last song are by far the best. They are the longest, and spend the most time really developing the riffs and rhythms. But this is still a fantastic piece of work from one of metal’s most foundational bands.
Rating: 7/10
4
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Tue Mar 19 2024
Fear Of A Black Planet
Public Enemy
Exactly a week after I heard their breakthrough sophomore album, I get the chance to hear the follow up. And I’m sure for Chuck and Flav, following up the impact that record had couldn’t have been easy. But I think what they did with this is exactly the direction they needed to move in. This album has made me realize something about hip hop that I think I always knew but was never 100% sure on. Which is how much my enjoyment of an album really relies on the drums. An artist once said to never mess up the drums, but I can’t remember who it was. Either way, they were totally right. This takes the already chaotic collages of different samples, and cranks it up to 11. There is such a huge variety of sounds going on at one time. It really is a marvelously produced record. And the beats are just all so killer. It’s the kind of aggression that I was looking for to really match the duo’s delivery. And said delivery is just as strong as it was on the last album. Plus, all of the controversy that was backing this album up only led to an even more intense theming. Even the name Fear of a Black Planet alone really sets the stage. It really feels like they just said “Fuck it, we don’t care if you don’t like us, we are gonna stick our dirty boots in your mouth, spit on you, and then use your complaints as a sample on the record”. It’s honestly the ultimate power move. I don’t know how I predicted it, but I had this gut feeling I was going to like this album a lot more than It Takes a Nation of Millions to Hold Us Back, and I was dead on. But I’m glad I heard the latter first, because this would have that seem even worse in comparison if the order was switched.
Rating: 9/10
5
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Wed Mar 20 2024
Elvis Presley
Elvis Presley
If there is an artist people give a lot of credit to that I could probably do with a lot less of in my life, it would be Elvis. If I never heard Elvis again for the rest of my life, I would not be complaining. I just don’t get it. People listen to Elvis in the 21st century, unironically? People are allowed to enjoy whatever they want, but those who live and breathe Elvis just confuse me. This happens to be within the top 5 oldest albums on the list. And this proves to me that the 50s were by no means a strong decade for music. Especially not in comparison to the stuff we would get only a decade or so later. This OG rock & roll genre just sounds like white people trying to jack all of the ideas that the African Americans came up with during the 20s and 30s. When they eventually ditched the roll part is when rock started to really evolve. Elvis is just the poster boy of this era. And I simply don’t like him, or his music. I find it to be very plain and uninspired. And it feels rather pointless when considering the heights that other artists were reaching even in the same year. I know people who love his music. And I’m sure they probably grew up around those who listened to it themselves as a kid, and also grew up around Elvis fans, and so on. My opinion is not going to change how eternal this man is as an icon. But that doesn’t mean I’m forcing myself to like his music. The best thing that came out of this is London Calling’s album cover.
Rating: 4/10
2
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Thu Mar 21 2024
Fire Of Love
The Gun Club
Speaking of mid-century rock and roll inspired music, it’s pretty funny that I get this the very next day after Elvis Presley. But what a difference it makes when you listen to someone who actually has some talent behind them. That might sound harsh, but this album just does a way better job with this sound than Elvis ever did. It has this unique fusion of early punk and surf rock, but still maintains that original 50s sound. And I can appreciate it. It’s a wholly unique combination of ideas I’m not familiar with. And yet, I’m still not in love with this. I think it really just comes down to me at this point. The riffs are energetic, but still tasteful. And the lyrics are The Velvet Underground debut levels of creepy and erratic. But what is it with male singers in the 80s all sounding really similar? It’s like country singers nowadays. Just not nearly as annoying though. This album simply feels a little unbalanced. Plays it too simple in some places, and goes for a real hail mary and falls short in other places. But I think there is still something enjoyable and valuable to take away from this. The album comes off as a little strange sometimes, but it embraces the weirdness pretty well all things considered.
Rating: 6/10
3
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Fri Mar 22 2024
Hejira
Joni Mitchell
Falling in love with an album that’s not on streaming is just the worst feeling. And the last time I remember wanting an album to be on streaming so badly was when I heard Exmilitary for the first time. But that album doesn’t hold a candle to this. I appreciated The Hissing of Summer Lawns. But maybe I don’t remember it sounding very similar to this. I thought of it more as a Steely Dan inspired singer-songwriter record. But if it did, then I was sorely mistaken in my score. Because holy shit. This is one of the most stellar pieces of music I have heard in a long time. If it isn’t obvious by the many albums I have given high scores to, I love jazz. And I love all things inspired by jazz. So the combination of her traditional folk sound with more progressive jazz elements is a match made in heaven. Joni just has a voice that speaks to my heart. She’s like a female Neil Young. I just can’t deny how warm and fuzzy their voices make me feel. And her uniquely creative style of lyricism makes for a handful of delightful moments. I was also really blown away by how elegant the production is. This album probably has some of my favorite guitar tones and textures I’ve ever heard. Those, put together with the very deep and full bass sound, creates this beautifully layered sound profile. I will admit that I’m guilty of not listening to the albums I say I love as much as I should. But this is one that I immediately wanted to put back on and dig into once it was over. I could also see myself falling asleep to this in the future, because it’s really relaxing.
Rating: 10/10!
5
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Sat Mar 23 2024
Violent Femmes
Violent Femmes
The last thing I expected from this album was a song I actually recognized. But I’m confident that I’ve heard Blister in the Sun somewhere before. Not sure where exactly though. I was genuinely surprised by how delightful and charming this album sounds. I have zero experience with folk punk. But it’s honestly a really intriguing idea. Taking all of the traditional aspects of punk music away, and essentially throwing out a lot of the intensity those things they create, creates a genre that is weirdly satisfying to listen to. Plus, it helps that the band is far more skilled than I expected them to be. This album sounds very much like a product of its time, right between the end of the 70s and the beginning of the 80s. But some of these songs wouldn’t sound out of place on a mid-2000s record. I think the thing that makes this album so enjoyable is just its willingness to bring weird. It isn’t afraid to be out there and try interesting ideas. This is such an unconventional sound, and I am naturally drawn to that. Not necessarily an album I would recommend to the average person, but more someone who can appreciate something more unconventional.
Rating: 7/10
4
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Sun Mar 24 2024
Zombie
Fela Kuti
Finally I have the opportunity to speak about Fela Kuti again. That first live album I heard nearly 200 days ago still remains one of the most explosive and energizing pieces of live music I’ve ever heard. Zombie does nothing to soil Fela’s image. I really had no doubts though. From the period of 1971 to 1977, this man and his band were creating nothing but straight bangers. And this album really acts as the culmination of those years, and a farewell to that band. I picked up pretty quickly that Fela plays far less of a role vocally on these songs compared to what I have heard of him in the past. But when he does have his moments, they are critical and absolutely excellent. This album acts as a scathing and meaningful critique of the Nigerian government, and the brutal dictatorship that was happening at the time. That alone makes this an incredibly important piece of Nigerian history, but the result of Fela’s words are tragic. Possibly leading the death of his mother and the destruction of his studio and commune by the Nigerian military, this record meant something. And none of that even speaks on the music itself. Which of course, is amazing. Fela really made me fall in love with a genre I never imagined I would have any connection to. And the way his band plays on this is pure love and life. I’ve said it many times, and I’ll say it again, I fucking love brass instruments. And when the brass sounds as punchy and snappy as it does on this record, it just fills my heart with joy. Fela Kuti is a wildly impactful artist in the musical and political history of Nigeria. And he helped tremendously with bridging the gap between the West and the East through his music. Imagine the Miles Davis of afrobeat. Breaks my heart that this is the last chance I will have to talk about him. And it saddens me that artists like Madonna have more of a presence on this list than he does.
Rating: 9/10
5
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Mon Mar 25 2024
Master Of Puppets
Metallica
Whether you think they have completely lost their touch and are long past their prime, or you believe they continue to do great things in metal, there is no denying the influence Metallica has had. Like it or not, they are easily the biggest metal band ever. It’s really not even close. And truthfully about a year ago I would have been apart of the latter crowd. I had a real distaste for Metallica. But I also wouldn’t have really called myself a huge fan of metal music. I liked stuff here and there. But now I find myself being able to sit down and appreciate the genre way more. One thing I took issue with on another thrash classic, Reign in Blood, was the length of the songs. They just weren’t long enough. This album thankfully doesn’t make the same mistake. It takes plenty of time to really pummel you with its ferociously heavy and fast riffs. But it is also really good at drawing itself back and getting more melodic, or even acoustic at certain points, and building up to something cool. Realistically, based on what they are playing, this was the band’s peak in level of performance. People love to give Lars shit now, but he is a fucking machine on this record. Each of the four members are firing on all cylinders. Unfortunately this was the last we would get to hear of Cliff, who took the band to the next level with his thunderous bass playing. I can no longer pretend that I hate Metallica. Because I don’t. I do really love a lot of what this band did, and their impact on metal music is so enormous. Metallica made metal normal and cool for a time, and Master of Puppets is a glowing example of their talent.
Rating: 8/10
4
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Tue Mar 26 2024
Head Hunters
Herbie Hancock
The streak continues. I was first introduced to the power of Herbie Hancock on In a Silent Way. And his electric piano work pushed that album to another level of perfection. So I was ready to embrace this record with open arms. Of course it didn’t disappoint. There really was no way it could. This is that sort of faster-paced rock influenced jazz fusion music that I really can’t ever get enough of. The way the opening track builds and each instrument gets added on, which eventually results in 15 minutes of near flawless jazz music. Or the woodwind intro of Watermelon Man. Or how Sly picks up the speed and is consistently moving forward at a break neck pace. I really love how this album paces and carries itself. Each element is so fine tuned, it sounds excellent, and it’s progressive in the movement of the instruments. With only four tracks, this is very close to being a near flawless jazz experience. But the last song brings it down slightly for me. The energy gets slightly less exciting. And while I’ll admit that it still sounds beautiful, it does dampen the mood a little bit too much for me. But even still, this is a marvelous piece of work. Even past the true golden age of jazz, Herbie proved that he doesn’t need those big names to find success. He was a pioneer of the post-bop style, led his own group, and created a masterpiece with them.
Rating: 9/10
5
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Wed Mar 27 2024
Spy Vs. Spy: The Music Of Ornette Coleman
John Zorn
I said “the streak continues” yesterday. And then the very next day the streak ended. I have claimed many times that there probably won’t ever be a jazz album I really dislike. And truthfully this album sort of proved me right, but it also proved me wrong. Initially, before I even started listening, I saw that this was listed as avant-garde jazz and grindcore. And I was confused as to how those two things could be even remotely related. I’ll go on record and say this is the single strangest album I have ever heard in my life. It’s avant-garde for sure. Possibly to the point where it’s almost unlistenable. Most jazz groups don’t have two drummers. This is the reason why. The first eleven songs of this record sound like the two drummers and all of the other band members are constantly fighting each other to see who can play faster and louder. It’s not the kind of sound you put on for enjoyment. It’s more often than not completely ridiculous. Then you get to the last 6 songs. Which fortunately takes a slightly less bonkers approach. It’s far closer to the jazz than I can actually appreciate. But I can’t say it really saves this album. I can recognize the skill it takes to play at that speed without it sounding totally amateurish. And even when the album is leaning more towards the normal side of jazz, it just moves too and randomly for my brain to process. Not a completely garbage album, but also not one that continues the streak in the way I would like it to.
Rating: 4/10
2
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Thu Mar 28 2024
Brothers In Arms
Dire Straits
Dire Straits is another one of those bands that seem to have so many popular hit songs that I’ve just never heard. I was vaguely familiar with who they are before listening to this. My biggest takeaway? Brothers in Arms is unfortunately more generic than not. For every song that really succeeds in doing something interesting, there is another song that falls short. The Eagles are an enjoyable group to listen to, but even I can admit they border on being a little too traditional for me. This album feels even more like that, just for a different decade and with more experimental edge. At least this band has a better vocalist that actually sounds unique compared to the rest of the 80’s male singers. What this album excels at best is creating some really great ambiance. The synth work is unexpectedly really admirable. Obviously you can’t really have a review of this album without mentioning what is objectively the best song. Even if you have never listened to the song yourself, I’m sure everyone has heard the intro to Money for Nothing before, especially with the legendary guitar solo in said intro. In an album filled with some duds, this goes above and beyond. I feel as if this album wants so badly to be something it isn’t. Some of these songs are so popular, and I’m just not sure why.
Rating: 6/10
3
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Fri Mar 29 2024
Junkyard
The Birthday Party
This happens to be simultaneously the worst possible introduction to Nick Cave and the best possible introduction to Nick Cave. Just one look at the cover, and you know this album is going to be anything but a normal album. And immediately from the first song, my suspicions were confirmed. This album sounds fucked up. It comes off as if it’s trying really hard to be as unappealing as it can possibly be. Totally ridiculous. Nick delivers vocal performances that rival the manic wails of a patient in Arkham Asylum. Fuck trying to be delicate. He just focused on raw power. The instrumentals on the other hand are the exact opposite. Really strange and abnormal arrangements. And for an album with such a flashy and bombastic looking cover, every song is forebodingly dark and depressing. The last thing this album manages to be is enjoyable. At least by the dictionary definition of enjoyable. And I sort of respect it for that. In a year where Eye of the Tiger was a song dominating the popular music world, something like this is refreshing. But I still have to judge these albums based not only on the impact they’ve had, but more on how they make me feel. This is still hard on the ears. And not something I envision myself coming back.
Rating: 5/10
3
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Sat Mar 30 2024
The Rise and Fall of Ziggy Stardust and the Spiders from Mars
David Bowie
When I reviewed Aladdin Sane, I took away enough to really strengthen my perspective on Bowie. A one of a kind artist is simply the only title I believe he is deserving of. His catalog, even if shaky and inconsistent in some places, contains some of the most solid pieces of true art created by a musician. And art is really the key word there. The Rise and Fall of Ziggy Stardust and the Spiders From Mars is the ultimate David Bowie album. The Bowie album to end all Bowie albums, and the one that is easily pointed to the most as proof of why he was so good. Compare this to any other artist making glam rock at the same time, even artists that David worked with himself, like Iggy Pop, and you will see why he was leagues above the competition. This album is the sum of the best parts of the overly indulgent, bombastic, and explosive approach artists often take to this genre. And it maintains itself as one of the most interesting and iconic concept albums on top of all of that. This is most obviously helped by Bowie’s character, that he brought to life with glorious passion. Starman alone should convince most of the intrigue of this record. It has possibly one of the catchiest choruses of any song released in the 70’s. It’s the definition of an earworm. Clearly Bowie is the creative star on this album. But his band is also excellent. Mick Ronson really gets to show off his abilities here. When speaking about Bowie, Ziggy Stardust is like a bigger diamond in a bin full of beautiful tinier diamonds. Even if you don’t fully love David Bowie, listen to this album. It is truly essential to rock history, and is a shining work from one of music’s most genuine creatives.
Rating: 9/10
5
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Sun Mar 31 2024
Haunted Dancehall
The Sabres Of Paradise
You know what I love? Deeply intricate electronic music. Especially that of which there is clear evidence that love and care was put into it. Long songs are common in the genre. And the best ones often warrant that length. But you know what I hate? Electronic music that just acts as mindless slop. It’s already a genre that receives enough criticism as is because people believe it genuinely lacks no substance. Show them this album and their brains might just explode. I need to sit down and have a chat with the author of this book. Because where does he find these dumpster fires? If someone recommended that he include this, they need to be slapped upside the head. This is just simply the most painstaking, boring and bland “IDM” I’ve ever heard. Fuck that genre label by the way. If you are trying to convince me this is “more intelligent” than other, better, dance music, you are an idiot. If the best song on your electronic record is a Portishead remix, and even that is still lackluster at best, you’ve got a big problem. My biggest issue is that nearly all of these songs long overstay their welcome. Even the slightly more interesting ones are still too long. The first four songs are barely even music. More just like noises. You can’t put reverb and delay on everything and call it a day. And then everything after that is just painfully boring. At least those songs tried something interesting, even if it still sucked. This just wants to be Kraftwerk so badly. And it fails miserably at even getting close to their level. Don’t listen to this. It’s utterly pointless.
Rating: 2/10
1
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Mon Apr 01 2024
Sail Away
Randy Newman
I can guarantee almost everybody has heard Randy Newman at one point in their life, whether they realized it or not. Even I was surprised to learn he was the guy behind You’ve Got a Friend in Me. But at the same time, I feel like I knew that at one point and just forgot. But it’s cool to see him included on this list, because I wasn’t aware of any of the actual music he made. In the span of about 20 years, he went from a regular songwriter and composer to the mind behind the scores of some of Disney’s most massively successful animated movies, and then some. It’s pretty impressive. But really, if you listen to his most popular work, the sound you hear on those isn’t too far off from what this sounds like. Just lots of soft jazz influenced pieces of orchestrated piano rock. Where this album excels at the best is either when it is at its most involved, and there are more parts playing at the same time. Or when it is the most stripped back. Often times this is just Randy playing the piano and singing. And this combination is really lovely. Randy’s got a great voice. Explains why that Toy Story song has remained such a nostalgic classic for so many after all this time. I don’t really know what this album is essential to, if anything at all. But it’s a decent time, and rather short, so there isn’t a ton for me to complain about.
Rating: 6/10
3
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Tue Apr 02 2024
Catch A Fire
Bob Marley & The Wailers
With the release of the Bob Marley movie recently, he has sort of re-entered peoples minds as a figure in music history. And no doubt, a lot of what people remember him for was the work he did as an activist for his country. He really was just an incredibly moving and inspiring person, and he gave so much for people to look up to during that time. Reggae isn’t necessarily my genre. Like it’s not something I actively listen to. And I liked Exodus. It didn’t blow me away, but it was still consistently enjoyable. Sometimes I think reggae is a little too consistent with its own sound, and a lot of songs end up blending together in my brain. But I think that can sort of be set aside when the songs sound as good as these ones do. Such a good vibe man. And I’m not usually one to use that term in like the generic hipster way. But if I was either high or driving, preferably not at the same time, this album would just feel so perfect. I can’t remember exactly if this is what Exodus sounded like. I feel like that album had a much more cheerful sound to it. But this record is the more chill and solemn side of reggae, and it sounds great. It never clicked with me just how good of a singer Bob was, which is kind of crazy, but he has some beautiful moments on this. And the backing vocalists also have some solid harmonies here and there. But this album is best late at night, cooling off on a summer day. I think it’s objectively just as good as Exodus, but I personally like it slightly more.
Rating: 7/10
4
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Wed Apr 03 2024
Green River
Creedence Clearwater Revival
The run that CCR had from January of 1969 to July of 1970 is the stuff of legends. I said the same thing in my initial review of Cosmo's Factory. And every positive thing that I had to say about that album still applies here. Except I think it’s somehow amplified ten fold in this case. John Fogerty seriously just had the formula down. People need to speak more about how much of a talent this guy was back in the day. He still stands as one of my favorite singers ever. He really is the ultimate blues vocalist, and is only rivaled by the likes of Jim Morrison and Jimi Hendrix. Every song on this album is good, if not great. And whether it’s the main guitar part, or John’s vocal delivery, each song has a specific moment or riff or idea that makes it stand out. The way John sings the chorus on Wrote a Song for Everyone is great. It sounds more like he’s saying “Wrote a shong”, and it gave me a good laugh the first time I heard it. It’s just like the most southern thing ever. When an album I love doesn’t even reach the 30 minute mark, chances are I would usually be asking for more. But with this album, I’m really not. And that’s not a bad thing. The majority of these songs are pretty short. And they are perfect that way. Great condensed bits of swampy blues rock. Give me a cigarette, put me behind the wheel of a 69’ Camaro, and play this album, and I just might take my draft letter and ship myself off to Vietnam.
Rating: 9/10
5
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Thu Apr 04 2024
I’ve Got a Tiger By the Tail
Buck Owens
Not every day can be good. I shouldn’t even expect every day to be consistently somewhat decent. There is always going to be a day or two where I have to listen to a stinker. But it doesn’t change how disheartened they make me feel. Some albums, much like today’s, just get me down. And they honestly make me regret ever starting this. There was a long period of my life where I didn’t know if I could name an album I had heard that was legitimately bad. This list has given me quite a few of those at this point. And this record is no different. If you asked someone to create the most generic and copy-paste country music ever, like something you might hear in a video game or kids cartoon, they would probably produce something close to the material on this album. It is so mind numbing that I can’t even pretend this didn’t completely go in one ear and out the other. In a decade like the 60s, where artists started to really push boundaries for the first one, this is just disappointing to hear. It just seems to lack any real substance or creativity. And I don’t really care how influential it might be to other artists of the same genre. Because this is still bad, and all of the other artists are far better. This is bottom of the barrel level country music.
Rating: 3/10
2
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Fri Apr 05 2024
The Chronic
Dr. Dre
“This should be played at high volume, preferably in a residential area.” In the same way that producers like Madlib defined the sound of 2000s underground rap, Dr. Dre absolutely pioneered the production style that would dominate 90s gangster rap. And the influence he has had on the genre as a whole is massive. From his founding work with N.W.A, to the numerous talented artists who got out into the scene because of him, Dre has definitely been around. Kendrick Lamar probably wouldn’t be in the position he is in now if it weren’t for Dre. His first album feels less about him, as he takes up very little of the spotlight. He stays mostly in his lane as a producer. And the beats are fantastic. Repetitive, but undeniably iconic. The moments here and there where he does get vocal are good too. The stars of the show are all of the other guests he features, mainly rappers like Snoop Dogg and Nate Dogg. Many people take issue with the content of this record. And that’s totally fair. It’s overly vulgar, violent, and in your face. And that was just the right thing people were looking for back then. Interludes aren’t usually a problem for me. The $20 Sack Pyramid is actually pretty funny. But why is it that both Dre and Biggie had interludes of them fucking someone on their breakout solo albums? Some people seem to think that once gangster rap started to gain prevalence around this time, true rap was officially dead. Granted, a culture did form around the themes of this kind of music. And there was less of a push for more abstract and jazz oriented rap music. But that doesn’t mean that gangster rap didn’t eventually meet the same fate, as people started to desire more sophisticated music that artists like Kendrick and MF DOOM would bring back. But none of that changes the fact that this is a quality west-coast hip-hop record, plain and simple.
Rating: 8/10
4
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Sat Apr 06 2024
Neon Bible
Arcade Fire
I wasn’t enamored with The Suburbs. I think they knew clearly what they wanted that album to be. But they just didn’t stick the landing very well. And it resulted in something that was more often than not dragging its feet and meandering around the same ideas. Fortunately, I think their previous album does a lot of things better. They definitely took too many steps back in the wrong direction for the follow up. Neon Bible is mostly more of the same from a musical perspective though. It’s nothing out of the ordinary for mid-2000s Arcade Fire. But it does so many things better to keep the album moving smoother. A shorter album overall, with a more balanced set of songs that don’t feel so dragged out and overdone. I still feel this band has one glaring flaw. Many of these songs reach what sounds like the beginning of a climactic moment. When everything comes together and makes all the build up worth it. And then it just never happens. Again, it’s that idea of meandering. This album isn’t as egregious with it as the other one was. But it still pops up here and there. I was ready to finish this off and keep it in the same regard as The Suburbs. But I’ll admit when I’m wrong. Because those last three songs really brought everything together, and made this feel like a complete package. I hear so much about Funeral, and if that record sounds anything close to the closing track on this, I feel like I’m in for a treat.
Rating: 7/10
4
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Sun Apr 07 2024
Will The Circle Be Unbroken
Nitty Gritty Dirt Band
I’ve had a real strange day to say the least. Sitting down and getting ready to put on a 2+ hour long country album was something I wasn’t sure I could handle or not. But remarkably, this brought a lot of comfort to me. It made me feel human. That’s a pretty crazy effect for music to have. Doesn’t mean it’s perfect though. Not really even close. In terms of country music, this is probably as true-blooded and close to country’s roots as it can get. It feels so authentic, and it’s the kind of country or bluegrass music I can fully get behind. This is also helped by the banter between band mates before and after many of the songs. There are some songs here and there that are fully devoted to just the group talking. And I love it. It’s just nice hearing them warming up and talking to each other. It sounds like the kind of life I would want. But this album is still very long. It borders in some places on feeling too long. This is the second longest album I’ve heard on the list, behind 69 Love Songs. But this album feels way more bearable than that. Besides that being nearly an hour longer, 69 Love Songs feels inherently more one-note than this album, even if instrumentally there is far less variety. Truthfully though these two records are about on par with one another. I just don’t think albums need to be this long. It causes me to burn out and get disinterested far quicker. I will always prefer a shorter album that is only as short as it is because that’s all the time they need.
Rating: 5/10
3
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Mon Apr 08 2024
The Message
Grandmaster Flash & The Furious Five
The roots of hip-hop go back farther than a lot of people think. I think it’s just because the sound of the 80s feels nothing like the modern forms of commercial rap people have gotten used to. And the only experience I’ve had with these roots was not positive. So I went into this album cautiously, but I also had more faith that this would be better in many ways. And I was right. This album is actually kind of awesome. This is the sort of music that deserves to be labeled as the origins of hip-hop music. The way it fuses funk with those early sounds is great. I mean, this was back when they still didn’t swear in their music. Times were very different. This album is also very catchy, and if you are at all aware of popular hits in today’s world, you’ve definitely heard It’s Nasty and The Message sampled in big hits before. But honestly they sound way better in their original form here. The musical diversity here is a lot more than I expected. Since I can only assume this was all recorded live, it sounds really good, and there is some serious talent working behind the scenes here. Plus I can respect how this experiments with some more quirky and fun ideas. Dreamin' is basically just a song fully dedicated to Stevie Wonder. And as a tribute to him, it does a surprisingly good job at sounding like something Stevie might have made, with some more 80s flare. You Are is the complete opposite. It’s almost entirely just piano and the singer, and repeats most of the same lines over and over again. But it shocked me with how beautiful it was. This should be regarded as a much better beginning to hip-hop than any Afrika Bambaataa record, simply because it’s much better.
Rating: 8/10
4
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Tue Apr 09 2024
The Slim Shady LP
Eminem
By the time The Marshall Mathers LP was out, Eminem had gained himself a reputation as one of the most controversial, but also one of the biggest growing successes, in modern rap history. And a lot of that album was spent addressing said reputation, mostly with the same aggressiveness and violence-induced rapping he was known for. Truthfully I’ve never been a big fan of his music. It’s the one artist people give so much credit to who I’ve just never been able to get behind and really defend in the same way his most devoted fans do. And I found most of the discourse surrounding his second album felt superficial. People just love to always be mad at something. But after hearing this record, it sort of started to click for me. The material here is vulgar, and borderline irate, to say the least. Nothing I can’t stomach. But I can admit it goes pretty far in some places. The best aspect of this album, as it is with his next album, is the production. Dr. Dre just doesn’t miss on the beats, and they are just as good on here as on any other record produced by him. This album has a very sick and twisted sense of horrific comedy. Like for example, the ad-libs on the songs won’t be like normal ad-libs, but more like weird screams and yelps, along with Em doing lots of dumb voices. There is also a concept with each song. And some of them aren’t done terribly. Like Guilty Conscience, where Em and Dre are like the angel and devil on people’s shoulders. Em is the devil, and Dre tries to be the angel. Or My Fault, which is about a girl taking way too many shrooms and getting really fucked up. I enjoy parts of this, but I think his next album beats this out slightly because the material of the songs is more serious, and doesn’t feel like it’s trying to be really outrageous just because.
Rating: 5/10
3
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Wed Apr 10 2024
Bubble And Scrape
Sebadoh
Every once in a while an album will come along that I’ve never heard of before that really surprises me. It’s not that common of an occurrence, which makes it all the more better when it does happen. This is one such case. I’ve never heard of Sebadoh before. I took one glance at this cover and assumed I was in for something pretty rough. But that is not at all true. The best way to describe this is the music that plays in the wet dreams of Kurt Cobain / Pixies fans. I believe this would probably appeal to most indie rock fans in general. I usually associate slacker rock and noise pop with bright tones and songs written in major keys. So that’s what I was anticipating. But this album is much gloomier and solemn than I was expecting. But it also has its moments where things pick up. Like imagine Tame by Pixies, just turned into multiple different songs. This was also far heavier than I was expecting. This doesn’t really fit the conventional definition of heavy music. But many of the main guitar riffs use these fantastic distorted tones. And some of the vocal performances are also super grunge inspired and intense. I was listening to Slipknot, and then I put on Telecosmic Alechemy, and I swear for like 20 seconds I thought I was still listening to Slipknot. I had to check to be sure. This album shocked me in many ways. And it stands out as a genuine piece of unique indie music that very few probably know about. Which is sad, since this deserves way more attention than it’s gotten.
Rating: 9/10
5
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Thu Apr 11 2024
Tanto Tempo
Bebel Gilberto
Man, Brazilians really just knew what the fuck was up back in the day. Not saying they don’t now, but either way. Bossa nova is simply one of gods greatest gifts to Earth. It fills my soul with an indescribable amount of joy. And when I saw this artist’s last name, I figured there was no way she couldn’t be related to João Gilberto. And fortunately she is. After listening to this album, it is clear that the father of Bossa nova passed down all of his genius and creativity to his daughter. Except she doesn’t just take her father’s success and make a subpar parody of it. She keeps all of the good parts of the genre, and enhances it with modernized electronic sounds. This album has a particular mysticism to it, due to the addition of a trip-hop inspired sound. And it’s executed perfectly. These two very different sounds are put together seamlessly. The only description I have for the way this album makes me feel is like happening to sit across from the most beautiful girl you’ve ever seen in your life on a train in Europe, Before Sunrise style. I myself have met people who are as beautiful as this music, but they are few and far between. This record just provided me with serenity and security. I feel everything is gonna be alright, and anything I’m having trouble putting past me now will fade into obscurity if I just put this on. And I totally believe it. An experience I think is worthwhile for everyone to have, whether they are familiar with this genre at all.
Rating: 9/10
5
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Fri Apr 12 2024
Dry
PJ Harvey
The queen of indie rock herself is back. And this time I got the chance to experience her debut 1992 record. Where Stories From the City, Stories From the Sea was a turn of the century exploration into Harvey’s love for the city of New York, Dry focused on love itself. But not the good parts of love. The nasty, complicated parts people don’t like to talk about because they make it seem less enjoyable. But music actually happens to be one of the best, and one of the most common, mediums of art where these experiences and emotions are spoken out and expressed. And Dry does an absolutely fantastic job doing so. And much of these feelings are reflected through the sound of the music itself. It seems like in the 8 years between this and her aforementioned album from the year 2000, her sound softened quite a bit. This is a biting and intense debut record. And of course because she excels in everything she does, Harvey sounds wonderful on this. Her voice is almost on the cusp of not being good, but she stops at just the right point, and has some powerful moments on this particular record. I love the way her voice rises on the chorus of Water. She really knows how to keep things balanced between simple and effective. Even after seeing the grunge genre label, I was still surprised at how heavy and punk sounding this album is. But it’s awesome. The riffs are nothing to scoff at. I find that she either goes for a more methodical style of grunge, like what can be heard in the early days of grunge on Doolittle, and just straight up bangers. Some of these songs go unreasonably hard, and I love it. The previous album I heard from Harvey proved to me the versatility of indie rock, and of course, further proved how underrated solo female artists like her continue to be in the music industry. What this album showed me is the versatility of Harvey herself, and deepened the love I already had for her. But hey, if none of that is enough to convince you, Kurt Cobain liked this record.
Rating: 9/10
5
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Sat Apr 13 2024
Blue
Joni Mitchell
Joni Mitchell really is one of those figures in music that has a certain undeniable coolness about her. I find it difficult to really discredit her music in any way. She was both very culturally in tune with the world at all times and way ahead of her time. Blue is often regarded as the shining example of Joni’s genius. It is the antithesis of what makes her career so legendary. This also happens to be a far less complicated and far more stripped back outing from her, at least compared to her works later in the 70s. This is a rather simple folk singer-songwriter album. But make no mistake, it is uniquely her own thing, and a sound only really she could pull off. Done entirely by herself, she really flexes her own abilities and put together an album that is incredibly consistent and cohesive in its own themes and styles. Created during the in-between phase of two different relationships with famous musicians James Taylor and Graham Nash, it explores love in its own melancholic and weirdly beautiful way. This is assisted by Mitchell’s often strange lyricism, which I have grown to really embrace and appreciate as a part of her character. I know this may be considered blasphemy by many, considering the reputation this album has, but I still enjoy Hejira more. Like a lot more. That record is wholly in a class of its own, but Blue does nothing to stain the incredible collection of records that Joni put together over the years.
Rating: 7/10
4
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Sun Apr 14 2024
American Idiot
Green Day
American Idiot is without a doubt the last piece of substantially good music that Green Day ever made. I don’t think it’s really debatable. This record, and most of the albums that came before it, actually had something going for them. Green Day, at least music wise, is now a shadow of their former self. And this album sits in a really weird place. Because it has most of the same sound as other big records they made like Dookie. But it’s also trying to be this rock opera concept album thing. Even with the cover, where it’s labeled “Green Day Presents American Idiot” instead of just the band name and album title. It’s like a pop punk opera. But that concept part doesn’t come through as well as I think they wanted it to. Aside from the two songs that are over nine minutes long, which are probably the best thing this album has going for it, these feels mostly like just another Green Day album. But that isn’t a bad thing. I think this sound has definitely grown on me since I first heard Dookie. Because I found myself actually really enjoying this. Maybe not something I would go out of my way to put on, but if someone else was playing it, I wouldn’t be mad at all. This just feels like a better written album than Dookie. It’s paced better, and actually balances a unique variety of sounds. Plus they use build-up much better here. Everything leading into the explosive drop on the closing track makes that song hit super hard. This also has some of their biggest and best hit songs. From a performance standpoint, I think Tre Cool, who is often the best part of a Green Day song, is held back a little bit. His parts aren’t as wild as their previous albums. But overall this album shocked me. I never thought I would sit down with an album from this band and come out of it so pleasantly surprised.
Rating: 8/10
4
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Mon Apr 15 2024
At Newport 1960
Muddy Waters
I do usually have a cut off point when it comes to how far back I’m willing to go with my music. But every once in a while, something predating that point will actually surprise me. It’s very rare though. This is simply one of the true to the name blues albums I’ve ever heard. The people playing on this just live and breathe blues. They have that stuff coursing through their veins. And I mean, when the guys name is Muddy Waters, what did you really expect? Anybody with the name Muddy means fucking business. This man is considered the father of Chicago blues, and I’m inclined to believe that. Disagreeing would be like saying James Brown isn’t the reason why funk music turned out the way it did. These genres would never be the same without these figures. He may not have the commanding power of James Brown. But this man sure has a voice to match. It’s like the precursor to the Hendrix style of singing. And the gravel adds a whole other layer of coolness to this recording. I could probably listen to people who sound like this sing on just about anything. Also shoutout to James Cotton, who is going absolutely ham on the harmonica the entire time. He really cares many parts of this. But most of the band is pretty great.
Rating: 6/10
3
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Tue Apr 16 2024
The Freewheelin' Bob Dylan
Bob Dylan
This is the first of many appearances that Bob Dylan will be making on this list. Whether that is a good thing or not, the influence of this one man is undeniable. Dylan became an icon of a genre, and more broadly an era as a whole. And I’m glad that I get to start with his “debut” album. I’m aware it’s not actually his first album. But it contains the first examples of real original material from him. And honestly I believe it he comes out swinging. Dylan immediately makes himself present as one of the most forward thinking and intelligent lyricists of his time. I don’t know if I like his music enough, or if I’m hipster enough, to say he’s the best of all time, but his writing skills are nothing to scoff at. You just never really know what he’s gonna say next. My personal favorite would have to be, “Half the people can be part right all of the time and some of the people can be all right part of the time but all the people can’t be all alright all of the time. I think Abraham Lincoln said that. ‘I’ll let you be in my dreams if I can be in yours’, I said that”. When your first real album contains a passage like that, it’s certified golden. Honestly, with all of the craziness going on both in my life and in the rest of the world, and also all of the very intense and loud music I consume on a daily business, it’s nice to tone things down every once in a while. I don’t listen to music so stripped back and intimate all that often, but it’s a welcome change of pace. This is about as simple as folk music can be. Just Bob, his guitar, and his loud ass fucking harmonica. Like really, how is that thing so loud? But it feels really good to hear something so chill. I think everyone deserves to spend 40 minutes of their day with Bob Dylan. It’s healing music.
Rating: 8/10
4
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Wed Apr 17 2024
Mothership Connection
Parliament
If you want to talk about defining a genre, have a chat with George Clinton. What a freakishly creative and talented person he is, and his Parliament group gave birth to so much amazing music. George is basically the Miles Davis of funk’s roots in the 70s, and he has definitely earned that title. I think the only people who put this on and don’t enjoy it in some small capacity probably just bang their heads against the wall for fun. This has every single thing a funk record should have, and more. Fucking Bootsy Collins for god sake. What more needs to be said about that man’s otherworldly bass playing? But every member holds their own with ease. George is such a flashy vocalist and band leader, and makes his presence immediately. Even with how amazing everything sounds here, if George was removed from this, it would definitely be lacking a lot of the character. But it sure isn’t. They managed to create some of the strangest lyrical hooks I’ve probably ever heard, but they are total earworms. They just get stuck with you. The synth work is incredible. The drums and bass sound better than records produced in the last 6 months. It still amazes me how many artists manage to regress in production clarity nowadays. This was 1975, and still sounds beyond its time. P-Funk exists because of these guys. The genre pretty much gets its namesake from them. And they really succeeded in creating a bombastic and spectacular set of futuristic funk bangers.
Rating: 9/10
5
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Thu Apr 18 2024
Moon Safari
Air
The soundtrack for the Virgin Suicides movie was an interesting one. And it was an album I had a difficulty approaching. I knew Moon Safari would show up eventually, and I was prepared to dive into a strange sounding world. But I still don’t think I could have prepared myself fully. This album is otherworldly in its execution. It’s one of those pieces of music that really makes you think, “How could people come together and just create something like this?” While their movie score had a more varied and progressive array of sounds to fit the moods of the different parts of the film, this album is much more consistent in its main ideas. It’s still definitely progressive though. This record sounds liquified. It moves with fluidity, and carries itself like one of those guys riding the clouds in Mario. It’s also incredibly peaceful. It is at no point in your face, or trying to force you to enjoy it. It lets you sit and really familiarize itself with the sounds you are hearing, and just float along with them. Imagine lying on your back in the ocean, but only far enough out on the shore so that the water comes about halfway up the side of your head. And you just sit there. For eternity. Letting the current delicately push you around. Nine times out of ten, this album sounds amazing. And beautiful at the same time. It is a masterfully produced piece of work, and really pushes the boundaries of ambient pop. Just more proof that even if they suck at everything else, French people know how to make great music.
Rating: 8/10
4
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Fri Apr 19 2024
Beauty And The Beat
The Go-Go's
It’s pretty rare to find an all-female band, especially on this list. And it’s unfortunately even more rare to find an all-female band that found real success. And yet, even when they do, I can go my entire life without ever hearing of them. Case in point with the Go-Go’s. We Got the Beat sounds vaguely familiar so maybe I’ve heard their music before, but the band itself was totally new to me. And here I am learning this is the most successful all-female band ever? And that this was one of the most successful debut records ever on release? Shows how little I really know. This is also labeled as a very foundational record in the history of American new wave music. And I can definitely hear it. It came out early on in the decade, and just about every good aspect of the genre can be found here. Also what was it with these punk sub genre bands having really great drummers back in the day? Joy Division was the same way. This is a short and sweet debut album that makes the most of the brief time it lasts. And these ladies knew how to write catchy and fun pop hits. It’s always a good feeling finding a really strong group of female songwriters. Because nowadays, and maybe even more so back then, they are few and far between.
Rating: 7/10
4
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Sat Apr 20 2024
Frank
Amy Winehouse
There are so many artists whose stories ended far too soon. Amy Winehouse is unfortunately one of those. It’s so unfortunate that all of the most beautiful and talented people face the most tragedy in life. But in reality that is what creates the best music. Amy’s debut is one that feels unfamiliar with its own sound, and yet aware of what makes a successful neo-soul album. I standby the opinion that anything influenced or directly related to jazz often benefits the most when they fully embrace it. Frank most definitely does. And god does Amy truly have a voice like no other. Her accent adds so much to her character, and she just sits in a league of her own. But the music itself is equally as interesting. The vocal jazz live band elements mixed with electronic trip hop drums id a match made in heaven that is hard to do wrong, unless you just happen to have no knowledge on making music. The topics and themes of Frank aren’t as personal and serious as those found on Back to Black. It’s less focused on herself and her own struggles, and more on the people around her and the things she has experienced through love. But really she could be talking about anything and it would sound good. She just had a knack for worming her way into your brain with her voice. And it breaks my heart reading about all of the things she was put through. Now it seems like all they can do is profit off of her death, especially with her new movie coming out soon. Talent like this that the world loses needs to be left alone and at peace.
Rating: 7/10
4
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Sun Apr 21 2024
Hypocrisy Is The Greatest Luxury
The Disposable Heroes Of Hiphoprisy
The beauty of hip-hop as a genre is the amount of avenues it can create. Production wise, it is as blank slate as music can get, and can be influenced and mixed with so many other sounds. And really, of all music genres, it takes the least to get started in. There is less equipment needed to jump start a rap career than something like rock or jazz. But at the same time, the actual creative process requires more creativity than most genres of music. Anybody can pick up a guitar and learn to play. But not everybody can become Jimi Hendrix overnight. Anybody can pick up a pen and start writing lyrics and ideas. But not everybody can become Kendrick Lamar overnight. I think that is the antithesis of where this record succeeds and fails. Immediately, from the cover, to the title of the songs and album itself, it is apparent what kind of record this is. And if you have any experience with Public Enemy, the moment you turn on the first song, you immediately feel the influence. I don’t want to be mean, but this album wants to be Public Enemy so badly it kind of blindsides everything else. In some places, it falls short of even reaching that level, and lacks any of the character that the duo had which made them so popular. But in other places, Michael Franti, who is the main one behind the scenes here, and the only voice you will hear, actually flexes his abilities. His flows are weird, and the beats are equally as strange to match. This is by all means a politically charged album. Maybe even as blatantly so as something like Public Enemy. Except there is an issue. Michael doesn’t pull it off as cleanly. It’s not necessarily that anything he’s saying isn’t still true. Because there are plenty of topics he brings up that still have relevance today. It’s just all been said before by other people. And said more convincingly and effectively. You can’t just come out and be like “television is bad for people” and expect it to hit the same. This is the only album they ever released, and really the only noteworthy release of Michael’s career. And I sort of understand why.
Rating: 6/10
3
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Mon Apr 22 2024
AmeriKKKa's Most Wanted
Ice Cube
Yesterday I spoke about a hip-hop album that didn’t know how to fully embrace its inspiration and become its own thing at the same time. Today I listened to the opposite. By 1990, Ice Cube had already proven himself. N.W.A were still technically together, and they had brought a huge change to the culture of hip-hop and the way it was ultimately received by the public. That context is important. Because it makes up the backbone for much of this album’s material. Ice Cube just didn’t really care, and he wasn’t going to let people judge his music without saying something about it. Many of the songs on this album directly tackle the criticism that he and his group were facing. Gangster rap was starting to become more common place in the mainstream, and people were not happy about it. But that doesn’t stop this album from being just as in your face, intense, and vulgar as other stuff they had put out. Except it might not be on exactly the same level. Because something feels missing. Maybe it’s just the result of Cube being on his own, but there is a certain power absent from the sound of the album. The beats are still great though. Dr. Dre may not be on production. But Da Lench Mob does a great job, and almost reaches the same heights. I might just be misremembering what Dre’s production really sounds like, but these instrumentals definitely use more rock, funk and jazz samples. Cube’s lyricism is as sharp as ever. And as a debut record, this definitely made me understand why he of all people has still had such a presence in rap culture.
Rating: 7/10
4
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Tue Apr 23 2024
At San Quentin
Johnny Cash
Even if for a time, his life was one filled with drug addiction, and he saw very little critical success until a rejuvenation in the 21st century, Johnny Cash was huge at one point. He represented American country music of the 50’s and 60’s in its purest form. And it’s hard not to admire his music in many ways. Although this may not be the definitive Cash live album, his performance at the San Quentin State Prison is nothing short of iconic. It’s such an interesting idea, and something that I don’t know if I’ve ever seen another artist of his size attempt to pull off. And he is in full command of those inmates. They love him, and he is there to play music for them. Nothing else. For me, the best parts of this album are the moments of no music, where he is just speaking to the crowd and sharing his stories. Also, writing a song about how much prison sucks, naming it after an infamous prison, and then performing the song twice in said prison is just such a power move. And his commentary is honestly totally valid. San Quentin was known for its violence, and he makes it known how flawed the rehabilitation and imprisonment system was, and continues to be in our country. Songs like A Boy Named Sue and Starkville City Jail also show off how great of a storyteller Johnny was through his music. He even brings his then wife, June Carter Cash, on stage, who was married to him until her death just months before his own in 2003. This performance is legendary, as were many things Johnny did. Merle Haggard was even in the audience at this performance as an inmate, and it inspired him to start his own career. I hear so much about At Folsom Prison, and this recording makes me excited to hear that even more.
Rating: 7/10
4
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Wed Apr 24 2024
Live At The Star Club, Hamburg
Jerry Lee Lewis
It seems as if we are continuing with the pattern of live albums. And the name Jerry Lee Lewis seemed vaguely familiar to me. Although I could tell without having to listen to the music what this would sound like. Which means I sort of knew how I would feel about it. I often tend to lean towards the negative side when it comes to this sort of rock and roll. There are just very few people who pull it off in a way I really enjoy. And this album is a great example of why context is important. I try to separate the words and actions of artists from their music as much as I can, because it doesn’t always translate directly into the art they create. But sometimes it’s hard to make that separation. Listening to someone like Kanye West or Morrissey nowadays feels weird because of all the poor choices they have made when speaking on certain groups of people. For Jerry Lee Lewis, before I really learned anything about his music, I was hit with all of these crazy things he’s done. This guy married his 13-year old cousin and basically considered himself the single greatest thing to happen to rock and roll music. Also apparently none of the songs on this record are actually his, because he wrote very little original material. He just stole other people’s songs and gave them no credit. He might have also been racist. All of that sort of left a sour taste in my mouth. It didn’t really make me want to listen to his music. But I’ve gave it the best chance I could. As a predicted, I don’t like it very much. Where Jerry succeeds is in his singing and his piano playing. His voice is actually not half bad, and he sure could get the place moving with the piano. The rest of the band isn’t terrible either. It’s just that none of the songs are interesting. I always get bored really quickly with this kind of music. And I never have much to say. They all sound the same anyways.
Rating: 4/10
2
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Thu Apr 25 2024
Surfer Rosa
Pixies
I’m not able to pinpoint exactly what it is about them, but now that I’ve had the time to sit down and dive in to their music, I can’t help how admirable I find Pixies to be. They just have an incredibly simple and enjoyable sound that I can attach myself to very easily. And Surfer Rosa is ultimately a very impressive debut record. They came out at the tail end of the 80s, and immediately changed the game. And their sound would go on to inspire the antithesis of indie rock for the entire decade of the 90s. They really are a very influential band when you really think about it. I mean, Kurt Cobain took huge inspiration from them, and think of how many people started a band and wanted to make grunge music because of Nevermind. It all goes back to Pixies. And rightfully so. They had something going from day one. Their style of on and off, quiet-loud-quiet-loud songwriting is so uniquely them. And when you hear one of their distorted noisy guitars punching through, you know exactly whose music you are hearing. The one song every one knows is Where Is My Mind? And before I had even heard the rest of this record, I wasn’t like a massive fan of this song. When a band has such a distinct and simple, but deceivingly complex writing style, to dumb it down and make it even more complex feels a little weird. This song may even border on being overplayed at this point, but I don’t have it outright. Still a good song, just not one I’m in love with. This debut is very important to the history of alternative rock. But it doesn’t exactly match the heights that their next record reached.
Rating: 8/10
4
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Fri Apr 26 2024
Call of the Valley
Shivkumar Sharma
Every once in a while an album will come along that really changes my perspective on something. The experiences I’ve had with traditional Hindustani classical music haven’t been a hundred percent positive. It’s just not something I’m used to. My brain isn’t programmed to put something like that on and really sink into it. But that doesn’t mean it’s bad, or that I’m not open to hearing more of it. Because opinions can change. And I would say that sort of applies to this album. It’s by and large the best music I’ve heard from this genre, but I’m still not totally into it. First off, don’t listen to the Spotify version of this. I thought it was strange how modern it sounded, since the release date said 1968. Then I learned the album on streaming is actually a redone version by his son, that is honestly much worse. It lacks the same feeling the original has. Of all of the music I’ve heard so far, this sounds the most ornate. Like it fits that adjective really well. It’s a very beautiful and atmospheric composition. And it’s written as a complex mix of those elements and more Western-adjacent sounds like guitars and flutes. It’s also written as one long suite that follows a day in the life of an Indian shepherd. It uses the Hindustani ragas that are commonly associated with certain times of the day to show the passing of time. Super cool concept. I think my one gripe lies in its repetition. It’s a bit one-note for me, and every song has the same feel. But other than that, this is a surprisingly good album, and one that intrigued me from the start. It also really helped push this sound to Western audiences and inspired quite a few famous musicians of our time, like members of The Beatles, which is always great.
Rating: 6/10
3
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Sat Apr 27 2024
Crime Of The Century
Supertramp
Supertramp is an artist I actually have zero experience with. I have never heard a song from them. Not even the big hits. I’ve been intrigued by them before. But I’ve never thought to seek out their music and give it a chance. And now after having heard it, I think with this album they pushed pop forward to the next level in many ways. Similar to how Steely Dan evolved jazz-infused soft rock with their records. And in many ways, this feels like it has a lot of the sophistication that Steely Dan also displays, just without the jazziness. Super layered and detailed songs that are paced really well, even if sometimes certain elements don’t hit as well as others. I will admit that each song does at least one interesting thing, but many of these songs overall aren’t great complete packages. I know the influence this band has had on many artists I love. That influence extends out even to bands like Tame Impala. And I really wanted to enjoy this more than I did. I really do enjoy certain parts of this. And I love how weird and unique it gets in many places. But I was left feeling a little disappointed at what could’ve been. It’s sort of a bummer that this is the only record of theirs on the list, because I would love to see if they fixed the issues I have on future albums. Not like I can’t listen to it on my own though.
Rating: 6/10
3
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Sun Apr 28 2024
Foxbase Alpha
Saint Etienne
With a name like Foxbase Alpha, and a cover like that, I prepared myself for something special. Just off appearances, I was expecting to hear some underrated hidden gem. It’s happened before, and I’ve been really wanting it to happen again lately. Bad idea. That’s not what this is. In the broad spectrum of downtempo and dance music that I’ve heard, this lies right in the middle. It neither excels at any one thing, nor fails miserably with any particular idea. A good example? The drums. They aren’t terrible by any means. But they just sound so flat. No impact and no punch. And no real flavor or unique sounding beats. Which I feel is sort of necessary for any album adjacent to the house and dub genres. The vocals also don’t really provide much. This could be fully instrumental and wouldn’t sound much different. She can sing good, but it doesn’t matter if I barely notice her voice is there. Sampling seems to also be a big part of the production style here. And again, it’s middling at best. Sampling isn’t easy to do. Not everybody can be a DJ Shadow or a Madlib. But I feel that if you aren’t going to fully commit to it and really attempt to go the full nine yards, might as well not have it at all. Because if you don’t, it can end up sounding something like this. Most of the “samples” are more like chops of some random person talking, looped on repeat. The most egregious example is Wilson, which I actually like because the rest of the song sounds good otherwise. This record isn’t god awful. I can just think of many from the same genres that I would rather spend my time listening to. But truthfully I am in no position to tell people how to make music. I’m just good at talking about things I like and dislike in songs. I wouldn’t write these reviews if I thought my opinion mattered anyways.
Rating: 5/10
3