Quality debut album by a clear talent. A little different take with a female rapper with a different sensibility and sound. Multiple tracks with quality grooves and beats, combined with clever arrangements that include instrumental fills with more traditional pop piano and guitar sounds.
It is hard to rate this album if only because of its iconic status. It probably only deserves a 4 but is hard not to give a 5. It is a fantastic representative of the era in all of its excess. Like Meatloaf himself, the album "Bat Out of Hell" is a work so singularly and spectacularly over-the-top, despite spawning its own sequels, it defies easy assessment. After nearly a decade of rock opera efforts and concept albums, beginning with The Who's "Tommy" (1969), and running through the 70s and beyond, this album reaches a whole different kind of height in camp and kistch.
Easy to forget the number of huge hit singles were on this album, despite the fact that an edgier Michael Jackson is completely comical. As good as some of the signature songs from this album remain, the others seem even worse by comparison. The hits continue to be quintessential representations of the era of release. Yet, this album also represents the turning point when the King of Pop tipped toward becoming little more than a parody of himself who could occasionally craft a solid single. Perhaps the parting from Quincy Jones is most telling. "Bad" captures both the last time Jackson's cartoonish pop star qualities still worked a bit and the moment when they simply started becoming clownish.
Cohen is one of those artists often mentioned but rarely encountered directly. His debut album reveals impressive singer-storyteller talent. The songs are lyrically dense and sophisticated. Yet, the music seems more a mere vehicle to showcase Cohen's poetic chops and ability as a writer. In fact, the arrangements on the album feel over-produced with the folksy fashions of the time it was released when a one-man-with-a-guitar treatment would likely be more powerful for Cohen's elaborate, winding, narrative style. The fact that this Canadian treasure is often mentioned along with Bob Dylan is revealing and reasonable, albeit a stretch as Cohen's body of work never reached the peaks, proportion, or preeminence.
More than anything, this album celebrates collaborations. The array of artists making appearances on this album elevate it. From an early track featuring The Last Poets, occasional appearances of Kanye, to John Legend lending some vocals, among others and sampling take the album to a different level. The production is lush and layered and Kanye elevates Common and the Chicago connection. The lyrics are dense and draw upon wide-ranging experiences, but the accompaniment backing the verses might be the strength of the best tracks, which are far more than simply beats and basslines. Easy to understand its appeal and success.
From Stevie Wonder's peak period, "Innervisions" is generally hailed as a masterpiece for a reason. To think Wonder wrote, produced, and played most of the instruments for the album, making it even more impressive. A work of amazing fusion of genre, style, theme, and sound, it is hard to sit still while listening. There is so much going on in this album musically and lyrically, it is difficult not to consider it a classic work of popular music, one of the greatest.
There is something simple and sweet about the first couple of Beatles albums, including this second one. A mix of covers and original material, it serves more as a document of the band's musical roots and influences with a glimpse of the Lennon and McCartney songwriting partnership that would forever change popular music. Listening to "With The Beatles" now feels a bit like a museum experience, given the impact The Beatles would go on to have. Plus, it is a definite chronicle of the era's Merseybeat sound which would invade the rest of the world. Listening to the whole album reveals the quartet earning their musical chops, finding their way, and honing their craft. It is nowhere near their best LP. It might not even suggest the band would become one of the greatest ever, but it definitely set them on a path that solidified their status as hitmakers once they matured as musicians and people. They were all still in their early 20s, after all.
Milestone funk album complete with rhythmic fusions, eclectic grooves, and ridiculous lyrics. George Clinton performs at his madcap best as performer and producer. Listening to these tracks, it is hard to sit still and even harder not to laugh. "One Nation Under a Groove" is a subversive summit in Clinton's legacy as a primary driver of funk as a form.
A milestone album for a major band of the 80s and 90s. "Document" is the album when R.E.M. fully hit their stride. It shows a maturity in sound and approach. This is the band's breakthrough album. It transformed them from university alternative rock outfit to mainstream hitmakers that would be in the ascendency for a decade. It is also one of the most complete LPs in the R.E.M. catalogue, including a handful of tracks that would become signature singles rounded out with solid songs.
There is something inherently appealing about a rogue artist daring to do something wildly different. In that way, "Trout Mask Replica" is something worth exploring. It is a decidedly, purposefully different, album that tries to blend an array of musical genres and experiments. It just doesn't completely work. It has moments or tracks that are more interesting or compelling than others, but on the whole, it falters. All of the raves about it seem overblown. It certainly will appeal to some but it will never appeal to many and seemingly has no desire to do so anyway.
There are few albums that qualify as masterpieces, yet "All Things Must Pass" is one of them. Just over 50 years on, it still stands as a magnificent record. To think this was Harrison's first release in the aftermath of the biggest band in the world's breakup is even more stunning. Always in the shadow of one of the greatest songwriting partnerships in musical history, the quiet Beatle announced himself as a musical force in his own right with this triple album. Harrison's stature allowed him to invite collaborations with some of the best musical forces of his era or all time, for that matter. The result is simply one of the greatest LPs of all time with the statistics and achievements to support that claim.
Classic electronic dance music from the early 90s. Long rhythmic tracks and repetitive beats and choral collages of language, sometimes sung, sometimes rapped, sometimes sampled. This is quintessential club music to keep people on dark dance floors awash with pulsing, moving colored lights. Most tracks are uptempo with driving drum machines and ambient synthesized sequences. Good, just not great.
A fantastic breakthrough album, this was Prince announcing his presence with greater sophistication as a musician and lyricist. While he certainly maintained the promiscuously charged themes of his earlier albums, "1999" moves into more figurative terrain and has more to say. The first half includes a series of signature tracks that would help define Prince as a pop sensation. The second half is more a mix of funky fare reminiscent of the earlier albums. It makes the whole LP a little uneven but clearly a marker for the ascent he was about to take.
Vintage alt-rock sound from the late 80s and early 90s. Interesting college radio station fare but not even the best examples from the era. The early tracks are the best. The band has a quality overall sound and the experimentation in the latter half of the album is interesting. Overall, representative but not the most memorable or peak listening for the time, genre, or craft.
Another mid-90s alt-rock effort, but not necessarily the most significant example of the era, commercially, stylistically, or artistically. Mostly moody meditative lyrics, sometimes bordering on sophomoric, folded into pop hooks with some sophisticated production. It is an album that shows a lot of promise but ultimately sounds uneven in terms of overall songwriting quality. The best tracks on the LP are the collaborative efforts with sessions pro Mark Goldenberg.
Landmark LP that launched the band into the highest echelons of rock superstardom. This is definitely the crossover from heavy metal to hard rock that frustrated fans, who considered themselves die-hard, but opened the band to an audience much wider and deeper than ever. This album includes multiple signature songs that may be the only Metallica tunes many people have ever heard, but they have heard them. Adding to the album itself, the documentary that accompanied its making makes this an all-time lock for five stars.
Clearly a genre that will not be appealing to everyone. Even the album sales would indicate that this has a narrower audience. It is loud, fast, heavy, and deliberately noisy. Much harder to listen to if it is not your thing, but there is definitely something going on with the LP. Learning more about the history of the band and the album was probably more interesting than listening to the tracks, however.
Late 70s experimental, avant-garde album with a few more traditional tracks. This is more musician's music. Pere Ubu is one of those bands that may be known more than actually heard because they have more influence with other musicians than on a general audience. "Dub Housing" is not necessarily for everyone but includes some interesting tinkering with sound and arrangments.
An interesting mix of sounds and styles, remixed with hip-hop sensibility. More experimental in its ambition and production without sounding over-produced. Some tracks are more about longer, more rhythmic grooves and effects than rapping. A more eclectic mix of musical approaches within the genre than might be expected without songs that simply sound like hits.
A gem in an example of moody enigmatic music that helped shape a niche strand of popular music through the 90s. Within a few years there a host of similar acts that rose to the kind of popular acclaim and commercial success that Cocteau Twins may not have fully been able to achieve. The tracks float and occasionally soar sonically despite the lyrics often seeming intelligible.
Quality debut album by a clear talent. A little different take with a female rapper with a different sensibility and sound. Multiple tracks with quality grooves and beats, combined with clever arrangements that include instrumental fills with more traditional pop piano and guitar sounds.