Music like an ultra high resolution image of a potato. Somehow intriguing, but still potato.
The best thing about this album was reading the Wikipedia page about the Battle of Trafalgar, after I was got curious about the name's its origin (only knowing Trafalgar Square and Trafalgar D. Water Law until then). The second-best thing is the cover art.
I expected much from this album. Was disappointed. Not only because every time I hear Michael Jacksons voice, I have to actively blend out thoughts about those South Park episodes and him being a child molester, but also because most of these tracks are just generic disco pop tracks with trivial lyrics. Of course, you have your three standouts: Thriller, Billie-Jean, and Beat It, but to be honest, Thriller isn't even that great. So overall, we have two songs that I can actually enjoy listening to today. Inclined to give it 2 starts, but it probably deserves a molestation condemnation compensation bonus
Another 60s pop/rock/psych band? Well, let's give them a fair... OH NO, HE SOUNDS LIKE BOB DYLAN. Admittedly, a Bob Dylan with a slightly better voice who can actually sing (be it in a style, that I really can't stand). The instrumentals are also not as boring. I still didn't particularly enjoy the album, but it deserves half a star bonus for being better than what I've heard from Dylan. 2.5/5
I guess I needed to hear this before I die. I just don't know what to do with it now. An absolute onslaught of sounds that rained down on me relentlessly until my brain was utterly overwhelmed and rendered unable to comprehend what was happening, so I listened to the whole thing in one go. I don't know if this is hell or heaven. I don't know anything anymore. I feel like a biblically accurate angel just manifested in front of me and told me to be not afraid.
Feel transported back to the 60s. Sparked the desire to rebel against the system by gathering a bunch of unwashed shaggy-haired long-term students to sit around on the floor with, consuming God knows what from Serenity's garden.
Two absolute bangers. rest is ok. Minus points for having to think about Michael Jackson while listening to Michael Jackson.
The album sounds like my perception of George Harrison. Musically very solid, but no unique selling point. Back and forth between "Does not bother me" an "Seems to be close to greatness, but that certain something is missing". Admittedly, rather the former than the latter.
I don't know anything about jazz. After listening to this album, I now know one thing. This is a really nice jazz.
Caught myself thinking "Why is it even on this list" and "when is it over?". Managed to listen to the whole thing, though.
I will not speak
Refreshingly distinctive. Not something I would enjoy actively listening to repeatedly, but great background music. Main associations were James Bond Soundtracks and Ennio Morricone.
These songs sound like they were meant to be a movie soundtrack! Sadly, the movie seems to be a progressive avantgarde flick I don't get.
Couldn't bring myself to listen to it all. Really not my thing. Has some decent tunes, but also some really obnoxious ones.
This one really faded into the background. Couldn't tell you what I've listened to after "The Healer".
Funky disco funk. Oldshool kinda funk. Not the cool Vulfpeck kinda funk. Still funk tho.
Boston came out swinging with "More Than a Feeling" directly followed by "Peace of Mind". Punches you right where your late 70s classic rock nostalgia would be, if you were old enough. Quickly runs out of gas, though. There is no lasting impact. Still very easy and kind of fun to listen to ...since it might be the most generic rock album I've ever heard. 3.5/5
This is a concept album. You feel that it is carefully crafted to sound a specific way, and invoke specific emotions. Joy is not one of them. It takes you on a journey and tells a story. A story that you probably didn't want to hear. Each song is musically distinct and interesting enough to catch your attention, but I wouldn't listen to any of them as part of my usual rotation. Lyrics are repulsive. Sometimes deliberately so, sometimes because of cringy edginess. The Downward Spiral is not to be enjoyed, but to be experienced.
Ballads about murder, literally. Musically, the album is very boring. At some point I found myself skipping ahead or just reading the lyrics, because they are what makes the work artistically valuable for me. Should have been "Murder Poems".
Meh.
This was surprisingly bad. Almost felt deliberately bad. I've never heard anything by Neil Young, but it sounded like a satirical imitation of what a Neil Young album sounds like.
Just rated Neil Young's "Tonight's The Night" with 2/5, immediately got "On the beach"... I have to say that it starts off way better. After my first Neil Young album, I wasn't sure if he really couldn't sing, or if it was his "style". Seems to be both. However, it stands out less here. Overall ok, a couple of good songs, but mostly fades into the background.
Hard to rate... Really left no lasting impression for me. 90s grunge influences, but too whiny for my taste. The music is actually quite good, but the singing/voice/lyrics are just… existent.
This is excellent music. I wish I could appreciate it more, but I just don't feel Blues and Hard Rock that much. Would have given three stars when just taking into account how much I enjoyed listening, but I think this deserves better. ...even if it doesn't: Making me feel like this should be appreciated by someone warrants 4 stars.
Damn, this is very much country. Some songs like I "Wish I didn't love you so" also dip into Sinatra-esque traditional pop-easy listening-jazz-swing-big band. But then k.d. lang blasts you with southern country and whatever Honky-Tonky is again. Transports you right into an old dirty bar, places a whiskey in your hand and gives you a feeling of longing for the good ol' days. Surprisingly enjoyable. 3.5/5 | 7/10.
Good listening to it once to know it exists. Earliest 90s Hip-Hop.
No highlights, no lowlights. Just some alt rock album.
The fact that it didn't annoy me half as much as I expected based on the music genre and 10-unique-words-per-song lyrics is a testament to the album's quality.
Reminds me of Danzig. This is an above standard Hard-Rock album. However, it gets quite monotonous after about 3/4. 3.5/5
Gives me nothing.
Quite nice. Tom Sawyer and YYZ are good tracks. This is a good album overall.
A day later, I don't remember a thing. Neither positive nor negative.
I liked the cover image... Yes, that's it. Still giving two stars, since it fades into the background nicely.
With how many people praise Led Zeppelin and because I really like Metal and Hard Rock, I was expecting to be blown away by this album. I was not. It was good, but I did not enjoy a single song enough to listen to it again or even it to one of my playlists. If I had been around when the album first came out, I could have seen myself becoming a huge fan of the band, but today it barely makes 4 stars.
I think that the title "Schmerzen Hören" (Hearing Pain) aptly describes the overall listening experience of the album. I also think that this was the intention of the artists (I deliberately do not refer to them as musicians). The only question that remains is: why?
I get the feeling that jazz music is to be enjoyed secondarily whilst primarily partaking in a social activity. If you happen to listen to it alone, you wish you'd be sitting in a smokey cocktail bar, sipping on a good drink and talking the good talk. At least with this album.
With good headphones, this feels like a brain massage at times. Both physically and psychologically. Hard to explain. I like it.
I know this album. I love the band. It might not be the best System of a Down album, but it has such a unique character and songs that easily still hold up today, that I will round up my rating of 4.5 and give it 5 stars.
I tend to give mediocre albums 3/5. This is just another psych rock album and I have already forgotten half of it right after listening. No highlights.
Sometimes sounds like Die Antwoord, but worse. Sometimes sounds obnoxious, sometimes kind of cool, most of the time simply not my taste.
Probably one of the few albums on this list that I've actually completely listened to beforehand. Makes it hard to rate. I would describe it as: Effortless, cool, indie, catchy - not flashy, minimalistic, mellow. Not really an album I would show off to friends or recommend because of its musical greatness, but an album that really scratches a specific itch. Like when you go for vanilla ice cream or just a plain cheeseburger instead of the fancier options. That being said, Intro and Crystalised are still bangers.
This album is a bundle of songs for lovers of swingin'. About lovers. Who do swingin' ... Probably in the old/original sense of the word. With this disarming honesty, I can't find a flaw in a composition/thematic sense. Every song is pleasant, but the album does not feature any hits besides "I've got you under my skin"
Chill, and starts out strong with "The Shining" in my opinion. But then gets real boring real fast. All in all subpar.
Interesting to hear more from REM than "Losing my Religion". Okay music, but not very memorable.
My first time actively listening to Elvis! The music is okay. But the "King of Rock n' Roll" seems to heavily emphasize the Roll. Either Rock meant something very different back in the day, or this is already the struggling to breathe Elvis (doesn't look like it on the cover, though). Overall verdict: Not for me
An album I enjoyed listening, but nothing really stuck. 3.5/5
This album makes me want to buy a record player, buy this record, and play it. Listening feels like watching the clear night sky in a warm summer night.
Makes you feel a really wide range of emotions. It's funny, appalling, sad, impressive, genius, cheap, dirty, thought-provoking, ... An album that has an artistic quality. Not purely enjoyable, though, which makes it a 4/5 for me.
ok
Features a few surprise "Hits" that are well known and good, but not good enough to merit more than 3 stars.
I don't get it.
This album deserves samples of a bunch of my other reviews - expertly put together! I don't get it. I don't get it. I don't get it. Sometimes sounds obnoxious... most of the time simply not my taste. But then gets real boring real fast. boring real fast fast fast fast fast All in all subpar. Yes, that's it. Gives me nothing. The only question that remains is The only question that remains is The only question that remains is why?
"Hey check it out, we can create music electronically now! Listen:" beep boop bwwwwp - "Cool, right?" Every other track sounds like the pre-installed demo tunes electronic keyboards play.
Wanted to write "Ok Boomer music", but it's not ok. It's boring Boomer music. The annoying kind of boring, not just the easily forgettable kind.
Just some ambience sounds... Admittedly, with a rather unique vibe. Should you have listened to this before you die? No. Does it hurt? No. At least not if you have something to do while this plays in the background.
jazzy
Maybe a bit too long, the album features so many quality tracks that I cannot argue for anything lower than 4.
"Get Innocuous" and" Time to Get away" are not the greatest songs to start the album with. 2/5 But "North American Scum" and "Someone Great" are excellent follows. 4/5 "All My Friends" is clearly the highlight in my opinion. 5/5 It gets worse again from there, but not too bad. 2-3/5 "New York, I Love You, But You're Bringing Me Down" the only song I already knew and love. 5/5 Overall 3.16. Seems like an unfair score for an album from which I really enjoyed about half of the songs and actually saved one of them for repeated listening.
Mixing Country and Rock is like mixing beer and wine. While you might personally strongly prefer one over the other, individually the options are still respectable. However, when you mix them you get this unholy amalgamation of fermented bitter-sour, half bubbly hop-grape juice. Imagine the tase. That is what listening to this album feels like.
I have already forgotten what any of the songs sound like, and I will have forgotten that this album even exists by tomorrow.
Still undecided if it's pleasantly boring or boringly pleasant.
Not really music I can lose myself in. But I guess that is the biggest compliment I can give to it. When I was listening to this album the first time, I got excited about each next song, curious what It will sound like, who will sing it, what it will be about, .... The album features songs that are distinct enough to feel like an anthology, but at the same time, they are intricately connected by something I cannot describe and will approximate by simply calling it "The Beatles". You really get the feeling of listening to some of the greatest musicians of all time, even if the music itself isn't really your taste. Something in there transcends music and becomes something else. You can really dig into each song and find information/historical context/meaning/interpretations/... Abbey Road demands recognition.
Many really good approaches, but not refined enough. With every song (except for "Mr. Brightside") I thought, "Wow, this is going to be good," and then even before the halfway point I was kind of bored. Hot Fuss features the absolute Indie-Rock classics "Mr. Brightside" and "Somebody Told Me", and none of the other tracks overstay their welcome enough to become annoying, but for me the album still lacks this special something that would raise it above the average.
I don't get emotional with Bowie and without emotions all that is left for me are a few good and well known songs in a mass of ok background music.
"Seven Nation Army" is probably the most used/overused entry song for prom kids, boxers, stage artists, ... and for a good reason. It's also the entry song for this album, so you know the hype is real. "There's No Home For You Here" is really good. "I Just Don't Know What To Do With Myself" is really good. "In The Cold, Cold Night" is really good. "Ball and Biscuit" is really good. "The Hardest Button To Button" is really good. "Little Acorns" is really good. Elephants are really good animals... This album is really good. 4.5/5
Wow… brown sugar really aged like milk. Besides that, no song could really incite any emotion in me.
Sounds very... raw. Not the deliberate, constructed, delicacy kind of raw like sushi or carpaccio. More like half cooked chicken breast on a salad without dressing.
Ok Boomer.
Oh, shut up, Loretta! Your man probably wouldn't have to come home a drinkin' if you could stop being home a whinin' constantly.
With Oasis it's always difficult to find the balance between "I can't listen to these songs anymore" and "There's a good reason why these songs have been played so often. 3.5/5
Basied as f
I will play this during Christmas.
snore
Some forgettable psych-rock album. Not bad, not outstanding.
Above average indie rock. Right up my alley, but admittedly not outstanding enough to rate it any higher than 3.5.
What does it say about myself, when I don't find this album to be particularly dark/gothic/sad/moody/... ? Just an okay rock album. Quite nice jingling.
It's the fucking girl from Ipanema! This album feels like smelling the faint hint of perfume when walking past an attractive stranger. Like the first sun rays gently warming your face on a cold spring day. Pleasant.
A sound and style I have not heard before. More fascinating than purely enjoyable for me, but in no way bad. 3.5/5
This probably was the weirdest shit in the 80s. Jig of Life really caught me off guard. Overall, not my cup of tea, but you really have to appreciate the artistic effort that this album radiates. 3.5/5
Ups and Downs. Sounds and feels like Old Dirty Hobo Rock. That assessment might have been influenced by the cover image and the lyrics of Aqualung, though. Not really something I enjoyed listening and would listen to again. 2.5/5
Ok, but didn't blow me away.
Absolute early 2000s nostalgia. Need For Speed Most Wanted vibes (even though it features no Linkin Park songs, I know). The only criticism I have is that the album lacks distinctiveness in its songs. Everything sounds kind of the same (but still excellent, of course)
Free Bird really is something else... 5/5 stars. The rest of the album is Alabama without the sweet home feeling. 3.66 overall to elevate it over most other 3 star ratings of mine.
I like Jazz, I like Funk, I like Vulfpeck (just discovered that Dean Town is an homage to Teen Town), but for some reason I don't like this album. Almost every track reminds me of 70/80s sitcom theme songs or sound effects. Maybe it's a musical "too many cooks" situation.
The interludes sound like a parody of GTA San Andreas dialog.
This one just didn't really phase me. Which is quite sad, because the lyrics really are beautiful and the melodies and harmonics soothing, but everything is just so understated. Voice, delivery, instruments, composition, tone, .... This album feels like a beautiful picture, but undersaturated to a point that it looks almost black and white.
Message In A Bottle is the only reason I rate this album 3 stars.
My first impulse after the first two tracks was to skip this whole album. Over an hour of mediocre rap with a weird pitched voice? No, thank you. Now, after listening through it all, I'm not glad I didn't. Admittedly, it grows on you. I have gotten to a point where I was neither annoyed nor excited, a tranquil headspace of pure existence. Weirdly enough, the only track I that kind of broke me out of my trance and the only one I remember listening to was "A Film Called (PIMP)". Cannot deny some head nodding going on. But that's it.
I get why this album is on this list. Symphony and Metal. An orchestra and Metallica. This is a very weird combination - something you should have heard before you die. And it's not even bad. However, you get the gist after like 6 songs and really don't need over two hours of it. I suppose only die hard Metallica fans can listen to and enjoy it all. Personally, I won't be coming back to this album, but I'm glad I know it exists.
Listening to this album feels like playing around with a sensory bottle. At first, you are intrigued and entertained by the colorful waviness. But after a few minutes you are left with only indifference.
First thought: Oh, that album with the funny mustache picture. Final thought: Oh, that album with the funny mustache picture.
Quite alright. Metric vibes.
Surprisingly good. "Cult of Personality" is a banger. Head nodding almost all the way. Really nice riffs and solos. Funky. Metal. Still lacks that certain something and more standout tracks to justify more than 3.5 stars.
That was some weird stuff. Exactly the kind of weird I want, though. Not annoying (not particularly good either), just existing in its own little cosmos. Glad I got to experience this.
Some forgettable 70s rock album. Again. It has earned some sympathy points from me for not being as generic as others, though.
Kind of creepy.
Shout: 4.5/5 The Working Hour: 3/5 Everybody Wants to Rule The World: 4/5 Mothers Talk: 2/5 I Believe: 2/5 Broken: 2/5 Head Over Heels / Broken: 3/5 Listen: 3/5 -> 2,9/5
I really wanted to like Björk, just for the sake of her being an Icelandic girl with an ö in her name. But these are just lazy synth pop tunes with her mumbling, shouting, slurring and stretching vocals on top.
Meh. Some forgettable Rock. Solid, but nothing special.
Wow, what a surprise. Already knew Franz Ferdinand and Take Me Out is a regular on my playlists, but the band was never one of my favorite Indie Rock bands. Didn't expect the rest of their songs to be up to par, let alone on one single album. Nothing I would rate less than a 3.5. However, no 5/5 either.
Another forgettable 70s psych rock album.
This one probably melted faces when it came out. What a debut. Three masterpieces that have been played to death accompanied by tracks that kind of fly under the radar, but still fly high. Somehow hard to rate today because of the overall weariness, but I guess I can give it the most rock solid solid rock rating: 4/5.
The Third Neil Young album I have heard, and I have to say the best one yet. I don't know if I am simply getting used to Neil's voice, if it's actually better on this album, or if it has dulled my mind and senses beyond repair.
I see why Fats Domnino has been highly influential and am glad that this album is on the list. However, it doesn't really hold up to today's standard (or at least my taste). Dusty classics.
You can't deny the *sound* of this album. Every note, ring, twang, chime, tingle, and clink sounds massive. Impactful in just the right way. I've already had the top three of the songs of this album saved in my go-to playlists. Maybe that's why you feel full of it after listening to 5+ songs back to back. It's not like they suddenly sound bad, they are even varied enough to not be boring, but by the end I couldn't stand the sound anymore. I would compare it to overstuffing yourself at the fast food joint of your choice. At first, it's great and all, but after eating all of these sugary fat bombs, all you feel is disgust towards what's in front of you and yourself.
Refreshingly German, but also boringly repetitive. While I'm glad this exists, I will also try to avoid repeating this experience. Thank you for travelling with Deutsche Bahn.
I listened to this up to "Julie" and after a day I couldn't remember a single song, the name of the album or even the artist. The music up to this point is so incredibly unremarkable, that I was seriously considering rating the album 1 star. Then I listened to "By This River". Oh boy. Still not the biggest fan of Brian Eno's voice, but this song is beautiful. Remarkable enough to make it worth listening to the whole album. The last songs blend into irrelevance again.
I can't.
This album is the pure, distilled essence of mid-2000s indie rock. Sharp, fresh, crisp, cool, iconic. Not a single song that flops, but banger after banger that hits you at high speed. I have been looking for something to criticize, but I have nothing.
I expected much from this album. Was disappointed. Not only because every time I hear Michael Jacksons voice, I have to actively blend out thoughts about those South Park episodes and him being a child molester, but also because most of these tracks are just generic disco pop tracks with trivial lyrics. Of course, you have your three standouts: Thriller, Billie-Jean, and Beat It, but to be honest, Thriller isn't even that great. So overall, we have two songs that I can actually enjoy listening to today. Inclined to give it 2 starts, but it probably deserves a molestation condemnation compensation bonus
Elongated syllables and double track. Boring beats, boring delivery, boring flow. Maybe the lyrics are poetic, but I couldn't be bothered to really listen. I don't really care about the album's cultural significance or 2Pac as a person, which leaves me really not caring about this at all.
In German, we have the Expression "Gedudel". This is nice Gedudel. Doesn't even matter that the tracks so long, since it's all just dudeling.
My mom was born in the year this was released. The Mamas indeed.
In comparison to the Marshall Mathers LP, the Slim Shady LP seems rather infantile and immature. Which is not surprising ...actually quite poetic. About as poetic as these lyrics.
To discover stuff like this is why I am going through this list. These boys shred. Felt the energy, but couldn't really connect to the music, probably because of the language barrier.
Interesting blend of styles.
A drum and bass album. I for it to be justified to make the list, I really hope this is the very first drum and bass album or the very best. After listening to it, I am quite certain that it's not the latter, and after taking a look at the release date, I am also quite certain that it isn't the former either. So...
From what I have read, Bob Dylan is one of the most influential singer songwriters ever, producing outstanding lyrics, capturing true poetry in his songs. From what I have experienced in any of his albums and this one especially, Bob Dylan tries to compensate his subpar singing voice with a singing style so obnoxious, that I can't even listen to the lyrics at all. My mind is too occupied with getting angrier and angrier, waiting for the next unneccessarily eloHOngated and overly pronOUnced slurred syllables. Couldn't finish it. Give me collapsing buildings again.
Kinda lacks emotion. The Beatles are excellent at making music, meaning nothing ever sounds bad, no tune, instrument, vocals, or song. But most of the songs on this album feel insignificant. Nothing instilled an emotion or afterthought in me besides "sounds good". Feels like watching da Vinci drawing stick figures.
It's ok. Kind of boring. 2.5/5
The music is as good as to be expected by a band named "The Flying Burrito Brothers"
Nope. Somehow saddens me to rate this only 1 star, since it's still Bowie, but I don't have the patience for bad albums anymore. And this one is bad. Not a single enjoyable song between the first ten or even the slightest hint that this might change for the following ones, so I skipped them.
Holy fuck I didn't know Willie Nelson can sing. Never listened to a single song of his before. At first, I thought this was just an above standard country album that nicely blends into the background. But then halfway through I realized that this is an above standard CONCEPT country album that deserves my full attention. So I listened to half of the songs again to get the full story. Quite the unoriginal tale of a cowboy shooting his cheating wife and then finding true love again, but beautifully told. Musically not my favorite genre, but I get why it made the list.
I've heard better Jazz
Tough one to rate. On the one hand, there are timeless classics, a few hits and decent filler songs by a band that pushed Hard Rock and Metal into the mainstream, especially with this album. On the other hand, the majority of songs feel kind of dated, one dimensional and unexciting. 3.5/5
Meh. Subpar generic Hard Rock from the 70s.
Offensively uninspired and boring. The musical equivalent of iceberg lettuce, no dressing.
Four days after listening, I remember nothing but the top review. Three stars, I guess?
Was ok with some highlights here and there. 3.5/5
I don't even like purple rain, so me disliking this album didn't come as a surprise to me.
I cannot help but cringe. This sounds just like a bunch of teens desperately trying to be cool. Thinking, "It's hip hop as long as there is a beat and the lyrics somehow rhyme".
Wow. The most curious fever dream. Different in every metric that comes to mind. I'm not questioning Ys. Poetic. Mystical. Astounding. Whimsical. Unique.
Meh. For me, it's an okay album by a great singer, ruined by "the 80s".
Can't even pinpoint why this feels so hollow.
Quite alright
Like a ride through the mountains. Ups and downs. Highs and lows. Rough at times. Of an all-pervading, discreet beauty. Thrill and relaxation. 3.5/5
Starts off promising with refreshing but typical 90s indie/alt-rock, but then fades into this mediocrity and settles for it. Nothing bad, but it kind of just washes over you.
Not a highlight, but all around solid. Pretty progressive and refined for being from 1990.
British Punk from back in the day. Very true to the definition. Not even bad for what it is, but a couple of lads from '78 shouting their young, wild and free anti-establishment slogans at me puts me off about as much as my history teacher lecturing me on the Golden Bull of 1356 in the last lesson of the day. 2.5/5
"Well, ok" by Whatever
The best part about the Eagles is, that every time I hear/read their name, I imagine JD from Scrubs going "Eagleeee!". The second-best part (with still considerable room in between) is probably this album.
This album is dripping with commerciality. The songs' messages jump from emancipatory feminist encouragement to praising one's own secondary sexual characteristics to slut-shaming, only to end up with the desire for male attention. On a musical level, there is little to criticize apart from the lack of memorability. Which is also probably a good thing. At least I won't be thinking of this anymore in the near future.
Didn't know anything about The Who before listening to this album. I always thought they were some forgettable old (80s, maybe?) dime a dozen Brit-Rock band. Turns out I was off by about 20 years, and the lads actually rock. Pretty old school, but still solid today. Considering that this was "only" their debut album, I am excited to hear what a more refined The Who album will sound like. 3.5/5
The very first time I listened to this album, I really took my time, focused, and the for a few seconds during the first few minutes it brought me to the brink of tears. I am no expert when it comes to music, especially jazz, so I cannot really explain or comprehend what makes this album consistently the highest rated jazz album of all time, so I will try to express my thoughts using an analogy: This album feels like sitting in the highest class Michelin star restaurant, eating the juiciest, most tender, tastiest, overall best steak of your life. All the while being waited by the most pleasant staff. You have five courses, but they are all steak. The first one is pure bliss. After the second one, you are comfortably full. Three steaks in and you feel sluggish. Four, it's getting *heavy*. You long for something less savory, something refreshing. You eat the fifth steak and even though you rate the overall experience as one of the best you've had, you don't see yourself ordering the five courses of steak again. The album has a heaviness that I feel can only be enjoyed in smaller doses at a time. 5/5 music, but as an album, others work better.
Quite enjoyable
Wow, Peter Gabriel and Phil Collins sound so similar to me. So, this album was mainly interesting and not particularly enjoyable. Not a single song stuck with me, but Philter Collriels voice makes up for it.
For me, the Beatles are a band that never seems to have problems with musical quality, but rather with quality of content. Most of the songs are good to listen to, but absolutely irrelevant, and I don't buy that the band feels any different, which gives the feeling of inauthenticity. I expected that the early Beatles offered more ups and downs. Absolute rivets and quirky hidden gems, that you feel are somehow unrefined, but authentic. This album proves the opposite. Completely ironed and aimed for commercial success, with the most generic and bland lyrics revolving about "love". Not exciting. Radio music. But I'd like to think that I only feel that way because the Beatles shaped the mainstream so much with their unique style and that it was revolutionary new hot shit at the time.
Just the right amount of Psy-Ops to get me through a slow Friday afternoon at work. I feel thoroughly sedated and propped up simultaneously. 4/5 warped realities
I knew "hard, borderline fascist sounding music in German language" was a thing because of Rammstein. I can appreciate the original compositions and often surprisingly poetic lyrics. I didn't think there was a market for "pop songs covered by alternate timeline industrial metal Nazis" You don't get the original compositions or lyrics that go beyond whatever Germans say in American 2nd world war era movies, but at least you get to experience something that is far, far from mainstream.
Maggot Brain is 5/5. Absolute beast of a track. I will probably be using this to benchmark new headphones/speakers in the future. The rest of the album is ok. Very forgettable. Short enough to not become annoying. Inclined to give it 4 stars, but honestly, my enjoyment of this album solely hinges on a single song, which is rather bad when considering it as a complete piece of art.
Writing this review a few days after listing to this album. I vaguely remember a smooth voice and not being annoyed. Not much to go on, but I also don't feel inclined to listen to any song again... An album like an okay massage. You feel fine while exposed to it, but know you won't be coming back.
The musical equivalent of drinking a Negroni. Almost overwhelmingly bitter and in no way conventionally tasty, but you can handle it if you take small sips and don't think much about it. During the "experience" you may feel very sophisticated and of distinguished and refined taste. Afterward, what you have left is a bitter tase in your mouth and slight nausea. An old school drink that looks tasty and has a dope name, but is terribly bitter - A girl singing songs somewhere between beautiful and avant-garde, but she's terribly German.
ANOTHER forgettable psych rock album. But with this one you get all the psych rock without the 60s nostalgia. I initially thought you had to be on drugs to produce this kind of music, not to enjoy it too, but I'm changing my opinion. I don't remember a single song. It's way too long.... wait, is this actual elevator music?
Nothing if not fucking authentic.
Ironically, what apparently characterizes one of the best, if not the best, punk album of all time is how many non-punk tracks it features. I get it. Too much of a good thing and so on... But in true rebel fashion this principle is also immediately broken, considering the length of the album. Sadly, this is about the only instance in which I got something that resembles rebel/punk vibes. Besides all that: Solid album. Just not what I expected or what I like personally.
Not outstanding in any regard, which in a way is kind of impressive.
Nope. Really didn't have to listen to this before I die.
Oh, how I have waited for the first Lorde album of this list! I'll try to blend out my early 20s nostalgia and try to be as objective as I can be and take this as a chance to really explore why I even like this music as much as I do. First Impressions: Lorde's voice -singing style -tone? has a fatalistic, nihilistic dramatic sound. You sense an underlying sadness paired with cool-headed detachment. Superb production. Fat beats. Booming bass. Head nodding. Danceable. Multi layered. Multi facetted. Varied. Recognizable. I regularly have homemade dynamite's hook stuck in my head at random times. Although, I have to admit: I can't immediately connect all song titles to their sounds, despite having listened to the whole album multiple times. On the one hand, this for me speaks to the quality of the album as a complete work. Sure, I have tracks I like more than others, but overall they blend together so well I don't really feel the need to look up and check what is currently playing. On the other hand, this also indicates that many songs may be too similar in terms of sound, content and general feel. But of course you have "Liability" and "Writer in the Dark", which break up the flow. I'm a sucker for ballads on non-slow sad song centric albums, but these hit extra hard, only featuring soothing piano scores and Lorde's vocals in between these heavy electronic beats. If you are a teenager/young adult, you can identify yourself with the lyrics. If you remember once being an angsty teenager/young adult, they might move you enough to feel nostalgic. Although I would say you don't even have to listen to them. The instrumentals and singing transport enough. After listening to it all, the critique I have is that the lyrics are very monothematic and tend towards exaggeration, the full and bombastic sounds are hard to digest towards the end, and somehow you wish for something more cheerful. But is this critique really valid, when the title of the album is "Melodrama" and Lorde literally sings "we told you this was melodrama" to you? Overall, the album has a certain style and transports a feeling that I couldn't really pinpoint up until now, and I feel stupid realizing it this late. According to Google, melodrama is "a sensational dramatic piece with exaggerated characters and exciting or sad events intended to appeal to the emotions.". This is Melodrama.
Shabby, dirty, gritty, and blunt. Fuck good vocals, masterful instruments and complex compositions. Rock and roll with a punk soul. I really like the stile and attitude, but musically this album can't reach beyond 3 stars.
The epitome of everything that was once. Your dad telling you "back in the day ..." made into an album. Boring and cringe, but you've heard worse stories and it's somehow endearing.
Interesting voice, likeable, but unfortunately somehow doesn't appeal to me. However, there are worse albums and I appreciate the craftsmanship.
They call themselves The Cure and I am still wondering: for which infliction? I think a more fitting name would have been "The Placebo". Not saying it's bad, just that you probably have to project a lot of your own thoughts and experiences into it to rate this one highly. Considering on the overall rating and reviews praising this album, I didn't expect to be this unaffected by it.
I can't pinpoint exactly what it is, but U2 always have something pretentious about them that makes them unappealing to me. It is as if they are actually a band of aliens that didn't make it on their home planet and said to themselves: "Fuck it, we'll move to planet earth and play human music!"
After the first few tracks, I was convinced this one wouldn't make me look up and actually focus on what I'm listening to, but what the fuck is Bob's Yer Uncle!? Can't say it is unremarkable, can't say I particularly enjoyed it.
Music like an ultra high resolution image of a potato. Somehow intriguing, but still potato.
Expected another run-of-the-mill Hard Rock album. Got a live album that admittedly features above standard Hard Rock, but also overstays its welcome and lacks the energy I expect from a live recording. 3.5/5.
"Mom, can we have the Beatles?" "We have The Beatles at home" - *drops acid
Suicide by Suicide. Poetic, in a way. I felt half of my brain cells committing it, and the other half longing for it. Musical equivalent of scratching a mosquito bite bloody. It hurts. You don't want it. It does not stop. You feel worse than before. Please don't get me wrong, this album has no artistic quality or novelty. It just sounds bad and boring.
Didn't bother me at all, but it's too pretentious and deliberately obscure for my taste. Can't seem to get into the state of mind required to vibe with the music.
Didn't inspire me enough to seriously engage with the music and my experience of it to write a long/funny review.
Couldn't finish this Bob Dylan album either. At least Like a Rolling Stone is an ok song. Inclined to rate one star, but, although it is apparently a commonly accepted fact that Bob Dylan can't sing for shit, I can see what some people like about his music.
My first contact with Art-Rock. It's really distinctive. I don't particularly like it. Some tracks are borderline enjoyable, most just tolerable for me, but I'll give the album credit for being memorable.
Ruthless Metal relentlessly showering over you as if it were raining blood. Nice. Slay queen. Yass.
Ok Soul/Funk music, maybe even great for enthusiasts, but nothing special for me to find here.
This is exactly the kind of music and quality you expect from an album and band both called "The Cars". I guess this album is like watching Formula 1. Depending on your disposition, it's either an exciting affair underpinned by romanticized nostalgia from back then and subconscious memories of your (grand)father, or simply loud cars driving in circles.
I really want to like this album for the concept alone, but I didn't really enjoy the music. Well, at least it is memorable.
An album like driving on the highway in Summer. Sounds kind of nice, right? But when you think about it for more than a second, it's still just driving in a straight line while the seat gets more and more uncomfortable and the AC is blasting because it would be unbearably hot otherwise. Not the worst kind of activity, you might actually enjoy unwinding a bit, but not something I would seek regularly either.
Nice flow, some beats really slap, meh lyrics, but I like the attitude. 3,5/5. Also: Man's not hot.
It has the necessary emotionality for such an album. I buy the singer's absolute despondency and melancholic, nihilistic view of the world. But what the album lacks is the collateral beauty that comes with the sadness. There is little grace, elegance, or sophistication in the vocals, lyrics, or melody. Maybe I'm just too sensitive, but I prefer the darkness of a starry night to the endless emptiness of a black hole. To truly see darkness, you need a little light, or you just don't see anything at all.
Really smooth, groovy, and funky soul music. Solid all around, but no highlight. 3.5/5
I accept this as the very definition of Blues. -1 Star because I KNOW there is a joke to be made somewhere in "Hard Again" and "Muddy Waters", but I can't think of it.
An album that does many things. Most of them right. None of them exceptional. Very Beatles-esque classic 60s Rock, Psychedelic Rock, a mixture of both and a rather unique Kinks sound, especially in "Sunny Afternoon", which is the clear highlight of the album for me. However, when there are 20 tracks on the first disc (I didn't even bother with the second), the quality of the album overall is inevitably diluted and it appears bloated.
Another 60s pop/rock/psych band? Well, let's give them a fair... OH NO, HE SOUNDS LIKE BOB DYLAN. Admittedly, a Bob Dylan with a slightly better voice who can actually sing (be it in a style, that I really can't stand). The instrumentals are also not as boring. I still didn't particularly enjoy the album, but it deserves half a star bonus for being better than what I've heard from Dylan. 2.5/5
I listened to Blue Suede Shoes, and it sounded a little hollow, so I listened to Johnny Cash and Carl Perkins' version right after. And then Folsom Blues. What a song! Can't wait to listen to the whole album. Where was I? Right, Elvis. Probably a really relevant album and so on, but most of the songs are rather cringy or bland, or both... Tutti Frutti comes along and feels anemic. So I immediately listen to Little Richard's version. What a classic! I get it, Elvis laid the groundwork for Rock and Roll's success. This is album the foundation upon which other people built castles. But only nerds visit a castle and are interested in its foundation.
Hm. Ok, I guess.
Bittersweet to bitter with sprinkles of sweetness to bland. So long, you forget what it was like in the beginning.
At first, I was very irritated and rather turned off, but if you approach it with an open mind, you can't help but like this charming early goth vibe. Somehow under the black mascara and white make-up there's still funk and something like goth-ska to be found.
Okay, this is just country music overload. Had about as much fun with it as what I imagine being wrestled, overwhelmed, and tied down by Dolly Parton, Linda Ronstadt, and Emmylou Harris feels like. I am uneasy and annoyed, but can't deny some enjoyment. Inclined people might discover a new kink.
I always wish I wouldn't enjoy ABBA songs as much as I do, or enjoy them even more. Always stuck in this weird place where I cannot help but groove with the tune when it plays, but wouldn't actively seek it out. This album features (at least) 5 hits, varies in mood and tone while keeping a unifying style, and isn't too long.
I still don't really get the hype around Led Zeppelin. This is a solid Hard Rock album with notable highlights, but it also gets boring, especially in the second half, and feels bloated overall. A major plus point is the diversity that the album offers, which counters the boredom that sets in after a few "filler" tracks. Still, I miss that certain something that defines Led Zeppelin. Something tangible that elevates them and this album above upper mid-range. 3.5/5
I am not a fan of the oriental singing style and instruments. So this album is not for me subjectively, and I have too little contact with this kind of music to be able to judge it objectively. So subjectivity it is!
Okay. Fuck it. The album "was recorded in a studio in a single day". Listening to the whole thing AND writing a thoughtful review seems like more effort than the band put into producing this album. This is a bundle of scrambled notes and slurred lines held together by energy and attitude.
I had Kendrick Lamar pinned as that one popular rapper with the odd voice and wacky flow. Odd voice? Sometimes. Nothing wack about the flow after listening to the whole album, though. Still not my favorite rap style or type of music in general, but definitely unique and high quality stuff. However, my favorite thing about the album is the concept. Not innovative by any means: life in the hood, rising from the gutter to a penthouse, losing friends and dealing drugs - the main themes of 90% of rap albums. But Lamar manages to tell intricate stories that neither glorify nor directly criticize the lifestyle, or only serve to lament his own suffering or bravery. Instead, there are sober facts and personal learnings. Aptly titled, good kid, m.A.A.d city encapsulates the feeling of a kid in a city. You can decide for yourself how you want to assign the adjectives when you listen to it.
Imagine the hammer God must have used to pound this mighty voice into this little body. 3.5/5
Not bad, but also not exciting or, special in any way. Just dated old school rap/hip hop.
Emphatically casual. This would be a very attractive style if the overall musical quality were higher. As it is, most of the songs sound like they've been thrown together by a college band.
An unrefined incoherent mess of samples, distorted voices, okay riffs and basic drum beats interspersed with the occasional quite good rock and folk song (fragment). Oh, and interference noise. Maybe this album has some artistic value if you want to dig deep enough, but musically it falls flat. At least it's memorable.
Obviously, Clint Eastwood is pretty great (actor and song). The rest of the album, not so much. Many boring tracks, despite the stylistic versatility, which in turn you really have to appreciate. The album feels more like a sandbox in which musicians played around with different concepts and ideas. This also fits with the either very cryptic or very label-like song titles. Makes sense considering this is a debut of a virtual band. All in all ok music earning bonus points for creativity.
This sounds soooo dated. Doesn't really hold up today, but you have to respect classics like It's Tricky and Walk This Way. However, my favorite track is Raising Hell also really surprised me with the metal-heavy beat.
I listened to this, immediately went down to Fitzpatrick's Irish Pub, had a few Pints, had a few more, sang, cried arm in arm with a stranger, danced, started a fight, and got my teeth smashed in by that same stranger until they looked like Shane MacGowan's. 5/5 would listen again.
I guess I needed to hear this before I die. I just don't know what to do with it now. An absolute onslaught of sounds that rained down on me relentlessly until my brain was utterly overwhelmed and rendered unable to comprehend what was happening, so I listened to the whole thing in one go. I don't know if this is hell or heaven. I don't know anything anymore. I feel like a biblically accurate angel just manifested in front of me and told me to be not afraid.
The best thing about this album was reading the Wikipedia page about the Battle of Trafalgar, after I was got curious about the name's its origin (only knowing Trafalgar Square and Trafalgar D. Water Law until then). The second-best thing is the cover art.
Not the best Queen has to offer, but still Queen.
Nice experience. Was especially captivated by Funeral for a Friend/Love Lies Bleeding. The album offers variety in musical styles and themes, high production value, an artist who can actually sing, and solid lyrics. However, there is not a single song I would go back to, let alone the album as a whole. For me, it scrapes the boundary to "great". 3.5/5
Refreshingly different and yet accessible enough to get you bobbing your head. No hit single in sight, but overall the album convinces with its unique vibe. It's also short and snappy, so you won't get tired of it. 3.5/5
Boring, forgettable, dull. The only thing that stands out is Elvis Costello's voice, and I am not yet sure if that is in a good way.
Very obvious parallels to Oasis and Radiohead. In some song they even reference Wonderwall, although I would associate this album closer to mid-late Radiohead. That being said, it just feels like a cheap knockoff. 2.5/5
Listened to the album on a Friday, now reviewing it on a Monday. The only things I remember are that it was ok and "Vienna waits for you". I guess that's something
Can't seem to warm up to Bowie. This album's most popular song, The Jean Genie, is just a generic Blues Rock track. There are some weird Jazz and Piano pieces spread around. Basic 70s synth tunes. The best thing for me was the realization that the title is a pun.
All right. Soul, Funk, Afros and bare chests on the album cover. 3/5 Elements.
Almost painfully generic and absolutely forgettable. Listening to this album feels like having to drink a bottle of water when you're not thirsty.
Cool metal album with an interesting little indigenous flavor. Unfortunately, it drags on a bit too much and lacks highlight tracks. Simply not condensed enough to stand out.
The Smashing Pumkins deliver a lot here. However, I'm ambivalent as to whether it really had to be 2 hours on two double CDs. The “album” contains pretty much all the band's the hits, is stylistically varied, and yet remains thematically true to itself. It is probably their magnum opus. Nevertheless, the singer's voice has the inverse effect of getting used to something (it gets weirder over time) and the melancholic style becomes boring after a while, which means that large parts of the album were just background noise for me.
Early Iron Maiden without any of the hits, but with all of the energy. Condensed into 8 tracks of solid Heavy Metal. Honest and straightforward. 3.5/5
While I can appreciate the artsy style, I just don't warm to the music. A cut above the usual copycat bands you've heard over and over again, who also do little wrong, and rarely annoying, but no track in sight that I want to listen to more often.
Fantastic background music with the occasional ear-catcher track, or at least part. Glory Box also really stands out to me. Not a fan of electronica, but this one is a 3.5/5
Country distilled until only the pure, crystalline essence remains, heated to scalding hot and injected straight into your veins with a "Wham Bam".
A modern classic.
I won't fault this album for being pop music. It's popular, which means very appealing to a broad populace, which means you can't expect much depth or experimentation. Nevertheless, I was positively surprised by the synth wave approaches and some, albeit somewhat infantile, lyricism. There are some hits that you know even if you're not a Taylor Swift fan and where you can't help bobbing your head to. But every song on the album has only one theme, and I can't listen to any more of this ex-boyfriend crap, no matter if it's whiny or emancipated.
Somehow dull and unpleasant. This rhythmic talking style singing, which probably characterizes the band, doesn't appeal to me.
Here are a bunch of adjectives that I would use to describe this album: constricting, enraging, abandoned, suffocating, empty, bursting, sad, painful, confusing, indifferent, raw. None of it is particularly "good", but it is special. I think grunge delivers more on an emotional level than a musical one and this album is a good example of that
A feast for all enjoyers of misheard lyrics and repetitions. Unfortunately, not something I enjoy.
Fresh, but lacks some flavor. Like a bland watermelon.
I was surprised at how many songs I knew from the album without realizing it. I don't find her voice particularly pleasant, but it definitely sounds unique and gives her already very personal songs an even more personal touch. The songs are the highlight anyway. If you don't listen closely, it's just solid singer-songwriter acoustic music. If you listen closely, Tracy Chapman will break your heart.
I've heard other country albums, no problem. Some I have even enjoyed. But something about this one is so repulsive to me, I couldn't finish it.
Mellow, sweet singer-songwriter country. Too boring and monotonous for me, but at least not annoying.
Meh. The only song that stood out for me, Elegia, is coincidentally also the only song without vocals and the basic 80s synth pop beat.
Massive debut. While the general aesthetic, stile and "content" feel kind of dated today, Biggie Small's flow and lyrics and rhymes and delivery are something to behold. I don't even mind the skits that much. Still, over an hour of good, but not spectacular, dated gangster rap is just too much. 3.5/5
Reminded me of Arthur, the animated television series for children ages 4 to 8, developed by Kathy Waugh for PBS and produced by WGBH, set in the fictional U.S. city of Elwood City and revolving around the lives of Arthur Read, an anthropomorphic aardvark, his friends and family, and their daily interactions with each other.
Very accessible. Buttery smooth flow and no edges to take offense at, but I don't see any highlights either. Everything drifts along and hardly anything sticks. The lo-fi to gospel to jazz beats are nice. 3.5/5
A mixed bag filled to the brim. Rocky, poppy, psychy, Super Mario Landy. Seems like Todd Rundgren just threw everything he had at the wall, hoping that Something/Anything? would stick. An observant listener or simply life experienced person will realize that this approach usually only ends in a mess.
Supa Dupa Features but also Supa Dupa Forgettable
Neat little Disco album. 3.5/5
Judging by the cover and title, I expected a spectacle along the lines of "Epic Monster Truck Death Wrestling". What I got was "The ballad of 'Epic Monster Truck Death Wrestling' - The musical, on ice".
Actually groovy/intricate/melodic/interesting guitar riffs and metal sound that I would place somewhere in between Slipknot and Disturbed (I know, newer bands that were probably inspired by Pantera), being held back by the vocals. I think that's why “vulgar display of power” doesn't quite fit. What I associate with this screamo voice is strained bowel movements. Vulgar? Maybe, but not powerful.
You get exactly what the label says. That's always a plus in my eyes. In this case, even in almost the right dose. Album's a little too long for my taste, but it doesn't get annoying. What the label doesn't tell you is that shit slaps, yo. Bonus point for the unexpected Breaking Bad reminder.
Garage Grunge Punk mix. Meh. Low 3.
Imagine my surprise after only knowing Chuck D from Prophets of Rage and Flavor Flav from Flavor of Love.
Solomon Burke is a pretty cool name
I'm really torn whether to consider this album a gentle, elegant work of art with which Björk, in her naturally weird way, manages re-illuminate intimacy in an innocent yet sensitive light, or whether it's really just 12 pseudo-intellectual electro pop songs stuffed with euphemisms, puns and innuendos about intercourse. It might be both, which I find kind of impressive. To then call it “Vespertine” (something occurring in the evening) leaves me feeling both very clever and very fooled. Good job.
Bitte nicht Orca
Ok individual tracks and pretty well-rounded as a whole album, but not great.
Not bad, as to be expected, but emotionally jaded. Would have wished for more joy, silliness, and fun, or even real sadness, desperation, or rage. All I get from this album is a very mature rational distance to all things, very well sung onto uninspiring ballad tunes.
I don't know what it is exactly, but somehow this music is incredibly unappealing to me. I can't really find anything obvious to criticize, besides the album being so long (blessing or curse). Musically and technically great for sure, but 21 songs and there's not one I want to go back to? Am I blind, I wonder, or is Stevie blind, Stevie Wonder?
Nothing special. Didn't hate. Didn't like. 2.5/5
Quite Bealtesque which I like more than the county direction they go into in their works.
Prog rock with organ sounds. My cup of tea: 2/5 Deserves to be on this list: 4/5
Very Graceful. 3.5/5
The Queen songs I like, I really like. They are explosive, energetic, catchy, beautiful, 5/5, but while I hate to admit it: The other Queen songs just give me nothing. I want to enjoy the album more than I did, but besides You're My Best Friend, Love of My Life and Bohemian Rhapsody, there are only mediocre filler songs. Even so, I recognize the production quality and innovation, which makes my overall rating feel even more unfair. 3.5/5
Music made for the background. So unremarkable, I only noticed that the album was over 5 autoplay songs after the fact.
Very low 2 stars. Nothing about this is good, and it did annoy me quite a bit. The saving grace is this as actually labeled as "Noise Rock" on Wikipedia, and I would say the album very much ticks this particular box.
Nothing special, but easy to listen to. Probably the least annoying synth-pop I've heard to date.
I really like Chris Cornell's voice (even though I liked it better in Audioslave) and this is a good album, but not great. It drags on a bit too much and in typical grunge fashion, it's leaning a bit too heavy on the heavy for my taste. Still, it features some highlights and overall cool tunes.
Expected a mix between Van Halen and Morrissey. Was disappointed.
Cute attempt, but missing smart, quiet and funny. 2.5/5
Entertaining short hard rock album. Awakens 80s nostalgia in someone who didn't even live through the 80s. 3.5/5
Was about to form the opinion that the 70s were a pretty bland decade musically, but this is actually pretty neat.
Not a blunder, but also not creating buzz.
All attitude and energy, no skill and sophistication. A 5 star punk album.
Pretty fun and entertaining. Quirky, authentic, committed to its specific kind of art. At some points, it's just super weird if you examine too closely. This is album is a clown. I don't hate the effort, I actually commend the devotion, I just find it unsettling.
One hit wonder band with a one hit wonder album that features their one hit. The rest of the music is ok, but the album's length further dilutes the enjoyment. 2.5/5
Rating after listening to the album 4 days ago. I don't remember disliking anything, but to be honest I only vaguely remember the album cover and that's it.
3 + 3 = 3
Like going to a fancy art exhibition consisting of only two huge pieces by this one famous dude. While I have to admit that I don't really get it on an artistic level, I respect the effort and appreciate the craftsmanship. I also like how it makes me feel super sophisticated. About 40 minutes is also the perfect amount of time to spend on it until you've had enough and want to sneak off in a silent way. 3.5/5
So smooth, most of it just slipped past me and nothing really stuck.
How incredibly generic
Somewhere between pretty dope and too dark for me. I guess that's just grunge. I don't mind the occasional track about despair, suffering, or physical, emotional, or drug abuse, but the constant barrage and at times also musically very heavy and drawn out themes really pull me down. Throw out 3 or 4 of the more mediocre and doomish songs and this would have been an easy 4/5 stars, but as it is, it's just a 3.5 for me.
Quirky, playful, intriguing, radiating something between wisdom and madness. Like a random guy showing up to a party in a bathrobe. There are stories to be told and fun to be had. However, as is usually the case, the shtick is up pretty fast. But this bathrobe stranger knows when it's time to go and doesn't overstay.
Incredibly unremarkable
3.5/5. I refuse to elaborate.
Quite good. Special, but not unique.
Redneck vibes with a funky twist.
Not bad, but lost me in the second half. Should have been only one half anyway. Something about this exaggerated R&B and soul vibrato singing makes the music feel hollow and unauthentic to me. I just don't buy that you feel every single line of every track that much, Lauryn. The melody is not that captivating and the lyrics are not that profound, stop acting.
I think I can now confidently say I don't like Beck. At least he's distinctive and mixes things up.
An ok hip hop album by the Jimmy Fallon band.
Weird medieval England themed Prog Rock by the band of the dude who made the Tarzan soundtrack. I don't know what to think.
Could only make it until "Thinking of Ways" and had to skip from track to track from there on. What a mess of an album. Its saving grace is that it's mostly boring and only sporadically annoying in its over one-hour length.
Unique sound, which I can only describe as “definitely sounds like Depeche Mode”. Really strong album. Hits, hardly any weak moments, not too long. The rest is a matter of taste.
I feel like I've heard this before.
As exciting, attractive and memorable as oatmeal raisin cookies
How do you even rate a trout mask replica? By how much it looks like a trout? By how well it works as a mask? How well it imitates the original (without ever seeing the original)? By what the sight of a person wearing a trout mask triggers in you? Is this art? Impossible. And probably all of the above.
Better than average funky/souly/bluesy music, but paired with lyrics written by the horniest of gremlins. Bonk out of five.
James Brown is (rightly, in my opinion) one of the best Funk and Soul musicians of all time. Is this his best album? Questionable. It definitely isn't the best recording and features none of his greatest hits. Still, early (peak?) James Brown deserves to be on this list.
One of the best and most surprising discoveries on this list to date. Who would have thought that Nigerian Funk-Soul-World-Jazz would go so hard? Only four tracks, each one distinct and while "Zombie" is the clear highlight to me, each one of them is enjoyable and fun. Perfect for cooking. The Afrobeat influences make the whole thing weirdly danceable and catchy. The long jazzy instrumental passages in the first half of the songs are varied, exciting and groovy in themselves and then vocals also come into play. Apparently, the album criticized the Nigerian government; and is believed to have led to the murder of Kuti's mother and the destruction of his commune by the military, which is sad but also Metal as fuck.
Wow, this album really hits you like a small felt-covered mallet hits the xylophone.
I know some girls who, if they had known her music back in school, probably would have made Kate Bush their whole personality.
Okay so most of this album is okay modern singer-songwriter mellow country-esque lofi deep voiced rhythmic talking with a weird bird romanticizing favor. Honestly quite chill. 3.5/5 Sidenote: Eid Ma Clack Shaw really shook me. Not because it is such a masterwork of a song (it's good), but because it sounds so familiar as if I had heard it a thousand times before and just forgotten about it. Like a dream. Which is really bizarre, considering the content of the song and the fact that I never heard of the artist, album, or any of the songs before.
Iconic, but too long and somehow doesn't hit the mark. The album didn't interest me enough to explore why exactly. Still, the experience was good enough to know straight away that this is good stuff. Open and shut case. 3.5/5
Interesting how this album is all about Dusty Springfield and not at all about her at the same time. A large collection of cover songs from the 60s with the typical early-mid 60s sound and vibe. But to be fair, most of them benefit from being sung by Dusty. 3.5/5
Ah, the sex album. The one with the sex song. Where the very first four notes already make you feel like you're being touched indecently. 5/5 as musical accompaniment for a limited number of highly specific use cases. 3/5 any other time.
Very forgettable 60s psychedelic rock, dabbling into early punk and blues rock at times. Meh. I liked the album's composition 2.5/5
I know that this is regarded as one of the best heavy metal albums of all time, and it's fun and all, but I can't help but feel that it hasn't aged well. It tends to be repetitive, monotonous and lyrically so simple that it borders on infantile. Standout tracks are The Number of the Beast and Run to the Hills. The rest is just solid metal. 3.5/5
I feel cozy and warm while breathing in the clear mountain air, snow softly and slowly covering my porch, while the fire crackles in the fireplace - the album. On a more technical level: Indie Folk Pop, but really well produced. Leaning heavy on the gentle choir and acoustic sound, and tends to build up to a climax that occasionally doesn't come. The soundscape is also not particularly varied, but the album is short enough to not become boring. Where it does excel, in my opinion, is in conveying this mountainy feeling and invoking images. All in all, an excellent debut.
Nothing to hate and little to like. Weird genre mix.
An okay album by an okay band with one single hit song that kind of makes me want to get a Kinderriegel.
You think it will be an okay listen, but then it isn't.
Good funky RHCP sound, but unnecessarily drawn out. The good tracks don't carry enough to make up for it.
An album, like my grandparents' home furnishings. Unmistakably out of time, lots of brown, some supposed “treasures” that should have been got rid of. Nevertheless, somehow cozy. You can stand it for grandma's sake.
I found it difficult to rate this album. On the one hand, this is a classic, features iconic songs, pushed the boundaries of the genre and has brought us this unique Bestie Boys sound and energy. On the other hand, I don't really like the sound and the energy annoys me. Ancient school Hip-Hop beats and rhythmic speaking that I wouldn't call rap (maybe because rap wasn't a thing yet). 3.5/5
Just some generic 80s brit rock/pop without any unique selling point. Not a bad, but deserves minus points for being utterly forgettable
Okay, but certainly not outstanding. Autoplay gave me I Hated The Day I Was Born by John Lee Hocker afterward, and that was a really nice discovery. So I might be ending this review somewhat too much on a high note.
The best thing about this album is the cover. Music reminds me of Coldplay but even more trivial.
Solid, but too Thrashy for my taste. I miss the intricacy that I know other Metallica albums showcase more prominently. The album is also not exactly short and lacks highlights apart from the title song, which makes it tedious to get through for filthy casuals like myself. 3.5/5
Speakerboxxx: 3/5. All around solid, not very exciting hip hop tracks, with two or three notable exceptions. But even the many prominent features can't really elevate the album. The Love Below: Definitely more experimental and artsy, leading to more surprises and standout tracks. In positive and negative. Though, the positives clearly outweigh the negatives. "Prototype" to "Good Day, Good Sir" is a joyride. The rest is somewhere in between okay, forgettable, and annoying. 3.5/5
The album goes hard, blasts you with all the energy and attitude you'd expect, but also makes time for actual melodies, harmonics, and even guitar solos! A hardcore punk band that actually showcases basic proficiency in playing their instruments? What a pleasant surprise. And after 21 minutes it's all over -short and to the point. If I was more into punk, this would certainly have been a great listening experience. 3.5/5
Really enjoyable if you like the sound of electric guitars. But honestly, with the way that Jimi Hendrix is hyped, I expected a little more. Didn't mind the two 10-15min tracks on the album, although the overall runtime of 1 hour 15 minutes is too much. It doesn't help, that arguably the best songs, Voodoo Child and All Along the Watchtower, are the closing two. 3.5/5
Surprisingly okay. Actually caught myself grooving with the music a few times. But certainly not outstanding.
Too bad, the album starts very promising with Beetlebum, smashes the best track in your face with Song2, and then falls off immediately. Every now and then, you'll listen up briefly, because a few good ideas and sounds give you hope for more, but everything remains mediocre. Each additional song blurs out into irrelevance.
I am now convinced that Neil Young has gotten consistently worse over the time, since the albums I have reviewed up to now have gotten progressively better the older they are. I have actually enjoyed some of the tracks on this one, especially the electric guitar heavy ones. Also, Neil Young not being able to really sing doesn't stand out that much. That being said, Everybody Knows This is Nowhere still isn't an exceptionally good album, it just joins the mass of unexciting psych rock albums from the late 60s.
Neat little album. Nothing besides Son of a Preacher Man really stands out, but that's ok. Some review called this "white people soul", and I think that's fair. Would also add "old" to that nowadays. 3.5/5
CeeLo Green is painfully NOT the soul machine. Never heard anybody call him that. CeeLo Green sounds like a cartoon character. I can't go into the content too much because it was either irrelevant or ridiculous and after the first 5 tracks I just skipped through the album. Musically, it's somewhere between rap and soul, but incredibly uninspired in both forms. There's nothing here that hasn't already been done way better. Be it beats, vocals, composition, ... The only special thing is CeeLo's voice, and I don't think it fits either rap or soul very well. Singing pop songs is where it's at.
Very cool. Music barely reaches the coolness of the cover. Smooth. Would have listened to this while cruising in my car in the early 70s. 3.5/5
If this was only Johnny Cash singing 9 of his lesser known songs, this wouldn't have been a very appealing album to me. Not a big fan of country music. But this is a prime example of an album being grater than the sum of its parts. Okay songs and a solid performance, but the interaction with and reactions from a room full of prisoners elevate the whole experience. Not a single song saved, but I might listen to the whole thing again sometime.
Immediately gave me massive "drunk dad at the Christmas party"-vibes. But like watching your father grabbing the microphone - ready to embarrass himself in front of the whole family: It's going to be over fast, half as bad when you remember that everybody is just having fun, and you really have to commend the confidence, energy, and actually decent singing.
Musically okay, but I can't listen to these melancholy “love" songs anymore. A double CD full of them is borderline torture. I haven't quite understood the country and western aspect that the title refers to either. I guess because 90% of the music sounds like it could be playing in the background of very old western movies? I don't even want to tear the album apart, it was probably really important and revolutionary in its time, but it's like reading important ancient writings today. More interesting than enjoyable.
Nick Drake's voice reminds me of a clarinet. Not much to criticize here, but I don't like the monotony and lack of variety in the way he uses it. We have another album full of mellow tracks, very understated and singer-songwritery, so you can and should probably focus on the lyrics. However, the vocals stand out so little to me and blend into the music as if they are just another instrument, so that I found it difficult to actually comprehend the lyrics at all. 2.5/5