My first experience with the music of Nick Drake. Mello acoustic guitars with orchestral accompaniment and equally mello vocals combine to create a mediocre sound. Sometimes-thoughful lyrics were not enough to imbue value. I think this ablum belongs to a genre that I've missed or avoided, as I cannot name it.
"Beetlebum" seems to invoke The Beatles' sound. "Country Sad Ballad Man" is reminiscent of Beck.
Is this what the English listen to?
I found the lyrics to he mostly immaterial or unrelatible, the music simple, and the vocals boring... what I imagine Jack White's catalogue must sound like.
"Strange News from Another Star" reminds one of what Bowie's take on Soundgarden's "Blow Up the Outside World" might have sounded like, and is a nice chuck of gold amongst pyrite.
Great beats and vocals. Not a lyrical style that I've spend time with, but respect for the obvious skill and sophisticated chill.
An album full of energy and emotion. Queen's music sometimes seems beyond my ability to appreciate properly, with odd bits and harmonies that seem out of place yet sound in delivery.
The epic Bohemian Rhapsody pushes this album into the 3.5 range.
This is a lot done with a little. A relaxed atmosphere of simple instrumentals and slow, intoxicated vocals make these tracks easy to interpret and appreciate. Perfect for porches and headphones with overcast skies and marijuana, watching folks and dogs walk by.
This album has the feel of a good witch perptually winding up to cast a happy spell of magic.
I think the sound is a bit repetitive, with vocals causing this at times. But the endearing, visceral lyric style is enough to hold our interest as we envy the composer's perspective and experience.
This album's black and white cover depicts a pale and somber young woman wearing a funeral bonnet in early 1800's America. A man's hand can be seen stealing a locket from her breast. This image superimposes a blurry swarm of battle droids from some bleak future; their mass further darkening a darkened sky.
The cover's promise of uniquely meshed musical stylings from the past and future, layered with themes of war and death, is not kept or even hinted at. Instead we find the generic mean of pretentious rock throughout.
James Taylor is good.
“Fire and Rain” is rare in its ability to somehow help us find perspective in our own lives, though the words may not apply.
My first experience with this album—Taylor’s take on “Oh, Susannah” left me considering the lyrics for the first time, as well as his formula for creating music that draws an emotional response. I decided that I would not want to see behind that curtain, and will continue as I was. I hold the public persona of James Taylor in high regard.
This is an album to own on vinyl. A worn out sleeve and pops and crackles preferred.
Now the earliest New Order album I've heard. The sound is predictably less refined than Substance or Republic, but perhaps more sincere. I think that sincerity that comes through has been their appeal to me, and why I liked this one immediately, despite the greater-than-typical strained vocals and weak lyrical phrasing. As with The Cure and Slayer, I'm willing to look past some things because I like them.
New Order music has that sense of having always been there, as though it acts as the form of a certain type of music.
Revisiting after years, Is This It feels like cool shades at the beach.
This catchy, sometimes driving album, despite many clones, still sounds unique in its genre, and like a Beatles record in the way each song could be a radio hit. For me these tracks are not about musicianship, but about the feels.
A lot has been said about Chris Cornell's vocals, but I will add that they were good.
With Superunknown, Soundgarden introduced a distinctly more accessible sound.
Focusing on "4th of July"---Cornell's poetry conjures with lines like "naked in the cold sun, breathing life like fire," visceral in their transfer of imagery and concept. This is a track of the highest tier in all aspects; a moment where something pure came through. "Like Suicide" is similar in its greatness, inspired by a bird that broke its neck on Cornell's front door, easy to derive meaning from one's personal interpretation.
If the album is weak, its weakness is in the radio friendly tracks that deviate from what Soundgarden did best.
I'm hoping to understand the appeal of Supertramp some day.
SKIN ON SKIN
LET THE LOVE BEGIN
WOMEEEEEN!!!
So omnipresent was Def Leppard's music in the 80's that if you lived through it, you were likely desensitized to their unique and powerful sound. Listening again now, it's as though some little-known fertility god had awoken once more to put on its red leather pants and splinter the Earth’s crust with pure sexual energy of a divine nature.
Like a percentage of 80’s music and theater, the magic in these songs seems to have emerged from something similar to a lack of self-awareness, which allowed for unique or uncomfortable aspects, and sometimes transcended to greatness.
No one born from ‘76 to ‘84 wants to hear “Pour Some Sugar On Me” or “Love Bites” ever again. But if you Dave Mustaine those tracks, Hysteria might replenish your 80's magic flask.
I suspect that "1999" and "Little Red Corvette," beyond their groove appeal, have resonated with so many because each are unique takes on universal themes, masterfully expressed. This is the power of the greatest lyricists/vocalists---to convey emotions or insights that we all have but do not commonly recognize or articulate, and use their vocals like paint on canvas to further communicate the concept and corresponding emotions, so that the combination feels like an expression of the listeners own soul.
I did not find that appeal with the other tracks on this album, though they are musically similar to the first two.
"Little Red Corvette" and APC's "Magdalena" are similar in theme, and may represent their category's highest achievements.
Revisiting this melancholy, cover-heavy album that includes a few incredible tracks such as "The Man Comes Around" and "Give My Love To Rose", both written by Cash, the later being a triumphant self-cover almost fifty years after the original recording. At seventy years old, Cash's voice has a fragile aspect, which paired with the selected songs, feels like a somber, smiling goodbye, and was released less than a year before his death. Much respect.
Deep Purple has always seemed like a "had to be there" band to me. "Made In Japan" is an odd choice to include in this list, as live albums are generally for preexisting enjoyers. That said, Ian Gillan's live vocals and embellishments are something to behold.
At the end of my life, I may wish those minutes spent listening to the drum solos in "The Mule" and "Space Truckin'" had been spent with better economy, by instead speaking with loved ones or taking in nature.
"Thank you, we're the Cantina Band, if you have any requests, shout'em out."
"Play that same song."
"Alright, same song! Here we go!"
Verily, I am not qualified to rate this album.
"Selfish" has a nice groove. "Venom" and "101fm" stand out with style. My opinion is that the poor quality and childlike perspective of the lyrics would place this album far outside of the top 1001. This one makes me question the qualifications of the panel of music critics who selected these albums, especially since the selections were "intended to bring attention to gifted songwriters."
This album might have been groundbreaking at the time for its heavy sampling, and I have respect for both artists, but this is not in the top 10k albums I need to hear before death. There is nothing here aside from dated beats.
I place R.E.M. with college music, presenting new ideas that are often old ideas, or ideas that need further threshing out, offered to intelligent young people as new thinking, often implying the foolishness of old thinking, with an underlying air of superior intellect.
This album's lyrics may be real poetry---like poetry night at the coffee house poetry---the kind that seems to me pretentious, non-congruent thought, presented in the most ostentatious sequence and cadence possible.
That said, it's possible that my opinion lacks depth, and my distaste is really an undeveloped palate.
The music seems average and fully carried by Stipe's vocals.
I was previously unaware of Pulp. My first impression: Jarvis Cocker seems like an average guy with a rare ability to succinctly and honestly describe his everyday experience.
I hear My Chemical Romance, David Bowie, Pink Floyd, U2, Blue October, perhaps influenced by or influenced.
I appreciated the sober takes in "Help the Aged," "A Little Soul," "Glory Days," and "The Day After the Revolution," and the style of "Seductive Barry."
These lines stood out on my first listen:
"...I'm not worried that I'll never touch the stars
'Cause stars belong up in heaven
And the earth is where we are
Oh yeah."
Adding "This Is Hardcore" to my "check out further" list.
This is the legendary Genesis I've heard about. I'm a little blown away, and Phil Collins has gained favor with me after many years of decrying his solo catalogue.
Rating four stars without fully digesting because I think it deserves it.
Probably a top 100 album for me. Mostly nonsense lyrically, but this album may have set the standard for what I think of as skater hip-hop funk. Some incredible tracks here, like "Sabrosa"---listen to this doing anything and gain +2 mello charisma. I give "Ill Communication" a strong 3.75, and a shoutout to my old Bazooka Tubes.
I liked this more than the live album. I would rate higher if the rest of the tracks matched the dynamic energy of "Highway Star."
I would need a meme of an old man with an odd dentured smile, sitting at a table with a coffee mug and laptop, to accurately describe my thoughts on this album's inclusion.
Erratic, powerful, interesting music with sometimes amazing, sometimes irritating vocals.
Probably the most incredible band I've listened to that I also find unbearably annoying at times.
I've owned this album, and tried repeatedly to become a fan after enjoying "At The Drive In." It just seems like they tried too hard to be erratic and unique, like the kid with the most facial piercings. You don't have to try so hard buddy. We already like you! The lyrics and song titles of this album may illustrate this point.
But the beauty here cannot be denied. Probably a 3.21 to me.
I gave this album, and Radiohead, a real chance for the first time in a while, and was surprised to find that "Kid A" is pure high art. A big thanks to my son for helping me recognize this. I just needed to let it take me on the journey.
I've always liked "Everything in its Right Place" and "Optomistic," but a seemingly overacted performance on SNL twenty years ago gave me a bad opinion of the band, and I've ignored what what I didn't immediately enjoy since then. I think I will avoid watching their live performances...
How to Dissapear Completely seems so incredibly sad to me.
I've been wrong about Radiohead.
4.8
"Then the chicken-fancier came to play, with his long red beard." I knew "Aqualung" was for me when I read this line.
And I found looking up terms like "Dog-end" and "Chicken-fancier" was less fun than self-interpreting.
After a few songs, I guessed it must be a concept album or rock opera. Cool, I'm in... But no, this is just a normal album.
The first four songs feel like Tim and Eric created music for a renaissance fair in their most serious voice. So many quotable lines. I think it could grow on me.
2.9
I have no frame of reference with this genre outside of "The Girl from Ipanema." It seems fine, but I'm not really qualified to rate.
I've discovered how fun it is to translate some lyrics to English and interpret with no cultural context.
My experience with this style of music has been while patroning Tex-Mex restaurants mostly, but also passing vehicles and distant gatherings at the lake. There is often a two part alternating base line that I find to be good. The fact that this is Cuban music and I have that opinion should be telling.
This album gave me good feelings.
3.0
I was unfamiliar with Big Star previously. Good jams.
3.1
Several familiar songs here, and a high nostalgic value for me. I imagine the many kids that listened to this album through the years, envisioning themselves as western heroes. Oddly I find a sense of wholesomeness in that; a sense not common to the art of my time, and it feels good to bathe in that world for a while.
This is an album that's been missing from my life. Adding to my collection.
3.7
Listening, I recognized that ZZ Top's production mix is something special. I enjoyed "Tres Hombres" three times, twice while working on my truck. Perfect music paired with auto work, beer drinking and hell raising.
The quintessential low-key American badass soundtrack.
3.85
My first intentional experience with Gorillaz. Outside of some average beats, I find zero value in this music.
I would like to apologize to Clint Eastwood on behalf of non-Gorillaz-enjoying humanity.
.45
My first time making it through a full Yes album. I really enjoyed the instrumentation. The vocals have kept me away previously, but not so bad with an open mind this time. Their lyrics seem to be intelligent and insightful, though it's sometimes difficult to find a coherent line of thought.
Quality music. I think I prefer my prog a little darker.
3.3
I really dig the beats. Her vocal style is unique and interesting at times, but also ever-present, and too much at some point. Lyrics seem boring and cliché, or perhaps just unrelatable to me.
The percentage of female R&B music focused on relationship problems that I enjoy is negligible. Maybe just 10% of this album and a little Alicia Keys.
2.257
I feel like i could really read a magazine to this music in the office of some less-travelled doctor, like a podiatrist.
This album seems unexceptional in every way.
I think someone on the panel must be a huge Brian Eno fan.
1.1
I found it difficult to form an objective opinion on "Hotel California" after a lifetime of involuntary subjection to "Hotel California." Great harmonies, tight music, well-written ballads, excellent production... I could pick it apart, but in the end, this music is not for me.
3.45
My first time listening to the full album. As with most hardcore music, it's the spirit that counts for me. This album made me want to drink beer, sweat profusely, and get shoved around a bit.
2.75
Some of these albums have e left me questioning the nature of this site. Is this a social experiment? Am I being tested or tricked in some fashion? But then I see the listen count on Spotify, and I realize that it might be my taste that is the outlier.
Whatever the reason, I seem to be wearing thin on patience while trying to locate the beauty in mediocre music.
The MTV video for "Cherub Rock" was my intro to SP. It's still one of the best album openers ever.
I've jammed "Quiet" in garages with friends, fallen asleep to "Mayonnaise," "Soma" and "Luna" on repeat many times each, and headphoned this album extensively.
"Siamese Dream" and "Gish" are the only great Pumpkins albums in my opinion, and this one is a top 50 for me. "Hummer" and "Rocket" might be the best tracks in their catalog.
The album is peak creativity in all aspects: brilliant riffs, enviable fuzz, S-tier percussion, nerdy-cool vocals... and Billy was still likeable and relatable.
This remains a great sensory memory reservoir for me. Thanks for this album guys and D'arcy! These were the anthems of my youth.
4.8
I respect that this was innovative music, but I'm not impressed otherwise. This album might be a better fit on "The 1001 Most Innovative Albums You Must Acknowledge Before Your Own Demise."
I will now pass judgement on the music of Paul McCartney.
I've always liked McCartney's vocals. His voice fits well with this album's dynamic, catchy style. The stylish synth work thoughout is complimented by the pleasant guiro on "Bluebird."
This album left me with a good feeling.
4.1
Nice grooves. Vocals are good. Lyrics annoying at best.
2.4
I remember hearing "Last Goodbye" on the radio in the 90s, but I thought the singer was female, and I didn't recognize the quality. While I don't care for that song specifically, I think there are some great tracks here.
I watched a couple of the songs performed live, and my brain smoked as I tried to calculate how those vocals could come from that guy. He reminds me of Ian Moore with a +4 Tory Amos enchantment.
This is an interesting and unique album.
3.85
"Japan" is another band I've never heard of that sounds like bands I've heard of. It's as though the "1001 Albums..." is in fact a mixture of popular music and AI creations, and our responses to these unknown artists are being documented and studied. Or is "Japan" a real band from a different human timeline, and "1001 Albums..." is really a multidimensional catalogue created by some Brian-Eno-worshipping timespace cult? Is this musical journey the first nudge toward my emergence from simulation, and I will soon understand all that I question about life and reality, and finally be forced to face the actuality of my foolish decisions and quandered time? Will I cry bitterly at my failures as a human and wallow in self contempt while floating in some strange dimension? Or will I have a greater understanding of existence, and deep, knowing compassion for my previous incarnation, and hold that lifetime as a child in cradled arms, though still sufferring that unconquerable longing for those that I loved and will never see again? I what form will I be sent back as next?
This album is pretty good.
2.9
I spent a lot of time with this album as well as "Parachutes," around the time they were released. I don't remember now why I liked them so much back then. Perhaps this style has become so prevalent that it no longer sounds unique. Perhaps I just no longer relate.
Listening now, I still appreciate the title track and a few others.
3.315
It took me several attempts to make it through "Tommy." Outside of Moon's energetic percussion, I was often bored, though I found the story interesting at times.
3.01
