Funny how you can know 70% of an album but never have actively listened to the band. Such is the case with Steely Dan’s Can’t Buy A Thrill. Although not to my particular tastes, I can hear the appeal: groovy, well-produced music with enigmatic and witty lyrics.
Never been a big fan of Eric Clapton, guitar solos, or overly-long jam music, especially if it doesn’t have an emotional core. This really wasn’t my cup of tea, but I appreciate the excellent abilities of the musicians. The drummer reminded me of peak Keith Moon on some tracks. Probably won’t listen again.
Classic of my teenage years. Prefer their second album, but this hits hard. Unique stylings, powerful vocals, and heavy hitting instrumentation, while hinting at the melodic beauty that is more fully realized in their later works.
Another band that’s I’ve heard a lot of songs, but this was the first full album I listened to in its entirety. Dig the simplicity of the production, the seeming spontaneity of the music, and the overall force of the music. Surprisingly tender on a few tracks, especially the closer. Like Ringo, Meg White provides just what the song needs, and plays with heart and soul but isn’t showy or overbearing (except on My Doorbell, but obviously intentional).
Nostalgic, quintessential teenage pop punk, ambitious if still undercooked. Protesting the general state of American life without having any idea what kind of life would be better. Angsty. Production sounds good though.
Aggressive, loud, abrasive, rude, and a bit crude. Listened at least 15 times in the past, but it was especially apparent this time that Plant’s lyrics are lacking in substance.
A deeper and more poetic rock album than average, this album has hints of Tom Waits, especially on the opener Let England Shake. First album on this journey that I wanted to listen through again and dig deeper into the poetry. Some real beautiful instrumentation. A winner and one I’ll return to again at a later date.
Ol’ timey music: good for the soul, good for the ears. Music of the earth, music of the dirt. A good find for sure. Bluegrass done in a way that maintains the heart of the music without trying to pander to modern sensibilities. Hear obvious traces of older Irish music. Enjoy the banter between the musicians, but feel like those will be obvious tracks to skip on repeat listens. Good music for listening with kids.
Classic rock sound. Fun, if a bit trite, and simple music from the 50s. Seems to reflect if not the reality than at least the perception we have of those times well: white picket fences, we’ll-manicured Beach Boys-type easy listening, but without the stunning harmonies. Not my cup of tea exactly: I like my rock with a little more edge, a little more sass, say Chuck Berry. Overall, a fun listen but don’t think I’ll find my way back.
Classic rock sound. Fun, if a bit trite, and simple music from the 50s. Seems to reflect if not the reality than at least the perception we have of those times well: white picket fences, we’ll-manicured Beach Boys-type easy listening, but without the stunning harmonies. Not my cup of tea exactly: I like my rock with a little more edge, a little more sass, say Chuck Berry. Overall, a fun listen but don’t think I’ll find my way back.
Beautifully rendered pop-rock album: at once fun and danceable and a little dangerous while also being surprisingly emotional, especially toward the closing three tracks. A well balanced work, reflecting many elements of popular music filtered through their own special unique musical perspective. Care was obviously placed on the track ordering as it feels like a journey rather than just a collection of songs. I love Karen O’s voice, able to blend to whatever the song needs, from detached to hyped to achingly, crackedly beautiful. Bonus that my wife loves this album. Will definitely return. Only wish there was a half star option, because this is a 4.5, but just can’t justify a 5 star rating.
I liked the interludes and the experimental elements much more than the actual songs. I’d listen to a a whole album of Itsari-type songs over anything else on Roots. Obviously talented at what they do, just to heavy and angry for me at this time. Do love the name Dictatorshit as a song/concept. Nice way to delegitimize/ridicule power. Probably would have loved this album at 17.
First hip hop album on the list. Heavily instrumental, chill funky vibe. Standouts are definitely the hits Sabotage and the opener Sure Shot. Great production, witty rhymes, and an overall cool style, not to mention a real punk antiestablishment anti-status quo edge, with a streak of juvenile humor running through the whole, the album feels thoroughly of its time without sounding dated. Lots to respect just didn’t find myself engaging on an emotional or intellectual level. Just sit-back-and-watch sorta affair.
Some fun songs here, but a lot of cringed, undercooked lyrics and sameness in the music adds up to a disappointing affair. Pharrell certainly has a great voice, but that doesn’t save this record. A few attempts at anti-war sentiments are well-meaning but don’t quite land.
Always enjoy a Damon Albarn project, and with the rest of the lineup being an impressive collection of musicians/producers, this was bound to be a winner for me. Wish Tony Allen had a bit more to do percussion-wise. Did wonder how much input the collaborators had with this project, as it reminds me of other Damon Albarn solo albums. Will definitely dig in again. Good stuff.
The title sums the album up perfectly. Witty, emotional, and just a wee bit strange chamber pop, The Divine Comedy appears to be, in this form at least, a 50s lounge act given a Gen X makeover with a bit of Irish wit thrown in for good measure. Curious about their other work. Not sure about Neil Hammon’s singing voice: at times it is powerful and full of emotion, other times it sounds underdone, like he should have gone for another take. Overall enjoyable, though not exactly memorable.
A classic in my life, one of the all time greats for me. A breathtaking collections of creative, energetic, and rhythmically complex songs: life pulses vibrantly through the whole album. My favorite of the many greatTalking Heads albums, and an album I put on when I don’t know what to listen to. Highly danceable, texturally multilayered, and honestly downright fun in parts, this album also contains some stunning turns of phrases and moments of real lyrical beautiful sing with real feelings and depth of emotion. Though overplayed, Once in a Lifetime is still a stunner of a pop track. If only the album had This Must Be the Place. Nonetheless, this is a stunning achievement and a monumental testament to the creativity and ingenuity of modern western music.
As he sings in Here I Go, “a big band is far better for you,” and I have to heartily agree. This album from the original front man for Pink Floyd is lacking: lacking musicianship/talent, lacking cohesion/, and lacking a editing/discerning ear. I found the whole thing undercooked, underwhelming, and in some parts downright irritating. Not my cup of tea for sure. I find it hard to believe that if Syd wasn’t connected to Floyd, any record producer would have allowed him anywhere near a studio.
Much more interesting than Deep Purple, but not something I’d normally listen to. Ozzy’s voice is powerful, and the band brings it hard. Still contains elements of hard rock, with a few guitar solos that felt a little out of place. I can imagine people hearing this when it released and wanting more music in this style.
Fun, yet inconsequential choral pop. Nothing stands out, it all kind of blends together, but it all sounds lovely. Safe. Probably wouldn’t listen again, though probably wouldn’t turn it off if it came on. Never was a huge Arctic Monkeys fan anyhow.
Good study music or music to drift off into an imaginal space. Probably would help if I was stoned to really drift off with the music. I can see why they moved into film scores. Will keep in my back pocket for work/study. I can imagine this being quite revolutionary when released.
What can I say about this seminal album except that it really needed a better editor? Always a fan of George Harrison and discovered this epic album early in my musical journey, so it holds a lot of meaning for me, but upon listening again after a long stretch, I now realize I mostly love the first half or so. Lots of beautiful, heartfelt, stunning tracks, but lots of filler tracks that I find myself wanting to skip. This album is not, as Sum 41 put it, all killer, no filler.
Favorite track: I Live For You
Least favorite track: Out of the Blue
No-wave meets punk meets goth-rock, EVOL is Sonic Youth leaning into melody and pushing toward the mainstream, for what that means for a band like Sonic Youth. Not exactly my cup of tea: especially not a fan of either of the singers’ voices. Just seems underdone, and/or just off-key. I guess I can see why people love them, but I find the whole project too much and without any hint of fun or enjoyment, just drudgery.
Never loved David Bowie’s full albums, always finding them about 1/4 genius, and 3/4 filler (with exceptions being Blackstar and Low and most of Scary Monsters). Upon listening again, I found all but Sons of the Silent Age (which was just fine, nothing special) excellent traditional Bowie songs. The experimental songs on the back half just felt out of place. Not bad, relatively interesting, but felt much less integrated than the second half of Low, which works as an stunning and vital companion to the first half. This set of songs just felt disjointed. Finished strong with The Secret Life of Arabia though.
Favorite track: Heroes.
Least favorite track: Sons of the Silent Age.
I know there’s a lot of hype around these guys and a lot of praise heaped, but I don’t quite get it. I think for me it’s the voice: just too weak/off-key. The music itself is fine, some groovy rifts, but none of it sticks in the brain. Makes me think it’s music made by people who are perfectly capable of playing more deliberately and skillfully, but choose to play rough-around-the-edges music. Which begs the question: why? Hire a better singer and this could be a great band. As it stands, forgettable.
I enjoyed this quite a bit. Haven't listened to much Todd Rungren, (as a side note, I think he has the most un-rock’n’roll name I’ve yet encountered. Not that that’s a bad thing) but based on this album, he’s a heck of a talent. Will definitely dig in more, both this album and his other work: a lot to digest on this album.
Top-notch production, top-notch pop, though much of it definitely sounds dated. Looking forward to some of his other works.
The best of his trilogy, and his second best album overall (to me, Mule Variations is his best, giving listeners the best of Tom Waits’ world) Rain Dogs is a heck of a work: a journey though the underbelly of the society, with a cast of characters that would be at once home in a Dickens story as in a film by Jordorowskjy. The use of a wide range of instruments here is astonishing but never not in service of the song. The whole album sounds at once timeless and completely new, which is often a sign of great art.
Reading through some of the reviews, I was glad to see that people unfamiliar with Waits were giving him a chance and coming out the other side appreciating his mad genius. A consummate artist and one of the our great living musicians. Shout out to his wife Kathleen Breanna for giving him the push to create new and creative music not bound by convention.
Favorite track: Downtown Train, Time
Most Radiohead albums I can only appreciate like a beast observed in the wilderness: I can see and hear the beauty and power, but I don’t feel invited to go up and snuggle.
I love In Rainbows. This and Moon Shaped Pool are the only two Radiohead albums that I truly love.
Radiohead have always been an enigma to me: why do people love this complicated, somewhat whiny band with a lead singer you can’t understand, and obtuse music that is nether especially rocking or especially spacey: caught in the Twilight Zone. Lyrics and vocals have always been central to my love of music, but since my older brother loved Radiohead and would anticipate each new release with excitement, I tried my best to find something to love. In Rainbows cracked the code. Here was an album with grooving, energetic, rocking music that nonetheless maintained that complex core, while also inviting the listener to enjoy and partake in their musical joy. It offered me a greater appreciation for their other work. Bonus props to them for the unique release strategy.
Enjoyed this more than their first album. Still not my cup of tea, but I appreciate the band’s attempt to push rock music in a new direction. War Pigs still maintains its power after all these years. Really enjoyed the unique Planet Caravan. Would listen to a whole album of songs that sound like that.
I wanted to like this album. I like his voice. But it was all a little too much: I found most of it schmaltzy, overwrought, and all very 90s sounding, and not in a good way. I think some restraint here would have gone a long way. Too bad, cause his Hallelujah is powerful, and the best thing here.
Always enjoy Tom Petty, though I’ve never searched out his albums. Happy this lean, mean, fighting machine of a debut album is included on this list. At just 30 minutes, Tom Petty and the Heartbreakers pack in lot of style, fun, and heart. The harmonies throughout are beautifully rendered, the grooves tight and fun, and the little additions of modern sounds never over done or distracting. Will be returning to this for sure.
Honestly, this all just blended together, with the only song standing out being Superstition. If the whole album had songs as dynamic, intricate, creative, and funky as Superstition, I’d be apt to re-listen. As it stands, it’s a pass. Marks for quality production and musicianship.
Been a fan of The Band for a long time, but it's been a while since I listened to this album. Much more experimental and less rock-oriented than I remember, and it’s a more downbeat, tragic sounding album than other of their releases. I can imagine hearing this for the first time and being completely blown away: still so fresh and unique, sounding at once of the time and timeless. Songs like This Wheel's On Fire sound like nothing else I can recall in the history popular music. It is utterly amazing to me how full-formed and completely themselves this band emerged, though I guess touring with the likes of Bob Dylan will help in that front. Iwas surprised by the number of Richard Manuel-lead songs there were on this release. For some reason I remember more Levon Helm and Rick Danko. I feel like later releases feature more Helm and Danko lead songs, which isn’t a bad thing.
The harmonies here are stunning: blended perfectly to beautiful and emotional effect, with each voice unique and distinct, all without sounding artificial or over produced. In fact, nothing here sounds overproduced: Imagine listening in around the fire somewhere in the old west: sparks dancing in the moonlight, a big jug of moonshine passed around, and the smoke from pipes and cigars mingling with the smoke from the fire as group of grizzled ex-soldiers pour their heart and soul into their music. Of course there are many more instruments here than would fit around your average fire, and you definitely need electricity to achieve many of these sounds, but the sentiment feels right. And just like around the fire, it's best to sink into the music and listen close, as little surprise can be found everywhere.
Standout track is unsurprisingly The Weight, but special mention to I Shall Be Released, which has to be one of the great album closers: a perfect capstone, lyrically and musically, to all the preceding songs, while extending the emotional and musical ideas outward.
An exciting, rocking album out of Boston by the band Boston called Boston. Lots of Boston. There’s even a mention or two of Boston in the songs themselves. The first three tracks are well known and well-played, but still hold a lot of power and are quite memorable and sticky.
The music here is made to be played loud. It rocks from begin to end. The sound is unique in that it sounds a bit like the classic rock of the 50s but more. Everything is played for maximum effect: big, bold music with heart and not afraid to wear its heart on its sleeve. It all portends the coming changes in music, but done years earlier. I wonder if you could trace a line from here to the excesses in music of the 80s: here the excesses is done with purpose and heart, and feels authentic to the artists. It’s not cheap.
A collection of folky/psychedelic/jazz rock/bossanova of beautifully surprising songs. Wish I understood Portuguese to appreciate the album fully. Searching through the translations, I found songs filled with beautiful poetry of mystery and resistance. There seems to a be a theme of giving up fear and being truthful. Timely lyrics. I found these lines particularly moving:
‘Get out of this city, have a life where life exists
Climb new mountains, search for diamonds
At the end of the road and the dust
A river with its fruits feeds me’
‘If you let the heart beat without fear
If you let the heart beat without fear
If you let the heart beat without fear’
Overall a beautiful experience.
So many alternative obvious choices for early 2000s music and this is what is chosen? Derivative, repetitive, lame post-punk. To rephrase Bilbo Baggins, “No, thank you. We don't want any more pretenders, commercializes, or punk posers.”
The band many love to hate, myself included at one time for no good reason other than jumping on a bandwagon (I think part of that was Bono’s seeming self-righteousness and the try-hard overtly political attitude of the band). Honestly, this is the first album from the band I’ve heard in full. The first three tracks are familiar through radio exposure. I still quite enjoy them.
I read one review referring to Bono as marble-mouthed, and there are moments here that I found that description apt, though other times he’s clear, with his voice sounding unique and powerful in its own idiosyncratic way.
Love the jangle and bombastic flare of Trip Through Your Wire. Love the intensity of the closer Mothers of the Disappeared. Love the sincerity of the music and the lyrics. Overexposure and success can be deadly for sincerity, but there is nothing wrong with a musicians/artists that care and take their art seriously.
No. Just no. Nothing surprising here except for its inclusion on this list. Not brutal enough in execution be actually dangerous, not comprehensive enough to seem like anything more than a demo released before completion, and not lyrically deep enough to be more than high-school level nihilism rants. Maybe at the time it was revolutionary, but here it just seems boring and uninspired.
British punk with sax. Fast and fun, yet biting and honest. The lyrics alive and bristling with social criticism and sharp commentary, most of which is still relevant and pointed today. I want to say ahead of their time, but the issues and problems with modern society they are pointing to, like consumerism, technology overtaking our lives, and issuers of identity, are all issues they faced at the time, but the album does seem oddly prescient. I will say that the message is a little undercut by the fact that I had to look up the lyrics. Nonetheless, (we are now so inundated and surrounded by these issues, it is harder to see them clearly. Corporatism rules the world but we just about universally celebrate the takeover. Identity politics rules both sides of the aisle. War rages round the world. Anti-human sentiment comes in hot and heavy. To be punk now seems to be to reject the trappings of anti-traditionalism and maybe start a loving family and join your local community. Who knows?) I’m glad this album exits.
A mostly successful debut album by the famous trio, Crosby, Stills & Nash is filled with luscious harmonies, lilting guitar parts, and catchy melodies. The ambitious opener is probably the most successful song of the bunch, but special shout out to the fun Marrakesh Express, the beautiful Helplessly Hoping, and the rocking Longtime Gone. Would rate it higher if the rest of the songs grabbed me, but many just feel aimless and drab. Overall, a good album leaning toward a great album.
Intricately rendered synth-pop with introspective, heartfelt, and dream-like poetry sung with feeling and verve, The The immediately caught my ear. This is a band I can get behind. Definitely interested in digging in deeper to this album, as well as their other work. This is the reason I am slogging through so much mundane and tired music: for these hidden gems.
Fun, engaging, though forgettable psychedelic/folk rock. Dreaming of You is the best, most catchy tune, but like the rest of the album, the whole thing just sort of disappears after the song is over.
Beautiful music. Makes you want to get up and dance. Grooving, vibrating, flowing, pulsing music for the soul. More alive and vibrant than many albums here, Jorge Ben Jor sings with passion and emotion. From the little I can find in translation, it seems he is a mystic, searching deep the ancient mysteries. And a bit of a political provocateur, calling out injustice and corruption. A welcome addition to my world music playlist.
What starts out as a fun, rocking album slowly morphs into a surprisingly apt and honest criticism of war and human blood-lust. Brothers in Arms takes on multiple meanings here, from the camaraderie of compatriots, friends, and artists, to the more sinister brotherhood of mercenary guns for hire. I was surprised at the depth of some of the lyrics, as I usually felt the biggest draw of Dire Straits was the music, most especially the guitar playing from Mark Knopfler: at once delicate and lovely, but able to rock in a bluesy, evocative way.
The mix of social commentary, without being preachy or too obvious, combined with the beautifully produced music took this album from a fun engaging listen to damn-near masterpiece to return to again and again. This would be a perfect album but for the forgettable One World, which felt trite in comparison to the later heavy hitters, and no fun compared to the earlier rocking tracks.
Relatively run of the mill 70s electronic music from Germany. Didn’t do much for me, though like many people, I found the first half much more pleasant and enjoyable than the second half. Honestly, doesn’t seem that revolutionary in terms of electronic music, sort of basic really. It was fine. Probably could go digging and find much more interesting examples for the time period that better warrants a spot on this list.
I was hopeful for this album: a literate rock-group setting itself up against the conventions of the time sounds like my speed. But this did nothing for me. I found the lead singers voice to be half-baked, the music not exactly memorable or melodic, and the lyrics mostly bland. The cover is cool though. Disappointing.
A dapper looking Dylan stares at you, practically through you, suggesting somehow that he knows that you know that he knows that he is funnier than you, more interesting than you, probably smarter than you, and most definitely wittier than you. The blurriness indicates the wall between your world and his, the hazy boundary between a normal life and Dylan's extraordinarily mythic one. His eyes are bleary, another night of partying and playing music with a cast of weird and legendary characters of the day, not to mention world-class musicians and sometimes even the damn Beatles, all while you sleep somewhere down the street, knowing even in your dreams that you must wake and go to that job you hate. Your feelings improve though as soon as the needle hits the record and those first notes of controlled chaos ring out. So what if you can't play like Dylan, can't sing like Dylan, and sure as heck can't write like Dylan. You fix yourself up, and say proudly, 'Well never mind, we are ugly but we have the music.'
Although I appreciate the concept of trying to tell a broad story using songs and confessional interludes, I think the album is just a little too repetitive in content and form to be totally effective. For an album pertaining to womanhood with themes of feminism, I was hoping that there would be other perspective of women offered. Is there no loyalty? Is there no space for motherhood? Is there no love? The only mention of anything beyond hookup and party culture was the mention of two kids with a rich guy and a surrogate, which the narrator seems more concerned with her maintaining her image than the actual kids (I grant that her tongue was most likely firmly in cheek). But I guess the album's title essential means tales of hoes, so the album is at least honest to its title. (Begs the question: is the attempt at reclaiming the title's derogatory term Heaux simple the acceptance of that term and all it entails: sex for money, image over substance, short
-term transactional encounters over long-term loyalty?)
The longing and passion with which Jazmine sings about money and acquiring material possessions is usually reserved for expressing ones love of another. I can appreciate the irony and humor here, but I think the joke becomes lost in a great muddle somewhere between pure sincerity and biting sarcasm.
Obviously, this album was not made for me, so I will try to be a bit more objective. The production here is stellar: voices mingle with sharp instrumentations and silky beats to smooth effects. Jazmine is obviously talented and has a unique voice, both singing and writing. I’lol leave it at this: my desire for people to grow and become better humans and artists leads me to truly hopes she will someday write an album that fully lives up to the lost potential here.
Beware. Beware the one who assures you they’ll have just a little Morrissey. Just a little Morrissey at breakfast, a little Morrissey at lunch, a little Morrissey at dinner: for they may soon transform into a morose melancholic maudlin little lump.
What can I say about Morrissey that hasn’t been said a hundred times before by more elegant descriptors? I like his haircut. He is a consistent man. Same can be said for his musical output: always vibrant, engaging, surprising, and full of that singular Morrissey downbeat wit and mournful charm.
‘Your gran died and your mother died on Maudlin Street
In pain and ashamed, with never time to say those special things’
There really isn't another band like The Fall: here they deliver pulsing almost danceable music, with Mark E. Smith's strange poetic lyrics, that a mad Brit, barking like some holy fool preacher preaching his last sermon on a street corner desperate for us to attend, to hear, the end is nigh. Amen.
In some ways, if you're heard one The Fall album, you've heard them all, but in another way, each is unique. The uniqueness comes in the freedom Mark E. Smith seems to give his backing musicians to just go for it. I'm here for it.
If you don't dig Mark E. Smith's delivery, you might as well give up, cause no matter how good the music is, his vocals are always central.
Intricate, unique pop-instrumentation with immaculate production combined with beautiful, evocative vocals create a powerful, if slightly too-individualistic (at least for my taste) listening experience. Some of the lyrics are simply outside the scope of my current life, so they feel a bit obscure: probably I'm just too old and too uncool. (I guess I wish that young people were more interested in the meaning of life rather than their own identities. Maybe they would get more out of life and feel less like the Loveless generation. Then again, they're searching for meaning through their identities, so I guess it's similar. What do I know?)
Lorde's voice is powerful and full of emotion. Lots of singing about dancing and partying, which doesn't do it for me. I can certainly see why she is so popular. A gifted, talented young woman.
If there were 1/2 stars, I'd give it 3.5, but it feels closer to a 3.
Energetic pop punk played with verve. Simple music played with purpose. No hint of sarcasm or phoning it in, this is genuine music played by committed musicians. Someone described Sleater-Kinney as like a raw nerve, and that seems apt: vulnerable and exposed, but hard hitting and electric.
Rock and roll distilled to its purest essence: driving guitars, thumping bumping bass, and simple hard-hitting drums, AC/DC perfected a formula and figured, why fix what ain't broke?
Highway to Hell establish the tone, and the rest of the album follows closely after. As one review wrote, it's big ol' bowl of chocolate ice: each bite tastes the same, but that's not the fault of the ice cream. You either dig it or you don't.
Got to admire their consistency and dedication to creating fun, energetic music without pretensions. Not something I would play regularly, but it sure makes for good driving music, or if I ever needed to drink a 30 rack of P.B.R while pretending to fix my car, this would certainly be a fitting soundtrack.
What an idea: sing a bunch of murder songs and songs about criminals to a room full of convicts. The set and setting lend authenticity to the music and I'm sure won over many a life-long Johnny Cash fans. No one did it like Cash, and this is proof that he was a one of a kind. His easiness here is a man at the center of the stage fully committed to the project.
The little breaks and 'mistakes' are nuggets of joy and discovery: it reveals further the connection Cash has with his audience. His banter is full of piss and vinegar, his singing is classic Cash, and the band gives each song just what he needs: simplicity and a soft bed for the star of the show.
It just go on and on, on and on. The songs themselves drag, and the albums drags. It’s all -almost- fun, but everything is just slightly off so it’s tedious. As far as I can tell, there’s no Grace Jones on the list, but there’s this so-called neo-disco too-cool-go-school anti-dance dance music from the late 2000s? I call your bluff. Bad form.
Overproduced, undercooked. The pop of rock music. I see why people love it, and in small doses it can be fun, but an hour long album was just too much for me.
Couldn't get through this. Too many vocalizations rather than actual words. Don't understand the diva thing. I guess her voice is nice.
Too bad it’s so confusing to find this album on streaming. Once I found the music, what a winner. Love the simplicity of the music, the feeling, the general vibe. Dig it dig it dig it.
A seminal album of my youth, I listened to this on repeat over and over again: coming out when I was 11 but discovering it closer to 13 or 14, it’s aggression, general angst, and anti-authority vibes appealed to my adolescent malaise.
Listening to it now, and knowing a little about Chester Bennington’s difficult childhood and early drug use, the lyrical content really has little to do with me and my life, then or now. But boys will be boys and it’s controlled anger and outlet for aggression was like candy to me.
For a nice-metal album, it still rocks, even if it’s a bit juvenile in approach and content. Not something I’ll play but for nostalgia’s sake.
An astounding achievement in modern pop music: timeless, haunting, achingly beautiful, and evocatively poetic, Joanna Newsom is a force of nature. Like an angel with her harp, she sings of life and death and romance and the cosmos and the beauty and danger of the natural world, all the while surprising, delighting, and possibly even breaking the heart and piecing it back together again for the attentive, engaged listener. Like nothing I’ve ever heard, Newsom went for broke on this her second album and succeeds on ever level. An album to return to again and again, to marvel at, to bask in the glory of, and to dig through carefully to reveal its subtle secrets.
'When the bough breaks, what’ll you make for me?
A little willow cabin to rest on your knee
What’ll I do with a trinket such as this?
Think of your woman, who’s gone to the west
But I’m starving and freezing in my measly old bed!
Then I’ll crawl across the salt flats, to stroke your sweet head
Come across the desert with no shoes on!
I love you truly
Or I love no-one'
Listened to this a few times in the past, but it didn't do it for me this time around. Besides the first track, which is groovin' and rockin', and the title track, which is beautiful and mysterious with a lovely flute solo, it all just kinda blended together. Wanted to like it, but found it lacking real substance.
