Boring Adam Sandler talk-singing to acoustic guitar.
The best Beatles classics with some good tracks that I hadn't heard often/before. Basically only love songs.
I initially declined to listen to this album because I received it at the same time that Kanye was coming out to the world as a nazi. However, a few years later I've decided that I owe it a listen and found that I really appreciate the unique and diverse sounds and themes of this album. Kanye is exploring heretofore unknown styles of sampling, editing, and writing that makes his music stand out and illustrates the application of his talent and skill as an experienced producer towards the creation of his own music. While I don't appreciate what the man has made of himself, I can't deny that this album is impressive, and I don't even like rap.
Unexceptional grunge whining from Kurt being backpacked by Dave Grohl's intense and talented drumming.
Terrible falsetto and boring Radiohead-esque instrumentals that are much too pretentious. The hole album is dripping in pretentiousness. Rhythm and percussion was okay on some tracks, especially Through the Iron Gate. Best song was All the Kings Men because the vocals were not falsetto and it was actually somewhat enjoyable.
Boring but okay folk music.
Toe-tapping. Tutti Frutti is the toe-tappingest and an easy fav. Listening to history was an interesting experience but the music itself was pretty bland compared to other rock and blues from the time.
X.Y.U gives grungy QOTSA vibes, and great rhythm on a handful of tracks from disc 1. The remaining are forgettable, and even the singles don't deserve the acclaim they receive. Would listen again only if forced.
This was a nice reminder of the benefits of listening to music from this generator - it was something different and very enjoyable. Jazzy, big band, slow, fast, atmospheric, dark, light. Listening to this album felt like watching a movie or TV series as each song brought about a new scene, conflict, and vibe. I would listen to more Adamson.
Each track contains at most one interesting and/or unique concept (beat, sample, rhythm, etc.) and repeats it ad nauseum. The songs are too long and repetitive. Another feature on the list that makes for "decent background music" but isn't worth listening to. In this case, the artist is a professional soundtrack artist, probably adding another collection to their portfolio, but the author of this book mistook it for exceptional music on its own.
Lady Paul Newman punk rock-lite. Interesting (if nothing else) lyrics and talented backing band made this a fun listen, but couldn't help but feel that the whole thing is overrated.
I always hated Rehab, but the rest of this album is thematic and its sound is clearly defined. Listening gave me a greater appreciation for Amy Whinehouse and I would listen again.
Very 90's. Horny.
Not my kind of music but definitely a kind of music.
Bingo bango bongo big band cuban jazz
Always hated Blondie, especially "One Way or Another", but a full listen to this album helped me really appreciate the genre-mixing that occurs seamlessly throughout this album. Rock, punk, and even disco are all represented very well on various songs throughout the album, which underscores the impressive talent of the singer and band. I don't think I associated Heart of Glass with Blondie, but its a better song than I ever gave it credit for, especially in the context of this eclectic album.
British droning and screeching
Random noises and not even music. Forced myself to listen to it and maybe got something out of it, but the commentary/messaging/experimentation that Throbbing Gristle attempts on this album is done better by numerous other artists. I will be laughing at this album in the same way that I laugh at the Human Centipede trilogy.
Danceable British pop rock that makes effective use of the Burundi beat, something I hadn't noticed was in a lot of music until listening to this album and hearing the source of its popularity. The themes of disorganization and a disregard for civil order are consistent throughout (frontier, pirates, native Americans), and the Burundi beat underlies it all, giving it an unwashed and tribal feel. I would listen to this again, or at least other similar artists, and I can keep Antmusic in my back pocket for the next time I meet an Australian.
Funky, soulful, and sexy. What else could you want?
Music for white people who enjoy the sounds of Africa. Cultural appropriation and apartheid issues aside, I enjoyed the music.
Generic late-80's ballad snoozefest with insufficient sax.
Forgettable 2000's white people music
Iggy Pop vocals ruin what could otherwise be an album of impressive guitar rock.
Trailblazing unrefined sound from a gaggle of US GI's stationed in Germany who wore the outfits and haircuts of monks. Every instrument is a rhythm and the vocals are grating.
Thought this would be rubbish based on the name and Britishness of the band but thoroughly enjoyed this album. Loosely gives Interpol vibes.
Misogynistic love song lyrics that aged like milk, but otherwise enjoyable 60's good white boy music.
mediocre British blues music
An exquisite blend of 80's pop rock and twangy country.
♪ booa wata choosdie innit ♫
sad party girl music. Redeemed by mostly interesting rhythms (ala Glass Animals before they were bad).
I've always been a fan of this band since hearing their hit single play on the radio, which I enjoyed using my old iRiver MP3 player while I rode the bus to elementary school. I excitedly sought to hear the rest of the album, expecting it to be as enjoyable as the single and was swiftly disappointed by how forgettable and, at times, bad the music was. My disappointment is unchanged nearly 20 years later.
Funky synth jazz from the 70's ftw
Extra theatrical folk tunes that shine a light on the tragedy of American life and history. Made me feel I was listening to a sober Kerouac's musical.
Raucous and sarcastic Irish folk punk
Unrelentingly bland and boring. The guitar "solo" at 2:15 of "Love is Blindness" does a good job of encapsulating the talent and ambition on display in another hour of U2's music, formulated to never stray too far from optimal mass-appeal.
Thought I liked this after the first couple of songs, but I could only take so much mediocre indie-punk-rock featuring discordant noisy guitars for so long.
Reduced rating for this one because of the first disc containing over an hour of repetitive, generic beats. The second disc featured more interesting and jazz-infused music that I enjoyed slightly more. Nevertheless, all songs are at least 3 minutes too long.
Really surprised by the creepy vibes and undertones of the lyrics on this album, which on the surface appeared to be an upbeat 80's pop-punk music based on the album art, band name, song titles, and instrumentation. The satire played on pop music lands well and Bjork's vocals are impressive - it's easy to see how she became famous after this introduction.
Fantastic vocals and mediocre instrumentals. Enjoyed the 5'33" a capella track, which allowed for a more refined appreciation of the vocals.
hard with just a hint of jazz
The epitome of early 70s southern country blues rock.
Skillful and distinct instrumentation that ranges across progressive sounds of blues, soul, and rock. It may sound somewhat dated for the 90's considering that much of the music seems influenced by earlier successes in those genres, but I thoroughly enjoyed this album and would listen to it again. Weller's vocals are aged and soulful, providing a sense of focused intensity, and the lyrical themes of introspection and self-discovery avoid becoming pedantic.
A lot of forgettable and uninspiring music on this record with "I Can See For Miles" being one great exception, so much so that it is a little jarring to hear juxtaposed against all the other tracks. The radio jingles concept of the album doesn't bother me, and I think hearing the radio voices sprinkled throughout the album gives it an enjoyable theme (even better if it were more satirical - see Songs for the Deaf), but that theme spills over into the music itself, making it bland and uninteresting.
The good parts were good. The rest ranged from intolerable clusters of noise to boring and unenthusiastic vocals.
Peak thrash metal. Enjoyable to imagine how much better the music would be with a more competent or creative drummer.
Can't handle this guy's voice, and I really tried to look past it this time. The rest of the instruments and song-writing are fine if not unimpressive, which really only leaves Neil's voice for much of the album. Alabama and Words were the only two tracks I found myself enjoying, probably because there were arrangements of other instruments to distract me from Neil's horrendous falsetto.
Of course Jimi is all about the guitar, but I find myself distracted by the drums and rhythm on every song in this album. It is frantic and raucous, yet precise and delightfully unpredictable. Easy 5 stars for all three of these genius musicians.
More soul than I expected from the album cover of a white lady and a cat. Fabulous, easy listening with a lot of emotion and variation. Happy to now associate some of the big hits from this album with their talented artist and the overall context of this exceptional album.
Full of intriguing symbolism and metaphors about Bowie's life and death, making this album an interesting listen that probably needs to be separated from its musical value to be really appreciated. That being said, I only enjoyed Dollar Days and I Can't Give Everything Away because they were more upbeat and didn't carry the same haunting, slow sounds that the rest of the tracks featured.
A huge variety of sounds, themes, and instruments throughout this excellent album.
A nice album with very gentle and pleasant music. I'm not a fan of the vocals' English accent but also don't feel that it hurt this music either, just that I would have enjoyed it more without. The Bones of You was this album's best and the rest seemed adjacent to filler but were still good.
Yet another country folk rock band with an album of dreary songs reminiscing fondly of a past when racists could be more proudly racist. This album didn't age well in its subject matter nor its musical content.
Decent, if not middling and generic, punk rock. Songs started out somewhat avant-garde and became less interesting as the album progressed, but most songs were brief and moved onto the next before each became boring.
Just okay, if not entirely forgettable, instrumental music made completely insufferable by audio throughout of a large rat biting the testicles of a donkey. Implying that the sometimes grungy guitar sounds of this album influenced later grunge music gives the donkey credit that he never deserved.
Interesting mix of jazz, orchestra, and other music from Asia and far flung cultures that got progressively tedious and boring after the halfway mark.
Unique blend of reggae and other genres like jazz, hip hop, and rock. Quaye's vocals, while not strictly authentic, are pleasant and blend the many genres of this album together. The second half of the album is forgettable but the first half was surprisingly enjoyable and dynamic.
Truly enjoyed most of this album whenever Kiedis wasn't vocalizing. The tight guitar, funky bass, and varied rhythm showcase the talent and skill of these musicians, and it's a shame that Kiedis detracts so much from this otherwise enjoyable music. Breaking the Girl remains an underrated song and the only RHCP track I enjoy.
An ambitious and successful project to record a huge amount of music by the Gershwins and Fitzgerald in one enormous set, and the quality, skill, and effort put into it truly shows. The production quality is unlike anything I've heard from this time period in its clarity and balance, perfectly underscoring Fitzgerald's consistently perfect vocals.
Burke's vocals are impressive and enjoyable. Among the 50's/60's music in this genre, this was something I enjoyed more than most.
Interesting and enjoyable indie trip hop rock. I previously had a difficult time placing my finger on what I though trip hop sounded like, but this album is what it sounds like. Many psychedelic and electronic sounds layered over repeating beats and trance-like vocals give this album a somewhat relaxed and trippy vibe (space Beck?). The instrumentals are many-layered, leaving something different on which to focus for each track.
This album feels so different to most other albums because the music is aggravatingly boring and O'Connor's vocals are woefully unimpressive, despite sounding like she has more to give. Listening to the whole thing in one sitting felt like being stretched on a grave that I would rather simply inhabit to avoid hearing more of this music. Truly, three babies could make a better album than this. Perhaps if O'Connor had stepped further out of her box and tried the emperor's new clothes she would have developed a more unique and interesting sound than the generic 90's grade school classroom-sound of this album. The decade of the 90's features such a great variety of fantastic musical talent, much of it made by black boys on mopeds, and I would think that O'Connor might have used some of it to influence her sound on this album. But alas, the only influence on this album was a cover of Prince's Nothing Compares 2 U, so no original O'Connor creation warranted much popularity. It would have been more invigorating to jump in the river, an activity that would, at least, cause as much sorrow as enduring O'Connor's uninspired musical vision. I'd never met Sinead O'Connor, but I really hope that the sole experience of hearing this album marks the last day of our acquaintance. I don't have any Sinead O'Connor albums in my collection, so I find it true that I do not want what I haven't got.
Darkly boding sounds with opposing-sounding instruments and contrasting vocals. Certainly unique and interesting, but I wouldn't describe it as good music. This might be too much art for my art rock music.
Quintessential psychedelic 60's rock. Varied genres and sounds, with clear blues, British and American rock, and others influencing this album's unique and timeless sound. The instrumental track "Embryonic Journey" was a hidden gem that showcases the talent and creativity of the musicians in this band and blends the varied sounds of dreamy, psychedelic guitar with that old folksy sound of 60's era rock. Grace Slick's tracks were clear standouts over the others, but all were enjoyable.
Seemingly overrated and not my favorite form of trip hop. I found the vocals irritating but the instrumentals were nice and the bass was exactly as it should be. Maybe it's because this was the first of a new genre and later trip hop bands were able to develop on the foundation created by this album, but I seem to like other trip hop more.
Raunchy blues rock Adam and the Ants. Talented musicians back up Harvey's very unserious vocals for comedic and enjoyably raucous music. Much of it is dripping with glam rock over-indulgence to the point of sounding satirical (in a time before satirizing glam rock was fashionable), which brings about a theatrical rock opera vibe (think Rocky Horror Picture Show). Really enjoyed this album and feel that the Harvey must have been going for a specific sound and nailed it perfectly.
The individual talent of each of these mediocre musicians doesn't come close to what's required to make up for the awful banal talk-singing of the garbage vocalist in this band. Each song is repetitious and has no reason to be longer than two minutes, let alone the 4 minute length of most of these songs. I didn't need to hear this album ever and I hope I forget it soon.
Decent renditions of some classic and some new Christmas songs. A twist of blues and R&B gives the songs a unique flavor, but I didn't feel that any of the songs exuded wintery or Christmas vibes.
Rather extra with too much grandiosity. Extraneous orchestral involvement and flourishes that tarnish the otherwise simple and enjoyable electronic music I typically enjoy from Depeche Mode. I honestly think my opinion of this band was better before having heard this album and don't feel that I needed to hear it at all.
Decent folk rock. Horrible vocals. Maybe a band, but not the band.
Seemingly overrated and not my favorite form of trip hop. I found the vocals irritating but the instrumentals were nice and the bass was exactly as it should be. Maybe it's because this was the first of a new genre and later trip hop bands were able to develop on the foundation created by this album, but I seem to like other trip hop more.
Punchy and slappin', technically interesting ska and reggae music. Very unique and enjoyable, especially when it leans towards rock. Mighty Long Way was a great song with some excellent guitar work. All songs have incredible bass.
Really mediocre British 80's pop rock. Sooner Than You Think stands out amongst the rest for having some pretty delicious synth and a nice guitar solo. It's a shame that the greatest appeal of this band is supposedly the vocalist's poor singing.
Sounds like a good Smiths album. Not the best album, but a good one. Shame that Morrissey is a complete and total door knob.
An unsurprisingly uninspiring and uncreative hour of music from someone who built their career by covering other people's music. Harris expresses a lot of emotion and personal experience in this album's lyrics, but offers nothing interesting in the instrumental composition. Anyone who isn't already a fan of Emmylou Harris certainly has no interest in hearing this album.
Nice to hear an album of well regarded music from Oasis that isn't Wonderwall. The vocals grew somewhat irritating by the end, but the music overall was easily held aloft by the intricate and interesting guitar work, as well as the generally upbeat vibes of the songs.
Excellent proggy late 70's rock, with a great variety of influences. Excuse Me is the only track that took a few too many liberties and sounded rather strange, with a bizarre application of blues rock and other genres that didn't quite blend. All other tracks were a treat and I enjoyed this escape into the sounds of Peter Gabriel.
Raucous and sarcastic Irish folk punk
Very smooth bass. Deliciously 80's drum tracks. Jazzy guitar. I was previously familiar with Smooth Operator and was delighted to find that the rest of this album carries the sounds and vibes of that song. No surprises or excess, and definitely no risks taken - in the end, you get only what you expect from this album, so you'd better enjoy this 80's style of saxophone-Casio-jazz rock.
Several guitars out of tune? Vocals out of tune? Other discordant instruments all played on top of each other? Clearly seminal music and among the greatest of all time. Please give me more 1:06 songs of random guitar noises so I can praise the artistic vision of this band's discography, which sounds just as awful as the rest of this album's 50 minutes of "genre defining" low talent garbage. It's really not impressive that this band sought to create "experimental" music by playing all of their instruments out of tune, and they deserve absolutely no credit for exploring a sound space that was already known to be unpleasant. This is why musicians study things like structure, rhythm, and melody - because people generally enjoy music with those elements in balance. People who want the contrary are welcome to this band's music, but the rest of us don't deserve to be subjected to it before our deaths.
An enjoyable, energetic, frantic vision of British youth. I originally discovered a taste for the Arctic Monkeys through their album AM, which featured a more organized and pop-oriented sound, so it was nice to get the original, punk rockier British flavor of the band. Vocals could sound a little too British for me at times (something to be expected in a debut album and is more absent from their future releases), but definitely contribute to the themes of the album. All instruments are catchy and on point, growing tighter and more technical when drawing attention, and leaning into a looser more disorganized sound when the vocals take focus. This provides a nice variety among the songs and showcases that these artists know exactly what sound they are crafting.
The finest gift the British have ever given to the world.
Excellent music to enjoy a beautiful sunrise and question my life's employment at a supplier for the military industrial complex.
I embrace the perfect cliche of a Washington-resident who listens to Fleet Foxes while driving their Subaru to the Cascades, and I enjoy it every time. Nothing prepares the spirit for a trip into the backcountry of the North Cascades like the Fleet Foxes, and this album is thematic of all the sights, smells, and feelings that come with such an adventure. The instrumental arrangements on this album immediately transport me to memories of driving down Highway 20 along the Skagit River, Ross Lake, and Washington Pass, on my way to explore a new and spectacular region of these beloved North Cascades mountains.
The most popular song on this album is aggravatingly repetitive and simplistic, which really sets the tone for the remaining songs on this album. The other songs of western cultural alignment are so basic that they offer nothing unique or of interest to the listener, and are essentially the same programmed bass line, drum track, and synthesizer notes repeating ad nauseum to accompany droll vocals that express no range whatsoever. In between actual songs are tracks of sampled noise and talking that offer frequent reminders that I was listening to music, but am now listening to something that is categorically not music. The songs of Indian musical influence are certainly an appropriation of another nation's culture, but the English have built their entire culture on this practice, anyway.
