Pet Sounds
The Beach BoysThe perfect coming of age album from the genius mind of Brian Wilson. Iconic songs to evoke feelings in an aural world.
The perfect coming of age album from the genius mind of Brian Wilson. Iconic songs to evoke feelings in an aural world.
Music to stare at icebergs to.
Brit-rock trying to be American Indie.
Fun album that is definitely of it's time. Beck can be an acquired taste with his spoken vocals and arrangements. When it hits, it hits. Earthquake Weather and Farewell Ride are highlights. This sounds like the soundtrack to living in a Motorola Razr with inflatable furniature.
Mid-70s high water mark. Really brought it with operatic bombast and the musicianship to back it up. Brian May's guitar and Freddie Mercury's vocals and piano make this a world. You have no choice but to immerse in it and hold on. Plus the riffs are metal as fuck. Gimme that pony curl rock.
Fast-paced Bay Area Ramones and Sex Pistols. A few songs have the California overtones. It is a snapshot of the frantic fears of the times. Would have been higher if it wasn't a derivative.
Soaring pop hits. Songstress who could freaking belt it. Song choice is curated for her strengths and sounds great. Good mix of tender ballads and early 2000s bangers.
Hard-driving. Run through a freaking wall guitar and bass. Might not be good for my blood sugar but damn I could rage!
Album of an Era. The gasping British drumming is the early 2000s. Touches of the Talking Heads with the driving, wine-soaked British guitar and lyrics. When you need to dance, you dance. A little too long. A 10 tracker would have been perfect.
Definitely an album of the 70s. One of the best acoustic guitar tones there is. Warm and makes you feel like you are inside the guitar. Acoustic tracks are great pensive musings on life. At times they get into the eye-rolling lyrics, not Dylan-level. Lush strings to back the sound add to the feel and depth of the album. Longer Boats is TERRIBLE. Pastiche of the worst kind. But overall not a bad artistic statement.
Leaning into the groove in the creation of a strong hip-hop community facing the backlash of white society for success. I think my favorite era. I don't know if it's age or perspective. But this is where I can fit my mind and perception into it. Historiography? Young enough for it to sound vintage? Beats are classic and the lyrics hold some important messages of a people grappling with life-threatening injustice while making their way and money. Great interludes that make you think and reset the songs. You can hear the influence of the last age of vinyl on hip-hop. At least a minute is added to the songs for the samples to play out, the club era, has to exist for the groove.
Absolute bear! Actually 69 total songs. Style, instrumentation, singers, messages, and lengths change constantly. It has perfect songs for love in different situations but as a whole, it cannot be actively consumed in a setting. It is a full tome of various vignettes or short stories to be consulted for comfort, anger, joy, or to feel any of the other feelings of love.
Bro-session over another man's wife fueled by cocaine, wine, and feroxious guitars. Some real great songs and some snoozers. But fucking Layla is on this album. It would be a forgettable two without that. Clapton dug deep and Duane soared above. Other than that, it sounds like the thrown together band to jam that it was.
The big commercial letdown. Dan went all in on his pho-psychadelic sounds and expanded the band. Lyrics sound like a teenager's basement chasing hits. Lost the soul and the things that made the band special.
Boring. This is HS white boy guitar rock Two white guys from the south that had some good licks and some soul. This live album has nothing that made the Allmans great. And God damn, whipping post needs to be whipped by now.
This is what jazz feels like. Soaked in a cocktail I don't even know the name of because it's that hip. You have to be in the lifestyle to order it, with your fashion, and sense, and words. It stretches your mind in the best possible ways. Move forward to what can be, a meditation in sound. The possibilities are all there. We can take them to the places we allow. That's jazz.
This isn't the cool Sabbath. Cover is iconic and Ozzy and Tony can still shine on some of the tracks. But this is a band grappling with the artistic explosion of the early 70s. They try to keep up but lose the edge and songs like changes just fall flat. A couple banger riffs, Supernaut and snowbind try.
Another language, but in the best possible way. The Mali guitar has always given the definitive soul in a new way. The blues of the desert air. Sounds of the bazaar that I cannot reproduce because I don't know what dusty instrument that is. The guitar music of Mali has always been meditative in nature. It sounds like a mantra that I can rest on to lose all focus while searching for true focus. The staccato licks pull back to allow the unexpected refocus. No way in the Western tradition to follow the lines that are carved in the desert sand only to be recovered by the next warm wind.
This is 90s Britian. The swan song album with every sound recorded. The lush British orchestral background with the cheeky lyrics and cigarette rock sound. Bittersweet Symphony will always be the sound of the generation. Britain is always a little rougher around the edges. Sound of the all night club that looks like it's in a living room. Crepe paper decorations are all that'll do. But there's a sound there that feel like the truth.
Cool riff dude, you can really scream about Satan.
The intersection of cocaine and flash in the pan recording technology.
It's fine. All the sexy hits, but by 72 it's a derivative of a throw back Era. All the style and class, dripping in backup singers bit it's over. Falls in the face of the new consciousness and direction of 1972 and where music of all styles was going. Motown in the face of Hendrix and Floyd.
The epitome of gangsta rap with a purpose. Albim opens with the real shot he loved through. Then he eloquently delivers societal observations with a poets tounge. This is the times, from the soul of someone living it and grappling with amazing fame. A true artist says his piece in as the most important voice to show how it can be done.
Invented a new guitar vocabulary. Birth of punk from the bloated rock late 70s. The staccato guitar and shaky vocals usher in something new from the CBGB. Marquee Moon pushes the limits and you have to be on board for it.
A cool ocean breeze. There's a reason Getz is "the sound" and you can hear it here. Impeccable guitar tone and saxophone sound and phrasing. This is a 60s cool gin-soaked club night in a sports coat with an undone collar. All through a maraschino lens. This is what happens when jazz is just right. You can't help but be in it no matter what.
Lush trip-hop beats and a 90s Bond longer singer's voice. Another full soundscape of a time, the mid 90s in Britain.
Why do people like Can. A few moments that were okay but the rest is just polyphonic noise.
A few hits. Other than that it is the 2000s equivalent of a synthesizer. Dated, aged quickly and not interesting anymore.
Iconic work. Late 90s cultural ecstacy and dance-all-night fun. The last societal high point (ever?). DJing from a living room dance party. A little lump in the throat R.I.P.
This album is just Beyonce-lite at this point. 😞
How far can your tounge go into your cheek? He's a poet, he's NYC, it's live and it's cool. There really is a Bukowski diner feel. It's soaked in gin and grease rolling throguh the gutter. But damn you gotta be in the mood for this one, he grabs you by both ears with his wobbling feel and yells bus drunk soliloquy into your face.
The perfect coming of age album from the genius mind of Brian Wilson. Iconic songs to evoke feelings in an aural world.
Mid-career greatest hits live. Solid acoustic set with the ones he didn't release on his albums. The lost Americana nostalgic lump in your throat stuff. Electric set has the bangers. Songs that rocked hard without the weird messaging that came later.
Better than it started. Still draws out, too much narrative, just hit it. Good for a rainy day. Soul that gets to some cool places but the songs are long and there aren't many.
Cool bro. Oasis exited.
Store-brand Pink Floyd. Starts with a banger, then it's all classical guitar and not fully fleshed our themes.
Sorry dude. You tried, sampled world music and that may have been am eye-opening experience in Britian. But full, better versions of all of these styles exist elsewhere. Fits with McLaren's aesthetician, doesn't work for me.
Short and sweet. Two timeless hits and a bunch of late-80s activism language. Not for my time.
Sprawling mid-career soundscape. Some great songs that showcase all the virtuoso of the band. Lord of the Rings epics and hard rockers. This one was the swan song and it's a pretty darn good one.
The blood is on the Tracks. This is the perfect album tapping right into the vein of events for the band. Real time voyeurism on relationships. True unfiltered.
Movie soundtrack with a couple good songs.
Good jazz, but too clean for the Monk. I wanted more of his runs and feeling in the piano of his later records.
She can write. Great tracks that are iconic... for other artists. Piano work is good and the depth of emotion across the album is great. But these are the demos. Great mixes but they're demos to pitch to other artists.
The Stones become the stones. The evolution is almost complete on the Aftermath of the British Invasion album. You can hear the American soul and R&B influence, the British cool of Brian Jones and Mick Jagger and Keith Richards' rage and energy. All bundled up and ready to go. Great songs that set them apart from the other British acts and catapult them into the land they will occupy and dominate.
This is the end of a career. Easy listening that Phil Spector thoguht he could produce for another Era. Both are precious dead Era artists trying to be relevant. It's a nah.
Meh. They're alt-pioneers and influenced a movement but this isn't it. Half-cpooked with a few good songs. Lyrica and instrumentation is 90s-passe other than that.
Not Daft Punk
Best Christmas album if all time. Hands down. Even if he's a murderer.
Soaring birth of Brit pop, glam rock, with a side of rockabilly. This is the album for today, dreary, mid-winter but not cold. Another artist to detach the art from the artist. This one makes it easier. I like it.
Another golden age of hip hop album. He actually was a great MC
I'm sure it was cool at the time.now it sounds like Moog backed Sitar that AI made as a B-Film soundtrack from the 60s.
Sad boy rock. Done better than others, not the sparing synths or other catnip. Lots of reflective instrumentation and lyrics
Concept, but it falls flat. There are a couple catchy songs and a few good jams, but overall it's forgettable.
This will always be freshman year of high school. Kicked me into deeper musical rabbit holes and knowledge. Riffs huts and great Britpop songs. It may be basic but damn it gets the feeling across.
It's weird. Definitely a different genre and not in my wheelhouse. Another way to look at Brit-Pop for the 90s. First couple hooks are interesting. But that's it. It'd all panache and empty Broadway after that.
It grew on me. I thought it was another middling English record but Jamie XX created something more interesting by the end. Another sound scape to float thought this season of my life to.
A man and a guitar throwing down for a bunch of white people. Muddy could play and this is the hits. He's wailing with a pretty good band.
Hill Topanga Canyon lyricist. One of her albums before it got a little too poppy. Great piano and rhythm of lyrics that breaks the spell of background music monotony.
I don't get it.
What the fuck is this shit? They gave these Scottish people a bunch of instruments they didn't know how to play and they banged on them and chanted shit
Embryonic, but the door was opened for psychedelic electronic experimentation. High points include some great song writing and proto-freak out rock. But there was some cacophony.
Bangin. Nile Rogers created a new guitar vocabulary and the groove matched. Funky as hell and impossible to sit still to.
Great musicians but bossa nova ain't boss. Two Americans do a great job but they aren't the Brazilian masters. Cool for dinner prep or a cocktail.
Scott-Stapp-Frat-Rap-Midwest-Boo-Bap. I won't ever say I don't like them, just didn't age great. White dudes yelling over really good samples.
Grower. Wasn't sure with the title track, it goes to 11 pretty quick and takes a little orienting. Definitely a program statement. The baroque musicianship is second to none. Every track has some pretty interesting places that push the boundaries in multiple directions. ALMOST Pink Floyd at some points.
Thin soundtrack to a Sunday at a museum.
It's the early 2000s. The mixes, samples and lyrics are all of the Era. I can't get into it at this point.
New wave born with a bang. Always loved the Talking Heads and this album gets beyond the hits to show just how deep they could go, especially on a debut! Always another layer of tight musicianship to hone in on and David Byrne's vocals are iconic. Big re-listener!
Fun album. Definitely one I want to sit down again and listen to with headphones. Glam rock without all the camp. Just strong musicians and vocals to match.
It's just fucking cool.
Another time. I get it with the message. But it's so 90s. Pre-connection, pre-technology, it was just another thing. The beats aren't good, it's "underground" but there's no ground to be under in the same way anymore.
This is the big bang of Brit-pop going psychedelics. One Rubber Soul and Revolver, the Beatles tuned in, turned on, and dropped out. You can hear it all on this album, the whole evolution is there. Instruments, lyrics and studio production. Always great headphone fodder. Just have to figure out if you want British or American.
Unbelievable starting with that album cover. The epitome of energy and funky sexy cool coming out of the wild side of the late-50s. It would be a 5 but it's from the time before albums were full stories. Three hits that are where it's at. Long Tall Sally, Tutti Fruiti, Slipping & a Slidin. Cmon! Banging that piano and screaming for his soul!
Not my style, a more clean Prince. I get that the activist lyrics may have appealed to the right audience at the right time. Now it sounds like a 90s GAP commercial
Come a long way on Elton, my taste with him is evolving. Great performer, pairs lyrics with some fantastic arrangements and this backing band is completely in the pocket. Can't beat the Tiny Dancer opener, even if I've heard it 1000 times. Especially on headphones. 3rd release of '71 and that shows a little. This is about 3 clunker songs from peefect.
The Cramps will always be a sideshow band. Much like Southern Culture On The Skids. They can have a few good songs, but the tin can production and rockabilly sound will always make it scene music.
Part of two albums that changed rock. The evolution of Rubber Soul into Revolver crushes. This album has amazing lyrics and instrumentation.
Experimental for experiments sake. Probably have a time it could be interesting but, man, for the whole thing, that would have to be very specific.
Iconic and wildly inconsistent. Great tracks with samples and rhymes that will live on forever as primordial hip-hop. Then there are songs about dreaming about Stevie Wonder...
This one was a behemoth. Had all the elements that I love. Sounds a lot like what BJM went for later. Influences from all over the place. Definitely a starting point for me and Cope. I'll be diving into his other stuff.
So forgettable, just like every Radiohead record. Never worth the hype. It's all background music with a few moments of actual songs.
Three great records and the rest filler. Those songs shaped the electronic dance Era of the early 2000s, they're great for sure, but they fell short elsewhere. Tried to be Foxygen and didn't hang the songwriting or producing chops.
I guess I don't like Animal Collective.
The addendum band of early 2000s rock. A few hits and overall, good songs but the album as a whole doesn't do it for me like the strokes or LCD soundsysyem.
Root of a lot of alternative themes and styles to come. You can hear the sounds that from the 60s on would inspire people to push fringe music into other places. This is one I'll come back to with headphones to explore.
Not as good as their other releases. Tried to be more of a pure rocker but still with the queen theatrics. Some of their iconic live records made their debut on this one. Still had the camp without being campy, just didn't quite get there as a full vision for me.
Too avant-garde without the direction. Louis Reed without the feed. It kinda seems like a bunch of dudes got together with a drum machine and a synthesizer and tried to do edgy shit. YEa, it was 77, but whatever
Gets a 3 solely for Djed. That song was an evolution and interesting experience in post-rock. But then I need lyrics. Otherwise it's just jamming
Like some portal into the grey bruised sadness of Will's mind. But it feels good. Soft, touching themes to lay over rainy spring days where the temperature doesn't quite reach the promise. Headphone record to come back to.
The perfect collection of late-life sadness and regret. The felling of pressing on bruised, papery skin. Song selection and argument are perfect for lamentations on the darker feelings of being a human.
Shit, a good album out of the 80s. Monster hits and the perfect mix of good production, technology used right, and a layer of great instrumentation. This has to be the high-point of British 80s pop.
OG supergroup stuff. On their own they are heavy-hitters, on this album they come together to kill it. CPturws the sound of superstars laying down the sound of a scene and an era. Everybody brings great songwriting and style. Young only really shows up on two, but Country Girl is an epic.
2000s British indie darling album that's just "eh" today. The falsetto seems a little gimmicky and the lyrics leave a lot to be desired. Players are good, but this one is forgettable.
Yea! Rock music! I can throw a football over a mountain!
The follow up to Rumors. A band where the love is gone, the creativity has still bound them together and they must still search for the sound. Buckingham was going for broke to be an artist and the deep scars were still there for all the stars. The commitment is now to the work over the love but the album shows the moment in time. It's long, it's weird, it's over the top. But it's cool.
The title track is iconic. That and the rest of the originals are so dialed in they are the perfect representation of a hot studio band. Sound "timeless and perfectly of their time." But the covers just get boring.
This might be the best Yes album. Their abilities as songwriters, arrangers, and musicians is on full display. They're firing on all prog-rock cylinders and it doesn't go completely off the rails. There is still an album feeling that pulls all compositions together. Steve Howe's addition made the band complete and his sum added exponentially to the whole.
I guess I don't like post-punk. It all just feels thrown together Most if the songs are just passable with yelped vocals.
Really cool theme for the album. The "dance" variations provided a listening anchor for me to ground myself in. It gets hectic for C and D, definitely not just a "throw on" album. This one takes some concentration. Mingus is the man. Need some more exposure for sure. Does being behind the bass give a deeper perspective and feeling? Maybe
Just boring. There are moments that feel like you haven't been paying attention, then you come out of it for a few minutes. It is just background music and vocals that just sound like he doesn't want you to understand. I don't like Radiohead
Music to stare at icebergs to.
Part of it was the perfect context I listened to this album in, buy man. The perfect mix of driving rock guitar, lyrics and vocals. Everyone on for this part-psychadelic rock freak out. Badass.
I dunno, shoegaze just seems like wanting to put all the paint everywhere on a canvas. Big feeling, big sound, but everything is washed out in the noise.
The perfect swan song. Cohen meditating on life, faith and death 16 days before his own. It gets darker. But also beautiful as last rites and the juxtaposition, like Dylan, of beautiful, masterful music, and the stark reality of age in the vocals.
Not my thing. I get the groove and this is clearly a new 80s sound. It's just derivative and dated at this point. The haunting synth behind a drum machine bash and emo vocals.
Out of the gate one of the best 3 openers of all time. Punk tinge, frantic early 80s rock. Stayed outside of the tropes of the Era that are passe. For me, their later work has always tinged my opinions of the band. Damn, these early albums can really do it though.
Paul coming into his own exploring musical styles that he will lean into for the rest of his career. There's the fade between Simon & Garfunkel, world music, blues and jazz. It doesn't quite coalesce as a whole album, but the single are great.
Folk after folk was cool.
I had a professor once who talked about blues traditions. When blues artists were making in-group music, it was about the words and the message. Instrumentation was there to give feeling. When the music was made for a white audience, words didn't matter as much, it was all about solos. That has always resonated for me with great blues and consumer blues. I mean, get that money Muddy, I ain't mad at you, but this is the pinnacle of white people consumer blues.
Great album that really brings me back to a specific time and place in my life. Great music by a revolutionary band grappling with what they wanted that to mean and themselves. The different version releases and some filler muddies the waters for me though. Only thing that keeps it from a 5.
Never really got R.E.M. Their hits are great and fine to put on and feel like it's the 90s. But this album just seems like a worse version of what the Talking Heads were putting out. And Michael Stipe loves to say borderline offensive things about Asian people...
Brit-rock trying to be American Indie.
Solid album for the time. McCartbey and Lennon hitting their stride as songwriters and there are some true classics on this. Side 1 is killer, but I still don't quite get a whole albim vision.
Great jazz album. It eas approachable, themes were interesting without being overwhelming, and I was challenged to listen closely. This is one to come back and ruminate on. There is more water in the ancient well. Headphone album for sure.
They rock. They rock hard and this was probably a great show to be at (just look at that plane crash stage set-up!). But I like my Motörhead studio.
This is some freshmen team shit. All I had to do was hear their version of nine pound hammer with tiny hammer backing. It sounds like the scene with Ben Stiller in the mines in Zoolander. Sorry dudes.
It was cool. Culturally important, but background music.
Anyone else see this cover and want to hear a great Nick Cave or Tom Waits album? That's not what this is.
Second favorite Tribe Called Quest record. Flow is unmatched and the 90s Tribe is all about the damn vibes!
Fun album that is definitely of it's time. Beck can be an acquired taste with his spoken vocals and arrangements. When it hits, it hits. Earthquake Weather and Farewell Ride are highlights. This sounds like the soundtrack to living in a Motorola Razr with inflatable furniature.
Everything about the early 2000s culture. Highest-selling debut since Apetite for Destruction. Creaters of two eras that exploded and disappeared. The nu metal rap rock did NOT have a good shelf life. It will always be 7th grade in my Etnies
Fine. It's accessible house music for the masses. Dated with the technology but, as someone else put it "perfect for mindless work tasks on a Friday morning."
Supper proggy. The suites are basically overextended versions of Pink Floyd interludes done ad nauseum. I liked some moments but it is a mid-70s prog album awash in a sea of mid-70s prog albums.
It's fine. Some great guitar work and melodies. Without the lyrics being accessible to me, it's much harder on my part to truly engage and assess. One ill probably come back to in a quiet space and time.
Willie at his best with his first song cycle. He could capture the feeling with Trigger and his vocals the way no one else can. Story of love, loss, craziness and the fragility of man. This is a perfect outlaw album.
Best live album of all time bar none. Cooke used the tour to perfect an experience for the artist that felt spontaneous and moving. 3rd show of the night and everybody's feeling it. The sweat comes through the speakers. One of the most enigmatic figures in late 50s early 60s soul. He was a voice of social change, but this shows he knew how to thread the needle and sometimes that meant just having a party!
Cool album. Very Booker T with more sax. Definitely something to throw on in the background that supports the party. I need to get better at full focus on albums without lyrics. It's hard for me to stay in the pocket there.
Courtney Love's California in the 90s. Great single and some other scene tracks that are a great time capsule. The lore/baggage that surround Hole and Courtney Love will always loom large. But the feel, of this record will always be a late-90s sign post.