This drives home why Eno is known as a producer more that a recording artist. Most of these songs left me thinking "I bet if Byrne or Bowie were to write take one of these songs, write more interesting lyrics, and sing in their more interesting voice, they'd be pretty good."
This might actually be a 4 Star, but it hit me on the right day and in the right mood. I want to be in a Riot Grrl band when I grow up.
I'm in a crappy mood today, and I don't feel like this is what I needed to hear to get out of it. So wanted to give it a 3. But, I'm sure it would be an easy 4 on a normal day.
At least it wasn't Rush. I'll stand by that part of my review.
When I started listening to this yesterday, it was a 3. Today, when I picked it up, I'm not sure if my mood was better, it was sunnier, because it was Friday or maybe the second half of the album is better... but it hit me more like a 4. Maybe tomorrow it will be a 3 again.
Thought it wouldn't hold up. But still really enjoyed it. That said, not sure if I enjoy it because it's great, or just because it was so formative for me.
Three or four songs that deserve 4 or 5 star rating. On an otherwise 2 star album.
Fun! First album I was previously unfamiliar with, though I'd heard the first song on an old Luaka Bop compilation CD I owned. Great energy and just enjoyable stuff
At least it wasn't Rush. I'll stand by that part of my review.
Considered giving it a 4, but couldn't find anything to knock it over. So, it earns a 5.
Read my essay, "Why I Know Channel Orange is Good, But Can't Quite Get Into It," now available from Penguin Classics.
Though bits feel more like filler, the great tracks are really great.
Good album that probably seemed better at the time, and could stand to be cut down to one disk.
I waffled between a 3 and a 4 on this. So, 3.5. But went 3 just based on my likelihood (or not) to revisit the album. Almost made me overcome my distrust of long, jam-y music.
Great album! Not a miss and doesn't overstay it's welcome!
Addicting album. Hearing these familiar songs live breathed new life into them. Also hard pressed to think of a better live album, you can sense the room and crowd in a way I'm not sure I've ever heard before.
Not as compelling as Cooke's album. His voice isn't particularly charismatic. But also acknowledge some amazing piano amd his place in music history. -1 star weird biographical ickiness.
The production is the star here. The songs I was already familiar with held up, but some of the other songs were definitely less memorable.
Felt like a bunch of half-realized B-sides for later Beatles albums.
Enjoyed it, but it almost mainly just made me wish I was listening to the White Stripes. I feel like maybe the artificial constraints of that band helped Jack produce better music.
Can definitely appreciate it's importance, and the conceit of the album feels pretty audacious for '62, but the big band sound and choir ladies will keep me from revisiting. Still Ray's voice is great.
I hope Debut or Post appear on this list somewhere, because I'd love to give Bjork 3 or 5 stars... but her later music just feels like sing-talking over ambient music.
Not doing it for me. Wonder if I would like it more if I understood Portuguese.
The last track overstayed its welcome, but most of the album is a pretty great. You can hear all the ways they influenced bands down the line.
Enjoyable. Not always the most memorable, but a good album I was happy to revisit.
An album with so many hits on it, it almost feels like a Greatest Hits album.
The story behind the album would have appealed to earl 20s me, but -while I appreciate difficult art- this just played like freeform bad spoken word alternated with rough draft later day Tom Waits.
There was probably a time when I would have given this a 5, half because of song quality and half because of the album's place in the hearts of my friend and family. But, knocking it a point for general Ryan Adams ickiness.
Y'know, I don't need any more albums by them. But this one is pretty perfect.
One of those albums that I wished I'd stumbled across when it first came out. I probably would have loved it. As is, I appreciate a lot, and some feels like a time capsule from that period.
I enjoyed this overall. I can see others complaints about feeling easy listening-esque, and agree some songs are overlong. But the overall vibe I like, and Lee Oskar's sound reminds me of my youth.
I really like this album. Though, like the XX, I sort of feel like this is the only album by this band I need. It scratches that itch.
Really uneven. I just don't get this lists obsession with the sprawling, double album sets that lean into bands worst tendencies.
I struggle with Bruce sometimes, because a lot of his stuff feels very "middle of the road" for me. But this really plays to his strengths.
I don't think I'd ever heard of Burke before, which is surprising since these songs were all as good as anything else I'd hear from this era and genre.
Probably seemed edgy and transgressive in its day, but just feels... quaint... now.
A lot of things about this felt like something I should enjoy more than I did.
Overall, quite enjoyable. Definitely some classics here, though a few of the songs Bob's like "then I went to school... where people though I'd be cool... but really I'm a fool... I need to steal the jewel..." and it feels like he's just sort of making it up as he goes.
I listen to so much solo Byrne stuff or greatest hits/live albums by Talking Heads that it's been a while since I listened to a studio album all the way through. Makes me want to revisit their discography chronologically.
I don't know if this the "best" Beatles album, but its the one I have the most nostalgia for. My parents had this on vinyl, and Trav and I would put it on frequently because of the iconic, colorful cover and the connection to the animate Yellow Submarine movie.
More corny than anything. I do like Suspicious Minds, but most of the rest feels like bad Vegas music.
Not what I thought it was going to be. Less garage, more baroque. Actually, good overall, but won't be a new favorite.
Waffled between a 3 and 4 star on this. Overall a 4 star album with a couple of 2 or 3 star songs. But, I enjoyed it more than I thought I would.
Stop with the double-long, 60s & 70s rock, double disk jam session albums already!! I know nothing about Deep Purple, but this doesn't make me want to know more. Just give us a good studio album, list makers.
Fine, but would probably have preferred to listen to Dookie, if only for nostaglia.
One of those albums that is hard to disentangle from a period in my life. It might not be perfect, and it might not even be their best album but it still gets a 5.
Not what I expected and enjoyed it more than expected. Nice proto-Yeah, Yeah, Yeahs sound.
The vocals and harmonies were fine for what they were. But, not really my thing, and just way too much creepy "old man seducing teen girls" energy for my liking.
Not sure what I expected, but this was better than what I expected. More of an album, and not just some singles and filler.
Figured since I was almost done playing catch up with the rest of my group, I'd go ahead and go back and do this album, which I'd missed because it previously wasn't on Spotify. Solid Neil Young album. I fall into the group that likes his voice, and think he's a solid, in uneven, artist. This album is exactly that.
I liked this one considerably more than the previous Lennon album in this mix. Almost gave it a 4, as it felt more fully realized and had several songs I liked quite a bit.
I'm sure this was a major technical achievement at the time, but still can't shake the feeling it's a good album buried under layers of midway carnival sounds.
Enjoyed this, but almost wanted to enjoy it more. The louder and more punk it was, they stronger the songs. When it slowed it lost me a bit.
Outside of "I Want to Be Adored," this album felt decidedly middle-of-the-road. Completely fine, but not sure why Brits are so obsessed with it.
Not bad, just not my thing. Appreciate thst they were doing some sort of early 80s social justice on a few songs, even if the results are oof. Rad cover, though.
Most of this is charmingly low-fi sounding, a few of the songs I wish were longer and more fleshed out, and others were just sort of grating.
Fine. I probably would have given one of his next 2 albums a 4 star rating, but this lacks the stand out tracks that push it beyond drum and bass background music.
I was expecting more straightforward late 70s/early 80s rock/metal... and this was definitely weirder and more interesting than that. Still, just shy of 3 stars in my book.
I'm sure it's good, but jazz like this always feels like one of those Magic Eye pictures where I'm either missing something or the rest of the world is pulling a fast one on me.
If I'm listening to Christmas music, this is the sort of music I prefer: Upbeat, secular, and mid-century. Tons of recognizable songs from other Christmas mixes here, so pretty 5-stsr record... though I'm subtracting a star for Spector, y'know, killing someone.
Maybe if I was writing a sci-fi novel, this might make some interesting inspirational background music. But, on it's own it plays more like an interesting experiment than actual music.
Not so much bad... just I think I fail to understand *why* this is on the list. Just feels really unexceptional.
Almost gave this a 4. But really a 3 star album with a few tracks I liked more. Feels like very much a product of its time, right down to the Dave Matthews duet.
Solid and enjoyable. Almost 4 stars.
A good reminder that I don't dislike jazz broadly, and that I just struggle with stuff that's a little more free-flow and improvisational. This gets "background music-y" at time, but good background music; and enjoyable.
This is one of those 3-star ratings where about half the songs are 4's and half are 2's. On the quieter, more country-folk songs, I appreciate her singing, but on others it's just an overwhelming vibrato-fest.
Thought this would be more glam rock (confusing them with LA Guns), so happy to hear something more akin to New York punk.
Really excellent, but I would have to listen to this more and live with it more to give it a true 5-star rating. Still, I'm giving it an aspirational 5-stars as sort of a message to the 1001 Songs App Gods to give us more albums like this.
Initially felt like this might be a 4-star, but it slips to 3-star territory by the end. Understand how it might have some historic importance for Bowie fans, but he has better albums.
The second half of this album was better than the first; but while it's evenly good overall, it rarely rises to great.
Feels like the soundtrack for an unreleased Wes Anderson film. VsguelynEuropean, sometimes twee, sometimes folks, sometimes just feeling like some classic rock song you somehow missed.
Russ almost gave it a 5, I also almost want to give it a 5. So, I will, and Russ amd I can average out to giving it a 4.5. Great album overall.
I love Mezzanine, but haven't really listened to this album. I can appreciate it's historical place in music, but much more uneven as a result.
The singles I already knew were OK. And "Tiger" is so dumb it's fun. But a lot of forgettable mediocrity beyond that.
The singles still definitely punch above their weight, but the whole album is good fun.
I like the feel of this album, and it's obvious influence and place in history. But, at times it also just fades into the background.
Waffled between 2 and 3 stars. After listening to it several times now, I do appreciate some of it. But, too often they wade off into what feels like self-indulgent jam-prog territory.
Even though I've listened to this album dozens of times, it's raw density makes it always feel new.
Still showcases the strength of her voice, even if the early-2000s-style production isn't as arresting as her other albums more throwback style.
One of the few Beatles albums I don't think I've ever owned in any format. But still recognize every song.
Gillian's voice is great, and the songs are largely pretty, even if none of them really jumped out at me.
High and lows. Frank's voice is great, but most songs faded into the background.
One of those albums where the story and vibe of it might be cooler than any individual song. Great listen.
Probably actually a 3.5 star. The first half is notably stronger (4-5 star songs) than the second half (2-3 star songs). But, I rounded up because it's ultimately totally listenable.
A few of his songs I know amd enjoy, but a lot of stuff that ends up sort of as background noise.
"Our House" is still a great song, but too much of this is trying too hard to be wacky.
Maybe like "Surrender" better (or at least more familiar with it), but this is still one of the great albums of this time period/style.
Not offensively bad... just why? Did the guy who made this list know someone in the band? Just no context as to why this would be included.
"Break Down" and "American Girl" are the obvious standouts. The rest is middle of the road Petty. Though I do appreciate it feels looser and less produced than some layer stuff.
I'm not Rolling Stones expert, but this mid-60s to early-70s era Stones is the period I enjoy the most. This album feels looser and less refined, in a way that is sometime charming/exciting and sometime just flabby.
Maybe actually a 2, but giving it a 3. Fluctuated between interesting and annoying... often within the same song. Worked best when it landed somewhere between Blur and trip-hop, but too often felt to try-hard zany.
Impossible to be objective. Too formative of an album. Glad to it holds up and continues to scorch earth.
Like a 4.5. Mainly giving it a 4 because as much as I love it, I love a few of her other albums more, so I need that wiggle room. Such a strong first album.
I can appreciate the poignancy of an album about aging and mortality that was released right before the artist's death. And the album has a vibe. Unfortunately, there is a sameness across the songs that made it hard to get too lost in it.
Not bad, just maybe too... schmaltzy... for my tastes.
Almost a 1 star. Just self indulgent feeling. Some nice elements, but just blown apart by languid, unfocused song structures.
Some cool sounding bits, but ultimately feels like background music if you aren't dancing. Maybe a good fit for playing while doing a Cyberpunk RPG.
Nostalgia and some classic songs buoy this album through the lesser tracks and cringey skits.
I'm more familiar with some of their later albums, but not arguing that this has some great songs on it to.
The upbeat, danceable songs are great. The slower love songs... less so.
Solid start, but lost me around the same time they started sampling Leer jet engines.
I actually like the sound of a lot of these song, individually. It harkens to older music without feeling like a shtick. Together though, they get a little samey on the tail end, and I'm perplexed about why it's included on the list.
"Respect" is a strong 5, but the rest of the album doesn't quite reach that level.
Manages to be a lot of the things that made 80's music great, while not feeling overly dated. Would be interested to see Peter and David Byrne talk, I feel like there's a lot of overlap in their sensibilities.
The Crow Soundtrack... now that was a good album. This, not so much.
Breezy bossa nova that gets hijacked every 4th or 5th song by a marching band, carnival or a duet with a 6-year-old and causes it to flirt with 2 star territory.
A couple of missteps at the beginning and end of the album, with a bunch of great songs in the middle.
"Send My Love" is a genuinely great song, and a few of the other singles hold up. But, there's a melodramatic sameness to a lot of the rest of it, that keeps the album from being better than average.
Definitely some classics here, and some great energy. But also doesn't really rise beyond feeling like I'm listening to the soundtrack of a period piece like Stand By Me.
Half the tracks we too cold and electronic, and half were too loose and lo-fi. Really a Daddy Bear/Momma Bear situation with no Baby Bear in sight.
I tend to almost see early Beatles and late Beatles as two different bands (which is amazing since they were really only a band for about a decade); and tend to prefer later Beatles because they are most interesting and weird. But, there is no arguing that early Beatles could construct whole albums full of pop songs that are so infectious that theyate all niw basically hard-baked into our collective brain.
The singles hold up, and a few of the songs I wasn't familiar with feel like Off-The-Wall era Jackson making a cameo on a N.E.R.D. track, which isn't a bad thing. It's like a concept album where the concept is hooking up with someone at a club.
All of Fela's stuff is great. Just high energy, and fun! Zombie is a distinctive song, but the rest blurs together... though not in a particularly bad way.
Not sure what I was expecting, based on the album cover but sort of backgroundy jazz music wasn't it. Not bad, just not something that resonates particularly.
I actually liked this more than I thought I would. I like a lit of their songs individually, but was worried that a whole album of them would be a bit... much. But there was more variety of sound than I expected that kept it interesting.
Like this more than I thought I would, overall. Though I knocked it a star because of some wince-worthy homophobic and sexist moments.
There is something about that whole album that feels like "children's music for adults." Lyrics like "F. U. C. K. Is that how you spell friend?" Songs about loading kids into balloon and harvest time. I can hang with sincerity and songs about paganism... but this just was a bridge too far.
If I liked the whole album as much as I liked the three singles I was familiar with, I'd have given this a 4.
Since this was his first "live concert in a jail" album, I thought I'd like it more than San Quentin. But, instead I think is seemed less novel and thrilling
Feels like another "Oh, the person who made this list is British" entry. Nothing bad, bit also an album that I'd never seen heard of. Solid, but unexceptional.
The first song is a 20+ minute sci-fi story about a guy finding a guitar in a cave based on a story by Ayn Rand. So, yeah, I'm out. If you removed the vocal from this album it might be a 3.
This might actually be a 4 Star, but it hit me on the right day and in the right mood. I want to be in a Riot Grrl band when I grow up.
Just shy of 5 stars. Most of it is excellent with just a few points it slips to feeling to background-y.
I wanted this to be a 5, but there are a few songs that drag and make it less than perfect. Still, I love it for Nostalgia alone.
Love the sound and vibe of this. And, obviously, the skill is amazing. But still manages to largely feel like very good background music.
It's raining and windy out, but this album still makes it feel light and Springy out.
First time listening to the whole album. Wasn't sure what to expect. More varied and interesting than I would have predicted, but still nothing that really elevated it beyond the high-quality middle-of-the-road.
It would be hard to name and album that was more foundational to my music tastes and Fandom. So, for that reason alone it gets a 5 despite some overplayed singles.
Almost just a 3. I was surprised how much of it just washed over me without making much of an impression. But, none of its was bad.
The bookending title tracks are just self-indulgent feeling. But, the middle tracks let me imagine a version of the band I almost might like.
I understand the appeal, and this could be a 3 star rating if the lyrics weren't so dumb.
I feel like there is a loose breeziness to this album that it makes easy to listen to, but also hard to latch on to. The reviews talk about it's pessimism, but it comes off more as winsome to me.
Thought I'd like this more than I did, based on "Take Another Little Piece of My Heart" but most of me didn't grab me nearly as firmly.
My enjoyment of this album really underscores what a shame it is that Marley's music has been high-jacked as the soundtrack for every college stoner.
Well meaning, with a few good moments, but as someone in my late 40s, a lot of the "truth bombs" just come off as obvious. Maybe if I was younger.
I love "Loveless" so surprised that I loved this less. It's all the same elements, but they just don't feel like they hang together right. Feels like a B-sides and outtakes album.
12 minutes of this 34inute album are "Papa Was A Rolling Stone" and that's exactly how it feels.
Cheesy, disco fun that strays into just cheesy disco (sans fun) from time to time. The more upbeat songs definitely work better.
I know that being shocking, misanthropic and indulging in the unbounded id is sort of the whole point of this album, but listening to it now, as a 48-year-old it's just sort of exhausting. Especially with so much of it directed toward women. Still he is an amazing lyricist and there are a lot of moments where he is self-deprecating and/or winks knowingly at the camera that help mellow an otherwise bitter pill.
Enjoyable overall, though the last song (which might be amazing live) overstayed it's welcome.
While I was a little underwhelmed with her other album, this is the fully-realized one and pretty great all the way through.
When I started listening to this yesterday, it was a 3. Today, when I picked it up, I'm not sure if my mood was better, it was sunnier, because it was Friday or maybe the second half of the album is better... but it hit me more like a 4. Maybe tomorrow it will be a 3 again.
Dumb, pop-punk that's catchy and obnoxious in equal amounts. The singles largely hold up, the other songs hold their own.
This one would likely be a 5 star, if I had been exposed to the whole album earlier in life. Still cool to listen to it now and see it's influence in hindsight.
A lot of it felt very backgroundy, and reminded me of Sega Genesis games. I could picture Sonic running along to Pacific 202 easily. The dorky vocal lines almost tipped the scale into the negative territory for me. But, I'm feeling generous.
Her voice and the music are both nice, but nothing grabbed me in a way that deserved more than 3 stars.
Maybe a 3, but felt like I had to pick a side on this divisive album. Started out making confused and being a little put off by it; but when I stopped thinking of it as a Bjork album, and instead started thinking of it as a weird Icelandic punk album from before Iceland was cool, my opinion 180-ed on it.
I'm in a crappy mood today, and I don't feel like this is what I needed to hear to get out of it. So wanted to give it a 3. But, I'm sure it would be an easy 4 on a normal day.
A couple irrefutable classics, with a bunch of others that -while solid and listenable- are more just products of their time.
3, but a low 3. I won't remember this a three days from now. Except maybe his grainy voice and the dripping instrumental finish.
Nope.
The first song or two, I was like: This is a fun rockabilly sound. By song 5, I had my fill amd was wishing they'd switch things up more. Not bad, just too same-same. They may have been pioneers of this sound, but it's now been so heavily done by other bands this feels unoriginal.
In the land of hair-splitting is album is like 3.75 stars and Either/Or is like 4.25 stars. But they both get 4 stars here.
If nothing else this proves that if Rush's lead singer tried to do a Thom York knock off, instead of just screeching, I'd probably like Rush more
This style of rock just always feels like a bunch of dudes who are super obsessed with sex in the least sexy way possible. Still, catchy at times.
Like some of the other disco era albums we've listened to, this loses a bit one the slower ballads, but I love it when it's upbeat amd danceable.
This is almost a 3. There were some parts of it that were good, but in the end it was a little grating and self-important for me to want to revisit it. It did make me want to listen to Deltron 3030, which has similar future-dystopia themes but is more loose and fun.
Great album overall. About every 3rd or 4th song there'd be one thats "not my favorite." But even those are enjoyable.
I'm not sure if I've heard this all the way though before, though I recognize about half the songs. I do like how stylistically this album is a little.ore variable than some of their later albums, as they probably still haven't locked in their "sound" yet.
This drives home why Eno is known as a producer more that a recording artist. Most of these songs left me thinking "I bet if Byrne or Bowie were to write take one of these songs, write more interesting lyrics, and sing in their more interesting voice, they'd be pretty good."
I've always thought that punk was more than being anti-social and shouting obnoxiously... Public Image Ltd I'd working hard to prove me wrong. Maybe a 2 star album, but giving it 1 star because it's annoying this list contains 2 albums by them.
The singles are the obvious stand outs, but the overall sound of the album, especially the later half, holds up.
Some classic songs, and some filler. Nothing surprising good or bad.
Enjoyable for a metal album, but I think there is a limit to how much metal I want to listen to these days... and that amount is less than a full length album.
This and the previous Jane's Addiction are pretty interchangeable. The singles are good, with the other songs not quite rising to that level.
They are obviously good musicians. Stephen Tyler has a distinctive voice. But they are such deeply stupid songs.
As a Seattle-area kid who went to High School in the 90s, I like the *idea* of Mudhoney (a scrapy indie Grunge band who never quiet went big, but have been a local institution for 20+ years) more than I actually like their music.
Not sure what I expected, but this was probably better than I expected. I like that they alternated between songs with vocals and just instrumentals. I appreciated the vibe of the instrumentals, but breaking them up kept it interesting.
I can see why there are people who are fond of later-day Beach Boys more than their earlier surf guitar work. It's definitely more sonically interesting. That said, once you get away from the singles (all of which I like), the quality drops.
I liked this better than the individual albums by various members we've heard so far. I think the collaboration makes for a more varied album that isn't quite as one note.
It might because the sun is out, or it might be because this Challenge has been feeding us rock music for the last 2 weeks... but I really enjoyed this.
Another addition to the growing list of anonymous British albums that seem to only be on the list because the guy who made the list probably liked them in High School. Not bad, just why?
Some great 5-star songs surrounded by some more middle of the road 3-star songs evens out to a 4-star album.
Beautiful and melancholy, but too one-note to be truly great
I know the Darkness is winking to the audience with this love letter/send-up of 80's hair metal. And they more than ably ape the sound. But, that still doesn't make me want to listen to it more.
"Troll in the basement playing barely functional instruments Tom Waits" is my favorite Tom Waits. And, despite its dark weirdness it holds together in a way that other deliberately weird albums (looking at you Beefheart) fail to for me.
I've struggled with Animal Collective in the past, but tried to listen to this with a fresh, open mind; but unfortunately the repetition, manic tempo yelping and layer of sounds on top of each other until they are almost incomprehensible reminds me too much of the voice in my head that is the source of my anxiety. So, even though I know the songs are largely upbeat amd joyous... it all just leaves me stretched thin and exhausted. I understand the appeal for others, but not for me.
Most of my exposure the B.B. King has been limited to the later portion of his life, where he'd be brought on stage to perform the same several standards. So, this served as a great primer as to why he was so important and vital to music in his time.
Listening to this reminded me of an article I read years ago talking about the roles of both technical skill and charisma in rap music. The writer of the article used Nas as an example of a rapper who was technically great, but struggled with charima. I think that's a fair assessment. There's a lot to like about this album, but it's missing that final, unquantifiable something that would push it to 5 stars.
I like songs that occasionally devolve into chaos, but this feels like chaos that occasionally, accidentally becomes songs.
Like 2 singles, some filler, on humorous ode to the execution if Margaret Thatcher and one song that manages to be paternalistically and pettily xenophobic at the same time. Would probably be 3 stars, but I'm knocking it 1 for Morrissey being a racist fascist.
Interesting parts. Boring parts. Self-indulgent parts. Basically in equal measure. Crazy though that one of the most iconic horror soundtracks draws from this of all things.
Waffled between a 4 and a 5. I'm not sure how many Bowie albums are on this list, but I suspect this will be my favorite, so 5 it is!
Sigur Ros has always been too precious and affected for my tastes. Too distant and performative to connect with personally. That said, they aren't so much bad, as just not my thing. And, this album shows more variety in the second half.
A couple of 5-star songs, but most songs are 3-star dragging it to a 4-star album. Then -1 Star for Morissey being Vegan Ted Nugent these days.
I've never fully understood either the hype or hate for Oasis. They've mainly struck me as a middle-of-the-road British rock band whose brother's theatrics were more a distraction. This album is a bunch of 2 & 3-star songs. With maybe a couple 4-stars and one song that could be a 5, but is impossible to judge because it was so overplayed the year it came out. At least I understand their inclusion on the list, unlike so many other Brit bands.
Glad I listened to this, even though it felt too spoken word to really be my thing. And I appreciate the through line to other artists I appreciate, like PJ Harvey.
Before listening to this I was all "auto 5 star." But in revisiting it, there's a few songs I'm less fond of, and I was tempted to go 4 star. Still, I really love this crunchy, fuzzy blues rock album overall.
Not bad, just largely not memorable.
Agree with others in my group who make the Monkees/early Beach Boys comparison. Pretty throwaway songs for the most part, with a couple that land.
I probably would have been a big fan of this, if I'd discovered it when it came out. As it is, it feels more like a late-90s curio piece. Not bad, just of its time
Yeah, not really. One great single and a bunch of other songs that feel like send-ups of songs from this time period. Just not great. Except that one song thats excellent.
I had a Kendrick-sized hole in my hip hop knowledge leading into this, so I wasn't sure what to expect, but this wasn't it. It's messier, more complex, introspective, more uneven, less accessible but ultimately better than I thought it would be. It's also an excellent arguement for the value of albums as a single piece of art, versus just a string of songs. Was going to give it 4 stars, but a stronger second half and a desire to revisit it earn it 5.
Was totally ready to give this album a great grade. But, it ended up being two great singles (one revisited a second time) and a lot ofnless memorable stuff.
I appreciate that there is a little more variety on this album, but it also lacks the quality that was so immediately arresting about their first album.
Unfamiliar with them before, but found this really listenable overall. Remind me a little of something like The Knife, where it leans heavily into 80s synthetic, but manages to capture the mood, while feeling new and its own thing.
One of those albums where you end up knowing nearly half the album because the songs have appeared in movies and TV shows. Overall, I enjoyed this albums vibe, and almost bummed it up a star because my daughter seemed to dislike it.
This album. Drifting around on warm Summer nights in my red '87 Acura Integra, with the headlights popped, windows down and music up. The songs merging with the street sounds in a way where it was hard to know where one ended and the other began.
I was familiar with a number of the singles, from KEXP, but never really put together that they were the same band. There were times it felt too Animal Collective for me, and sort of annoyed me. But, other times it reminded me of, say, The Pixies and it sort of clicks
I both really enjoyed this album, and wanted to enjoy it more. Chapman's voice is a powerful and Fast Car is a helluva song.
So much of this album feels designed to make no impression on me. And it's telling that the highlight was recognizing a bit the Beastie Boys sampled. "Surrender" is fine, I guess.
I don't know much about Bluegrass, but enjoy the sound. I'm the type of person who likes to have one or two albums of it in their collection, just to scratch that itch for time to time. This would fit that roll excellently.
The singles do the heavy lifting, but even the other tracks are solid, if unexceptional.
I liked this more than their self-titled album, though that isn't a high bar. This felt looser and lighter, and more appealing, though it still frequently drifted into self-indulgent. Plus, one of the songs is used on the Buffalo 66 soundtrack
Uneven. But the good tracks delivered and it was fun hearing all the original source songs of so many hip hop samples.
More tolerable than the other XTC album we listened to here. Still suffers from dopey lyrics, but they don't feel as belabored and it all has a Ren Faire vibe that feels more forgivable.
I didn't think this was amazing, but it was definitely "good interesting" in a way that intrigued me and will likely make me revisit it.
A strong 3. If the whole album felt as robust as the second half, if probably would have been a 4. But, the first hand was a little thin and one-note. I'm not sure if I'd heard any of Cohen's early work, but this would all slot nicely into a Wes Anderson soundtrack.
Waffled between 3 and 4 with this. But went with a 4, just because this is the type of thing I was hoping to encounter with this list. A famous name whose music I'd never listened to before, but was a pleasant surprise. Was expecting something like Captain Beefheart, but this felt more like a proto-Morphine.
I've always run hot and cold on Queen, but really have only heard their hits, so interesting to hear a full album. Still not sure how I feel about them though. How to square the last three songs, for example: The Rag Time of "Leroy Brown," followed by the shambling proto-Jane's Addiction of "She Makes Me," followed by the groggy theatrically of "Lap Of God." It's interesting, I guess.
While -like most double albums- it overstayed it's welcome a bit, and the language barrier kept it from feeling truly great, I liked a lot of this albums general vibe and feel. Flourishes like the chicha organs and fuzzed out guitar gave this album sense of time and place, and the whole thing was varied amd interesting enough to make a nice soundtrack toy dog walks.
If you take the transcendent euphoria out of the psychedelic experience, and just try to recreate the visuals or auditor experience... it's kind of an annoying nightmare. The second half (Melody and beyond) is better, but still doesn't redeem it.
I've long struggled with appreciating Elvis Costello. That said, listening to this album and Armed Forces makes me think that I like his earlier stuff better, and (maybe oddly) the songs work together as an album.
The thing with only being exposed to an artist late in their career is that you tend to only hear their 2 or 3 biggest hits. So, it was good to hear Aretha's amazing vocals on other songs... even if the songs themselves and production don't hold up as well.
Interesting at times, but rarely great. When will saxophone solos come back into fashion? 2026?
I feel like Dylan needs his own scale, not because he's off the charts, but because his voice is a non-starter for lots and he has so many albums, it almost makes more sense to rate them against each other. This one has good energy and doesn't suffer from the "make it up as you go" lyrics I felt the last album had.
The rating isn't really a knock on this album. It's all serviceable and occasionally fun. I just think there might be better albums out there to represent this era and genre. I appreciate the nods in several songs toward diversity and inclusion, even if they come off as corny by today's standards.
Great album! I might appreciate this even more now -with its propulsive drums and wall-of-fuzz guitars- than I did as a teen.
Funny to have this and Siamese Dream back-to-back, since I probably bought both tapes on the same day. I know real REM fans would fight me on those, but this gets my vote for their best album. If for no other reason than nostalgia.
When the songs land on this album, they are pretty great. But, only about half of them do, and the early part of the album feels lurchy with overlong skits.
Barely gets a 3. You're on probation, Boston.
Good for what it was, with what seemed like clever lyrics when they caught my attention. I enjoyed it well enough, even if I'm unlikely to revisit it.
There's some good lyrics and nice production at times, but the songs rarely feel more that solid.
Waffled on whether to give this a 4 or 5, but landed on 5 because -within the limitations of the "one singer and one acoustic guitar" genre- it's hard to imagine a better album.
The two big singles on this are undeniable classics, and the rest of the album is quite listenable without ever rising to their status. Strong 3.
Sort of hurts to give this a 2. The actual songs are a lot of interesting 60's Brit rock, with lots of fuzzy guitar, moogs and baroque flourishes... but the spoken word Cokney/jabberwocky words parts between all the songs just tank it. Remove those amd thos is at least a 3.
I know I should knock this by 1 star because Win Butler did something wrong, but I've tried not to learn the details of that in hopes of not ruining this near perfect album for me.
A lot of the songs are pretty great, with a couple classics amongst them. But, I could do without the "interludes," and the misogyny and violence wore me out by the end
What I wanted the Small Faces album to be. Still wanted to like it maybe more than I did. But still a lot to like.
Waffled between a 3 and 4 star with this. I tend to love roughly produced indie punk like this, and there's a lot of this to love in what feels like a mash up of the Pixies and Violent Fems. But even at 48 minutes it feels a little flabby, and they probably could have cut about half the instrumental numbers.
Thisnis the most hot-cold I've run on an REM album so far. It has some truly classic songs on it, but also a few that just fall flat. Probably a 3.5. But I'll grade on an REM-curve.
I can see the elements that I enjoyed about Loveless, but they just don't coalese in the same way.
Grading on a Kendrick curve. Still a great album, but didn't land quite as well as Butterfly, possibly owing to its more traditional subject matter.
Probably a 3.5 without context, but the details surrounding its release and Bowie's passing give it a level of mournful poignancy that elevates it to a 4.
Grading a bit on a curve, since it would be easy to argue her singular voice warrents a 5 alone. But, I didn't feel this is the best collection of song, leaning too much into slow ballads to really showcase her range.
I didn't realize I had such nostalgia for this album. But it totally took me back to the early 2000's when I'd listen to Napstered MP3s of it while working, or just the sound of distance music while hiking around Burning Man.
This rating is based on the original track list, and not the "preserved edition " that adds a wholly unneeded extra hour or so to it. This was like tasting a weird new flavor of ice cream, where I was all "do I like this? I might like this." Weird connective tissue to They Might Be Giants, Violent Femmes and Modest Mouse.
There are a few undoubtedly great songs on this, but also a number that fell flat for me, incomparison to Pink Moon.
I tend to struggle with Springsteen a bit. Something about his voice lacks charisma to me. That said, it's hard to argue that there aren't a half dozen classic (if commonly misunderstood) songs on this album.
Aside from a few noteworthy track, this feels more like raw material for future hip hop samples than it does fully constructed songs.
When this album came out, I remember knowing people who were really into it, and feeling a bit like: "Why?" There's nothing bad about it, just nothings noteworthy... whichever it's a 3 star album that gets a minus 1 for taking up a space on this list.
I feel a little more forgiving toward this album than other overlong 60-70s live albums. The self-indulgent bits are a little more interesting and it just feels a little more fun, even if it overstayed it's welcome a bit.
I like Elton John, but in smaller doses. His songs are baroque and (maybe) maudlin enough that it's hard to listen to too many in a row. Cake after cake, sort of thing. So, this suffers for being a double album. There's a 4-star album buried in there.
The singles are maybe 4 stars, but the rest is pretty rough and ranges from 1 to 2 stars. Really, this is probably a 2.5 star album, but it's a "round up" sort of day.
Another album from the British Isles whose presence here is completely perplexing to this American. It's competent, if not my style. Minus 1 star for taking a place on this list that could have gone to something more noteworthy.
Three classic songs, plus a bunch of others that sound like they could be Ziggy outtakes or B-sides. Still, that isn't half bad, right?
When I rated "Ogden's Nut Gone Flake" I commented that Small Faces could be good if they left all the story time stuff on the cutting room floor. This album sort of answers thst, since it's Small Faces with Rod Stewart. Turns out it's OK. Solid, even if nothing grabbed me particularly.
In a vacuum, I'd probably give this 4 stars. There's a lot I like about it, musically. But, going to knock it 1 star for some problematic politics surrounding its creation.
Neither a Doors fan, nor a hater. Which makes me feel like I'm in rarified air. This Is The End makes me wish it was the end, but beyond that these are all solid songs.
Still feel like I'm not cool enough to like their music. But, there's no filler on this album.
"Dad, what did music in the late 90s sound like?" This is actually like a 3.5.
I appreciate Dylan more than a couple of people in my group, but even I don't understand what theis list gains by including 4* of his albums. So minus 1 star for taking the space thst could probably be used to highlight someone otherwise excluded. This isn't even a very good Dylan album. (*Who am I kidding, I'm sure there's more than 4 of his albums on the list.)
Like Zappa, I was expecting this to feel more experimental and out there than it was. Only "Murder Mystery" was outside the norm. Instead a lot of this sounded like they were writing the blueprint for how dozens of future Indie bands would construct songs.
Well, that really walks off a cliff after the third track. If the restnof the album was at least 2 star songs, this would have been a 3 or 4. But, sadly not the case.
I didn't dislike it, but there is just something heavy and belabored about it that keeps it from grabbing me.
One of those albums where every other song was part of the background soundtrack to my childhood.
Viewed in a vacuum this album would be an easy 5-stars. So good. Like give me chills at points good. But, unfortunately, Kanye has disappeared down a conspiratorial, MAGA rabbit hole. So, sticking to my guns, I have to knock it a star.
There were things about this I liked about this more than I liked about Songs In The Key of Life, bit overall it didn't hook me the same way outside of the classic singles. Still great album.
Fits and entire album into the length of a Deep Purple drum solo.
Not bad, per say. Just back ground music.
I don't have quite the nostalgia for the Cure that a lot of my friends do. My teen angst took a more grunge-centric form and it was only later that I really appreciated them. Still, no arguing that this isn't a great album.
I can see how they might have influenced a number of later indie bands and a couple of songs weren't bad, but overall no a great album.
There are some classic Neil Young songs on this, but maybe an equal number of cringey ones or songs that fall flat.
This album works best when the songs feelnless conventional. When it's all creaks, groans and Apple feels equal parts desperate and menacing. The more traditional songs, usually stripped down to just pianos and strings hold my interest less.
One of my favorite albums from the last 20 or so years. Alternately soulful and joyous, with a mix of the old and new that feels inevitable.
If nothing else, it gave me a chance to brush up on my German. I can see why the singer from Ministry would be a fan, even if I won't be racing back to it.
Feels like more of a curio piece. A time capsule from that window right before grunge broke, where pop music was filled with electronica, rain forest sounds and the occasional choir or gregorian chant.
My record collection would probably only ever need one Irish Folk Punk album. But, if I ever got one, this would be a solid pick.
Strong 3 that is probably a strong 4, if not for the language barrier. Buyt, that's more my problem than the albums.
This album has neither my favorite LCD Soundsystem songs, nor does it have any songs that get annoyingly repetitious in the way their worst songs could be. More soulful than I think of them being, too.
Barely squeaks by as a 3. Almost a 2, owing to the overlong version of the title track
Bossa Nova as a genre is basically the definition of 3-Star music: Pretty, appealing, totally listenable, but rarely challenging and only occasionally letting songs drift up to the 4 or 5-star range.
The wikipedia page mentioned that with this album Rush tried to make more radio friendly songs, and I think it benefits from that. Still not my thing, but I can sort of see why it would be others.
I sort of wonder if Coldplay had only released this album and Parachutes, if I'd have a better opinion of them? Because their music today feels like the photocopy of a photocopy of a photocopy.
With the Black Kets, I always can't help but wonder how much of their sound is just a pastiche of blues rock. But, I also can't deny the effectiveness of their fuzzied out blues guitar sound.
The the rest of the album was as good as the first amd last songs, this would be an easy 4 stars. But, the majority is more in the 3-star range. That said, rounding up because I'm having a good day, and this album fits it's vibe
It's mainly about the 3 singles I already new. The rest felt very of It's time. Which isn't bad, but didn't pack the same punch.
When I hear an album like this, it makes me a little sad reggae is synonymous with American stoner culture.
Ran hot and cold on this. Several songs hint at what Radiohead would become in later albums, but just as many felt like more run-of-the-mill fuzzy rock songs.
This one grew on me more as it went, often just because of some great production.
I think I tend to think of this as the third part of a trilogy of great albums. But, it's definitely the weakest of the batch, and there's a bit of a "been there, done that" feel to the whole thing.
A couple of good songs and some nostalgia, surrounded by a lot of boring songs. Maybe almost a 3, but not quite.
I run really hot and cold with Buckley. There's no arguing that his voice isn't impressive, but something about his songs sometimes feels just overwrought.
Half Beach Boys and half fuzzy blues rock. Mostly forgettable, except for a couple of noteworthy tracks
Another in the growing list of "British Artists That I'd Never Heard of Before." At least albums R&B meets downtempo electronica made it a little more interesting than other albums on that list.
Not particularly my thing, but with it mix of ska, funk and metal, I could see how it would be someone else's.
A little uneven at times, owing to it being their first album. But still a lot to like here.
Almost a 4. I feel like the quality drops off in the second half, but overall I like their sound and this represents thevsort of new-old music that I was hoping to be exposed to through this challenge.
Liked thus more than I thought I would. I know they are considered Godfathers of Heavy Metal, but also can see the throughline to Grunge acts like Soundgarden.
Way more listenable than you'd expect for an album whose B-side is a "conceptual suite." Borders on 4-stars, but really only a few songs (including the cult classic turned Stranger Things hit) really rise to those levels.
Was going to give 3 stars, and blame language barrier and dated production for it not being higher. But, knocking an additional star because Koffi sounds like a garbage fire of a person, if Wikipedia is accurate.
Just felt like second teir Grunge, and left me wondering wondering "why is this on the list?" despite my affection for the genre.
Mainly familiar with the couple songs that got play on Kexp. A lot of it reminded me of The Strokes, but punkier. Despite that, only about half the album had my attention.
While I'm not a Prince expert, this album is sort of just a reminder that not only did he write a lot of great songs. He just wrote a lot of songs. Period. And that maybe the quantity is partially the reason there is so much quality. The Wiki said this was his first album without the Revolution, and while he might have appreciated the nimbleness of making songs this way, it does feel stripped down in a half-realized way.
Nothing wrong with this album, and in fact it is probably better than some of the other eil Young albums we've listened to. But, this moves into Dylan territory where the question arises: What is the value of having so many albums by one artist?
I like this fine, but feel like it's one of those things where I appreciate them as an influence on other, later bands that I probably like more.
Great album, and one that figured prominently in an important time in my life, made slightly less great by later revelations of the lead singers problematic behavior.
I have never listen to any Franz Ferdinand beyond this album, and don't desire to, which is mainly odd because I enjoy this album so much.
Like angry Adele more than sad ballad Adele. Waffled on if this was a 3 or 4, but I like this more than her other album we listened to, which I gave a 3, so I'll round up this time
Very much an album that reminds me of a time and place. Ultimately background music, but excellent background music.
Feel out of my depth trying to review this. It's a neat sound, though not something I'd actively revisit. The language barrier and album length turned it into a background music blur.
There were bits in there that spoke to talent, but it's just sort of a self important jumble veering from Beatles to Beach Boys to orchestral interludes.
The singles do a lot of the heavy lifting here, but the rest of the tracks are still solid.
More interesting as an archeological relic than actual songs. Barely squeaks across the line to 3 stars.
Really solid album. I could even see it being a 5 star, if I lived with it longer.
Fully expect this to be a 4 or 5 star album drug down by all the creepy personal details that came out about Jackson later. But really it's like 3 (4 if I feel generous) great singles, surrounded by a bunch of other, dated music that ranges from forgettable to cringey.
The Wiki said this album was their "American album" so maybe they are pandering to me a bit, but I love the mix of strummy, fuzzy guitars and droning, lifting lyrics beyond the big singles.
It had been a while since I listened to this, so I was wondering "is it really as good as I remember it/the critics say?" And was expecting to be disappointed. But, nope. Just really solid album with nearly no missteps.
Graded entirely on a Beatles Curve, and mainly 4 stars only because the best songs on this album are largely B-sides on a Beatles Greatest Hits album.
Drifted between a and 4 for me. But, rounding up because I think it's so stupid-funny that other reviewers are put off by her vulgarity while excusing so many male performers here that are worse.
There was just something so lightning-in-a-bottle about the White Stripes. And this is one of their best, if not the best, of their albums.
I'm biased because I discovered thos album early on while dating my now wife... so it played a big part as the soundtrack to our relationship. But, I also do like th3 ambition of covering love in all it's forms, from sweet to sad, and from silly to... horny.
I think that if I'd grown up with this album, and could paint it more with the petina of nostalgia, I would like it more, because the songs I am familiar with I like quite a bit.
Pretty big delta between the good songs and bad songs. If the whole album was as good as the second half, thisbqould be an easy 4, but as is, it's only a strong 3.
I probably would have like this if I wasn't in such a bad mood.
Rating a bit on a "Bowie curve" but doesn't quite have the same calibur of hits, and the secondary songs don't grab me as much.
The fact that I'm giving this 3 stars is a testament to the power of "In The End" given that Linkin Park and other Nu Metal bands were the butt of many jokes for me and my Grunge-loving friends in College. But, in hindsight, if I was 5 years younger, maybe this band would have been my Alice In Chains.
I think the first two discs of this album are great, but could easily overlook the last, jam-session disk. But it is also annoying that Spotify doesn't have the original release and only the extended remasters that are all out of order.
1001 Neil Young Albums to Hear Before You Die. In a vacuum, this isn't bad. In fact it's better than some of the other Young albums we've listened to. But, I still understand what value there is in featuring so many albums by one artist, while so many other great bands have yet to appear.
Good, but in a "background music" sort of way, owing to the language barrier and general lack of familiarity with the genre
15-year-old me probably would have thought this album was pretty cool, before I discovered Grunge. As it is this feels more like a dated curio than anything else, now.
Fun and charming, but also feels kitschy by today's standards. Also telling that people complain about rap being too violent, meanwhile this album might as well be call "Jaunty Homocide."
Flirts with a 5-star rating. There's a couple missteps and too much between-song chatter, but there is a lot to like here.
Easy to recognize the talent even if -ultimately- the sound is a little too Big Band for my tastes.
Never went through a Pink Floyd phase in High School, so this might be the first time I listened to this all the way through. About half the time if worked for me, and about half the time I was left rolling my eyes. But, when they actually bothered to sing, I like a number of the songs. Low 3-star.
This almost deserves 5 stars based on "Hurt" alone, which is easily one of Cash's best songs and one of the best cover songs ever. The rest of the album ranges for solid to excellent and is a great final recording for thisnicon figure.
About a song in, I thought that this could be good, kitschy fun; with good vocals over fun, dated production. But, it just ended up being dated and underwhelming.
I'm not Radio head expert, but this is probably my favorite album of theirs. The perfect crossroads of their earlier indie rock stuff and later more ambient/experimental stuff. Nearly ever song a hit.
This probably isn't a 5 star album, but I'm sort of giving up on objective ratings for the day. It was just sort of what I needed to discover and listen to today.
A little better than some of the other random British bands on this list, maybe because I can see throughlines to other things I like (Beatles, Blur, garage rock)... but still nothing to warrent them being on the list instead of other better bands from that era.
Oh look, it's 80s Night at the 3B. It's impressive when I listen to an album for the first time and already know all but two of the songs.
As far as big, dumb albums go, this was pretty big and plenty dumb.
Someone bring me the big spoon, because that Hammond Organ is like ice cream, and I want to eat the whole pint. That said, while I really enjoyed this, and almost wanted to give it a 4, it ultimately felt like background music. Albeit good background music.
Sunny samba music that only feels a little like adding to insult to injury as I walk my dog on cold, wet, grey January Srsttle mornings. Maybe 4 stars or more, in a different environment.
There's something Barroque about Queen, with their tendency to ALWAYS GO BIG that starts to wear on me. That said, it's hard to deny there is talent there.
More white, British guys acting like they discovered the Blues. Fine for the lost part, but feel like there's a lot of it on this list.
Why?
Almost slipped to a 3 star, because of some missteps in the layer half and the general ickiness of Sweet Sixteen. But, when it's good, it's real good.
Had someone give me this album randomly, years ago, and remember just being like "wow, this album is a whole vibe unto itself." High 4. Maybe a 5.
Classic. I might have more fondness for Ill Communication or even Check Your Head, since that's when I feel like I "discovered" them, but people who argue that this is the better/more seminal album are likely correct.
Seen in a vacuum, this isn't a bad album. Overlong, but solid roots rock mixed with some 70s breeziness. But, unfortunately, it isn't presented in a vacuum, but instead is apparently entry #74 in the Complete and Total List of Every Album Recorded by a Member of Crosby, Stills, Nash and Young. Ever.
Weak sauce techno that sounds like something you'd hear on an online royalty-free music sight, while looking for background music for your gashapon opening video, presented with zero context as to why this might be included on the list.
Low 4 star, mainly bumped up to that to indicate that I like this better than The Wall. A little more to the point and the songs might be a little better.
I might have considered giving this 4 stars, if this listed hadn't already force fed me a couple dozen albums by the various member of the band. I do think that Crosby, Stills, Nash (and Young) benefit from playing as a band. Together they produce something more varied and interesting than the individual artists offering.
The hits are hits for a reason, the rest is solid, if unexceptional. "Play Free Bird, man!"
You know song works well in movie trailers? Salsbury Hill. The "boom, boom, boom" allows for some fun editing tricks. Beyond that, this it feels like Peter challenged himself to make sound like each song comes from a completely different album than the one before it. And then goes BIG on each one.
Sort of all over the place, likely because it was so early on for rap as a genre. When it's good, is quite good. But, it's just as often corny or cringe inducing.
AKA: The 1990s Death Row Records Sample Library. Almost gets into 4 territory because when the songs land, they really land. But, a lot of it was a little more formless, even if the energy persists.
High 4 star. Autchung Baby might be a better album, but I sort of prefer this younger, scappier version of U2.
It's a nice enough sound, with its lilting vocals and fuzzy, wall-of-soubd instruments, but also felt like it lacked some way to really hook my attention.
Of the Beck albums I've heard, this one probably does the best job of letting his various instincts (sample, loops, fuzzy guitars, feedback, country strumming and folks lyrics... and more) cohabitate in a way where they merge into a unified whole. And it's the stronger for it.
This week has given us a string of "4 stars that are almost 5 stars." Which is such a good place to be in, versus the usual 70s rock and 90s Brit band doldrums. Only the fact that overstay it's welcome a bit, and has a few misfires keeps this from being a 5 star. But still a classic.
If the hit singles hadn't been played to death and featured in every film about the Vietnam War, I might have been able to convince myself this was a 4. But, as is, just middle of the road.
Drama teacher: (To himself) "This year, I will use the school play to show the kids that Broadway show tunes can be as cool as rock music!" Drama students: (To each other) "This year, let's use the school play to show the teacher that rock music is as important as his Broadway show tunes!" And thus was born an album that combines the most unsufferable traits of both. Such much drama and emoting... so little emotional response from me. Low 2 star.
Sonically varied and interesting enough to make this a strong 3, even as the quality of his singing occasionally left me feeling like I was listening to a children's album (until he invariably began sining about marijuana).
Brassy and exciting in a way that reminds me of some of the better, earlier James Bond soundtracks. But, like most instrumentals ends up feeling more like background music... or the soundtrack to some spy film I should check out.
It's like Syd heard "Octopus's Garden" and decided "I'll make a whole album like that, but twice as random and half as charming."
While not every song landed for me, the overall vibe and uniqueness on this squeaks it into a 4 star rating.
Like a lot of blues, by the end of the album there was a sameness that started to set in; but still bumping this up to a 4 star because it's actual blues as opposed to the usual 60s British blues-rock this list loves to wallow in.
This was winning me over more and more, as it went along, until the sort of undeserved meltdown of feedback and drumming that it devolved into for its final minutes.
Not quite a 4, but I like this more than a lot of the other British Blues-rock groups we've listened to. I'm a fan of the moog through it, feel like Mayall is often just singing rather than play acting as an American Blues singer, and you can see why people were into Clapton before he got old and racist.
The 2 or 3 singles deliver and the rest of the songs are fine (if unmemorable), but Morrissey has revealed himself to be such a xenophobic, white nationalist that I can't bring myself to award this more than a 3.
A number of songs I really enjoy here, with some also rans who don't quite rise to that level.
My brother had this album, growing up, so I'm probably more familiar with it than any of the non-Best Of albums. Would be an easy 4 star, but charging the -1 star Garbage Person Tax.
Almost went 5 here. This is likely the best album, at least sonically. And it's menacing af sometimes. But, I have a slight preference to their first album just because it made more of an impact on me when it came out.
I've determined there is a question I can ask that determines whether or not I'm likely to like a Metal band: Would they play D&D with me or make fun of me for playing D&D?
Beautiful (if dated) production and vocals, only undermined by the sameness in tempo and subject matter from song to song.
When I was in 6th grade my brother got a boomnox, and because it was the floor.model, it came with a copy of Best of Blondie in it. We listened to hat tapena ton and I have a lot of affection for those songs. Sadly, the non-singles on this don't live up to quite that greatness. But still better than most of the stuff on this list.
I thought this would be a 5 star album only drug down by Jackson's extremely problematic legacy. But, honestly, a number of these songs (outside of the trifect at the center of the album) don't hold up and feel thin, dated and in the case of PYT... icky.
Perfectly fine piece of minimalist folk, but perplexing as to it's inclusion here.
Intro to my 160,000 Word Essay "Does Marshall Mather Matter?": Ok. So, Eminem is a generational talent who is capable of crazy word play and, yes, he has mellowed over the years and expressed regret about some of the views expressed in his early albums. Also, I understand that there can be value in expressing your darkest thoughts and fantasies as a way to vent them from your system. But, the question remains: How much interest do I have in climbing down into the muck and wallowing with Eminem while he fantasizes about beating and murdering women and gay people and raping and impregnating his own mom? How much can be forgiven as art or free speech expression, and how much is tacitly approving of the hate and action this might encourage in people who could have similar thoughts and views, and might be encourage to act on them. Let's dig in, shall we.
Plays more like a bunch of outtakes from Sgt. Pepper era Beatles songs. At times that is sort of loose and fun, but as often it feels sort of half-baked and lazy.
I just have a Springsteen-sized soul hole. His music just fails to move me 95% of the time. Not bad, just nothing that sticks with me. Maybe he does that moaning bellow thing. Maybe a sax or harmonica plays. I promptly forget either way.
I love an album that can be cool but geeky at the same time, and one that feels both eclectic and cohesive. 5 stars might be generous, but I'd rather listen to this 15 times than the combined 15 Crosby, Stills, Nash amd Young albums on this list.
Like Springsteen, I struggle to get into Aimme Mann's music. It's not bad, it just feels very middle of the road in a way that doesn't hook me.
I liked this more than I thought I would. Not a high bar and not amazing, but the songs were more varied and interesting than I was expecting from the period and album cover.
The hits we all know, the also rans are frequently forgettable and the covers are often not as good as the originals, but it ends strong with a few songs (including Blue Moon) in that warbling, tin-can style I appreciate.
Most things that feel edgy, transgressive and hardcore when you are 19 just feel sort of silly and quaint when you are 49. Downward Spiral holds up.
I feel like this list doea a disservice to Dylan by including so many of his albums. If it would have included just maybe his 3 best albums, my response to them would have been "Oh, Dylan!" But by including so many of his albums, my reaction becomes "sheesh, MORE Dylan?!' He becomes just more 60s white noise
I could see 3 situations that might call for this music: 1) I'm an early 20-something, just out of design school and listening to techno while I work, because that's what I think designers do. 2) I'm a mid-20-something, wandering around Burning Man at dusk, and this is playing 3 camps down. 3) I'm a late 20-something, in a night club, about to get into a gun battle with John Wick. But, I'm now 49, so the time for the first two has probably passed; and fortunately the third never happened.
Another one of those albums tt struggles to move beyond background music because of the language barrier. Still this more on me than the band.
I aways want to rate rap and hip hop albums higher, just because I'm excited for the change of pace. Overall, I did enjoy this, even if a lot of it felt like Wu-Tang B-sides.
When this was good, it was really good. But a few tracks, like the 14-minute-long Sex Machine killed some of the positive momentum.
My apathy to AC/DC runs pretty deep. I can't even get worked up enough to given then 1 star. They are just the sonic equivalent to thinking "I'm sure there is something better I could be listening to." The main defense of them is that they are big, dumb and fun. I'll give you the first 2 of the 3.
Another album from the British isles whose biggest offense is just being inexplicably included on this list. Sort of answers the question: What if the Talking Heads recorded an album of their B-sides, but David Byrne sang it in the style of a vampire from a 1950s Dracula film
Like Queen without Mercury's range or pathos, but instead replaced by a self-congratulatory sense of humor. A bit of a shame since some of the musicianship undergirding all the "cleverness" isn't bad.
Having effectively.listen to two AC/DC albums in a row, I can say Scott is a better singer than Johnson. But that only makes this album slightly less grating.
I never really went through a Led Zeppelin phase like a lot of my friends did in Junior High and High School, but there is still enough connective tissue between them and a lot of grunge that I get their appeal and genuinely like quite a few of their songs.
Only giving this a 4 because of my slight preference toward their earlier, rawer albums, and want to save my 5 for one of those. That said, this album has a lot of great moments and they wear this more synth/dance sound better than a lot of bands.
Possibly my second favorite PJ Harvey album, after "Stories." While all of Harvey's albums sort of feel like concept albums I feel like this one delivers the most in those regards, and is a complex and rich enough reckoning of England's legacy that it still feels new to me almost 15 year on.
So much time is spent on the mythos of Courtney and her relationship with Kurt that it's easy to forget that Hole produced blistering pop grunge in the way few bands could.
Bottom of the barrel 3-star, with the songs I liked/didn't mind balanced by aggravated me. The story behind the albums development being more interesting to me than most of the songs on it.
Fame is one of Bowie's Top 5 for me, and Young Americans and the Beatles cover hold their own. But a lot of this is either surprisingly forgettable and even occasionally cheesy in a way I presume isn't deliberate. Sax party!
With it's fuzzy guitars and space sound effects, I like the bones of these songs. Any time a band leans on genre fiction, I'm that more interested. But, ultimately, too overlong and self indulgent to get a high rating, but makes me curious about their studio releases.
Nothing here is as interesting or impressive as they think it is.
Stylistically all of the place, in a way that made the album feel slippery and hard to sink my teeth into. Some of it I liked quite a bit, and other stuff left me cold.
Not bad, just not a sound that I'm a huge fan off. Some overlap with the problems I have with Springsteen and Gary Newman.
If Big Pink was a solid 3, this is a weak 3, largely because "songs focusing on people, places and traditions associated with a traditional view of Americana" feel a little off putting when the weird idolization of some mythical American past is currently being used as an excuse to ruin the present.
If all the songs approached the quality of the title track amd a few others, this would have been a strong 3. But, too much of it is too middling. You can see why their Greatest Hits album is their best selling album
I wanted to like this more, and waffled between a 2 or 3 star, but Nico herself gave me the permission structure to give it the lower grade since she claimed the album was unlistenable because of the instrumentation... which ironically was what held the album together at times.
Surpris8ngly good and dub heavy in a way that makes it feel like the missing puzzle piece between Marley and Massive Attack.
Not as relentlessly depressing as I was worried it would be (some songs are borderline jaunty), but also not as interesting and compelling as I had hoped it would be.
"Take Five" is easily the standard out track here, and you can see why it still gets play to this day. The rest is fine, if unmemorable, ranging from "good cocktail lounge music" to "good dentist office lobby music."
I think it's a tribute to Metallica's earnest commitment to rocking the fuck out that in 1991, when grunge broke and pretty much destroyed the careers of 90% of the hard rock and metal bands that had been playing before then, Metallica released this monster of an album that would go on to be the most successful of their career. It looses my interest a bit in the final third but comes out of the gates swinging.
While there weren't any individual songs that would drive me to revisit this, I do wonder how this would play at an evening backyard BBQ... I bet it would create a cool vibe.
I've panned Public Image Ltd here, on a couple of occasions, owning in large part to John Lyndon's vocals. But it's fun that if you put him in front of a more conventional punk sound, I like him overall. The snotty-Brit sound works. Generally, I knock of a star is the singer or a band member is a garbage human, but how do you deal with Sid Vicious... where being a garbage human is kind of the point?
I feel like a lot of these songs have interesting stuff in them, but the total of the song is often less than the sum of its parts. Still not bad, though skewing into more vaudeville-style songs toward the end was a misstep.
Susanne Vega had three inescapable hits in the late 80s, but none are on this album. Which makes it's inclusion perplexing, especially if it's her only album. Still this had a number of tracks that I liked enough I'd call this album a strong 3.
Maybe thisnwouldmworknas the soundtrack to some late 90s/early 2000s movie about globetrotting hackers trying to thwart an evil mastermind. But on its own, it feels like background music.
Mainly appreciated this as an influence to other bands and artists like Uncle Tupelo, Wilco and Sturgil Simpson. Schmaltzy at times. But, I'm in a bit of a schmaltzy phase.
One of the better of entries in 1001 Mid-90s British Albums to Hear Before You Die. Still, way too many mid-90s British albums.
This one really landed for me, and I might even rank it higher in the long run. (But, alas, changing ratings is not allowed.) A lot of it feels like music from an earlier time, beamed into space, bounced off a satellite near Neptune, only to return home warped, echoy and more compelling than it departed.
Despite only having one song I recognized on it, it's a credit to Marley's talent that this is all pretty universally listenable in a relaxed sort of way.
If this challenge has taught me one thing, it is that 90% of the time I'd rather just listen to a studio album than a live album. If you take the music from a live show out of the show (with it's accompanying visuals and criwd energy) what feels spontaneous and exciting often becomes self-indulgent and often undermines the appeal of the original song. Even the Dead, whose shows were purportedly amazing (even sans chemical augmentation) suffers the same fate and I wish I was just listening to one of their studio albums.
Aggressively pedestrian.
One can almost imagine Dizzee sitting in the pub, and then his friend coming in and describing describing an exciting new style of music, called rap. And how the songs are built from bass and samples. How the vocals stress lyrical dexterity over singing. How the themes revolve around urban life with braggadocio mixed in. Then, Dizzee would go home, and never actually having heard rap, would create this album. The DNA is all there, but the sound so alien from what was going on in American rap at the time.
Waffled on a 3 or 4 on this one. But other people in my group have said Del Ray has better, earlier albums. So, I'll go with 3 here. But this was interesting enough that I want to check out the rest of her catalog.
Hard to rate an album that is 6 songs long, and Bowie himself was so coked out he doesn't remember recording it. That said 2 of the songs at least (1/3rd of the album!) are pretty classic. So, good Bowie... just to flimsy to be great Bowie.
Christina is one of those artists whose songs rarely rise to the level of her vocal talent, but I liked this album more than I thought it would. If she'd kept it to 1 album and dialed back the post-productiin so that it feature more live instrumentation, I think this could have been a 4.
This, at various times, reminded me of a ton of different artists (Bowie, Costello, Dylan, Steve Miller)... but always sort of a mediocre version of them.
There were some songs I really liked on this, but for every one of those, there was some random wince-worthy misogyny or homophobia. Honestly though, the parts that appealed to me the most were the parts that reminded me of Public Enemy, which isn't surprising given their heavy involvement.
It's too bad the lyrics on this aren't just some "Prisencolinensinainciusol"-style gibberish, because I really like the instrumentation. The guitar, the strings, the drums... all of that is super cool, and I can see the influence it would have had on (according to Wikipedia) people like Beck and Portishead. Unfortunately, the lyrics aren't gibberish, and the concept of this concept album is pretty gross. So, it's getting my standardized 1 star deduction for that, and I don't disagree with people.who deduct more.
While this didn't grab me in the way that "In Search Of..." did, I still found it's looseness to be enjoyable and charismatic, even if it bordered on feeling phoned in at times. I still appreciate this fusing of rap and rock (and a fair amount of funk) to the Limp Bizkit style swill that populated the airwaves leading up to it.
I struggle a bit with Costello. Something about his singing and songwriting just doesn't la d for me sometimes. That said, hearing an entire album of his music helps me frame it in a way that I can see the appeal more.
Interesting that we ended up with this and Costello's Armed Forced next to each other, since I struggle with both artists in a similar way. Something about their song writing and singing styles seems to, I don't know, self-congratulatory. Regardless, Costello's album fares better. Also, telling that both artists seem to think their writing is clever enough to get anyway with the white-boy N-bomb.
Had a blast walking the dog to this music.
Waffled between a high 3 or a low 4, but this holds up a lot better than other stuff we've listened to from this period, and the hits still land.
I just finished the Beastie Boys Book, which features Run DMC several times, so this worked as a fun companion piece for that early period of rap music
When I think of Echo and the Bunnymen, I think of some of their hits like "The Killing Moon" and "Lips Like Sugar." Elements of some of these songs hint toward those hits, while never quite hooking me in the same way.
Sonically cool, but the lack of traditional song structure just makes it feel like an extended intro to a cool song that never arrives.