It's good, but I don't love it. A bit too "cheeky". Oddly nostalgic listening to it, for a time that I'm not very nostalgic about (yet).
A really enjoyable listen, full of nervous energy and catchy tunes.
Hit and miss for me. I quite like some of the songs, but a lot of them felt a bit "parody" - the kind of songs that a parody of a late 70s German techno-pop band might produce.
I'd never heard of this before... and it's difficult to form a connection with an album like this (one that is totally fresh to you) in just one day. My first impressions are that it sounded like a kind of alternate universe psychedelic-era Beatles, not quite as polished. Some good songs though: Baron Saturday and The Journey being favourites.
I've given this a low score, but I suspect it would grow on me... so it has been saved in my Keepers playlists for future work.
Another classic, but honestly, it's not really my thing anymore. Ask 19 year old me, and he'd be well into it, but the funky, dirty sound just isn't what I want to listen to now. There are some stand out tracks (Under The Bridge, of course; Breaking The Girl) but the rest of it feels too much like a "time and place" album.
Brilliant! Starting an album with Gimme Shelter and ending with You Can't Always Get What You Want makes for a hell of a sandwich. There's not really a bad or out-of-place song on it. As well as the bookends, other highlights include "Monkey Man", "Midnight Rambler" and "Country Honk" (a country version of Honky Tonk Women).
Not really my kind of thing. The kind of album where I fell off the end and into the Spotify recommends tracks and didn't even notice.
Pretty good, though I don't love it. There are some really catchy tunes on it, but I absolutely hate track 3, which ruins it a little for me.
A good album that is made more memorable by its opening song and its closing song. It sags a little in the middle, but not too much.
It's the kind of album that makes you wish you had the social confidence to wear a denim jacket with a patch of the album on it. But it's all good, because you're playing Warhammer later, with kids who ARE confident enough to wear such things, and maybe that will rub off on you, who knows? Oh, and by the way, "One" is really rad... it's about a dude who stands on a landmine, you know? Gets himself all kinds of blown up. Cool. Maybe I should grow my hair long?
It grew on me after repeated listens. I'd previously only delved into the Beastie Boys as far back as Ill Communication, and those extra few years of maturity and production values really help. This early work almost feels like a parody of itself... you couldn't fit a sheet of paper between the actual Beastie Boys and the white-man-rap parody group Morris Minor and the Majors, for example. But it still has some real bangers on it - Fight For Your Right and No Sleep Till Brooklyn, for example.
Obviously well produced, but not really my thing.
I really like this. It has the kind of mood that you could only find in the early 70s. Very pleasant to listen to.
I know I'll be exiled for this, but I didn't like this album. Chaotic, discordant, all over the place, whiny. Some pretty good songs on there, but mostly not really for me.
Obviously brilliant, but you've got to be in the mood. One for cold, winter mornings.
An excellent album that feels just as fresh now as it did when it was released. Those opening few moments whisk me back to 1998 like nothing else.
Not bad, not very memorable though. I kept slipping off the end of the Spotify playlist and not realising.
It's not often you listen to an album that has no low points, where every song is at least "very good" and many are classics. And this was Pearl Jam's first! In truth, they'd never quite reach this level of completeness again, with subsequent albums feeling more experimental and less sure of themselves. Ten, though, is a work of genius. Songs like Black, Jeremy, Even Flow, Alive are endlessly listenable and perfectly representative of their time.
Ten was the first CD I ever bought, and I never tire of playing it.
The name of the album points the way. Music to have on in the background when you require very little to happen. Relaxing, it doesn't really go anywhere particularly fast.
I mean...
An album released just three years after Genesis' Lamb Lies Down on Broadway, and there are hints of that classic Peter Gabriel sound here. Very prog in places, lots of pomp and grandeur. But it is also incohesive, touching many different styles and forms. Gabriel seems to be fishing around for the style that would define him as a soloist, while not entirely able to escape from his past.
Solsbury Hill is definitely the strongest track here, but there are other high points. Moribund the Burgermeister, the opening track, could have been lifted from Lamb Lies Down directly, and acts as a kind of bridge into this newer work. While Modern Love feels more like the kind of arena rock that Genesis would produce without Gabriel.
Overall, enjoyable. Not as good as he was. Not as good as he would be. But and interesting link between the two.
Mostly great 80s nostalgia hit.
Not as good as Parklife, The Great Escape or 13, but still pretty good in its own right. It has classics like Song 2 and Beetlebum, but not much else that is massively memorable.
