Radio Free Europe and Talk About the Passion resonated the most with me. I really enjoyed how quickly REM reminded me of my father. The overlapping vocals in Moral Kiosk add a frenetic, pleasing energy. There's an uplifting energy to the album, with no pretense about what the sound is.
Brilliant Corners opens with dissonant chords, seemingly welcoming the listener into the deep end of Monk's jazz bending mind. As the motif kicks in, organizing everyone into rhythm and key, the tempo quickly picks up and your swept away into a frenetic, powerful display of jazz throughout 5 track album.
Unorthodox, genre-defying, experimental album.
Brian Eno & David Byrne combine to create a post-world music soundscape. Some tracks captivate with mega-funky bass lines, where others lure with synth strings and ambient noises. The album is an experience, and there's a message in there somewhere.
Noisy, explosive, dynamic and full of energy.
Encapsulates a time, a movement. Emanates love and caring for a community of people.
As an album, it aggregates some of Metallica's greatest hits, bringing them to soaring highs with the addition of the SFSO. It's so well mixed and produced that it doesn't quite have the energy of an expected live album - whether or not that is a criticism or a compliment might depend on the listener, but for me, it detracted from the experience, making this more of a chore to work through than anything else.
Heartbreaking, mesmerizing, 90s personified.
Lynyrd Skynyrd comes out of the gate with their first album containing iconic songs that would redefine Rock radio forever. While most will remember the album for the half of the 'Classic Rock HOF' (Tuesday's Gone, Gimme Three Steps, Simple Man, Free Bird), the remaining half still delivers some classic Skynyrd southern rock, with their staple triple-guitar attack, delivering boot-stomping rhythm and overdriven lead lines.
It was a decent, theatrical album. There were a couple of good, up-beat hits and I feel like this could be brought to life off broadway somewhere. The album feels dated, belonging in a different era, and I'm not convinced of it's placement on this list. Their infamy was large part due to David Bowie granting them the rights to All the Young Dudes. I think that's all to be said about this band.
God bless Johnny Cash.
The moment this album started I thought to myself - everyone is going to absolutely hate this. I will say, it's hard to get into. There's no musical convenience, no hooks, no catchy lyrics. But there's something in this album that is worth listening to. I certainly have never listened to an album like it before, and that alone is worth some merit. It's beautiful, endearing at points, symphonic, and made me think about what I was hearing.
Raucous and filled with highs, even through the quieter moments, Exile on Main Street is a tour de force for the Stones.
The editing on this album is a masterclass. The sounds permeate and mix together, creating a timeless vibe. Pairing that with MJ's talent and stardom and 'Off the Wall' easily transcends the time period in which it was produced. One thing that particularly stuck out to me was the bass on this album - 'Get on the Floor' is FUNK-EE. Fun from top to bottom.
Sentimental, authentic honky tonk done right.
I wouldn't have listened to it if it were not for this exercise. I am not sure if that is a good thing or not.
It turns out Dusty is a woman.