What a quirky album, mostly in the best ways. A little all over the place, like the White Album. Definitely not as good as its predecessor, begging the question of great art is best created in the storm of chaos as opposed to its settled aftermath…🤷🏽🤷🏽🤷🏽
If there’s any artist that isn’t built for this challenge, for a “first, quick listen” it’s Miles. Dylan, Prince and Bowie qualify too, and they all have one thing in common: a long and illustrious recording career, but a sense, sometimes a passion, to reject following a creative path expected of them by fans and/or their record label. True artists with a “I don’t give a fuck” personality that is driven to follow their personal muse, even if it meant commercial pain. In all these cases it’s led to some transcendent work, multiple times over the course of their careers. Miles is probably the gold standard of this approach, literally changing the course of Jazz at least half a dozen times over his lifetime, almost to the point I was intimidated about diving deep into his discography…it was almost too overwhelming. Then I saw this Netflix documentary, and it changed everything for me. I “got” Miles, and it really opened a doorway into his music and more. A year in and I’m still discovering SO many special moments in his music, and I haven’t even gotten past his mid-fifties output, he was so prodigious. So the 4-rating is simply that I need more time to dive into this masterpiece from his Electric Era. I’m patient: the joys to be gained from getting to know his art is more than worth it 🍷🍷🍷
If it wasn’t for some of the dated production that was of its time, I think I might’ve rated this as a five. The songs still hold up (mostly), and Jay’s sparse beats and scratching work perfectly with Run & D.M.C.’s interconnected wordplay. It’s so solid, they basically laid the foundation for many of the rap cliches that survive to this day. Unlike being stale, here at its origins it comes off as fresh and creative.
What a perfect album to hear for the first time high!
Adele’s voice is undeniable; such an amazing instrument. The pathos and nuanced emotion she brings to the tunes is palpable and the songwriting overall solid, but I don’t know… I’m still left at a bit of a distance from connecting with this one. I think I prefer the raw grittiness of 19 over this more polished production, which is maybe polished up a bit too much for me.
Versatile but still cohesive. And enjoyable too, beyond the hit. Easily one I can see revisiting.
More enjoyable than I expected! Went in thinking it would be prog-rock hippy-dippy nonsense that I wouldn’t be able to relate to but no. Favorite was the first song 21st Century Man, with its engaging hard rock leanings.
What a fun listen! And so much more than just the two hits I already knew from their greatest hits compilations. Definitely one to revisit.
I can appreciate the musicianship but not really my cup of tea. Started off slow, and only slightly picked up for me.
This sounded of a piece with their subsequent release, but where that one left me a bit cold, I like this just a bit better. The storytelling, harmonies and overall musicianship drew me in. But not really something I think I’ll go back to frequently.
I liked it more on second listen. The songwriting is what stood out on a second go-round.
Wow, what a surprise this one was! Totally blown away with how melodic the songs were, while still thumping. I’ll definitely be revisiting this one.
I enjoyed it but I think I like his earlier stuff a bit more, at least at this point where I’m working through all of his discography for the first time.
Liked it more than I presumed considering its moody, avant-garde aesthetic. Nice blend of the synthetic, technical vibe of a Kraftwerk combined with the sonically manipulated humanity of Bowie. Need more than a casual listen. Feel like this project being a daily review flows to fast for such an album which needs digging into if it’s not a familiar genre. But enjoyed it enough that it’s worth coming back to.
Surprised myself with this one. As a kid into Pop & R&B as a kid when this came out, I just assumed that it was "punk noise." Man, was I wrong, but since I was only nine I'll forgive myself. Still think I'd lean toward The Clash for my UK-based anarchy and angst (just a touch more melodic and a bit wider genre-mashing skill), but amazing how much this still holds up. Definite will revisit.
An easy 5. Always loved this album since I first heard it years ago, and especially after seeing Van perform it in its entirety at the Hollywood Bowl. He may be a jerk in some of his political attitudes and how he treats people allegedly, but damn if he can’t create magic with his voice and an inspired band playing with him.
Takes me right back to high school when I was all over this. Still holds up! I rank this album second amongst their titanic first three releases with their iconic self-titled first release just a touch better. You have a lot of the developing blueprint of both underground and pop-rap established right here: the different but complimentary flows of Run and DMC, hard-hitting beats from Jay, mixing in a sprinkle of rock stylings and you get a rap album that was accessible for the masses and still had street cred. Fun stuff. And great to revisit; it’d been awhile.
I have to admit that I was a bit disappointed by this one, based on the hype. What stands out is Bernard’s and Nile’s insane playing (especially Bernard’s bass riffing), but really the only standout tracks were the hits I was already familiar with. The rest of the album came off as solid enough filler that was of its time, but mostly forgettable formula tunes. Really, it’s the hits that are all I need from this one.
Another surprisingly enjoyable listen! I had only heard a few of the songs in passing back in the day, essentially writing it off as soft pop for angst college girls, but that’s on me for not giving it a chance. Truly enchanting at moments, extremely cohesive but broad in its subject matter and overall themes. Really a five star gem!
Tough listen. There wasn't anything that drew me in, and all of the songs reminded me of The Doors and/or early Bowie who did this baroque pop/psychedelia style a touch better.
Really enjoyed this one. And completely new to me. Dreamlike melodies... that are dreamy! Will revisit for sure, but a definite pleasant surprise.
Enjoyed it more than I expected considering I’m not a big ambient guy.
Hmm, I’m very close to giving this a five. It’s surprisingly cohesive under the OutKast banner considering it’s really two solo albums, and it’s so much more than just the hits, but it’s loooong. I can’t help but imagine what it could’ve been if they condensed it down to Stankonia length and produced a tight, 18-20 song album. Still great though; really more of a 4 and 1/2 stars.
I think I expected a bit too much from this one. There’s an awful lot of talk amongst the online music community that all of The Smith’s small discography are essential, five star albums but this didn’t strike me that way at all. I did expect a bit more also after coming off of the joy I got from Morrissey’s sophomore solo project but this one didn’t grab me that way; only a couple of songs pulled me in. One of them was “Meat is Murder”; enjoyable tune with something to say but not going to lie, it won’t make me give up pork chops.
Still in that "jangle pop" vein that I wasn't a big fan of back in the late 80/early 90s. Three stars because there are a few songs that I liked well enough, "My Drug Buddy" leading the way.
It was just “okay”. I wish the music drew me in as much as the themes and subject matter.
Always been a schizophrenic listen for me both now and back in the day. The beats and production were next level, and even the subject matter was important and relevant…but the misogyny is still hard to get past at times.
It’s a banger. Solid throughout, but nothing hits like Seven Nation Army no matter how many times it’s played at sporting events.
I liked it more than I expected considering its iconic status and a presumption that it may be overhyped. Picked up for me in the second half, and I enjoyed the musical variation.
Relaxing “mood music” mostly. I enjoyed the vibe overall.
Much more than the lo-fi, “shoe-gaze” pop that I assumed was Elliott’s typical fare considering his reputation. Solid all-around.
If it wasn’t for some of the dated production that was of its time, I think I might’ve rated this as a five. The songs still hold up (mostly), and Jay’s sparse beats and scratching work perfectly with Run & D.M.C.’s interconnected wordplay. It’s so solid, they basically laid the foundation for many of the rap cliches that survive to this day. Unlike being stale, here at its origins it comes off as fresh and creative.
Nice, “summertime BBQ” vibes.
Enjoyed this one by playing my VMP mono edition which was perfect on a cold, snowy Colorado February morning. This album could ride just on the strength of the well-known hits but it's so much more. Aretha in her prime with a dedicated rhythm section, and solid writing? What else is needed?
What a perfect album to hear for the first time high!
Who knew that you could say “I’d like to dial up some trippy early 70s psychedelic space rock” and have it be legitimately entertaining?
Yeah, left me a bit cold. Some songs were catchy enough on first listen but most struck me as pretty disposable. The writing had a “ad jingle” ephemeral vibe that made it a bit forgettable overall.
This one arrives like a comfy pair of jeans. Dreamy.
Oh, what a winner! Slows down a bit toward the end but such bangers right out the gate.
Definitely some interesting sonic landscapes, and clearly can see how much of what will come started here (thinking of you, Daft Punk amongst many others), but can’t say I’ll revisit often.
Not going to lie, I went into this one with ALL kind of bias, assuming it wouldn’t be my cup of tea because of Kid’s decidedly off putting public persona and comments as of late. But it didn’t take long to forget all that and just enjoy the album for the fun mix of genres and catchy rhyming it provided throughout the entire (long) runtime.
Some moments of creative greatness but overall left me a bit cold.
It started slow but I liked the side b songs quite a bit. The instrumentation especially stood out, but the early 70s prog-rock vibe really isn’t my thing.
A bit long. Loved the soundscapes on a number of tracks but the lyrical content was mostly mundane. “Guko fucking destroyed me” made me chuckle, reminding me of my trip to Japan. Will be nice to visit now and again for the rhythms but came across as a number of demo tracks that could’ve been condensed down to a tighter album.
I’m waking up to the funky side of Talking Heads. Loved this one from the jump.
Maybe it was that I was listening to this in what seemed like the perfect conditions (crisp, morning trail walk with Karma), but I really loved this one. Her voice is amazing, and the themes she touches on throughout still resonate today.
So much fun! A bit dated with the production and pop/alternative vibe but no denying that it was a fun listen.
Totally new to this one and enjoyed it.
I couldn't get over how much they sound like Oasis. Good, but not great; nothing grabbed me immensely but there were a few catchy songs.
Absolutely loved this one! And shocked that I didn't know anything about, and that I had a completely wrong idea of what it was gonna be thinking it was more like Black Flag or the like. So many different touches of various genres but it still stays uniquely cohesive. His voice was a bit mopey but not irritatingly so, and their vocals do blend well together. Her voice was mesmerizing. Definitely will be revisiting this and the rest of there discography.
Yeah… definitely not my jam. Struck me as second-rate Doors knockoffs but missing that Door’s spark of kooky mysticism and general dark mystery. Came off as just endless long-form psychedelic noodling. Maybe they were better live.
Another personally unknown pleasant surprise. Great vocals, solid songwriting (especially on the first half of the album), and a nice mix of genres and presumed influences (I could hear a bit of Queen and My Bloody Valentine). Definitely will be coming back to this one.
Not horrible, but definitely not my cup of tea. A bit too whimsical for me with all the vaudevillian like flourishes.
I forgot how great this album is, not revisiting it for years. It was great start to finish back in high school, and still holds up today. The mixture of elements is perfect: a few absolutely iconic tracks couple with emotionally resonance in the deeper tracks, classic early eighties synth rhythms that don’t sound dated, and top-notch songwriting and vocals. Loved revisiting this one.
Fun listen, though not my typical fare. At 55, I think I missed my window for headbangin', but had enough fun listening that I went for it and ended up needing aspirin for the neck pain afterwards. I'm not sure except for a few songs I'll revisit, but I respect the complexity of the music, specifically the tempo changes. Also liked the surprising depth of some of the lyrics and subject matter.
Didn’t like it as much as I presumed considering the band’s near legendary status as grunge forefathers.
How do you rate a Bowie album on one (or two) listens?? Sure, that could be said for any artist/album but it seems especially resonant with Bowie. On a first listen, I liked a few songs but feel this would especially benefit from repeated listens over weeks/months.
I absolutely hated this on first listen, with a lot of WTF?!? attitude about it… then I listened again with family to share the “WTF?!?” perspective… and they all hated it strongly, but I found it weirdly engaging at this point. Giving it a 3 as I still don’t know what I make of it or if I think it’s “good” but finding I’m at least intrigued enough to consider it worthy to revisit when I don’t know… maybe when tripping on LSD? 🤷🏽🤷🏽🤷🏽
Oh man, an easy five. I knew the hits but damn, not these versions. And whole album was killer; hit like a straight from Columbia pure dose of cocaine. I think it was Muddy and the band being in a great mood throughout; with Muddy’s charisma on high and the band rhythm section being it. Loved it.
This one hit me more as clinical appreciation rather than true love. I can see why it gets much love, especially for it’s legacy as artistic inspiration for bands to come, but that’s about it for how it hit me.
Struck me as the epitome of “meh”. Lots of generic guitar noodling with mediocre songwriting.
Damn, the harmonies! That, and some solid songwriting and tasteful musicianship and I was bought in.
I hear and the punk legacy they helped establish but it’s more of a “hmm” than a “wow!” I think it’s more my issue though due to a first/only listen; many of the tracks are catchy but seem unfinished as if this were a demo tape. Three stars today, but could see with further listens could be higher.
A couple of songs grabbed me but a bit too much jam band noodling for me.
I tried but I couldn’t get into it. I’m sure it didn’t help that I don’t speak French, but even without that obstacle the orchestral flourishes didn’t engage me and the lead singer reminded me of a bad knockoff of Tom Waits without the swampy charisma.
Now, THIS is why I’m doing the challenge! So, so good from 5 seconds into the first cut. So diverse and lush with the arrangements and genre touches. I have no idea what the subject matter is covering throughout since I don’t speak Spanish but he could be singing about killing puppies and I’d still play it, the music is so good.
Impressed with the songcraft and subject matter, and how relevant the topics remain for today’s world, but it kinda reminded me of a lesser Public Enemy. What was missing though was Chuck D’s captivating charisma, Flava’s (often under-appreciated) comedy relief, and probably most importantly, the Bomb Squad’s innovations in production. A+ for the writing though; just missing some of those other elements.
Take some consummate songwriting skills she developed from the Brill Building factory and let her turn it on her personal story instead of writing for others? Yeah, sign me up for that. Fifty plus years later and the album still pops with intimacy and relatability that resonates. Gotta say though, Where You Lead is a little anachronistic listening to the lyrics in 2024. No matter, easy five star album.
Sure, some of the lyrics are a little silly once you get beyond being 16; they ain’t writing Shakespeare here, but damn if it ain’t a fun time. The Angus brothers bring it and Brian Johnson deserves props for relatively seamlessly replacing Bon Scott’s growl effectively. Love it for being wholeheartedly what it is: pure Rock ‘n’ Roll!
Kinda let down by this one after all the hype over the years.
Ah, Beck! Love him as you never know what you’re going to get album to album in the best way possible; truly one of the few artists that can authentically jump amongst multiple genres and still keep things cohesive. This one isn’t my fav, but it’s still a winner.
I just didn’t like this one. I couldn’t get into any of the songs, and the lead singer’s voice was grating for me throughout. 🤷🏽🤷🏽🤷🏽
Stone cold classic that is still as fiery and relevant in its subject matter (unfortunately) as when it first came out. And its still one of the most perfect mixes of rap & metal ever, like peanut butter and chocolate.
Interesting listen. Definitely get a sense of the Iggy & Bowie connection after listening.
Stevie’s a Mount Rushmore level artist for me so this was an easy five. Often considered one of the “lesser” albums during his Imperial Era (that for me starts with Music of My Mind and continues amazingly all the way through to Hotter Than July), Fulfillingness’ is just as stunning as Innervisions before it, just in a different, more laid back and romantic vein. Whole album is banging from the songwriting, Stevie’s voice, the expert musicianship and more complex and jazzier chord progressions we get here beyond the normal pop music fare. And the background singers! Really stood out to me on this listen. I absolutely love this album.
The musicianship really stood out, but at least on a first listen or two, only a couple of songs clicked.
Didn’t enjoy this much. Sonically sounded very dated, and I wasn’t a fan of much of the lyrical flow or production style. Seemed like a poor version of P.E.’s the Bomb Squad, with the horn squeals. The uplifting subject matter was nice but damn, Gangsta Rap had this beat on producing jams.
What a quirky album, mostly in the best ways. A little all over the place, like the White Album. Definitely not as good as its predecessor, begging the question of great art is best created in the storm of chaos as opposed to its settled aftermath…🤷🏽🤷🏽🤷🏽
Kinda “meh”. Expected more bangers considering its legendary status.
Appreciated B.B.'s voice more than his guitar on this one. And the audience was into it. Nice listen.
Just not my jam.
Beautiful album. Van may be a jerk in real life based on many documented reports, but all that goes away for me when he starts singing. Combined with the backing band, they reach moments of transcendence. There’s just enough filler for me that it’s just short of classic status, but there’s much love for this one.
Liked this one! I think it’s just a bit closer to acoustic, singer/songwriter Neil which I know and love than his Godfather of Grunge stage which is more unfamiliar to me but some of that is here too which is cool. Maybe this is a more accessible “gateway album” for his later stuff?
I can appreciate the musicianship and the lead singer’s voice was angelic and pretty but damn, I felt like I was at a Renaissance Fair surrounded by elves, dwarves and fairies and badly wanted to escape.
A quirky album with some interesting soundscapes but not many songs really "sparked joy".
Maybe it’s because it’s a much-needed 70 degree day after weeks of shitty cold weather when this one popped up for me, but I was feeling it. The horns! Nice, surprisingly adventurous guitar work at moments too. I can see coming back to this one on many a summer BBQ.
Man, what a great album! Wife and I were able to see Elton on the second to last US show at Dodger Stadium for his Farewell Yellow Brick Road tour in 2022 and it was absolutely amazing. Only bad moment was I was literally taking a piss as Elton began the opening piano riff and lyrics for Rocket Man; I couldn't rush back to my seat fast enough. It did make something pretty clear: besides Paul McCartney, I can't think of many performers that could theoretically play a full concert on two consecutive nights and not really have to repeat a song due to having SO many hits. I love the early, more folksy Elton from his first few albums, but here's where he blossomed into the ENTERTAINER in all his glorious, over-the-top and totally flamboyantly engaging artist that's the other side of his persona. He nails both sides of himself, with some not too shabby help from long-time partner Bernie. A true gem of an album.
Came into this one completely ignorant and finished smiling for the most part. Loved some of the soundscapes and spot and vinegar lyrics but it drags a bit toward the end being over an hour and fifteen minutes long. Could’ve benefited from a bit of editing, me thinks.
Everyone talks about being blown away by this in the late sixties, but what’s amazing is it still is able to do the same in 2024. I knew the hits, but after listening to the whole album, I’m struck by how many next level recording techniques were all over the album. Also, of course Jimi’s guitar playing was the star of the show, but other highlights for me were Jimi’s singing, and Mitch’s drumming. The whole group were no slouches. A classic for good reason.
I love Jack’s guttural songwriting, blues based riffing, and overall punk aesthetic. Amazingly creative to be sure. Meg’s drumming? Eh, not much of a fan. I get the same punk, “I don’t know how to play my instrument but it ain’t gonna stop me since I have something to say” vibe, but it just leaves me wondering how these songs would go off with a more accomplished backbeat holding the song down. Points for going for it, but yeah…
Some interesting songs and nice instrumentation throughout, but not something I see revisiting.
Some albums are clsssics for a reason. I should’ve been up on this decades ago, but was a close-minded teenager when it came to music genres at the time, focused more on Pop and R&B and assumed Rock wasn’t my cup of tea despite recommendations to not sleep on Bruce from a good friend. Should’ve listened to him; would’ve had decades of joy from appreciating this one.
Props for the accessibility of the songs. Way catchier than expected and I really liked the soundscapes and arrangements. The screeching “rage vocals” wore a bit thin but I think mainly because it became a rap/metal cliche that’s a bit played out today, but pretty innovative here considering the times.
I expected more. Years of hype. The hits/known songs are beasts, but a bit of filler too. Researching the album it becomes apparent this was incomplete due to Janis’ death and I think that’s where some of its legacy comes from.
Shocker: I like Iron Maiden! Surprised by the catchy melodies and complex arrangements with changing tempos.
I liked the angst, frequent rhythm changes, and overall musicality.
Amazing album! Honestly, I think I’m giving it a 4 because I know of the brilliance to come from the group.
Loved the Harmonies! But nothing but a song or two grabbed me emotionally and stood out.
This was a hard one for me. I like some of the Punk aesthetics and mixing of genres provided throughout, but none of the songs "stuck" with me. Maybe a first listen problem; I get the sense if I wasn't doing this challenge which zooms along at a breakneck pace, this one would benefit from multiple listens, but I'm grading it for where it stands for me now.
Underwhelmed by this one.
Twelve minute version of “Papa Was a Rolling Stone”? Sign me up! Also, gotta admit I did a double take and a chuckle hearing Otis sarcastically singing “The n****s are coming!” to call out the racist culture of white flight very common at the time (and continues to today). Funky music with a message that resonates is always a nice combo.
An amazing album. I consider this still in MJ's "imperial stage" where it was gonna sell no matter what, but he's continuing to develop here especially with his vocal techniques which started with Off the Wall. His voice is a literal rhythm machine all on its own. I used to think differently; that this was a minor adaption from all that he had already shown with Thriller: you have several songs that could be considered similar in tone/genre (a rock song, a ballad with a guest artist, etc), but the talent and world-class production and arrangements are so top notch. It holds up.
This was a hard listen. Not many songs clicked, and the lead singer’s voice was grating. Even the most accessible song which is good, the cover of “Just Like Heaven” isn’t as good as the OG. Just meh overall.
Culture appropriation or good music? I hear the arguments for the former, but land in the latter camp.
More meh than I expected
Not top tier Bruce from the 70s/80s, but close.
Wow, wasn’t expecting this type of songwriting or lush production from this mashup of British indie pop artists. It brought the 60s Burt Bacharach vibe in good way.
C’mon, an easy five. I’m all for “the Beatles discover weed” era and the gem of an album it produced. Deeper and more introspective songwriting combined with a growing appreciation of leveraging musical instruments and motifs that expand beyond the “traditional” subject matter and song craft as had been popular to that point? All for it, and welcome to the future.
Eh, didn’t like this one much. I couldn’t connect with any of the songs.
A bit of a dud for me. I only liked the (overly) familiar hits for the most part. It was kinda cool to hear the audienxe reactions; so tame compared to modern shows.
Great album. So much going on with the music! And so many funky ass horns, bass lines, and yes, synth-driven fart sounds that make you dance and not get disgusted. So many musical pops and gurgles that never get old; it’s clear why it was a sampling gold mine for hip-hop. Handcuffs is a bit misogynistic but damn if it isn’t funky. All the musicians are next level, but Bootsy is the MVP here. Simple answer is YES, I want my funk uncut!
Some cool industrial noises used throughout to create some arresting rhythms but the grating vocals were off-putting. Except on The O-Men; that one drew me in.
Ambitious mix of genres ranging from mountain country to punk, but it didn’t go together like peanut butter and chocolate for me.
Wow, a nice discovery this one! Loved the arrangements; definitely one to revisit.
Love the soundscapes created. Very soothing and ethereal musical settings. Searching, yet uplifting lyrics… very captivating even on a first listen.
Wow! Five stars. Every song was a blast. Nice to catch Bowie in the mist of happy Young Americans vibes. In first listen, I think I like this more than Low but I’ll have to think about that. Good problem to mull over 🤔🤔🤔
Didn’t love it as much as I thought I would, considering its legendary reputation. Best solo ever in the opening song “Maggot Brain”? Not for me. You can hear where they took some of these ideas and morphed them into a more R&B flavored stew for Parliament’s Mothership Connection so I appreciate it for that, but I like that album more.
Jimi was a special talent, that’s for sure. So much rhythmic complexity going on in just his rhythm playing, much less his solos. Little Wing is a stone cold classic, and a lot of the album is great, but it didn’t blow my head off like Are You Experienced? did on first listen. How crazy is it to realize his first two iconic albums were both released in the same year?!? Mind blowing…
This was a mixed bag. Basically therapy session as artistic musical expression and shared with the world. Some true bangers: Stan is so good it literally has become the cultural standard for representing (troubled) superfans; Em has proven to be prescient with this cut. And his technical rapping ability is on point, fitting perfectly with Dre’s production style. Amazing for sure, but damn if I wasn’t wincing with some of the misogyny, violence and homophobia. Very misogynistic and violent
Couldn’t find my way to connect with this one. Some interesting sound textures but not enough to wow me, and it’s looooong.
Now we’re talking! First, this album isn’t perfect. It slows just a bit in the second half. But damn if that first half isn’t a near masterpiece. Bono & Edge are the stars, but Larry & Adam in the rhythm section are often under appreciated. Songwriting is killer; Bono’s ability to write longing, universally searching lyrics like “I Still Haven’t Found What I’m Looking For” and follow it with the sexual/emotional yearning of “With or Without You”? Classic. And Edge’s shimmering guitars throughout are still as intense as ever. “Bullet the Blue Sky” and its post-Regan era commentary on US’s war policies represented in guitar riffs that mirror jets carpet bombing enemies? Unreal! The Edge literally made delay pedals a thing. Are U2 pretentious at times? Maybe? But they’re also anthemic and earnest in a way that touches folks and they nailed it on this album.
Didn’t enjoy this one. They took the beloved rockabilly guitar tones and textures of the 50s and morphed it into punk garage rock… with sloppy results. “Garbageman” was the one exception for me: its spooky rhythm was engaging and had a nice atmospheric vibe that was mesmerizing, but that was about it.
Much respect for Madge. Seventeen years into her career and she puts out an album that shows she can still bring it to the dance floor with solid club bangers. For me, this album is below her 80s classics but just below; the strength being the production quality. A nice mid-career release showing she still had a lot in the tank.
Mesmerizingly quirky and engaging.
Ah, Coldplay… So funny for this to pop after getting the Joshua Tree. To me, they’re U2 lite, but sanitized and missing U2’s punk aesthetic that U2 started out with in the late 70s early 80s. And Chris isn’t the songwriter Bono is. I’m not surprised Coldplay is popular yet polarizing at same time: to me they’re the modern version of 70s AOR rock that had a similar cultural, non-threatening impact on a lot of people: likeable but bland, like a Docker’s khaki commercial. Wifey says it’s one of her favorite bands to listen to while operating because they’re “easy on the ears and their music doesn’t change much so it relaxes me.” Yup, makes sense. Ultimately for me they have a couple of good songs but overall they don’t move me much.
Nostalgia maybe, but mostly holds up. Good example of how often in music, kids are way ahead of where the general market is. And a good early example for a young me that you shouldn’t judge a book by its cover, since Malcolm looked more like a quirky English professor than an innovative musician that played a part in mainstreaming hip-hop. This reminds me when rap was generally disrespected and presumed to be a passing fad. Us fifteen-year-olds seemed to know Buffalo Gals was something special. I also remember this being one of my first exposures to South African rhythms (three years before Paul made it mainstream with Graceland), and just loved it. Great to hear this again.
Hard one for me. I’d say it’s true overall, and the one weakness of the challenge, but Cohen, Dylan and a few others are especially hard to “rate” in the spirit of this because how do you rate such albums after one or two listens that are so lyrically dense, more in the style of poetry? 🤷🏽🤷🏽🤷🏽 Cohen almost demands dedicated time to dig into the stories he’s singing about, often tied to biblical and historical stories for their emotional context, as he connects that to modern ideas that make you think/feel. It’s a “one” based more on my limitations. People I know that are into Cohen often say that’s the starting point with him and with dedicated listening over time, he becomes a favorite. I could see that. I ain’t there yet.
Not a fan of the schmaltzy background singers. Too locked into that dated 50s style, and I prefer Ray’s music from his earlier Atlantic years with the funkier Raelettes as background singers, and Ray more rooted in R&B and Jazz where he damn near created modern soul on his own. But he was flexing here, a fuck you to the “establishment” that wanted to pigeonhole him in “black music” 🙄 so I respect him for what he was doing. A couple of highlights, but most of these country/folk songs sound better by the original artists.
I was lost with this one. Didn't connect with anything on it.
I don’t know… I respect it more than love it. Also weird to hear it in the sunny brightness of summer; strikes me as more of a Fall in New England album. Could be the melancholy nature of it throughout. Having said all that the highlight throughout her career continues to be her voice which no question, it’s an instrument like no other. The quality of production is world class too, but yeah… I get why there’s universal love for her albums as they are masterpieces but my favorite Adele to date is her first album were she was a little more raw and gritty and not as professionally produced. That voice though… 🙌🏾
Love this album. Probably my favorite “version” of Neil; he’s such a chameleon with the type of music he’s played over the years. Earnest and yearning themes from such a young man. Guitar work on acoustic cuts and the backing band and singers are my highlights, as well as Neil’s songwriting. Almost theatrical on the orchestral cuts which was a nice surprise, having really only known the hits. He leveraged his friends well; love hearing Linda Ronstadt cut through on the background vocals of “Heart of Gold” where you can’t miss her voice; so nice. And love how Neil unintentionally pissed off Lynyrd Skynrd with “Alabama” inspiring them to write “Sweet Home Alabama” in a musical retort. Art pushing art! The classic cuts and universal themes that resonate to this day push it to top tier for me.
This one came up for me when I was doing the solo challenge; rated it a 4. I didn’t enjoy it as much this time, but I’m sure it’s because I wasn’t in the right context, listening while on a business trip. Clearly, I’d enjoy it more in a Vegas nightclub with some mixture of pharmaceuticals and booze in me.
Really enjoyed it, especially after second listen when my mind was relaxed and I could focus on the album. Reminds me a little bit of The New Pornographers in all the best ways. Enjoyed the moody atmosphere and storytelling the most. I think this one is a grower that benefits from repeated listens. I’ll be coming back to it for sure.
So many amazing things about this album. The musicianship alone is next level with Bootsy on the bass and Bernie on the synths, and the horns! True innovators here. And George directing it all in a drug-induced hazy musical gumbo that just works! Who knew synth-driven “musical farts” could be so melodic? 🤷🏽. No surprise why George is so sampled with only James Brown sampled more, both basically helping birth hip-hop. Only slight hiccup is Handcuffs which is pretty sexist… but damn if ain’t funky! Easy five star when you want your funk pure and uncut.
Guys going through some growing pains Brings back good memories playing this when it first hit. Very thematic: the guys were definitely going through some growing pains. Nice production innovations.
Totally unexpected, considering I always thought 10cc was just one-hit wonders with that soft rock hit. Also surprised; I liked it.
A little more hits focused than expected, but the hits ARE amazing…
I’ve always had a bias against them as they seemed like Spin Magazine Indie hipster darlings but I enjoyed it well enough.
She was initially compared to Joni? I didn’t get that, at least from this release. She’s tamer than Joni. Nice melodies and storytelling but it didn’t click for me, though I’m likely not the target audience.
Things started off strong for me with the psychedelic fuzz guitar of A Minha Menina. And the first couple of songs kept the vibe going, but things went downhill for me the rest of the way. The mashup of genres was a bit too much, making the listen disjointed.
Can’t say I loved this one. Morrissey’s voice was a bit whiny, and only a few of the songs hit for me.
Amazing harmonies for days with this one, and I love it. Surprisingly intricate guitar work from Stills too. Strikes me as a Sunday brunch album.
Never been a fan of 15 minute songs with the 70s, Vegas-style talking soliloquy before getting to the essence of the song, but I forgive Isaac with this album because the music is so funky. And it’s short in terms of the number of songs, which I like in its entirety so thumbs up for me.
Good example of why I shouldn’t judge a book by its cover. I wouldn’t necessarily call it funky in a Parliament sense, but it’s still way more rhythmic and grooving than I would’ve assumed a Deep Purple album would be. Pretty great guitar work throughout, from both a lead and rhythm perspective. Good enough to consider diving into more of DP’s catalog.
Anger and hate over lost love is such a powerful creative motivator. As one of the definitive “divorce albums”, this one wins (slightly) over Dylayn’s BOTT. At least this one you can dance to it while you rage over your ex. I Met a Little Girl is a little creepy when you learn it’s literal, referring to Marvin’s next wife who was more than a bit young to say the least, but overall another stellar album of Marvin’s amazing falsetto with lush grooves to support it. I just love this era of R&B musicianship. Four stars because I’m in a happy marriage now, but going back to my first marriage I think I’d feel this more and it’d get that fifth star. That falsetto
Funny album for me. First time I heard it I didn’t get why it was universally loved. Enjoyed it a lot more this time, the emotion in the vocals a highlight though out. Also, the “concept” leanings of the songwriting resonated more, with great images of characters from the U.S.’s Civil War era. Great guitar work on Jawbone.
Yeah, I just don’t get it. Like a lot of Kraftwerk’s discography, it’s critically loved and culturally lauded for all of it’s influences on a huge swath of modern music across all genres from hip-hop to rock/pop to ambient and EDM, and I do hear all of those influences, but I prefer their modern evolution which is morphed stages beyond this original source material that served as a primordial musical big bang of sorts. It could be simply that I’m not big into Kraut Rock or singers that sound more like European insurance salesmen than rock stars.
I absolutely love this album. It’s damn near a five star album for “Kashmir” alone, that song is still as epic today as ever. There’s moments musically where I literally feel like it’s transporting me through some weird matrix-like portal to another reality, that song is so mesmerizing. Not surprising, considering Led Zep was basically a supergroup with all four members musicians at the top of their game. Amazing, considering their formula was honestly so basic: Orchestral flourishes over blues-based chord structures and super-charged to eleven with UK youth energy. Zap was disappointingly a little slow in openly recognizing their debt to Willie Dixon and the blues, but losing in court corrected that to some extent. They may not have been the best people consider the infamous misogynist (possibly pedophilic?) hotel room stories while on the road, and I get why some would write them off in a post-me too era, but I can’t go there… the music is too good.
Loved it. A little Bowie, strong songwriting with hooks, and a lot of early 70s bubblegum AM pop with rock star sex appeal and you get a classic. For me, T. Rex hit their stride with this album; I like this glam rock version of the group over their earlier, folk rock version of the band. Bang a Gong is such a fun, sexy bop and it’s not the only one like it throughout. If there’s a small knock on the album, some songs are a little thin beyond a catchy hook but that’s the thing: the hooks are often so solid that it holds up as a cohesive work. A fun listen.
This was a hard listen for me. There were juuuust enough quirky yet disjointed melodies to grab my attention for moments, but then the spell would be shattered by either some new weird rhythmic passage and/or the wailing singing. Only the song “Dub Housing” clicked (barely) for me.
This’ll be sacrilege considering I LOVE Gorillaz, especially after seeing them live in September’22 (probably a top 3 concert experience I’ve ever had; such an amazing show), but I like this album, don’t love it. It’s a critical darling; rightly so considering Damon & Jamie’s unique musical/art conceptual creation that’s now 23 years in and still going strong, and some of the beats are next level, but I like some of their later stuff just a bit more.
I liked this a lot more than I expected going in. I assumed it was gonna be a mid-70s “yacht rock” sub-par knock-off of the Beatle’s Sgt. Pepper’s era based on the consensus of several of the hipster Reddit music threads I follow but I enjoyed the “lushness” of many of the songs.
Nope! This one hurt my ears.
I definitely didn’t mind the drive to work with nasty traffic while blasting this one. Haters are idiots: some feel it’s played out because it’s SO popular (especially after Bill Clinton claimed “Don’t Stop” as his campaign song) but shit, it’s sold 40 million albums for a damn good reason. It’s a near masterpiece IMO. This version of Fleetwood Mac reminds me a little bit of the Beatles: 3 prolific songwriters, all very different in style, but still able to produce a cohesive album. And like most of my most beloved albums, what I consider the best tracks often can change on what day you ask me. Here, we get at least one stone cold classic cut from each of them, varying from the caustic and cutting back and forth between Lindsey and Stevie as they pour their hearts out about their breakup, coupled with more soothing tracks from Christie (her “You Make Loving Fun” may be my personal favorite with Stevie’s “Dreams” a close second). Christie can be mean too when she wants to be: Imagine writing a song about your current affair and having your husband play (amazing) bass on it? Crazy shit when you think about it. In my opinion, the ladies win on this album, providing some of the most iconic tracks of all time. Lindsey deserves credit though for providing amazing production touches on ALL the songs, even the ones from Stevie calling out his personal bullshit from their fractured relationship. Also, his guitar work is under appreciated; he’s easily one of the best guitarists in the world and shows why several times here. With all of the cocaine use and in-band cheating going on it’s not only amazing they were able to create such a classic, but continue on as a band. Rumours is drenched in 70s, SoCal sunshine vibes that still resonates and captured a mood and zeitgeist… I never get tired of this one 🥰
For me, Bowie’s like Prince, The Beatles, Joni Mitchell and Dylan: if you don’t click with one album it’s no biggie, just wait for the next because they all don’t tend to repeat themselves as artists. Love them for that; it’s amazing how rare that trait is amongst musicians who tend to find a musical lane and pretty much stay there album by album. I like Low, but Station to Station is probably my favorite of his Berlin Trilogy. I could see that changing though; this is the more challenging (rewarding?) listen between them. I definitely found more to focus on and enjoy with Low this time around, compared to my first listen a couple of months ago. Where Station to Station was more cohesive thematically and probably more commercially accessible because of that, Low was clearly Bowie stretching to go beyond where he was with his “Plastic Soul” persona on Young Americans. It’s an album that demands more of me, I can appreciate it for that and can see it growing on me with more listens. You can’t deny its influence on the Ambient and even Punk movements to come, with both its instrumentals and discordant synth chord progressions. Bowie superfans consider this a masterpiece and while I’m not there (at least yet), I can see why.
Now that I’ve heard all three of the Berlin Trilogy, I’d rank them Station to Station, Heroes, then Low…
Eeh.
Enjoyed it! All for Blondie going down the pop path wholeheartedly, though it’s far removed from their punk, CBGB origins. Heart of Glass is a classic, but some nice deep cuts here too.
I’m not sure why, but some albums seem to capture a moment in time that goes beyond just being great music. Stand! does that for me; it seems it couldn’t have been created any other time except the turbulent late sixties, with all of the issues percolating in the culture from race relations to the Vietnam War. There seemed to be an urgency to the music, as if it was seeped in all of the cultural strife going on. This was when Sly & crew were burning bright at the top of the charts, before they began their slow deterioration into drugs and paranoia. It’s kinda silly in retrospect that Sky & the Family Stone were so “innovative” because they were a multi-racial, multi-gender band, but that mixture of people definitely played out in the music for the better. There’s at least three classic tracks here, and even the deep cuts hold up.
I liked it, but in a “middle of the road” sorta way. Nothing stood out and blew me away, considering its indie cred status. The original UK album cover, too risqué for us pearl-clutching Americans, was absolute genius.
Loved this! I knew the hits, but kinda stayed away from diving deep with Arctic Monkeys at the time, partly because they weee SO hyped right out the gate. My loss; this was excellent start to finish. Amazing album cohesion from a group of high schoolers. And they’ve held up over time; much respect. Lead singer has amazing charisma and the songwriting is top notch. Maybe a little long but really, not many songs I’d cut.
Glad I was exposed to this; I had totally written it off as “not for me” as a teenager. Way more melodic and interesting musically than I would’ve presumed, and lead singer has some lungs. Surprised to learn this is generally considered THE hard rock/metal album of the era, even of all time. I can hear the merits.
Beautiful opener… and overall fun album. Much more diverse and eclectic than I expected, considering the “weight” of Bridge as a song. And another example of great art being produced in a state of chaos, as apparently Paul and Art came to hate each other intensely that lasts to this day during the creation of this album.
This is why I’m doing the challenge: finding artists and albums that are totally new to me that click. This has a bit of a Sunday morning vibe to it that’s nice. Songwriting stands out; and while I hear a bit of George Harrison in the vocals and even the songwriting, it’s not a copy and stands out as unique. Based on this album, I’m looking forward to learning more about this group, for sure.
An absolutely hip-hop classic that 100% holds up. I have so many college memories of this iconic album. I remember the first week this album dropped, and it was ALL everyone was listening to and talking about all over campus. Public Enemy was so huge, and so respected for their political commentary in their music, that I remember us officially studying the album as part of our African-American studies class at UMASS. It was a big deal, because it was one of the first times I remember rap getting respected as a legitimate art form and not just a passing cultural fad. And the music was so damn good! Of P.E.’s run of classic albums, this may be my favorite. Chuck’s voice just dominates and he clearly has something to say, almost forcing you to listen to him out of fear he’ll kick your ass if you don’t. While Chuck’s words have meaning, Flav provides just the right amount of comic relief (and yet still creates a classic of his own in “911 Is a Joke”), and there’s a reason that the Bomb Squad became legends for their production techniques here and on It Takes a Nation of Millions to Hold Us Back.
Just a bit too manic for my middle-aged ass.
I really didn’t enjoy this for the most part. It came across as mostly middlebrow (boring) songs that I largely forgot an hour or two after hearing it.
Now we’re talking! Almost a sin to listen to this on the way to work; it’s a total bedroom album in all the best ways. Panties definitely dropped when you started playing “Welcome” back in the day, lol. I loved this album partly because we were deep in the R. Kelly, “dirty sex” era of music… this was different; sexy not dirty. Probably one of my top Neo Soul albums from the 90s which is saying something; there were a lot of classics to choose from this time. I’d even go so far as saying the 90s Neo Soul movement led by Maxwell, Erkah Badu, Alicia Keys, D’Angelo and several others rivals the 70s soul golden era, easily: 😱😱😱, but I stand by it!
Wow, pleasant surprise with this one. Liked it a lot; much more than their album Funeral, which is all I really knew them from. This one was so much more in my lane; I enjoyed almost every song.
Never heard of them, but really enjoyed this; nearly ever song.
Quirky. Mostly in good ways. Just as things would get derivative primarily to 70s disco tropes, things would get interesting by bringing in a modern Trip-Hop beat or something similar. Sometimes it was intriguing but just as many times the lead singers voice would chime in and lose the vibe.
Not my favorite Talking Heads album of the time.
Just didn’t feel this one. I did like the diversity of music as it wasn’t just one note, but nothing stuck to me.
It’s a concept album about death, murder and regret. An album that I think I respect more than outright love. It starts with a classic that built his legacy, but that’s the thing, nothing else rises to the same level for me as Folsom Prison Blues. But what gives the album its lasting charm is that Cash showed respect to his audience. The whooping and hollering, and even the booing when the warden periodically chimes in, adds to the humanity expressed by both Johnny and the prisoners. You actually sense they truly feel the stories of regret voiced in the tunes about crime and even fear at impending death by hanging. It’s interesting that it seemed only Johnny and B.B. King made these “prison concert” type of albums at the time, and both have representation of the style on several “greatest albums” lists.
I liked it almost begrudgingly. Who knew prog rock could be so engaging. Tom Sawyer starts the album off strong and nothing was as good as that, but it was close.
Bit of a shocker really, but I ended up loving this. I have to admit some preconceived (and apparently inaccurate) bias against Moby, since I assumed that he was somewhat of a one trick pony artist who rode the wave of success by taking advantage of the latest recording techniques and mixing them with appropriated “field recordings” of African-Americans singing traditional blues & R&B. In fact, after the first song or two I was still in a bit of an eye-rolling critical state… but then by “Natural Blues” I was hooked. You can tell Moby has a DJ background; he definitely takes you on a journey through the course of the album. I was moved at moments; the sequencing of the album and the storytelling elements were tight. I get now why this was considered a masterpiece at the time. Give me more Moby like this!
A pleasant surprise! Sure, I knew about Outlaw Country Willie, and Nashville songwriting legend Willie, but who was hiding Willie Nelson crooning like Sinatra and nailing it with an amazing singing voice?? Only miss was getting this and listening on a Saturday afternoon; it’s such a Sunday Morning brunch album. Definitely one to revisit happily.
In retrospect, this is a more important album to me than would be expected, but it was really critical in expanding my musical palette at the time. At heart, I’m an R&B kid, raised on it partly because it was pretty much all that my parents listened to, so I basically grew up on it. We tend to forget about it, but as late as the 80s, it was still very common to be judged by the kind of music you listened to, with racial biases still entrenched. MTV was truly revolutionary, but in ‘83 they were famously called out by David Bowie for largely not playing any black artists on the channel, with the official response that such artists “didn’t fit their demographics.” I do distinctly remember this period despite only being 15, and while I hated MTV’s position on this issue, I was watching all their content and Hair metal 80s bands definitely opened up my mind to so much (rock) music. Biggest regret? Not going to rock concerts with my white high school friends at the time. And Def Leppard would’ve been a highlight: they stood out amongst the other hair/metal bands of the day. More melodic songs, and easy to sing along, stadium ready choruses. Might be a nostalgia play for me, but I think we don’t get to Destiny’s Child announcing their unironic love for Nirvana and other grunge acts in the 90s without what began with “mini social musical revolutions” started by many 80s acts like Def Leppard that helped get us to the “genre-less” stage of music we appear to thankfully be enjoying today.
I’m actually a bit disappointed with this one, considering its reputation. Instead of being an album classic, it was one classic song, a pretty good song, and the rest pretty meh. The classic, “More Than a Feeling” is so good that it alone makes the album worth a listen, and it’s stunning to think that it was created by one dude in his basement in an era without laptops and DAWs, but the rest of the short album can’t even come close to that gem.
A quirky album for me. I have no issue at all with the language or subject matter (well, the misogyny was a bit painful), but I just don’t think Ice-T is a top tier rapper. To me, he sounds like he’s just reading his lyrics; his flow is weak compared to other emcee’s of the time. Except on “New Jack Hustler”; he nails that flow and I remember playing that cut to death when the movie came out. And while I can understand it could be hard for some to get beyond the outrageousness and language, Ice-T actually has a lot to say about his experience growing up in South Central L.A. One other highlight was the production from the album was top level… just wish I vibed with his rap style a bit more.
Nice for what it is, but I’m not a huge fan of one-man “bedroom djay” albums. They’re not album-sized meals, just appetizers for me. Opening acts. It’s amazing what computers and other technologies have opened up creatively, but it’s rare that I’ve had this genre provide a cohesive, full album experience as opposed to some nice beats on a series of songs. This one comes close, but still falls to the same pitfall for me.
Uh, Nope!
Freddie Mercury: best voice in all Rock? There’s a growing consensus online that there’s a good argument for that. Not sure I’m there, but agree he’s definitely in the 🐐discussion. Queen on their sophomore release here is clearly still figuring out there sound. The album is quirky: they sound like T. Rex on “The Loser”. I know it’s Roger and not Freddie on lead vocals, but I still had to check my phone and make sure I was still playing the same album, no joke. You do get a sense of what they’ll become (“Classic Queen”) by the mid/late seventies on the second half of the album. More “operatic,” with some touches of Heavy Metal. I appreciate this start, even if I didn’t wholly love it. More than anything it makes me miss the era of music where a band had the opportunity to release an album or three without the demand for it to be a commercial success, with some nomadic touring to help define their sound and build an audience. A lost art in our modern era where record labels outsource this to TikTok 🙄🙄🙄
Thoroughly enjoyed this one! I never heard of Marty or this album until I got into collecting vinyl; it’s a bit of a legendary “Holy Grail” acquisition for discerning collectors. I gotta admit I giggled like a schoolboy when I found an original 1959 Columbia Records “6-Eye” Mono pressing at Goodwill in good condition for 50 cents a month ago. Nice to have an historical physical artifact of this gem. Apparently it’s the prototype for visual media cowboy westerns pretty much to this day, and I can see why. I like Marty’s voice; it’s soothing and the harmonies with his background singers is fantastic. The guitar playing throughout is tasteful with just a touch of flair in the short riffs throughout whenever needed. And I’m sure there’s some nostalgia playing into this for me too. To this day, my Dad is THE biggest traditional western movie & TV show fan I’ve ever met in my life and as soon as the first song got going, I started flashing back to childhood Saturday afternoons watching John Ford westerns with Dad. I may have been rolling my eyes a bit back then as I wasn’t into westerns at eight…they’re pleasant memories for me now.
Lots of memories with this one. Things that stand out? The hits were played everywhere, the video for “Waterfalls” was iconic and sadly, despite being the biggest selling girl group since the Supremes the group went bankrupt about a year or so after this was released. Turns out it was another example of the decades long tradition in the music industry of screwing over young, ignorant talent especially if they come from the hood. The headlines that each member was basically paid $55K annually despite being one of the biggest music acts in the world at the time was pretty shocking. Fuck music executives. Always shitting on the actual golden geese that produce the art, instead of nurturing it as the core of their whole business that artists obviously are. The album isn’t perfect: a lot of the production (especially the drums) is dated, the interludes are a bit juvenile and played out, and T-Boz isn’t likely to make anyone’s best singers of the 90s list. But no matter, it’s a clear example of each member bringing something unique and making the whole special. Their mixing of R&B, Pop, and Rap seamlessly definitely set the tone for the rest of the 90s and even up to today. R.I.P. Left-Eye, my personal crush amongst the three. TLC was basically over once she was gone, though they tried to go on with a new member.
I’m glad these guys found music to get all that anger out 🤣. Seriously, with all the teenage angst I’d be worried that they’d express themselves in less desirable ways. They do take the evergreen subject matter of being a nerdy dude with no game and unable to get laid, and bring some jams. “Blister in the Sun” was deservedly everywhere, it’s so dam catchy. It was practically an anthem in nearly every 80s teen movie I remember. Some really nice guitar work throughout (especially on “Prove My Love”). But the rest of the album doesn’t rise to those elevated heights of “Blister” for me, but I get why they’re considered a legendary band by many of my Gen-X brethren.
Great example of why I’m enjoying this challenge, despite the occasional dud. I’ve never heard of this group, but my ears perked up on the first song, and I was hooked by the second cut. Totally smitten by the time I got to “Fuzzy”. I hear a little of 70s Bowie in the band, and it works! Even a little Dylan in the songwriting… By the middle of the album I’m asking myself, who IS this group and how did I miss them in ‘93!?! Love finding “new to me” music like this. The momentum of the album slows down a bit toward the back half but damn, this is a solid one. Will be revisiting for sure. Hopefully I can find an OG on vinyl.
Huh. Kinda disappointed! This is considered one of Aerosmith’s best albums from their “classic” period but I was left a little underwhelmed. It started off with a classic banger but I don’t know… I ended up thinking the rest of the album was like a talented bar band but not iconic or anything.
Trump…Biden… politics in general has been giving me a headache… giving us ALL a headache. With all that’s been going on I was pretty stressed heading to work. Then instead of listening to my morning news podcast on the drive to work, I put this on, not knowing the album at all… and I was instantly thinking back to our family trip to Costa Rica. Amazing what good music can do to reset your mind and mood 😎🏝️🍷😎
Ehh… not great, not bad 🤷🏽
Ah, back to a more innocent time when it was all about the music and Kanye wasn’t a neo-Naxi. Love the positivity that Commom manifests here.
Funkier and way better than I expected it to be.
Just meh for me. I’m not a huge fan of the late sixties, sepia-tinged version of the King; give me the 50s, influencer of early rock n roll, Sun Records icon version every time. He hit like pure cocaine on those early cuts, far removed from the slightly schmaltzy, Southern-Gospel flavored Elvis we get on this one. He may not be at Las Vegas, “Fat Elvis” gawdiness yet but he’s clearly on the road to it, unfortunately. One highlight is you can’t deny his amazing voice; I liked “Any Day Now” as one standout track.
It’s just “okay.” I was never a fan of this rock production style even back then.
Wow, this really…sucked! Only one song was good, the hit, so I think I can officially place them in the category of one-hit-wonders. Shame really; “Grove Is in the Heart” is indeed amazing. Too bad they couldn’t build off of that gem.
It was okay. First song was a nice acoustic version, the rest of the album was pleasant but nothing blew me out.
I love this album. More diverse than expected, all to the good. I think it’s the ballads that resonate with me, all uniquely Neil. “Only Love Can Break Your Heart” is beautiful, and reminds me in the chorus a bit like a Motown ‘60s cut. At first that may have you go “huh?” until you learn that Neil started his career in a band signed to Motown that included Rick James… which blows my mind. Thinking of those two in the same band…crazy! And just when you think he’s gonna lull you into a mellow mood with the ballads, he hits with “Southern Man” which is just so damn good. Apparently Lynard Skynard was so butt-hurt that their beloved South was being called out for entrenched racism by Neil, they wrote “Sweet Home Alabama” as a retort. Great art pushing and challenging us, helping to create more great art. 🤔🤔🤔Overall, I think this is one of Neil’s best albums, right up there with Harvest and his other gems. Also picked up an original vinyl copy at Goodwill for $2 that sounds fantastic. Nice!!! 😎😎😎
Relationship songs and middle-age religious angst for grownups, and. I’m all for it. I’ve never listened to any Nick Cave before but his influence is all over a bunch of indie bands I love, so it was only a matter of time before I had to get here. Beautiful piano chords, and I like his voice. The album’s swampy, moody, yet austere vibe sucked me in pretty early on. I hear a little of the moody musicality of Tom Waits, combined with songwriting chops that reminded me of Leonard Cohen but with more lyrical spit & vinegar. A great first listen.
Good album that starts off just right, “The Healer” just draws you in first with John’s voice followed by Santana’s unmistakable guitar. JLH has always struck me as the refined elder statesman of the Blues. If Muddy was all gritty swagger and Howlin’ Wolf was “scare the shit out of you” high energy, Hooker kinda sneaks up on you. He’s in between; the almost gentlemanly Blues Icon. And that works, especially when he’s paired with other all-star talent that he engages with and makes space for their contributions. It’s good, sometimes great music…but it ain’t at the extremes like you get with the other two. Turns out I like visiting the cozy suburbs, but it’s in the hood, in the ghetto with the outliers like Muddy and Wolf, that’s where I want to live.
Ah, what a blast. Great album. Never gets old, such a classic. So diverse, yet it still gels. Highlights for me are Andre and Big Boi’s lyrical flow, they compliment each other and both keep up with the bombastic hooks and rhythms, the second highlight. There’s just so much going on with the production, it keeps you engaged. Solid end to end. I’d say this may be my favorite of their run of classic albums before they broke up. I’ll never forget the 1995 The Source Awards where the East Coast vs West Coast hip-hop battles were all in the culture, but as OutKast won their award, Andre stepped to the mic and feeling like other regional areas were being disregarded in the hip-hop world, alerted everyone that “the South got something to say.” Famous words that hip-hop heads never forgot because OutKast went on to create several masterpieces including Stankonia that delivered. Everyone noticed, as Atlanta became famous for its importance in developing the next era of iconic rappers, all pretty much giving props to OutKast, deservedly so.
It was alright. Didn’t blow me away, but there were a couple of catchy songs. I question the providence of the version I heard on streaming; the volume matching track to track seemed to be all over the place which created a bit of a disjointed listen.
Ah, this is like comfort food. Most biopics suck, but I actually enjoyed seeing One Love: The Bob Marley Story when it came out recently. Not that it was realistic or anything; there’s always a need to take Hollywood level creative license (make shit up) to tell a life’s story in 2 hrs, but it did illustrate the power of these songs, on a political, anthemic level. Rastaman Vibrations is close, but this album is really Marley’s masterpiece for me. Except for one song, “Three Little Birds”: yes, it’s legendary for its simplicity yet engaging melody and lyrics, but I sometimes cringe hearing it. I think it’s partly because I heard it too much when it was one of Addison’s favorite songs (this and Steve Miller Band’s “Fly Like an Eagle”; kid has quirky, eclectic taste musical taste which is indeed charming) but we had to hear it damn near daily for six months…😱😱!!! Beyond that, this is always a welcome listen start to finish.
This one got me moving. I always find it fascinating how when I hear African rhythms and guitars, it becomes so clear how much of our American music of so many different genres owes allegiance.
If there’s any artist that isn’t built for this challenge, for a “first, quick listen” it’s Miles. Dylan, Prince and Bowie qualify too, and they all have one thing in common: a long and illustrious recording career, but a sense, sometimes a passion, to reject following a creative path expected of them by fans and/or their record label. True artists with a “I don’t give a fuck” personality that is driven to follow their personal muse, even if it meant commercial pain. In all these cases it’s led to some transcendent work, multiple times over the course of their careers. Miles is probably the gold standard of this approach, literally changing the course of Jazz at least half a dozen times over his lifetime, almost to the point I was intimidated about diving deep into his discography…it was almost too overwhelming. Then I saw this Netflix documentary, and it changed everything for me. I “got” Miles, and it really opened a doorway into his music and more. A year in and I’m still discovering SO many special moments in his music, and I haven’t even gotten past his mid-fifties output, he was so prodigious. So the 4-rating is simply that I need more time to dive into this masterpiece from his Electric Era. I’m patient: the joys to be gained from getting to know his art is more than worth it 🍷🍷🍷
Damn near perfect album. A concept album at heart, written by probably the most viable artist of the time to speak out on the nuances of life in the ghetto in the early seventies without seeming like he was either exploiting are pandering to the issues at hand. And the music! I just love the arrangements and orchestration. I played it on background during dinner just to see how the girls reacted to the music, and it didn’t take them long to start moving to the grooves; two enthusiastic thumbs up from both. They have good taste 🥰.
Great album that still holds up! I was 21 when this came out, but in my memory it seems like this was around high school that it came out. I think it’s because it reminds me of a simpler time in hip-hop, when it wasn’t all about “bitches & hoes”, and inner city violence. I had cousins who were living that thug life, but we weren’t. De La was for the music nerds, with the sampling and genre mixing they revolutionized. I mean, no one was mixing in country yodeling into rap at the time, and they made it work. A classic for a reason, no doubt.
I liked it. Especially the first half of the album, as it did seem to lose a little steam toward the back half.
Wow, what a roller coaster with this one. I’m not ready for this. And I’m not sure I’ll ever be. Going in, I’m trying to keep an open mind, but I’m still working to wrap my ears around the OG’s of the genre, Kraftwerk or even Brian Eno. Having said all of that, I find this genre an…interesting listen. There’s no doubt a lot of musicality brought to bear from initially incoherent pockets of sound/noise. But beyond a theoretical curiosity, and admittedly some really catchy tunes especially on the front end, nothing moved me on an emotional level. It’s fancy hotel lobby, background music in a hip part of town…🫤
I get it. For a LOT of people, especially if they’re from the era and have heard this album SO many times, it’s become polarizing. Played out, heard too many times on rock radio, etc. But after seeing them twice live now in just the last couple of years, once where they played this album start to finish in its entirety… call me a fan. I’ve noticed that live music has a power that in some instances has turned a band I didn’t really know (or even didn’t really like) into one that I’m interested in diving into more of their music after the concert experience. Eagles became like that for me and Lisa. Hopefully we’ll get to see them one last time before they wrap up their touring life. I’m sad that we didn’t get to seen them before Glen Fry died, but DAMN if Vince Gill didn’t step in and kill it as a temporary Eagle. Back to this album: it’s a deserved classic for a reason, as it captures the Southern Californian easy going vibe with some country-tinged flavoring, and it nails it. I actually wonder if modern country radio stations would claim Eagles or not 🤔🤔🤔. Not sure it’s a given. But the only slight knock on this album is that it loses just a bit of steam toward the end of side two. Hard to hold up to the first half’s songs though: it’s a murderer’s row of classics that still sound amazing to this day. So, while I do get that some Boomers may be burnt out on Eagles, but count this Gen-Xer as a still dedicated fan 😎.
Ok, can I pass out like a giddy schoolgirl at a Taylor Swift concert with this album popping up as today’s pick? So many emotions come rising up with this one, which isn’t a surprise since The Beatles are easily one of my “Mount Rushmore” musical artists. To admit my love/lunacy as a Beatles Stan: I’m not entirely sure they’re humans…their story is too epic and almost mythical in scope, and the amount of amazing music they gave us…I can’t describe it fully. When I found them as a young teenager, I remember thinking maybe they’re aliens, sent here to spread love and knowledge to humankind through music. Silly, sure…🤔🤔🤔 but even at 55 I can still listen to one of their masterpieces and be brought to tears, so who knows!?!? 🤷🏽Nutty childhood remembrances aside, the BEST artists to me are ones that create art, and their next artistic statement suggests they just don’t give a shit about what they just made, they’re going to follow their creative muse, commercial benefits of “staying safe” be damned. The Beatles were THE kings of that, thirteen albums and not one of them is the same except maybe their first two releases. They were aggressively focused on musical change, which I love… Every time I walk past my guitar I think about picking it up and starting to practice and play again. Maybe this album being today’s selection is an omen to move passing thought into concrete action. So many of the songs here were the reason I wanted to play in the first place, and I adore every single song which is saying something considering it’s a double album. It’s schizophrenic nature makes sense as the personal tensions that would soon end them were percolating but I love it did that; it’s like four mini solo albums with all of the Fleetwood Mac-level interpersonal drama too. C’mon, any album with “Dear Prudence”, “While My Guitar Gently Weeps”, “Happiness Is a Warm Gun”, and “Blackbird” is gonna be killer, but the deep cuts are nearly as good as the classics. So happy to have this and all the Beatles on vinyl too; they sound amazing. And yes, “Revolution 9” absolutely does suck but I just think that’s John’s alien nature fucking with us after giving us an album filled with so much beauty.
This is apparently a seminal “classical rock” piece that was huge in developing the prog rock movement in the early 70s. OK, I just didn’t get it despite liking a lot of prog… 🤷🏽
Love the punk aesthetic of the Stripes but I gotta admit… I’m not a fan of Meg’s drumming. I know she started in the band at Jack’s behest and they leaned into making her “style” as a non-drummer a feature not a bug, and that alone speaks to a certain creativity that crackles with the Stripes but in reality… her playing to me is a indeed a bug.
Not horrible considering I’m not a huge fan of live records usually and don’t much of Thin Lizzy’s music. The energy kept things interesting.
I wasn’t sure I wanted to see him. His concerts were infamous by now, where he was known to be as cantankerous as Miles, playing with his back to the audience and with an air of irritation for the audience… that would piss me off if I paid good money for the live experience. But I made a promise to myself that after the pandemic, I was going on a personal vision quest to see as many musical icons perform live as I could, because if there’s any lessons learned from COVID it’s that tomorrow isn’t guaranteed and many things in life won’t happen unless you manifest it and take passionate action. So, I traveled for shows to see McCartney, Elton, Eagles, Springsteen… amazing experiences all. Then I got an alert Dylan was playing an intimate, country fair type outdoor show in Grand Junction, a full performance of his new album Rough and Rowdy Ways played in its entirety. $500 for front row tickets…🙄🙄… but what if we get “Bad Dylan”, especially since he’s now 80 yrs old? Begrudgingly I buy a ticket…and the concert was one of the best of my life! He was transcendent; we didn’t get “Good Dylan”, we got “Amazing Dylan”; I’m so glad I told the chance. The couple next to me were Dylan superfans; seen him 50 times over the years including legendary performances from his first heyday in the 60s, and their experienced feedback was that we were blessed that night… it sure felt like it; the whole evening was like a sweet dream. And as usual, a great live performance led me to doing a discography deep dive… a bit intimidating with Dylan because there’s so much music to go through, but years later I’m STILL wrestling with Dylan’s music, and loving the journey. I’ve come to the idea that Dylan is the Ying to The Beatles, and specifically Paul McCartney’s Yang: where The Beatles and Paul took the I-IV-V foundational framework of rock that comes from the primal beginnings of R&B and Blues and pushed from there to the future, Dylan started with the same primordial soup and rather than look forward, he’s always been looking back to continue mining those beginnings for remaining unlocked beauty still waiting to be tapped. With his brilliant songwriting and a penchant for connecting with his idols like Jimmy Reed, Odetta and primarily Woody Guthrie, it’s clear why he was considered a “new voice of a generation” when he came out of NY’s folk scene in the sixties. His albums, and the subject matter he covers, are like Kerouac novels, rewarding listeners that dive into them like a favorite book. Let’s just say I’m SO happy I decided to take a chance and see an 80-year-old Dylan perform and we got “Great Dylan” that night… I still smile when I think about moments from that show… the man contains multitudes for sure.
A lot of the music press praised this album as a highlight of Dream Pop… I don’t know about that; more like Sleepy Pop to me. Nothing grabbed me, except for “Helicoptor” which did bring that dreamy vibe aesthetic that had me smiling. Other than that mostly forgettable for me.
Interesting to finally hear this in its entirety. The entire decade or so I’ve been into headphone/hi-fi gear this is one of THE supposedly legendary albums to listen to because it’s so well recorded/produced. Considering Donald got his start with Steely Dan that’s not surprising to hear based on the band’s recording reputation. The difference? I mostly like Steely Dan albums. Except for a few exceptions like “Green Flower Street” and “The Nightfly”, this was leaning way too much in the Yacht Rock lane for me.
I liked it a lot more than expected. Of course I knew the hits, but the album tracks are nearly just as strong across the board; I pretty much liked every single song. Except for one: “Listen to the Music”. It’s not bad, but it does highlight the one slight weakness of the album for me, which are the covers. They’re mostly good, but rarely better than their rock originals, which is always a thing for me. Either a cover has to be so radically different/better than an original, or I always just think I’d rather listen to said original leaving me wondering what’s the point of the cover in the first place in that case?? 🤷🏽🤷🏽🤷🏽. Anyway, besides my personal quirk (dysfunction) regarding covers, the album is filled with bangers. It’s a fiver for me.
I got giddy as a Swiftie at a Taylor concert when this popped up! I adore this album; so I’m just saying, it’s gonna get a five before I even sit and relisten to it. For simple reasons too: it’s an all-time classic, filled start to finish with iconic songs that absolutely hold up, performed by a once-in-a generation level artist. To this day it still blows my mind that he wrote “Careless Whisper” when he was freaking 17 years old… seventeen!!! Mind blown… I’ve always felt that one of the defining musical trends and strengths of the 80s was it was the era of ICONIC albums… there were many reasons for this; not a minor one being the global reach and power of MTV, but George proved with this one release he was playing on the same level as Bruce, Michael, Prince and Madonna when he dropped it. It was playing everywhere, including in the hood and on R&B stations, where some (older folks) lost their minds when they realized it was the effeminate (and White 😱😱😱!!!) lead singer from WHAM that created this masterpiece, and not some new R&B singer. Amazing such racially motivated gatekeeping was still common in the culture at the time. Times indeed were changing; we all knew that he brought the goods with this one, no matter where he came from. R.I.P. George…gone way too soon.
A quirky album that revealed its charms slowly. On first listen I wasn’t feeling it but gave it another listen and liked a few cuts a bit more. Not something I think I’d revisit though; it didn’t resonate that deeply for me.
What a fascinating listen. There’s so much here, even before you get to the music. Has there ever been an artist, literally worth nearly a billion mostly built on his critically acclaimed discography, who decides to essentially throw most of that away because of becoming enamored with antisemitism and sexual deviance? That alone makes his story memorable, no matter how you feel about Kanye. Classic, “Do you support the art or the artist?” debate. In the end, I land on Kanye being one of the most talented producers and hitmakers of all time (not much of a rapper though; his flow has always been rudimentary to me), so I gotta give him his props for that. And this album is likely one of his early masterpieces; the title literally says it all. One of his best traits about Kanye as an artist is you don’t have to wonder what he’s thinking about; it’s all in the music for better or for worse. In the end, as the debate about Ye continues online where he still has his worshippers as much as those who’ve written him off, I land with the teenager who described him thusly: “Amazing artist, shitty human being.” Either way, his music is too good, too stimulating, too irritating at times, for me to write him off. He’s just too talented and like a car crash, I can’t help but check it out even as I pass it by.
I discovered Joan when I was 15. Her album Track Record was just released and since it was ‘83 her label was sprinkling the MTV fairy dust all over it as promotion and I fell for the single “(I Love It When You) Call Me Names” from the video. But even then, the talk was that album had too much of a pop sheen, and that her really good stuff was from her early albums in the seventies. Here it is, exactly forty years later from first hearing her that I finally get what people were talking about… and they were right! I loved this pretty much from start to finish, and love that it emphasizes her songwriting and musical variety, which are top notch. I hear a lot of influences, from Joni Mitchell and Janis Ian, to Steely Dan in some of the arrangements. So this became a gateway listen for me, one of the best things about this 1001 challenge. Time to dive deeper into her whole catalog, which should be fun! I recently picked up a number of her albums from Goodwill for like $3 each including this one, so I have a great place to start 😎
This is when I wish I had kept up with my Spanish lessons back in high school and college. The rhythms! They just make you want to move your ass! There’s also a nostalgic element to this type of music for me, as it reminds me of a family (and life) that is just a distant but still very, very fond part of my past… 🤔🤔🤔 Another highlight of the benefits of doing this challenge, for sure. It’s how I found out about Jorge Ben; now I can happily add Willie and Rubén to the list of new discoveries to enjoy 💃🕺💃🕺
I think it’s a first for me a couple of hundred albums in…I hated this! The singer’s voice was grating and whiny, and the music and arrangements just irritated me consistently across multiple tracks. Just not for me.
Two thoughts: I had to chuckle when “Five Man Army” shouted out the line “But gettin’ a Visa card nowadays isn’t hard”. Prescient for 1991, and how easy credit in some ways helped create some of the market chaos that’s happened since, including the 2008 crash. My second thought is less ominous: this is my next vinyl purchase. I was surprised I didn’t have it already, honestly. Lots of memories of just being right out of college but still going to nightclubs and this was everywhere, you couldn’t escape it. Rightly so too; it’s a stone cold classic. Literally every damn track is a banger. It’s now considered an early classic of what became dub, but what blows me away is how fresh it all still sounds over 30 years (30 years!! 😱) later.
The first song was like 44 seconds long and despite trying to have an open mind I gotta admit: my heart sunk a bit realizing what was likely to come: ear pain. I’ve committed to listen to every album and every single song to truly commit to the idea of the challenge. This one challenged my commitment to that standard.
It started off a little slow and my eyes began to roll 🙄. This album is pretty legendary and well respected, but my first worry was if this was going to be one of those situations where you finally hear an album where its reputation is slmost mythological, but it leaves you flat and wondering what everyone was raving about. And then I got religion when “The Christian Life” hit… on a Sunday no less. It’s the musicianship and the vocals, lead and harmonies both, that sucked me in and I became a believer. Song after song from their kept emphasizing those strengths and I was all onboard. It’s a thumbs up, and one of those “classic album” that thankfully holds up.
I LOVE me some Taylor…but I ain’t nearly a Swiftie. With modern fandom, the distinction is important, as young folks with some prodding from social media have nearly weaponized being a superfan. Just look at the 15+ vinyl versions she’s released of her latest, and (some) fans will buy Every. Single. Version, bless their broke and easily manipulated selves. To clarify; I’m not hating; I’ll buy damn near everything for a few of my fav artists; it’s part of the fan journey. Wifey and I were part of that infamous Ticketmaster debacle trying to get original, list price tickets to the Eras tour, but after a full day of trying to make the website work we struck out, only getting lucky on the revised “2nd chance” sale months later. The show was stunning; she’s an amazing entertainer and I think an under appreciated songwriter. And don’t get me started on the obvious music industry misogyny that is sadly a well-deserved legacy she’s suffered through. But I like to think of myself as a music fan not a Swiftie, though I’m married to one. Here’s where I disagree with modern (young?) Tay-Tay fans as she’s ridden the wave of her Eras success to global domination, easily the biggest star of today. But she’s not NEARLY as famous as Michael Jackson or The Beatles were back in their primes, no matter how many Swifties making YouTube videos claiming she’s now the biggest artist of all time. Just saying, so don’t kill the messenger (Swifties can get feral), but a Redditor distilled it well: “They were playing MJ in the hood… they ain’t doing that on a large scale with Taylor.” I tend to agree: African Pygmies with no exposure to the outside world STILL somehow know some of MJ’s music (it’s true; check YouTube). To me (and let’s face it, albums sales has little to do with power of music (but hey, it’s FUN to have these lighthearted debates in good faith), but the list of mega famous artists in my mind is deliciously short: Elvis, The Beatles, MJ… and that’s it for multiracial, multicultural, multigenerational, multi-EVERYTHING worldwide global fame. Taylor’s clearly the biggest star of today, but she ain’t floating at the stratospheric level of her named predecessors. Lots of reasons for that, mostly cultural and technical, but there’s no hate in that perspective Swifties…❤️❤️❤️ Having said all of that, I love this rush to pop princess superstardom from the ashes of her country roots; it’s a solid release! I give it a solid four. But it ain’t my fav of hers. That story is for another day and involves woodsy terrain, fireplaces, intimate interpersonal conversations, lots of self-reflection, and a worldwide pandemic sprinkled on top…
I was a little nervous at first. I have a weird relationship with most live albums. There’s very few that I like, usually presuming studio versions will always be better. Better produced, solid and controlled (recorded) artist performances, etc. Considering I feel live music can be a religious experience at its most sublime, it’s a bit of a kooky personal quirk I admit, but I’ve always had it 🤷🏽. This kinda shattered that bias; it’s well recorded and you can hear the energy of the audience, one of the best traits of live albums when done well. And the music drew me in. I’m not as blown away as when I first heard Jorge Ben, but it’s clear after a few albums now I need to dive deep into traditional Brazilian music.
Ah, another prime example of the need for some to consider if you can love/listen to artists that have ugly sides to them, or if you should write them off in protest for their despicable public behavior? Personally, I think that’s an individual choice and it’s nuanced, messy and pretty impossible for me to have a codified response to it. I’m all over the place but tend to try and separate “the art from the artist” but there are exceptions (I can’t listen to R. Kelly despite loving some of his albums; too icky). In Morrissey’s case, his racist and malignant position and statements irk me to no end… but I like his music and this album. It’s the mixture of 90s grunge guitars, mixed with some old-school 50s rockabilly flourishes that are intriguing. So, despite him seeming to be a pretty horrible human and having some “interesting” ideas of what it means to be British (I mean, at least he ain’t hiding his thoughts in obfuscation; just read the lyrics to “We’ll Let You Know”)… I’m staying for the music.
I’ve come to appreciate that I love me some Eminem… in measured quantities 🤣. I remember when this album arrived in 1999 there was a lot of pearl clutching going on in both the general public and media. “Did you hear what he said!?!?” 😱😱😱 In todays world no one really bats an eye regarding “shock artists,” but it really was big deal then: discussions of the rot of society, rap is ruining kids’ minds and making them degenerates, etc. I remeber doing a lot of eye rolling for two simple reasons: we’ve heard this closed-minded position ad nauseum since the birth of popular music (remember, it was “An Outrage!! 😱😱😱” when Benny Goodman played Big Band at Carnegie Hall in 1938 🙄🙄🙄), so it’s a time honored tradition in music for older generations to be SHOCKED by the next generation’s music. Secondly, Em is amazingly talented and the production and music here is next-level, full stop. I appreciate that some may not want to delve into any of his subject matter; the man clearly had a troubled childhood that sits with him, hence why I tend to listen to him in smaller doses. I personally rated this one lower then his next album which I consider his early career masterpiece, but this still showcases all of the elements that make him (for me) a top 15 rapper of all time, which is his unique flow and creative (and often funny) storytelling that creates vivid mental pictures that engross you… even if you want to wash your brain with soap afterwards so you can go to church on Sunday morning.
I’ve always kinda hated the term “blue-eyed soul… you don’t hear the term “brown-eyed soul” because it sounds silly; soul doesn’t have anything to do with race. Dusty’s vocals in my mind were “soulful” enough that she’s in the same room as the queens such as Aretha, Dionne, Eartha, etc. and that’s all that matters; she brings it on every performance. And that’s my love for this album; the lead vocals, the background girl group harmonies, the mid-sixties “Shindig!” vibe, mixed with some Motown flavored grooves, and you got a winning combination. It’s the inconsistency of some of the covers that make this weaker than her sexy, sumptuous, “Sunday Morning vibe after a night of lovemaking masterpiece of an album. But still, no slouch this one! I think if she would’ve cut some of the “meh” tracks this becomes her 2nd masterpiece in my eyes; a shorter, tighter album would flow better, I think. But the gems? At their heights, it meets the highs of her best work, no doubt. Just a touch below what she’ll do in a few years when she makes her way down to Memphis and makes magic there. I like what she accomplishes here, knowing like Dr. Seuss, all the amazing places she’ll soon go. Glad to be educated about this part of her journey.
I forgot how “proggy” this album started off; for a moment I thought it was Rush. Made me chuckle, considering the pop-rock vibe it really is all about. So cheesy in places, (“You lost more in my back seat, baby” in the bridge to “Never Say Goodbye” is 70s seduction cheese a decade too late 🙄), but I couldn’t care less. I have SO many fond memories of this album, coming my first year in college at F.I.T. in NYC. It’s just a silly, fun rock album, with anthems like “Wild in the Streets” built for yelling at the top of your lungs with a group of friends, which we did endlessly. Good memories indeed…
Probably not the most enjoyable concept to ponder considering my current mindset of late, but I’ve often wondered what effect your mood has on critiquing music. Right now, I was more than happy to dive deep into the cathartic, nihilistic chaos of this album as it resonates. But even without bathing in that toxic soup there’s still such a bombastic blast mostly led by Henry Rollins that sucks you in. A classic for a reason.