Least favorite album from one of my favorite artists. Still, it helped push along hip hop and introduced the genre to popular (white) culture. It's not as vapid as it's reputation, though. There are lyrical gems to be discovered if you're paying attention. The production by Rick Ruben is on point. Provided the same style beats that he provided to real rappers with "street cred" (black). Not bad for a bunch of young punks! They only grew from here!
Building block debut from one of the true unique artists of their generation. Album starts off with the best song on the album, the trip-hop styled "Human Nature", then rolls through a scattershot of off-kilter-but-cluby dance grooves and pixie art pop. Too many of the club style tracks were way too mainstream sounding for my taste, but Bjork's alarm-siren vocals certainly make the album different enough and worth the acclaim. She took major steps in production and style on her subsequent albums, but this one got her moving in her own direction.
Concept albums should be more cohesive than this. Outside of the "2112 Overture" the album didn't do a good job of keeping a theme and feeling like a singular piece of art.
I don't normally enjoy prog rock, as I think it can all start to blend together and I start to zone out at times. Rush has the advantage of excellent rhythm section and startlingly unique vocals from Geddy Lee to keep my attention, but the vision could have been executed much better.
Not my favorite from The Band (that would be "Music from the Big Pink"), but a very nice listen, none the less.
Feels like it wants to be an important album, but really doesn't expand the folk rock sound too much. There are moments, but not enough to say that it should be a "must listen". I also don't like Levin Helm's Kermit the Frog vocal inflection on some of the songs, so that definitely hold it back for me.
Building on their Velvet Underground and punk rock influences, they managed to create and define the age of Alternative Rock of the late 80's to early 90's.
The list of bands influenced by them is still growing strong today. My Bloody Valentine, Nirvana, Pavement and Wilco, all the way through today's Wednesday, Feeble Little Horse and Death Grips, all owe their sound to the pioneering work of Sonic Youth.
My only rubs on this album (and Sonic Youth in general) is the extended length of their albums and the ear fatigue that set in about 40 minutes in. There simply isn't enough sound variety to warrant this to be a perfect album, but it is definitely a genre defining classic.
Tigermilk was the 3rd album that I heard from Belle & Sebastian, shortly after my introduction to them: "The Boy with the Arab Strap" came out in 1998.
This album lacks some of the poignancy of their 2nd album "If you're Feeling Sinister" and some of the jangle pop of "Arab Strap", but overall is a nice album with some great melodies and arrangements. Folk pop for the down-trodden kids.
I HATE electric piano and synthesized instruments, and they are ALL over this album. There is some good (if not overly melodramatic) songwriting here, but the production and cheap musicianship overshadow the most of it, so much so that I can't give this any better than a "good" rating.
It's prime Aretha! This is one of the rare cases where I don't necessarily think the album as a whole is "perfect", but there are so many elements of it that are beyond "perfect" that it more than makes up for whatever slight missteps that might be found.
The songwriting is wonderful and important.
The instrumentation is on point and suits every song. The vocals are some of the best ever recorded.
"Chain of Fools" slaps you in the face with soul, and "Ain't No Way" will haunt you to tears with it's beauty to end it. In between is some of the best soul music ever recorded that build it's case upon repeated listens.
Perfection doesn't need to be perfect. 1960's Aretha is perfection!
Not my favorite Bowie album, but there is still a lot to enjoy here.
Bowie's dip into pop soul produces a few good grooves and some nice vocal performances, but it feels miles away from his groundbreaking Ziggy Stardust work that I love so much.
"Young Americans" and "Fascination" are strong additions to the Bowie cannon, but "Across the Universe" is a definite misstep.
The album feels like a precursor to the cheep feeling 80's era Bowie that never occupies my stereo.
Worth a listen, but only a few memorable tracks to savor.
Sure, they sounded like The Strokes and The Black Crows had a love child, but I like The Strokes and The Black Crows.
Though the eventually turn into mainstream rock darlings, this version of the band still is quite dirty and gets by on swagger and good ol' Southern boogie. Good fun with a six-pack of PBR in tow.
Previous Familiarity: None
This is the first album of this project that I had never heard of. After hearing it, it could have stayed that way.
This is the generic quasi-punk meets hard-rock sound that the Ramones coasted on in the 80's. This was the sound of the Ramones in their least interesting phase, and apparently where Turbonegro live .
Sounds like they're having fun, but unfortunately I wasn't.
Previous Familiarity: Very High. Already in my top 100!
This album holds the distinction of being my introduction to hip-hop. And it was love at first meeting!
"Walk This Way" was on constant rotation on MTV, and I went crazy for it every time it was on. Most of my 8th year was waiting for MTV to play it again...and again! Those cool-as-fuck black guys finding common ground with a crazy-ass looking (and sounding) white guy was very influential for my impressionable and sheltered, Midwest suburban brain. My love of hip-hop was born.
The album begins with maybe the greatest 4-song stretch in hip-hop history:
- "Peter Piper"
- "It's Tricky"
- "My Adidas"
- "Walk This Way"
If all 4 of those were not instantaneously playing in your head, all at the same time, then we've got real problems.
And, though "Walk This Way" will always hold a special place in my heart I would go so far as to say that "Peter Piper" may be the greatest hip-hop song of all time.
The rest of the album tapers off to just being good, but the influence to everything that came after, and that opening stretch of 4 classics, makes this a top-tier album in my book.
Previous Familiarity: Low. Only experience with The Velvet Underground.
Upon first listen I was underwhelmed. John Cale is a very pedestrian vocalist and the songs didn't really do anything to grab me.
After the second listen, I still didn't think Cale's singing did the songs any favors, but I did find the arrangements to be very becoming on a few of the tracks.
"Endless Plain of Fortune" and "Paris 1919" both were able to showcase what Cale can do with melody and mood, but the rest of it did not feel special. Not essential listening.
Previous Familiarity: High-ish. Definitely heard, and loved, most of these songs, but not in the context of the album.
This is the quintessential reggae album. Nearly every song is well known and outstanding. The passion and soul in the songwriting and vocal performances are the reason Bob Marley was a legend. The deep-soul horn section and island-breeze rhythm section of the Wailers make rewarding listening for the keen ear, adding flourishes and funk to elevate above the standard reggae stroll.
A no-doubt classic.
Previous Familiarity: Very High! One of my favorite albums!
With their second album, Travis narrowed their scope from jangly Britpop to a full album of melancholy, but hopeful, breakup music.
As the somber snow-field cover conveys, this is the perfect winter album to chill around the house with. Maybe read a book, cuddle with a pet, or just chill on the couch and think about how much you enjoy doing nothing at all.
The simple yet poetic lyrics find their way on gorgeous melodies and yearning delivery. The arrangements are keenly sparse with great Britpop guitar flourishes when the mood strikes. It's an even keel of comfort for a wistful afternoon of romantic reflection.
The only knock that I have on the album, other than it's lack of new ideas (though still, very well done) is it's closing hidden track "Blue Flashing Light". This harsh sounding tale of domestic violence --though poignant and true-- is well out of place. Barreling in after the 3+ minutes of silence that followed a beautiful acoustic closing track it totally takes the mood and turns it on it's head, leaving a very bitter taste. Definitely should have been left off.
Quick note: I worked a lot a record store when this album came out, and I was OBSESSED. I told all of my friends and customers about it and even gave out my employee distro anyone that I could convince to but it. Ultimately it got me fired, but I still think it was worth it. If even one of those buyers liked it as much as I did. I did my job.
Previous Familiarity: High. Bought this album when it came out.
My first exposure to the White Stripes was their 3rd album "White Blood Cells". That album, to me, sounded like a mix of Led Zeppelin and the Violent Femmes. I loved it! A unique take on the blues-rock genre and not only fun, but excellent display of guitar and drum techniques.
This album expands the sound a bit to draw in a few more folky sounds like haunting marimba, plunky piano, and Appalachian jug band jams.
The crashing stomper of "My Doorbell" is a top-tier Stripes song, featuring Jack White's folk-blues lyrics and distinctive wail and Meg's balls-to-the-wall percussion. Perfect simple-sweet chaos.
This album isn't the White Stripes most concise work of art, but the direction is still there. Still sounds like a band that's trying to push themselves and still sound unmistakably like the White Stripes, and that's good enough for me.
Previous Familiarity: Relatively low. Heard "We're Desperate" and "Adult Books" on a the great 70's punk compilation "No Thanks".
Post-Punk found it's legs here. This album from 1981 is a foundation for so many post-punk groups that came to life in the 2000's and 2010's. The spoken/yelled lyrics, tag-teamed by 2 charismatic vocalists, makes each song an interesting listen. The guitar works is outstanding as well. Angular when it needs to be and beefy when the time is right.
Not sure why it took me so long to explore this album. Glad it was on this list!
Previous Familiarity: None. I have heard of The Fall, but never heard any of their work.
The Fall have escaped me, and I'm not sure that this album was the place to start my journey with them.
The album is clearly ahead of it's time, with the post-punk stylings that it is helping to create in the midst of the punk rock movement. But, with the lack of real meat on these snarly jangles, I didn't find myself satisfied with the overall execution.
I'll give it points for ingenuity, and I LOVE the album title, but unfortunately I don't consider this essential,
other than to witness the roots of post-punk.
Previous Familiarity: High. I bought this album when it came out in 2004.
"Take Me Out" defined a new extension of the garage rock revival that the Strokes and White Stripes helped usher in in the early 2000's. Franz Ferdinand managed to mix the angular guitars of The Strokes, with the crooning singalong vocals and bombast of 90's Britpop.
I think The Strokes took notes, as they seemed to borrow a lot of style from Franz Ferdinand on subsequent albums. Too bad Franz could keep up with their hype and faded away as quickly as they appeared. But, this flash in the pan was pretty nice!
Previous Familiarity: None
When I saw the reveal for this album I was pretty excited! I am a total novice to Latin jazz, but I love most everything that Blue Note put out in the 50's & 60's. This was going to be a soulful and sexy ride, right?...Right?
Whelp... Soulful? Maybe. Sexy? No.
This album was full of interesting African influenced percussion and rhythms, but none of it was overwhelmingly impressive, nor engaging. The vocal chants only detracted from the vibes, and could have been left off entirely. Sabu's ranting chatter added a fun element here and there, but didn't really add enough to make it worthwhile.
I'd be willing to check out some more of Sabu's catalog, as I think his influence is important, but unfortunately, I don't think this one is essential.
Previous Familiarity: Moderate. Only heard the singles. But those single are HUGE!
Those 3 singles:
"Sledgehammer"
"Big Time"
"In Your Eyes"
Those 3 singles.
Those 3 singles stand apart from everything else on this album. Both in a good way and a bad way.
Theses songs are all pretty darn good (if not cheesy) pop songs compared to the brooding dream-pop that occupies most of the album. But, their noticeable difference is what also makes them feel out of place on the album. The carnival soul of "Sledgehammer" and "Big Time" are much louder and robust than the rest of the album. While the lovely (if noy hokey) "In Your Eyes" is the only meaningful attempt at relatable romanticism. It works, but it's out of place here.
As usual for me, the 80's were not kind to my music listening sensibilities. I still hate the overuse of electric keyboards and synthesized instruments that plagued most pop acts in the 80's. I would love to hear these songs played on acoustic instruments in a more intimate setting. The songwriting is pretty good, I just think I could appreciate it more if the noises and sequencing were more in line with my tastes. Still pretty respectable!
Previous Familiarity: Low. Have heard the 2023 album from ANOHNI, but never heard anything from them before that.
"I Am a Bird Now" was a journey for me. Upon my first listen, I didn't find much to latch on to. The music is very sparse and melodramatic, which ultimately lends itself to letting the lyrics and the vocalist shine. And in that first listen, I must admit, I wasn't paying as much attention to the lyrics as I should have. ANOHNI's classical chamber style vocals presented too much of a distraction for me to focus on the message. Strikingly beautiful singing is certainly not something that I'm used to in popular music, and it was overwhelming.
With a second listen, I was able to put the pieces together.
The symphonic swells and the operatic warble are suitable vessels for conveying the of the weight of importance that the lyrics are presenting. ANOHNI's life has been filled with situations and experiences that I haven't shared, but the way that they are able to describe them are so affecting that it's impossible to not sympathize. Heartbreaking throughout, with only occasional moments of joy through personal acceptance of others as well as themselves.
The guest appearances are perfect. Boy George, Devandra Benhart, and Lou Reed work well with the oddness that is inherent in the aesthetic, but Rufus Wainwright outshines them all. Wainwright's syrupy voice is a welcome repreve from the brink-of-tears warble of ANOHNI that permeates the entirety of the record.
In fact that is unfortunately the standout element of detraction for this album. The overuse of the exaggerated vocal style robs the big emotional moments of their effectiveness. If the mundane verses are sung with the same dramatic flair as the important ones, then how is the listener to determine what is really important. If they picked their spots better, this album would be devastating.
Previous Familiarity: Very High! J5 are one of my favorites, even if this album isn't necessarily their best representation.
Jurassic Five did their part to keep traditional hip-hop alive in the age of crunk and bling. DJ's using sampled breakbeats with skilled turntable cuts, conscious rhymes, and pass-the-mic dynamics, they "brought it back to the concrete streets (original beats, with real live MC's)", just like the early days of hip hop.
Their 3rd LP, "Power in Numbers", expanded their sound to incorporate a few sounds and styles beyond their basement house party vibes. A touch of pop ("Thin Line" w/Nelly Fertado), a bit of storytelling ("Remember His Name"), a splash of gangster hardcore ("One of Them"), and some Middle Eastern funk ("Acetate Prophets"). Not all of those styles work the way they hope, but it did show that they had a few other ideas up their sleeve.
Still, J5 are in their wheelhouse for a good amount of the record, and some of those tracks are unstoppable. "React", "A Day at the Races", "What's Golden", and "High Fidelity" showcase what they do best, with "A Day at the Races" being a top-tier qualifier for greatest hip-hop track of all time. It's that good.
When they stick to what they do best, it's great! When they stray, it's questionable. Overall, a solid contribution.
Their previous album "Quality Control" would be a better pick for album that everyone should hear, but at least "Power in Numbers" is better than their next album, "Feedback", where they totally go off the rails into pop territory.
Previous Familiarity: None!
Trip-Hop Tango.
Sounds interesting right?!?!
Well...yes it is interesting, on the surface, but really, it lacks soul.
The dark mysterious aesthetic perfected by Portishead and Massive Attack is attempted here, with little success. Hell, there's even a Tricky soundalike that lends vocals to the 3rd track "Chunga's Revenge" and it just feels like a cheap ripoff. In fact this whole album feels like a cheap ripoff.
I don't know shit about tango, other than its sex appeal. And, there is sexiness to be found in some of these grooves, but the out-of-place accordion-like jaunt of the bandoneon kinda gives me an uncomfortable visual: one of a sexy couple swaying and grinding on dimly lit dancefloor. However, in the corner lurks a creepy mustachioed old man pulling on his squeezebox with a coy smirk on his face when one of the dancers dips down low so he can get a show.
Still interested?
Neither am I.
Previous Familiarity: High! Bought this album upon release, and really enjoyed it!
I was a big fan of the Big Beat scene that defined the dance music sound of the late 1990's / early 2000's. Each act seemed to have their niche. The Chemical Brothers were psychedelic and brooding. The Prodigy were dark and bombastic. The Propellerheads were funky and spy-theme cool. Fatboy Slim was the sunny Spring Break beach party goofball.
5-6 minute renditions of Beach Blanket Bingo on acid can be a fun idea! But sober, the high energy repetitiveness of the songs wears on the soul. There are some extremely catchy and danceable songs here, but stick to the "radio edit" if you're looking to stay sane.
In the right state of mind, this album could probably be really good. Maybe even great! But, without enhancers, it's too much.
Previous Familiarity: Average. I've heard the big songs here, but never the full album.
I would have loved to have been witness to the Woodstock performance in 1969, just a few months after this album debuted. Apparently, they came on stage at 3:00am and blew everyone's chances for a good night's sleep. Too much funk!
"Stand!", "I Want to Take You Higher", "Sing a Simple Song", "Everyday People", "You Can Make it if You Try" all classics. All sampled into oblivion by crate digging DJ's, with good reason.
The songs that aren't the ones listed above are a bit of a chore, as the funk can get out of hand. But, the the songs that are the one's listed above make this an absolute classic. Socially, and funkily.
Previous Familiarity: Moderate. Only familiar with the singles.
Sheryl Crow was ahead of the curve as far as pop singer-songwriters of the 1990's go. Songwriting here is very strong with excellent storytelling and pop-Americana twang. The production is rustic, but clean, and the variety of styles is worth admiring. You can hear a lot of her influence in much of the indie Americana that gets released even 30 years after this albums release.
I do feel like the album as a whole would benefit from reordering the tracks, as "Run, Baby, Run" is a bit too somber to kick off the album, and "All I Wanna Do" is too perfect of a song to be hid near the end of the album.
Overall this record is still was quite enjoyable, and was a nice surprise!
Previous Familiarity: None! I've heard of the band , but know nothing from them.
Post-Rock is a tricky genre. I do not particularly seek it out, as I am never in the right mood or state of mind to find myself enjoying it. It either sits in my subconscious while my mind drifts off to inner thoughts, or I'm too engaged and critical of what is happening with each passing tape-hiss or guitar stab. There isn't structure or melody for me to enjoy.
That said, the 14 minute mark of the 20 minute opener "Djed", is magical. The tone changes from rhythmic chiming of vibraphones to a cd-glich dissonance that them morphs into it's own dark atmosphere. It was jarring and beautiful, but really the only moment on the album where I was intrigued.
