Absolutely fantastic desert rock. Deep, groovy riffs overlaid with furious virtuoso notes and a near-perfect backbeat that sets the tempo and expectation of excitement (or whatever the mood may be) while still leaving enough sonic space for the vocals and guitar to shine.
A hard-rocking post-punk album with some elements of proto-desert sludge-rock and a 'power' backbeat reminiscent of AC/DC. Although the album's sound is not unique in the modern context, that is due to its imitators than any lack of ingenuity by The Cult. Overall, it's an accessible album that, while a hard-rock revival of sorts, sounds *fun* while it rocks. Arguably the weakest track on the album is "Born to be Wild" which seems toothless and sleepy in its slowed version -- an old wolf waiting to die.
An absolute masterpiece from the Chameleon of Music. Despite being released during the heyday of disco, Bowie, of course, sonically travels in a completely different direction. While there are some big basslines and hooks reminiscent of the era, they are distinctly and decidedly "Bowie."
While most bands of the "British-Invasion" era debuted with albums full of classic blues covers from the titans of the genre, such as Muddy Waters, Bo Diddley, Robert Johnson, Son House, and myriad others, The Who decided that originality was better. The Who do perform an inspired cover of Bo Diddley's "I'm A Man," with Roger Daltrey's deep, dusky, husk of a voice the main highlight amidst a sonic backdrop that sounds like the fourth album instead of the debut -- a band comfortable in their groove. Their covers of James Brown songs ("I Don't Mind" and "Please Please Please") fall short of their standards, established with the opening track "Out In The Street." "My Generation" is one of the seminal 'Mod Rock' songs, but expands well beyond that to capture the mood and attitude of a decade and several generations. John Entwistle's bassline would become the rocking, rollicking standard for years. The album finishes stronger than it starts, with Keith Moon's hi-hat work on "A Legal Matter" adding a freneticism to the playful tone of the lyrics. "The Ox," named after Entwistle (as it was his nickname), is a masterclass of a bluesy, grooving jam that rolls into the sunset. It's rare enough when "non Jam-Bands" can keep a groove and make it into an enticing song. For a band to do it on their debut album, in such a hypnotic, frantic, groovy, absolutely captivating way is remarkable. And a sign of the things to come.
Just enough edge in the lyrics to keep the feel of a 'Protest' album (that gained traction throughout the 1960s) while having the free-wheeling funk sensibilities of, essentially, a "fun"-listening album. The resulting dichotomy is fascinating as both a microcosm for larger social issues and movements of the time, but also the sonic evolution of sound as the influence of Motown was actually recognized in Pop and other genres. Although "Motown" itself is an evolving sound with slightly-shifting definitions, it, as well as Rhythm and Blues, formed the backbone of most popular beats and music. Now, however, this influence was more generally acknowledged, but not necessarily widespread. This album fused the 'Protest' anthems of the 'Hippie Movement' with the soulful grooves and dance beats of Motown. The result was an album that defied categorization and defined its own place in music importance, influence, and history.
Opening track "Maggot Brain" is a sonic mélange of funky riffs, searing, shrill solos, overlaid on a soft, gentle piano riff. It is one of the more interesting intro tracks on an album, given the musical composition and also the ten-minute-plus runtime. The second track, "Can You Get To That" is an almost-perfect counterpoint to "Maggot Brain," with its deep, slow, grooving riffs and basslines, with harmonizing vocals and the general freneticism of a party about to explode. The remaining tracks on the album are more in the vein of 'Funk' rather than 'Experimental Funk,' yet those experimental elements persist throughout the album, especially in the percussion. Except the final track on the initial release, "Wars of Armageddon," which bookends the opening track with a funky, driving medley of madness, hypnotic in its frenzied menagerie of sounds. The final taste of a guitar lick in the waning seconds sounds, in a way, like a requiem. The death of what, specifically, is unknown to me. Perhaps the waning of a charged decade that fomented, above all, change. Staring into the unknown future as the music fades.
Arguably the zenith of ZZ Top's 'Southern Fried Rock' with radio hits and hidden gems.
I don't know when I would have given this album a proper listen if not for this service. I was blown away by the sound, concept, and influence Screamadelica has had on almost every genre of music since its release/
This album offers a fascinating insight into the music of the late 1950s -- before the Beatles-led "British Invasion" of rhythm and blues roots blossoming into a 'popular' bloom that would dominate and influence music for decades. Yet, even without the increased variety that the 1960s would bring, this album does have its own merits, most notably the song-stories interspersed throughout. While some have a better sonic and story-structure than others, all of them are compelling narratives in their own way. This album also gains a greater degree of cultural significance when viewed in the larger scope of popular media at the time, especially cinema, where the genre of Western Films would continue in popularity for another decade with the emergence of "Spaghetti Westerns." Given the context, Gunfighter Ballads and Trail Songs is more culturally significant than it may first sound. It also helps that there is a widening variety of music to choose from, rather than being sequestered to limited musical genres.
3.5 Stars. The ambitious early cross-pollination of musical styles and genres, and their subsequent impact on the musical landscape, gives this album a bit of a ratings boost.