Bridge Over Troubled Water
Simon & Garfunkel+100 for every word I never heard in the bible.
+100 for every word I never heard in the bible.
I have been listening to this album since high school (since around 1980). I had heard various songs from the album on the radio and found them unique and interesting and so hunted down the album which serves up a broader experience than any single song. An excellent album.
Another fine album and it definitely sticks together thematically across the album as a whole. Although Springsteen is an excellent writer, I find that many of his songs fall into the same kind of stylistic form--definitely one that works but somewhat repetitively formulaic. His use of piano, saxophone and other horns and the melancholy of a working middle class that wants something more from the world it has been given, do capture a picture that is unique. He is solid in his abilities both lyrically and musically. But I'm not sure the emotions of the music and of the lyrics always tie together. There is a sense in which the music presents a repeated cycle of rising to a challenge in which it seems like there might be a break-thru but which in fact is never lyrically resolved by the characters. I find the guitar parts particularly excellent on this album and much more strongly in a rock'n'roll vein. Also I feel the characters of these songs are more solidly defined and less theatrical in their construction than those on Born to Run. A strong album for certain and one worth multiple listens.
One of the first albums I heard where the words, music, and singing all are solidly strong and tied together. This is what making art is truly about--finding your voice, your music, and a way to present it all--not commercially but because this is your work the way you want it. No throw-away songs. No relying on the tricks of music to build an anthem or to repeat a refrain so everyone can ignore the other lyrics. Beautifully built songs that flow like thoughts through a series of moments capturing what you feel. This is not the only way of being, but it is a great one and it captures you in the world it builds while you listen.
Lou Reed's lyrics and delivery style were unique to me the first time I heard this album. There is a certain simplicity to the presentation of each song that works beautifully without needing to build to any kind of emotional crescendo. Lou Reed's lyrics are front and center in his songs--nothing getting buried behind a crescendo of sounds.
The opening song, "Beyond Belief" is great lyrics combined with music that builds and stretches the tension fabulously and I love the song. However, I have never become a strong fan of Elvis Costello. He is an excellent writer and musician but something about his general style does not attract me. Too much crooning? Perhaps. A lack of a convincing scream for Man out of Time? Yes, that too. And yet he does bring together a punk sensibility, some excellent ironic and stinging lyrics and isn't stuck in a simple musical genre where everything he creates sounds like everything else. Maybe it is the overly strong syncopation of the lyrics and music? I definitely check out his work as he creates some songs that are phenomenal. But I have yet to love an album as whole. And this one is no exception. Is this an excellent album. Yes. But I don't seem to be among those who it really reaches.
Love her singing style and lyrics. Although some of the presentation has a country style to it, it works with the feel of the world the songs come from. I love the opening guitar bit on the song Car Wheels on a Gravel Road. It is a beautiful musical phrase. Like many albums on this list, it doesn't fit into a single genre but simply uses various styles like an artist uses colors when painting. I think Lucinda Williams could deliver a Lou Reed song and it would become more definitive than Lou Reed's version.
Oi, that is guitar playing. "I'm immortal when I'm with you." I love the way PJ Harvey changes her voice--singing lyrically, talking to the listener, shouting. Reverb, layers, echoes. Her use of Thom Yorke's voice for some of the tracks adds even more. Music and voice capture emotion in a rawness that many try to achieve but do not. Less dark than "To Bring You My Love", the soundscape is also broader.
Nothing I find very interesting. It is well produced and has all the slickness one expects from dance oriented pop (now with hip-hop styling added in). And it has the never ending message via innuendo that sex is a golden thing and perhaps even includes love and transformation. (Go away caterpillar. Come back when you are a butterfly. No--not a beetle!) The vaporousness of the lyrics really highlight how much the formulaic music methods try to make you feel something important is happening. Which is not to say that the music itself is entirely throw-away. It is heavily produced but has some phrases, beats, and moments that something more interesting could have been done with. The underlying theme that a woman is an object that needs someone else to validate her is both sad and terrifying. Could this music become the soundtrack to a a first person game of some sort that is not porn? I do not know. This sits squarely in a space where mass marketing grinds talent into granulated sugar, bags it, and sends it out to rot your teeth. Everything is behind a mask of sameness, nothing daring, nothing personal. God forbid one develop a pimple while listening.
Lyrics are good. Music is well-built and creative. But again, it has just never appealed to me. This is one of those times where you see a work of art but just don't click with it. As Elvis matures and begins seeking out more and broader kinds of sound, I start to like some of his works better. For instance, I truly love his album with the Roots.
Headphones on. This soundscape opens beautifully and builds layer on layer and then strips it back again. Thom Yorke's voice captures the human in among all the electronics even as it is itself manipulated. It is a journey into the head of someone who not only wants you to feel what they are feeling, but to be there with them. The opening bass line on Dollar and Cents is a quietly understated foundation. Strongly electronic, the music does not simply fall into tape loop of infinite repeats but overlays and underlays like a fabric of sound that shows a pattern. What is amazing is how seemlessly the various pieces are joined and interwoven. Listen once. Listen again. And then again. Different pieces ascend each time.
I can haz synthezzizizzer? Sea gulls? Robot sea gulls? Flock of seagulls? (No that comes later). The eventual impact of electronic sounds is huge as can particularly be seen with Radiohead's Amnesiac which uses everything here and much more. There is a sense in this album and other early ones like it that people didn't really know what to do with things yet nor do they have a really good set of tools to start working with manipulated sound. This is interesting in the way that watercolor washes are and ambient sound in general is. It is interesting historically as well in terms of what musicians found they could start to do with things. But nothing particularly groundbreaking seems to be happening here yet. Huzzah for being on the cusp of something new. But meh for fully figuring out something awesome to do with it yourselves. Not a bad album but plenty of room for growth.
Someone really likes Radiohead. This too is an excellent album. But does Radiohead need two albums in the list? I would say the distinctions between the albums are not enough to warrant that for the average listener. The base test in my opinion is to queue up multiple albums by the same band and if the listener cannot tell where one ended and the next began, then one album should be all that is needed. On this album, "15 step" and "Jigsaw Falling into Place" are my two favorite songs. Would I have like to see broader experimentation? Yes, definitely. There is refinement here and change and experiment but at some point, the vocal delivery style is too fixed, the building technique too similar, the lyrics too much the same.
It all starts with having fun. After listening to so many highly produced albums, this one comes across as organic. There is a sense that this is made to be performed live and never the same way twice. Although not the best lyrics or the most amazing music ever, this album holds up well and I enjoy listening to it. It is refreshing when bands broke out of the singles mold and started to make long songs and concept albums. Art freeing itself from the confines of making money.
Melody. Simplicity. Storytelling. Harmonizing. A bit of sentimentality but generally balanced with humor, irony, and some cynicism. Good song writing goes a long way.
Voice front and center. This is a flawed album in my opinion as I think the tools that Brian Wilson wanted/needed were not available to really build what he wanted. It would be very cool for someone to rebuild this album using the latest software. Still, this is an amazing album in how it spins off into its own world. It is like the birth of ballet by making special rules for how one stands and moves. The music builds on known methods but asserts its own rules. The layers are amazing. The lyrics are almost throw-away in terms of any meaning as it is more about the flow, cadence, melody, sound and not a specific meaning of language. A very cool album that opened a door for many people.
Storytelling. A language of bragging, raw description, violence, everyday anger and threat. Looking for the money tree, the escape. Born in a car crash, in a shooting, in a drug haze, in the sex scene, already buried. You got to dig yourself out. What you are and what you want to be. If this was made up, it would be dark--like a story of vampires--a fiction to learn something from. But it isn't. It is description of the world that is found when you wake up and when you go to sleep that some are born into and that is part and parcel of a larger world no matter how much this smaller one skews to its own reality. This album is solidly built in a place and time--captures it, accepts the world and wants more: Ain't no city like mine. And I think that is true--it spins up when you start to play it. And stays even after the songs are done.
Blues meets grunge in a back alley. This captures a raw energy and sound that kicks you in the teeth. Can't say that I know what the songs are about but really the sense is more in the tone and delivery than the words themselves. Sexuality, anger, pain, aggression all rolled together. Not dropping out of the world--kicking back. There is something very alive about this--a capture of an actual performance--happening now.
Good opening and opening song. There is potential here but overall the album does not click for me. I like parts of this quite a bit but it also includes parts that I entirely do not like. Great voice. For example "Sign your name" lyrically and musically just isn't interesting to me. The same with "Rain". There is a sense to me that this pulls together a lot of tropes musically and lyrically but does not really do anything truly new and interesting with them. Rain, butterfly tears, returning -- lyrical vagueness in a poetical form. There is a breadth of materials here pulled from a previous history of music -- but it has not been assimilated and joined into something truly his own.
Future nostalgia. The brain is a warehouse filled with images and emotions. Bowie hits it just right with the lyrics--a blend of real images and strangeness. The way "Five Years" builds is amazing and it hits that right blend of storytelling and mystery to allow you to build on it. Five years of what? prison? to live? till you grow up and become unable to experience the world as new and amazing? We all expect some kind of apocalypse. The guitar rhythms and leads are great. Love love love this album. Is this a concept album? Not really in my opinion. It has a kind of relationship among many of the songs and ties to the Ziggy Stardust persona/avatar. Good energy. Good hooks.
Heavy metal cello is an awesome thing. I certainly like the combination of a full orchestra with the band. The integration is still imperfect in that the orchestra is very much an addition/wrapper to the songs, but it sounds great. The future would of course be to see an electrified orchestra actually take lead on some songs and not just be an embellishment--a flugel-horn melody, more clarinet, etc. Jethro Tull truly integrated some flute into their sound. Jean Luc Ponty violin was used by Zappa to some effect. Rock and pop have stuck for the most part with a very small range of instruments and tend to be very drum and bass driven. This kind of work begins to open the door to a broader sound and hopefully will light up the minds of those future musicians with the breadth of skills to turly integrate an orchestra.
Simply built songs. Lyrics important to the aesthetic. Speed. The sense that anyone can make a song, an album, be in a band. Punk brought a new aesthetic to music.
Right ear...Left ear. Guitar front and center. Pretty straight forward rock 'n' roll capturing the guitar sounds and licks of other earlier bands. Solid voice for the style and enjoyable. Not the best of lyrics but good enough.
Attitude. Anger. Identification. These voices and this style are created/invented out of a real world that is broken. It is PTSD used to make art and protest. Politics in action. There is no simple way to tell what is bravado, what is the mask, and where the real people begin and end. This is an amazing album for what it creates, what it accentuates, the rage it contains within it. You can perhaps imagine this as a dystopia, but it is not just imagined. It ties with reality by making it if it doesn't pre-exist. Musically, this brings rhythm to the front where the voice is an active beat in conjunction with other rhythms. Electronic sounds and repetitions are core building blocks; any voice and sound fragment can be a beat. Trashtalk reaches a new all-time high since Shakespeare's time.
Love the one you're with is a fantastic song. Great lyrics bonded to great guitar work. This is generally a uplifting album without being saccharin. A melding of an acoustic folk and blues sound with electric and rock sensibilities. Actual singing is important rather than just a style of vocal delivery. The opening to Black Queen is straight blues styling and some excellent playing. I don't think the singing on it is quite perfect but it is pretty good. I'd love to hear it re-interpreted by some modern bands.
Hooks. Lyrics and music solid. Historically weathered ongoing changes in musical styles and improvements in electronics. Sounds great. Solid. Memorable. Catchy.
Dude, I think your guitar is broken. But man it sounds kewl. Punk into grunge. Pretty music is out. Crooked sounds. Energetic tempos. Off-kilter is the new normal. I'm sick (but don't you wish you were too). Subversiveness is required. Irony. Incorrectness. Society might want to cast us out but we've already left. Attitude must be expressed at all times. This is where we stop making electric guitars try to sound like acoustic ones. Fuzz, wah, feedback, elctronic fracturings are part of the desired sound and being used as core music components. Disaffection as a way of being in the world. The ultimate in dropout from "standard culture." Get drunk. Get wasted. Get fucked.
Big band and swing sound. Performance oriented. Danceable. Excellent voice and delivery style although not what I enjoy the most. Music was more strongly ensemble work--there was a singer, an arranger, song writers, multiple members of the band with highlighted skills and solo opportunities. Everything is well-crafted. Ray puts his own imprint on standards and moves out beyond the styles of Sinatra. "Don't let the sun catch you cryin." and "Let the good times roll" will be re-interpreted by others but this album sits at a crossroads of pop music starting to ascend along with rock, smaller groups becoming common, and a change in energies. A bit of crooning which I find mostly annoying. But overall a solid album--just not something I like.
punk influenced folk with a jazz form? Have never listened to Firehose before. First listen -- pulled in. Gave the album my phone number. It called back for a second listen. Excellent the second time through as well. Beautifully ushering the listener into a world where pop jingles and verse chorus verse are sent to rehabilitation to be something more interesting. A gateway album to better sound.
A very different flow to the voice. Long sinuous phrases. Also a different way of incorporating samples, loops, and scratches and longer musical phrases from recordings. Strongly syncopated but melodic breaks. Wider range of sampling. Smooth. Lyrically, I like this quite a bit for how the voice parts are created.
A study in rhythm with vocals attached. The Police definitely carved out their own sound. I could entirely live without the lyrics to Mother. Overall, the album lyrics are generally interesting, have some excellent phrases and images, and work well but they also have some major weaknesses. The heavy use of an aaaa or aabb rhyme scheme is countered to some extent by the use of partial rhymes and various voice combinations such as throwing in a non-rhyming refrain or the use of a kind of call and response or switching between single and group voices. Tea in the Sahara seems to be a very weak song overall. Murder by Numbers picks up a stronger jazz styling than other songs but the lyrics don't seem to fit in with overall flow of the other songs--it seems out of place. The saddest part about this album is that it doesn't capture the energy of their earlier work. It has a dryness to it that Stings solo works carry on to their detriment.
Opening track bass sounds great. I can hear the strings bending and vibrating. A chorus of children. Horns. Music as a texture of interwoven sounds. Beautiful album covers as well +500 extra points. Complex music with layers.
This is an excellent album which, in my opinion, mostly highlights just making music very well. It is like finding a really well-written sonnet that hits the spot within its genre. Nothing groundbreaking going on--no experimentation or pushing of limits. Just solid song-writing, playing, and creation of an album.
Not of interest to me. Unconvincing lyrics delivered in a crooning manner. The concept of a lovable/redeemable rough guy just doesn't appeal and comes across as exceedingly contrived. It is a pose, an affectation, a lie, a contrivance. Additionally--strong problems of paternalism embedded in the lyrics. It's ok for a man to be rough and rowdy and economically untrue, but he owns his woman none-the-less.
Floating in the atmosphere. Great voice. Definitely knows how to hit the emotional layer of a song. Also got a sense that Thom Yorke and Radio Head made notes on how this was built. Excellent singing range and mix of vocal variations. One of the issues I have with groups like Radiohead and Coldplay is how much they use falsetto such that it becomes annoying or at the very least a drawback to listening to an album as a whole.
Strings, horn, melody opening. Acoustic nostalgic tinged with sadness trying to be happy. Very well crafted songs. Love the vocals and their prominence. Gets more experimental with various songs. "This song" hurts to listen to in headphones. A good stretching of the sounds available for building music. Has a bit of a Beatlesque feel. Thematically the more experimental sounds work with the "bewilder" part of the album title -- a certain confusion in defining who and what we are even as we look back at ourselves. Good album. Well worth listening to. But doesn't quite hold together as a whole for me.
Speed jazz. I'm pretty sure that at least one of these is just someone tripping over the drums and falling into the saxaphones. Squigley. Definitely squigley. I really like this quite a lot. It seems sort of like concrete poetry to me where there is a slab of language all working at the same time to do multiple things. It is amazing how the brain takes a pile of noise like this and follows different parts looking for patterns and recognizable things.
Smooth. Funky. Great singing. A little too heavy on the strings for me overall but this is a soundtrack so it gets the full james bond workup and sounds great in a large space. Socially conscious lyrics.
What a great performer! These songs have burned themselves into the consciousness of a large part of the world.
jazz inflected rock/pop. Who knows? This has been one of my top ten albums for listening to for years as it is just so well put together. Steely Dan definitely created their own place in the world of sound and again show what amazing craftmanship can do. Lyrics can be obscure but have some excellent lines and wry humor as well.
A bit of this, a bit of that. The music on this album picks up a good bit on the punk aesthetic. But there is also a mix of sounds that make it unique. In particular, there is a sense of fun in the lyrics and play.
post-modern fragments joined. Lyrics don't have to make sense particularly if they have a good sound hook. One finds nonsense, humor, and bits of what are probably political commentary spread throughout. Some beautiful pieces of music. Some bits of showing what you can do with new sound equipment on revolution 9--a pastiche with intent of some sort. To me, this is very much a turning point where art overtakes commercialism but still manages to be commercial. The album cover is interesting in its absence of everything except the band name embossed. In both the world of art and commercialism, the "signature"/band name/branding is, in one sense, more important than any content. And in another sense, the recording is more more important regardless of who created it.
Very British. Great drums and guitar. Vocals that are sinuous and extended. Hooks. More hooks.
A no to all the rap/hiphop style songs. Lyrics just don't work for me. The music itself is interesting and the idea of a blend is also good. But to me, they are all failures. They fail to capture any real lyrical play, lack an indepth call and response and on-the-fly interplay of voices. Overly stylized and comes across as in-authentic, non-personal, topical or thought to be commerically sellable. The songs that cross from an acoustic to heavy electric rock sound work better although they can fall into a standard rock trope--like a stairway to heaven format.
Polyrhythmic funk meets punk art rock. Fantastic sound and lyrics. The live versions of many of these songs are even more interesting as the Talking Heads had people like Adrian Belew adding to their performance.
Honky tonk space opera. Saxaphone! The lyrics on the edge of falling to pieces but always catching an edge of reality. Some great guitar riffs.
Loops and loops and loops and loops. TV on the Radio creates their own unique sound.
Great name for a band. And historically quite interesting how they formed. Their albums are all topnotch examples to what a group of people with excellent music skills can do when they hang out together. They tie to a country/folk sound in which a band was really about performing live for a group of people for entertainment. Without being throwbacks to the 1800's they capture a sound, a style, and story-telling that is mixed with rock and modern times.
Crossing between folk and rock sound with excellent guitar playing, melody, singing, and overall solid lyrics. This is a warm album, bright, with a sweetness that avoids becoming saccharine. In particular it showcases the effective use of harmony and a combination of acoustic/electric sound that is truly great.
Energy and rest--a good mix. Down to the Well seems to have nearly copied the guitar riff from David Bowie's the Man who Sold the World. Although I like the music and the album, I don't really connect with most of the lyrics. They have a strong punk repetitiousness and are certainly odd enough to be interesting.
Tried it. Didn't like it. Not a style I enjoy. Gave it to Mikey. He tried it too and spit it back out.
Not earth. That voice. Love this album. Language on the edge of a nervous breakdown becomes fully an instrument in its own right without having to have meaning encapsulated in words. Music can have intent and meaning outside of language.
This was a departure from the earlier dance oriented pop and George Michael can certainly sing and make music. He has some good lyrics but the overall presentation of the songs fails for me. Freedom, for instance is constructed like an anthemic dance song and falls into a string of phrases that don't stick together into any coherent whole. Lyrically, he seems unable to just tell a simple story and instead makes general pronouncements and tries to imbue them with feeling. His singing style is interesting but never comes across as natural but rather always as a kind of display/costume. There is no real sense that any of these songs are personal.
From opening to close it is truly fantastic. The bass really comes into its own on this album. And Jon Andersons vocals are unique. One thing I do dislike though is that all the "extras" on the new releases become repetitious. It is nicer when you can listen to the original (or the remastered) songs as they were on the original album.
Although not a fan of the country music tropes and styling, KD Lang is nonetheless amazing. Lock stock and teardrops is a beautifully crafted song. The singing and style of this album has a very strong throw-back sound to a lounge/dancing/crooning era and captures it quite well. But overall it does not appeal to me.
Strange lyrics that somehow work. Great guitar playing. Jangly in a good way. Lyrical layering; multiple voices. Uses the verse chorus verse setup to great effect with strong hooks on the choruses. Inventiveness abounds.
I don't get a sense that the band thinks about an album as a whole but rather produces the songs they want and then brings them together. There are bits and pieces that work well, but they don't really hit the sweet spot for me for any of their songs. They bring together a good bit of different sounds but they really seem to need someone like Brian Eno who really knows how to take an ok song and make it better. "If they move, kill 'em" has a good groove, but doesn't seem to know where to go or what to do and just fractures pointlessly. Overall, ok music and I like it generally.
A warm album moving into a kind of twee pop sound. I like the overall sound but find it somewhat lacking in energy and overall lyrically weak. The music is well worth listening to multiple time and I think grows. But the lyrics, don't. There is a kind of nostalgia and a looking backwards to the music as well which to me is too strong, derivative and not fully getting created into something new. Some shades of Simon and Garfunkel hanging about in various phrases. "I am the resurrection" has some some fabulous jam music after the singing stops. Perhaps an all jam album would have been better?
Definitely an art piece in full. From the head of the creator to the groove of the lp, this was carefully constructed with a specific sound in mind and it definitely shows. Although overly sentimental, it manages to overcome that perhaps by the sheer baroqueness surrounding it. This to me is also part of the birth of the artist as being in control of their art and not getting shelved just because it is possibly not going to be economically successful. One cannot deny the perfect success of lyrics and sound of "God only knows". I do wish Heroes and villians had been on this album.
ok.
electronica. possibly just filler. mostly innocuous.
Another great singing voice. Unfortunately, her lyrics are uneven and tend to reach for the sentimental and for general tropes when they could have done so much better. For instance "Send my love (to your new lover)" fails to walk through the full emotional range of the situation and is staged like an ordinary love song when it is in fact about a jilted lover possibly jilted because of age. And "I miss you" is just not lyrically doing anything other than throwing around standard tropes, although how it is sung is interesting. Most annoying with this album is its constant looking back from a point of being older at a younger self. I myself released an album when I was four looking back at the time when I was three and all the hardships of that time but I forgot to release it.
schmaltz but oh so convincingly sung. Thank you Dusty.
interesting but no. I look forward to "River Song" getting remade by Spiritualized.
distortion obligatoire; a certain lugubrious distance from involvement with reality
An amazing musician who sadly mostly writes lyrics that I find uninteresting topically.
Loud and fast. Just the way I like my coffee. Fun but not particularly essential or remarkable.
unremarkable.
delovely
Excellent album
Who doesn't love stream of consciousness lyrics with heavy base accompaniment? A fine album.
somebody is hurting the chickens and it is making me sad. Kudos on making the music they wanted to make but the underside of their design seems more angry, dark, and lost than funny or even ironic.
Good album.
+100 for every word I never heard in the bible.
+100 for an excellent album title
+100 for Spanish and English vocals. But in general I don't like the style and don't find the lyrics or music that interesting. Comes across as cartoonish.
Hmm. Not sure country and western means what you think it means.
Neil Young is king of the emotive single note. Although his lyrics sometimes need more work, they are solidly built overall and the combination of the music and his singing usually hit the spot for resonating with the listener as they are often very story based rather than abstract or obscure. It is always interesting to me how he bridges a kind of Folk/Americana bringing in banjo, violin, harmonica, and often a strong blues influence, all surrounding an awesome sounding guitar that can really rock when he wants it to.
I think this fully answers the question of whether the English can do the blues. Yes, they can.
Beautiful music.
Less sensational than I was led to expect.
hi hat...some good musical bits and singing voice. But nothing particularly earthshaking going on. Lyrics all come across as run of the mill.
Competent pop music.
Exceptional hooks. Odd lyrics and humor. A re-invention. Kudos.
A solid dance/pop album.
I am afraid now.
Historically interesting but rather a hodgepodge as an album.
Definitely interesting and really makes use of the extremes of loud and quiet as well as noise/structure, and tempo shifts. Not sure I particularly like it lyrically but I do find some of the construction of the songs, the political commentary, and the varied voice (scream, whisper, normal talking, voice-in-a-drain, overdrive, singing, shouting, etc) engaging. Definitely have carved out a distinct style.
Awesome guitar. Energy.
Sweet. This album hits the spot.
well whatever...nevermind.
Ĉi tio estas bela.
Not a bad a album but overall a failure to really do something new.
Lou Reed has always been a story teller and this album captures that very well. He also comes across as authentic -- there is a real experience to the stories and a connection.
Orange is the new green.
I think I made this same album once on a bender but unlike Todd, I forgot to hit record.
Sounds amazing similar to every song they have ever done. ;)
Beautiful. Powerful.
Fantastic performers bringing their best together. Most importantly, all the performers got recognition. This isn't just Paul Simon but he brought together the ensemble.
Fantastic album. The era of awesome drums.
Top of his form and showcases the full range of his skills from rocking out to ballads and story telling.
Excellent lyrics and singing and a progressive music experience overall blending multiple genres effortlessly. There is a sense in which this album is mostly looking back to earlier styles where there is just an overall solid skill at performing rather than the more modern singles and hooks approach. Strong country feel reminiscent (to me of CSN, Eagles, and the Band) but definitely its own makeup overall.
I repeat myself when I repeat myself when I repeat myself when I I I repeat myself myself self self I I I repeat myself when I repeat myself when I repeat myself
Angular as one would expect of things with corners.
Good album but not nearly as interesting as their first.
tub ti ekil i
Funk. Jazz. Social commentary. Fantastic.
Less wild than expected but fun.
Interesting musically with the broader instrument range than standard rock.
Enjoyable listen and Otis Redding has a great voice.
Fantastic album where the lyrics are wonderfully odd and the music is solid.